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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #69502 (https://www.gutenberg.org/ebooks/69502)
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-The Project Gutenberg eBook of Hans Holbein the Younger, Volume 2 (of
-2), by Arthur B. Chamberlain
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Hans Holbein the Younger, Volume 2 (of 2)
-
-Author: Arthur B. Chamberlain
-
-Release Date: December 8, 2022 [eBook #69502]
-
-Language: English
-
-Produced by: Tim Lindell, Barry Abrahamsen, and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The
-             Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK HANS HOLBEIN THE YOUNGER,
-VOLUME 2 (OF 2) ***
-
-
-
-
-
-                        HANS HOLBEIN THE YOUNGER
-
-
-
-
-
-
-------------------------------------------------------------------------
-
-
-
-
-[Illustration:
-
-  VOL. II. FRONTISPIECE
-  KING HENRY VIII
-  EARL SPENCER’S COLLECTION, ALTHORP
-]
-
-
-
-
-------------------------------------------------------------------------
-
-
-                              HANS HOLBEIN
-
-                              THE YOUNGER
-
-
-
-                                   BY
-
-                         ARTHUR B. CHAMBERLAIN
-
-      ASSISTANT KEEPER OF THE CORPORATION ART GALLERY, BIRMINGHAM
-
-
-
-
-             WITH 252 ILLUSTRATIONS, INCLUDING 24 IN COLOUR
-
-
-
-
-                             IN TWO VOLUMES
-
-                                VOL. II
-
-
-
-
-                                NEW YORK
-                         DODD, MEAD AND COMPANY
-                                  1913
-
-
-------------------------------------------------------------------------
-
-
-
-
-                  Printed by BALLANTYNE, HANSON & CO.
-                   at the Ballantyne Press, Edinburgh
-
-
-
-
-------------------------------------------------------------------------
-
-
-
-
-                                CONTENTS
-
-
-           CHAP.                                            PAGE
-
-            XVI. THE MERCHANTS OF THE STEELYARD                1
-
-           XVII. “THE TWO AMBASSADORS,” 1533                  34
-
-          XVIII. PORTRAITS OF 1533-1536                       54
-
-            XIX. “SERVANT OF THE KING’S MAJESTY”              90
-
-             XX. THE DUCHESS OF MILAN                        114
-
-            XXI. THE VISIT TO “HIGH BURGONY”                 138
-
-           XXII. BASEL REVISITED                             156
-
-          XXIII. ANNE OF CLEVES: 1539                        171
-
-           XXIV. THE LAST YEARS: 1540-1543                   185
-
-            XXV. HOLBEIN AS A MINIATURE PAINTER              217
-
-           XXVI. THE WINDSOR DRAWINGS AND OTHER STUDIES      243
-
-          XXVII. DESIGNS FOR JEWELLERY AND THE DECORATIVE    265
-                   ARTS
-
-         XXVIII. THE BARBER-SURGEONS’ PICTURE AND THE        289
-                   PAINTER’S DEATH
-
-           XXIX. CONCLUSION                                  312
-
-
-
-
-                                APPENDIX
-
-
-             A. EARLY DRAWING BY HOLBEIN IN THE             323
-                  MAXIMILIANS MUSEUM, AUGSBURG (Vol. i.
-                  p. 43)
-
-             B. DESIGNS FOR PAINTED GLASS OF THE LUCERNE    323
-                  PERIOD (Vol. i. p. 79)
-
-             C. EARLY DRAWINGS FOR WALL-PAINTINGS (Vol.     326
-                  i. p. 101)
-
-             D. GLASS DESIGNS WITH THE COATS OF ARMS OF     326
-                  THE VON ANDLAU AND VON HEWEN FAMILIES
-                  (Vol. i. p. 145)
-
-                THE GLASS DESIGNS OF “THE PASSION OF        327
-                  CHRIST” (Vol. i. p. 156)
-
-             E. THE FAESCH MUSEUM (Vol. i. pp. 88,          328
-                  166-8, 180, and 239-41)
-
-             F. HANS HOLBEIN AND DR. JOHANN FABRI (Vol.     330
-                  i. p. 175)
-
-             G. THE TRADE-MARK OF REINHOLD WOLFE (Vol.      332
-                  i. p. 202)
-
-             H. NICOLAS BELLIN OF MODENA (Vol. i. pp.       333
-                  282-4)
-
-             I. THE MORE FAMILY GROUP (Vol. i. pp.          334
-                  291-302)
-
-                THE PORTRAIT OF SIR THOMAS MORE (Vol. i.    340
-                  pp. 303-4)
-
-             J. HOLBEIN’S RETURN TO ENGLAND IN 1532         340
-                  (Vol. i. p. 352)
-
-             K. LORD ARUNDEL AND REMBRANDT AS COLLECTORS    341
-                  OF HOLBEIN’S PICTURES (Vol. ii. p. 66)
-
-                THE PORTRAITS OF SIR NICHOLAS POYNTZ        342
-                  (Vol. ii. p. 71-72)
-
-             L. HOLBEIN’S VISIT TO JOINVILLE AND NANCY      343
-                  IN 1538 (Vol. ii. pp. 148-149)
-
-             M. HOLBEIN’S STUDIO IN WHITEHALL (Vol. ii.     344
-                  p. 185)
-
-                THE BARBER-SURGEONS’ PICTURE (Vol. ii.      346
-                  p. 294)
-
-
-         SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND      347
-         PORTRAITS
-
-         PICTURES BY AND ATTRIBUTED TO HOLBEIN, AND OF     359
-         HIS SCHOOL AND PERIOD, EXHIBITED AT VARIOUS
-         EXHIBITIONS BETWEEN 1846 AND 1912
-
-             I. THE BRITISH INSTITUTION, 1846               359
-
-            II. ART TREASURES OF THE UNITED KINGDOM         360
-                  COLLECTED AT MANCHESTER IN 1857
-
-           III. SPECIAL EXHIBITION OF WORKS OF ART,         361
-                  SOUTH KENSINGTON MUSEUM, JUNE, 1862
-
-            IV. SPECIAL EXHIBITION OF PORTRAIT              362
-                  MINIATURES ON LOAN AT THE SOUTH
-                  KENSINGTON MUSEUM, JUNE, 1865
-
-             V. FIRST SPECIAL EXHIBITION OF NATIONAL        363
-                  PORTRAITS ENDING WITH THE REIGN OF
-                  KING JAMES THE SECOND ON LOAN TO THE
-                  SOUTH KENSINGTON MUSEUM, 1866
-
-            VI. THIRD AND CONCLUDING EXHIBITION OF          367
-                  NATIONAL PORTRAITS ON LOAN TO THE
-                  SOUTH KENSINGTON MUSEUM, APRIL, 1868
-
-           VII. ROYAL ACADEMY OF ARTS, WINTER               368
-                  EXHIBITIONS OF WORKS BY THE OLD
-                  MASTERS, 1870-1912
-
-          VIII. GROSVENOR GALLERY, WINTER EXHIBITION OF     374
-                  DRAWINGS BY THE OLD MASTERS, 1878-79
-
-            IX. EXHIBITION OF THE ROYAL HOUSE OF TUDOR.     374
-                  NEW GALLERY, 1890
-
-             X. EXHIBITION OF THE ROYAL HOUSE OF TUDOR.     381
-                  CORPORATION OF MANCHESTER ART GALLERY,
-                  1897
-
-            XI. NEW GALLERY, WINTER EXHIBITION, 1901-2.     382
-                  MONARCHS OF GREAT BRITAIN AND IRELAND
-
-           XII. LOAN COLLECTION OF PORTRAITS OF ENGLISH     383
-                  HISTORICAL PERSONAGES WHO DIED PRIOR
-                  TO THE YEAR 1625. OXFORD, 1904
-
-          XIII. EXHIBITION ILLUSTRATIVE OF EARLY ENGLISH    384
-                  PORTRAITURE. BURLINGTON FINE ARTS
-                  CLUB, 1909
-
-           XIV. PICTURES BY OR ATTRIBUTED TO HOLBEIN,       386
-                  DESCRIBED BY DR. WAAGEN IN HIS
-                  “TREASURES OF ART IN GREAT BRITAIN,”
-                  1854
-
-                A SHORT BIBLIOGRAPHY                        390
-
-                INDEX                                       401
-
-
-------------------------------------------------------------------------
-
-
-
-
-                             ILLUSTRATIONS
-
-
-                KING HENRY VIII                          _Frontispiece_
-                  Reproduced in colour, by kind
-                  permission of Earl  Spencer, G.C.V.O.
-                  _Althorp._
-
-             1. GEORG GISZE (1532)                            4
-                  Reproduced in colour.
-                  _Kaiser Friedrich Museum, Berlin._
-
-             2. HANS OF ANTWERP (1532)                        8
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-             3. HERMANN HILLEBRANDT WEDIG (1533)             17
-                  Reproduced in colour.
-                  _Kaiser Friedrich Museum, Berlin._
-
-             4. (1) DERICH BORN (1533)                       18
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-                (2) DERICH TYBIS (1533)                      18
-                  _Imperial Gallery, Vienna._
-
-             5. DERICH BERCK (1536)                          22
-                  Reproduced by kind permission of Lord
-                  Leconfield. _Petworth, Sussex._
-
-             6. THE TRIUMPH OF RICHES                        26
-                  Design for the wall-decoration in the
-                  Guildhall of the London Steelyard
-                  Merchants. Pen-and-wash drawing
-                  heightened with white
-                  _Louvre, Paris._
-
-             7. THE TRIUMPH OF POVERTY                       27
-                  Seventeenth-century copy, by Jan de
-                  Bisschop, of the wall-decoration in
-                  the Guildhall of the London Steelyard
-                  Merchants.
-                  _British Museum._
-
-             8. APOLLO AND THE MUSES                         31
-                  Design for the decoration of the
-                  Steelyard on the occasion of the
-                  coronation of Anne Boleyn.
-                  Pen-and-wash drawing touched with
-                  green.
-                  _Royal Print Room, Berlin._
-
-             9. THE TWO AMBASSADORS: JEAN DE DINTEVILLE      36
-                  AND GEORGE DESELVE (1533)
-                  Reproduced in colour.
-                  _National Gallery, London._
-
-            10. PORTRAIT OF A MUSICIAN                       52
-                  Reproduced by kind permission of Sir
-                  John Ramsden, Bt.
-                  _Bulstrode Park, Bucks._
-
-            11. ROBERT CHESEMAN (1533)                       54
-                  Reproduced in colour.
-                  _Royal Picture Gallery, Mauritshuis,
-                  The Hague._
-
-            12. CHARLES DE SOLIER, SIEUR DE MORETTE          63
-                  _Royal Picture Gallery, Dresden._
-
-            13. TITLE-PAGE OF COVERDALE’S BIBLE (1535)       76
-                  Woodcut.
-                  _From a copy in the British Museum._
-
-            14. SIR THOMAS WYAT                              79
-                  Drawing in black and coloured chalks.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            15. PORTRAIT OF A LADY, PROBABLY MARGARET        82
-                  WYAT, LADY LEE
-                  Until recently in the collection of
-                  Major Charles Palmer, by whose kind
-                  permission it is reproduced.
-                  _Mr. Benjamin Altman’s Collection, New
-                  York._
-
-            16. SIR RICHARD SOUTHWELL (1536)                 84
-                  Reproduced in colour.
-                  _Uffizi Gallery, Florence._
-
-            17. SIR NICHOLAS CAREW                           87
-                  Drawing in black and coloured chalks.
-                  Reproduced in colour.
-                  _Public Picture Collection, Basel._
-
-            18. HENRY VII AND HENRY VIII                     97
-                  Cartoon for the Whitehall
-                  wall-painting. Reproduced by kind
-                  permission of the Duke of Devonshire,
-                  G.C.V.O.
-                  _Chatsworth, formerly at Hardwick
-                  Hall._
-
-            19. HENRY VIII                                  102
-                  _National Gallery, Rome._
-
-            20. QUEEN JANE SEYMOUR                          111
-                  Reproduced in colour.
-                  _Imperial Gallery, Vienna._
-
-            21. THE DUCHESS OF MILAN (1538)                 128
-                  Reproduced in colour.
-                  _National Gallery, London._
-
-            22. EDWARD VI WHEN PRINCE OF WALES (1538-9)     165
-                  Reproduced by kind permission of the
-                  Earl of Yarborough.
-                  _Earl of Yarborough’s Collection._
-
-            23. EDWARD VI, WHEN PRINCE OF WALES             167
-                  Drawing in black and coloured chalks.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            24. QUEEN ANNE OF CLEVES (1539)                 181
-                  Reproduced in colour.
-                  _Louvre, Paris._
-
-            25. THOMAS HOWARD, DUKE OF NORFOLK              197
-                  Reproduced in colour, by gracious
-                  permission of H.M. the King.
-                  _Windsor Castle._
-
-            26. HENRY HOWARD, EARL OF SURREY                200
-                  Drawing in black and coloured chalks.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            27. PORTRAIT OF AN UNKNOWN YOUNG MAN (1541)     202
-                  Reproduced in colour.
-                  _Imperial Gallery, Vienna._
-
-            28. PORTRAIT OF AN UNKNOWN YOUNG MAN WITH A     203
-                  FALCON (1542)
-                  Reproduced in colour.
-                  _Royal Picture Gallery, Mauritshuis,
-                  The Hague._
-
-            29. (1) PORTRAIT OF AN UNKNOWN ELDERLY MAN      205
-                  _Kaiser Friedrich Museum, Berlin._
-
-                (2) PORTRAIT OF AN UNKNOWN ENGLISH LADY     205
-                  _Imperial Gallery, Vienna._
-
-            30. DR. JOHN CHAMBER                            208
-                  _Imperial Gallery, Vienna._
-
-            31. MINIATURES                                  222
-                  (1) HENRY BRANDON.
-                  (2) CHARLES BRANDON.
-                  (3) LADY AUDLEY.
-                  (4) QUEEN CATHERINE HOWARD.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-                  (5) PORTRAIT OF AN UNKNOWN YOUTH.
-                  Reproduced by gracious permission of
-                  H.M. the Queen of Holland.
-                  _Royal Palace, The Hague._
-
-                  (6) THOMAS CROMWELL, EARL OF ESSEX.
-                  Reproduced by kind permission of the
-                  late Mr. J. Pierpont Morgan.
-                  _New York._
-
-            32. STUDY FOR THE PORTRAIT OF A FAMILY GROUP    226
-                  Indian-ink wash drawing with brush
-                  outline.
-                  _British Museum._
-
-            33. MINIATURES                                  228
-                  (1) MRS. ROBERT PEMBERTON.
-                  Reproduced by kind permission of the
-                  late Mr. J. Pierpont Morgan.
-                  _New York._
-
-                  (2) HANS HOLBEIN: SELF-PORTRAIT.
-                  _Wallace Collection._
-
-            34. (1) UNKNOWN ENGLISHMAN. (2) WILLIAM         (1)
-                  PARR, MARQUIS OF NORTHAMPTON              256
-                  Drawings in black and coloured chalks.    (2)
-                  Reproduced by gracious permission of      256
-                  H.M. the King.
-                  _Windsor Castle._
-
-            35. THOMAS, LORD VAUX                           257
-                  Drawing in black and coloured chalks.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            36. (1) UNKNOWN MAN, SAID TO BE JEAN DE         (1)
-                  DINTEVILLE (2) MARY ZOUCH                 257
-                  Drawings in black and coloured chalks.    (2)
-                  Reproduced by gracious permission of      257
-                  H.M. the King.
-                  _Windsor Castle._
-
-            37. (1) LADY AUDLEY. (2) LADY MEUTAS            (1)
-                  Drawings in black and coloured chalks.    257
-                  Reproduced by gracious permission of      (2)
-                  H.M. the King.                            257
-                  _Windsor Castle._
-
-            38. “THE LADY HENEGHAM”: POSSIBLY MARGARET      258
-                  ROPER
-                  Drawing in black and coloured chalks.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            39. PORTRAIT OF AN UNKNOWN YOUNG MAN            259
-                  Drawing in black and coloured chalks.
-                  Reproduced in colour.
-                  _Public Picture Collection, Basel._
-
-            40. THE QUEEN OF SHEBA’S VISIT TO KING          262
-                  SOLOMON
-                  Silver-point drawing washed with
-                  colour.
-                  Reproduced by gracious permission of
-                  H.M. the King.
-                  _Windsor Castle._
-
-            41. QUEEN JANE SEYMOUR’S CUP                    274
-                  Pen-and-ink drawing.
-                  _British Museum._
-
-            42. HANS OF ANTWERP’S CUP                       275
-                  Pen-and-wash drawing.
-                  _Public Picture Collection, Basel._
-
-            43. SIR ANTHONY DENNY’S CLOCK                   276
-                  Indian-ink wash and pen drawing.
-                  _British Museum._
-
-            44. DESIGN FOR A DAGGER HILT AND SHEATH         277
-                  Pen-and-ink and Indian-ink wash
-                  drawing.
-                  _British Museum._
-
-            45. (1) DAGGER SHEATH WITH FOLIATED ORNAMENT    278
-                  (DATED 1529). (2) UPRIGHT BAND OF
-                  ORNAMENT: PIPER AND BEARS. (3) DAGGER
-                  SHEATH WITH THE “JUDGMENT OF PARIS”
-                  _Public Picture Collection, Basel._
-
-            46. (1) DAGGER SHEATH WITH A DANCE OF DEATH.    278
-                  (2) DAGGER SHEATH WITH A ROMAN
-                  TRIUMPH. (3) DAGGER SHEATH WITH
-                  “JOSHUA’S PASSAGE OF THE JORDAN”
-                  _Public Picture Collection, Basel._
-
-            47. FIVE DESIGNS FOR DAGGER HILTS               278
-                  _British Museum._
-
-            48. EIGHT DESIGNS FOR PENDANTS AND ORNAMENTS    279
-                  _British Museum._
-
-            49. NINE DESIGNS FOR PENDANTS                   279
-                  _British Museum._
-
-            50. NINE DESIGNS FOR MEDALLIONS OR ENSEIGNES    280
-                  _British Museum._
-
-            51. (1) BAND OF ORNAMENT: CHILDREN AT PLAY.     282
-                  (2) BAND OF ORNAMENT: CHILDREN AND
-                  DOGS HUNTING A HARE
-                  _Public Picture Collection, Basel._
-
-                (3) DESIGN FOR A COLLAR, WITH NYMPHS AND    282
-                  SATYRS. (4) DESIGN FOR A CHAIN. (5)
-                  DESIGN FOR A BRACELET OR COLLAR WITH
-                  DIAMONDS AND PEARLS.
-                  _British Museum._
-
-            52. DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS      282
-                  _British Museum._
-
-            53. DESIGNS FOR MEDALLIONS, &c.                 285
-                  (1) HAGAR AND ISHMAEL.
-                  (2) THE LAST JUDGMENT.
-                  (3) ICARUS.
-                  (4) DIANA AND ACTÆON.
-                  (5) CUPID AND BEES.
-                  (6) “I AWAIT THE HOUR.”
-                  (7) THE RAPE OF HELEN.
-                  Reproduced by kind permission of the
-                  Duke of Devonshire.
-                  _Chatsworth._
-
-            54. HENRY VIII GRANTING A CHARTER TO THE        288
-                  BARBER-SURGEONS’ COMPANY
-                  Reproduced by kind permission of the
-                  Barber-Surgeons’ Company.
-                  _Barber-Surgeons’ Hall, London._
-
-
-------------------------------------------------------------------------
-
-
-                        Hans Holbein the Younger
-
-
-
-
-                              CHAPTER XVI
-                     THE MERCHANTS OF THE STEELYARD
-
-The German Steelyard in London, and Holbein’s connection with its
-  members—Portraits of Georg Gisze—Hans of Antwerp—The Wedighs—Derich
-  Born—Derich Tybis—Cyriacus Fallen—Derich Berck—“The Triumph of
-  Riches”—“The Triumph of Poverty”—Triumphal arch designed by Holbein
-  for the Steelyard on the occasion of Queen Anne Boleyn’s coronation.
-
-
-THERE is no record to show in what part of London Holbein took up his
-residence upon his return to England. Possibly he may have settled in
-the house in the parish of St. Andrew Undershaft, in Aldgate Ward, in
-which he was residing in 1541; or there may be some truth in the
-tradition recorded by Walpole[1] that he lived for a time in a house on
-London Bridge, in close proximity to the Steelyard, where he was much
-occupied in painting various members of that colony of German merchants
-for the next year or two. There is nothing to indicate that he returned
-to Chelsea, for the purpose of finishing the More family picture, or
-that he received further commissions from Sir Thomas and his immediate
-circle of friends. During Holbein’s absence in Basel More had been made
-Lord Chancellor, but had resigned that office on May 16th, 1532, which
-was about the time of Holbein’s return to London. More, a generous man,
-had not amassed wealth in the public service, and on relinquishing
-office and the salary it carried with it, retired into private life on a
-modest income, not sufficient to permit a lavish patronage of art. Two
-other members of the More circle, and good friends to Holbein, Sir Henry
-Guldeford, and Archbishop Warham, died in the same year, the former in
-May and the latter in August, and thus the painter lost two other
-patrons immediately after his return. A certain John Wolf was the
-painter employed to provide the escutcheons, banners, and other
-decorations for Guldeford’s funeral.[2]
-
-Footnote 1:
-
-  _Anecdotes_, &c., ed. Wornum, 1888, vol. i. 86, note.
-
-Footnote 2:
-
-  _C.L.P._, v. 1064.
-
-Whether Holbein’s appearance amid entirely new surroundings was due to
-these events is doubtful. It is natural to suppose that he would turn
-instinctively towards a society of fellow-countrymen, speaking the same
-language, and of similar habits and modes of thought, with whom he would
-feel most at home, men of comfortable fortunes, well able to afford the
-luxury of sitting for their portraits, and with the means also of
-finding him other remunerative work.
-
-These merchants of the Hanseatic League in London formed a rich
-corporation of considerable numerical strength, whose beginnings went
-back to the very early days of English history. Some of its most
-valuable privileges and trading monopolies were granted it by Richard I
-and Edward III, in return for moneys lent, monopolies which hampered
-English trade for centuries afterwards. This colony had always occupied
-a part of the river bank above London Bridge, on the site of what is now
-the South-Eastern Railway Station in Cannon Street.[3] Their buildings
-were surrounded by a turreted wall, which stretched from the river
-northward to Thames Street, and from Allhallows Street on the east to
-Cosin (Cousins) Lane on the west, their property extending towards
-Dowgate. Entrance in the principal front in Thames Street was by three
-fortified gateways, above which the Imperial double-eagle floated, and
-within stood their old stone Guildhall, with a pleasant garden planted
-on one side with fruit trees and vines after the fashion of their
-fatherland, and, to the west of the main gate, vaults where Rhenish wine
-and other foreign delicacies were sold, a favourite place of resort for
-English citizens as well as foreigners. It has been generally supposed
-that its name, the Steelyard, or _Stahlhof_, arose from the great
-weighing-machine or steelyard which stood within its entrance.[4] The
-Guildhall and Council Chamber were situated in the western corner on
-Thames Street, and several passages, including Windgoose Alley, ran from
-that street to the river, giving access to the shops and small houses,
-the latter usually consisting of a bedroom and sitting-room for the
-merchant, and, at the back, stores and apartments for clerks and
-workmen. The corporation was a close one, and the rules by which its
-members were bound were as strict as those of a monastery. Within its
-precincts women were strictly forbidden; all married members had to live
-outside the walls, nor were guests allowed to lodge there unless also of
-the Hanseatic community. Each night at nine the gates were shut, and the
-Steelyard was then like a small walled German town in the midst of
-London. The breaking of its laws, or the practice of any bad habits, was
-followed by severe punishment. Its members, too, were obliged to take
-their share in the wider civic life of London. The Steelyard was
-represented by an Alderman and a Deputy, and, among other duties, each
-merchant had his allotted post in case of war, and was obliged to keep
-the necessary arms ready for the defence of the city.
-
-Footnote 3:
-
-  The buildings of the Steelyard were finally pulled down in the autumn
-  of 1863, and the ground was excavated immediately afterwards. The
-  Cannon Street Railway Station covers approximately the whole site of
-  the Steelyard except the strip on the north front cut off for the
-  widening of Upper Thames Street. See Philip Norman, “Notes on the
-  Later History of the Steelyard in London,” _Archæologia_, vol. lxi.
-  pt. ii. (1909), pp. 389-426; Wykeham Archer, _Once a Week_, vol. v.
-  (1861); J. E. Price, _Transactions of the London and Middlesex
-  Archæological Society_, vol. iii. 67 (1870). See also for the whole
-  history of the Steelyard, Lappenberg, _Urkundliche Geschichte des
-  Hansischen Stahlhofes zu London_, Hamburg, 1851.
-
-Footnote 4:
-
-  Dr. Norman, however, considers that it has nothing to do with a
-  weighing-machine, but that it is an Anglicised form of the German
-  “Stahlhof.” See his paper in _Archæologia_, quoted on the preceding
-  page.
-
-Their privileges were so great that they had always been unpopular, and
-this dislike grew in strength until the reign of Henry VIII, when the
-first attempts were made to break up their monopolies, which ended, some
-sixty years later, in their complete overthrow. When Holbein first came
-among them, however, they still occupied the foremost place in the
-commercial life of London, and were an exceedingly rich and prosperous
-community. They served the King and Court in more ways than one, for
-they were constantly made use of for the despatch of letters abroad and
-for the translation of communications received from foreign countries.
-They made arrangements with their agents in Europe for the payment of
-the diets and other expenses of Henry’s ambassadors and special
-messengers, and much confidential continental news was received through
-their business houses. Books, prints, and various rare and artistic
-objects were also forwarded to them for delivery to the English court.
-Thomas Cromwell, in particular, made much use of them in the sending and
-receiving of foreign correspondence. They also entertained all important
-visitors, artists, craftsmen, and others of their own countrymen who
-visited England.
-
-Holbein, however, does not appear to have come into contact with them
-during his first visit to England; no portrait, at least, of a Steelyard
-merchant of that date has survived, though he painted Niklaus Kratzer,
-who must have known many of them intimately. Possibly his introduction
-to them in 1532 was due to his friendship with the German astronomer. In
-any case, between 1532 and 1536, he painted a considerable number of
-them, chiefly small half-length portraits, in which the sitter is shown
-in his own room or office, dressed in sober black, with the accessories
-of his work scattered round him, and with letters in front of him
-containing his name and his address at the Steelyard. These portraits
-were most probably painted for presentation by the sitters to the League
-of which they were leading members, to be hung on the walls of the
-Council Chamber of their Guildhall, rather than for the purpose of
-sending them to family relations abroad. This would account for the
-presence of several of them in England to-day, for when the Guild was
-finally broken up in 1598 and much of its property scattered far and
-wide, some of the portraits remained in this country while others found
-their way abroad.
-
-[Illustration:
-
-  VOL. II., PLATE 1
-  GEORG GISZE
-  KAISER FRIEDRICH MUSEUM, BERLIN
-]
-
-[Sidenote: PORTRAIT OF GEORG GISZE]
-
-The portrait of Georg Gisze, now in the Berlin Museum (No. 586) (Pl.
-1),[5] was one of the first, if not the first, of these likenesses of
-Steelyard merchants to be painted by Holbein. This portrait is not only
-the most elaborate work of the whole series, but the sitter was also one
-of the most important members of the League then in London. His name is
-spelt in more than one way on the picture itself, and other versions of
-it are to be found in the English State Papers. In the letter from his
-brother, which he holds in his hand, he is addressed, according to the
-Berlin Catalogue, as Jerg Gisze. The full address is “Dem erszamen
-Jergen Gisze to lunden in engelant mynen broder to handen.” Below the
-motto on the wall, beneath the shelf on the left—“Nulla sine merore
-voluptas”—in the sitter’s own handwriting, is the signature G. Gisze or
-Gyze. It has been read both ways, for the second letter may be taken
-either as an _i_ followed by a long _s_, or, as two connected strokes
-representing the letter _y_. On other letters from foreign
-correspondents, tucked behind the wall-rails on the right, his name is
-also spelt Gisse and Ghisse, while in the distich inscribed on a
-cartellino fastened to the wall over his head it appears in its
-Latinised form of Gysen. This distich, which also contains the date and
-the sitter’s age, runs as follows:—
-
-Footnote 5:
-
-  Woltmann, 115. Reproduced by Davies, p. 140; Knackfuss, fig. 117;
-  Berlin Catg., p. 176; Ganz, _Holbein_, p. 95; and in colour by the
-  Medici Society.
-
-              “Δισυχι`ον ĭ Jmaginē Georgii Gysenii
-                Jsta refert vultus, qua cernis Jmago Georgi
-                  Sic oculos viuos, sic habet ille Genas.
-                    Anno ætatis suæ xxxiiij
-                      Anno dom 1532.”
-
-In days when spelling was largely phonetic it is not surprising to find
-proper names spelt in a variety of ways, and the Hanse merchants, in
-particular, received letters from correspondents in all parts of the
-world, speaking a variety of languages and dialects. According to the
-Berlin Catalogue, Georg Gisze was born on 2nd April 1497, so that he was
-of Holbein’s own age, and died in February 1562, and was a member of a
-leading Danzig family. Woltmann regarded him as a Swiss, and states that
-there was a family called Gysin settled in the neighbourhood of Basel,
-and that the name is still to be seen on numerous sign-boards in the
-adjacent small town of Liestall.[6] Miss Hervey, on the other hand,
-suggests that, however the name may be spelt, it was probably a
-variation of that of Gueiss, which was one of the most distinguished in
-the annals of the Steelyard.[7] The family belonged to Cologne, and
-Albert von Gueiss was a representative of the Steelyard at the
-Conference held at Bruges in 1520. In at least one entry in the
-Steelyard records this name is spelt Gisse. She suggests, therefore,
-that Georg Gisze may have been a younger brother or a son of this Albert
-von Gueiss. In his book on Holbein’s “Ambassadors” picture, Mr. W. F.
-Dickes, who, in his anxiety to prove that Holbein was not in England in
-1532, conveniently ignores the evidence of the letter which Gisze holds
-in his hand, addressed to him “in London,” conclusive proof that the
-portrait was produced in this country, is of opinion that it was painted
-in Basel.[8] Little is known of its history since it left the walls of
-the Guildhall in Thames Street. It was in the Orleans Collection in
-1727, and was purchased at the sale of that collection by Christian von
-Mechel.[9] Various attempts to induce the Basel Library to buy it proved
-unavailing. It was afterwards for a time in Basel, and in 1821 was added
-to the Solly Collection, passing later into the Berlin Gallery.
-
-Footnote 6:
-
-  Woltmann, i. 366.
-
-Footnote 7:
-
-  _Holbein’s Ambassadors_, p. 240.
-
-Footnote 8:
-
-  _Holbein’s “Ambassadors” Unriddled_, p. 2.
-
-Footnote 9:
-
-  See Ganz, _Holbein_, p. 240. It was brought to England with the
-  Orleans pictures in 1792, and in the Sale-Catalogue was described as
-  “Portrait of Gysset.” It fetched 60 guineas. See Waagen, _Treasures_,
-  &c., Vol. ii. p. 500.
-
-The first time the name of Georg Gisze occurs in the English State
-Papers is in 1522,[10] when he was twenty-four years of age. The paper
-is an English translation of a protection, dated Lyon, 26 June 1522,
-granted by Francis I to Gerrard van Werden, George Hasse, Henry Melman,
-Geo. Gyse, Geo. Strowse, Elard Smetyng, Hans Colynbrowgh, and Perpoynt
-Deovanter, merchants of the Hanse, during the war between him, the
-Emperor, and England. They are forbidden to deal in wheat, salt,
-“ollrons,” harness, and weapons of war. Deovanter appears to have been
-one of the leading merchants. At this period he went as a representative
-of the Steelyard on several missions to Francis for the purpose of the
-recovery of goods taken from their ships by the Captain of Boulogne.
-During his absence he gave power of attorney in a suit of his against
-George Byrom, of Salford, to several friends and fellow-merchants, among
-them “George Guyse,” and, it is interesting to note, “Th. Crumwell, of
-London, gent.”[11]
-
-Footnote 10:
-
-  _C.L.P._, vol. iii. pt. ii. 2350.
-
-Footnote 11:
-
-  _C.L.P._, vol. iii. pt. ii. 2446, 2447, 2754.
-
-The next reference to Gisze is at Michaelmas, 1533, in a letter from
-Thomas Houth to the Earl of Kildare in Ireland,[12] respecting the death
-of a certain John Wolff, in which, speaking of some bills, he says,—“I
-ascertained at the Steelyard that the handwriting was his, by the
-evidence of Geo. Gyes, the alderman’s deputy, and others.” This letter
-proves that Gisze held an important position in the Steelyard, as Deputy
-to the Alderman, who was probably Barthold Beckman, of Hamburg.[13]
-Possibly his appointment to this position occasioned the painting of his
-portrait.
-
-Footnote 12:
-
-  _C.L.P._, vol. vi. 1170.
-
-Footnote 13:
-
-  Lappenberg, _Urkundliche Geschichte des Hansischen Stahlhofes zu
-  London_, p. 157; Miss Hervey, _Holbein’s Ambassadors_, p. 239.
-
-[Sidenote: PORTRAIT OF GEORG GISZE]
-
-The portrait is life-size, and half-length, the sitter being turned to
-the right, the face towards the spectator, and the eyes turned slightly
-to the left. He is wearing a flat black cap over his fair hair, which is
-cut straight across the forehead and covers the ears; and a dress of
-rose-coloured silk with a sleeveless overcoat of black, and a fine white
-linen shirt. He is seated behind a table covered with a cloth of Eastern
-design, and is in the act of opening his brother’s letter. By him, on
-the table, stands a tall vase of Venetian glass with twisted handles,
-filled with carnations, and scattered in front of him are various
-objects used in his business, a seal, inkstand, scissors, quill pens, a
-leather case with metal bands and clasps, and a box containing money.
-From the shelves on the walls hang scales for weighing gold, a seal
-attached to a long chain, and a metal ball for string, with a damascened
-design and a band with the words “HEER EN” repeated round it.[14] Books
-and a box are upon the shelves, and tucked within the narrow wooden bars
-which run round the walls are parchment tags for seals and several
-letters with addresses in High German. On these occur the dates 1528 and
-1531, while the names of the correspondents with which they are endorsed
-can be more or less clearly discerned, as well as the word “England.”
-Woltmann reads the names as “Tomas Bandz,” “Jergen ze Basel,” and “Hans
-Stolten.” This last letter is marked with the writer’s particular
-device, which also occurs on a second letter, and is very similar to the
-device on the letter in the picture of Derich Tybis in Vienna. The walls
-of his room are painted in greyish green, the paint shown as rubbed and
-discoloured here and there, and along the bars and shelves, which have
-been worn by constant use.
-
-Footnote 14:
-
-  In the inventory of the goods of John Wolff, attached to the letter
-  mentioned above, a similar ball is included—“a round ball gilt for
-  sealing thread to hang out of to seal withal.” _C.L.P._, vol. vi.
-  1170.
-
-The painting of the numerous details is wonderful in its accurate
-realism, showing the closest observation and an evident delight in their
-perfect rendering. It has been suggested, as the picture contains many
-more accessories than in his other portraits of members of the
-Steelyard, that Holbein took particular pains with it as the first of a
-possible series, and that it was a kind of “show-piece,” in order that
-his clients might see of what he was capable. This superb portrait,
-which is in a better state of preservation than most of Holbein’s
-existing works, is finer in its clear, luminous colour and more delicate
-in its drawing than any other of his pictures of this period. It is
-almost Flemish in the minuteness and care of its finish and in its cool,
-clear tones. All the objects of still-life which surround the sitter,
-which are placed about him as naturally as though the artist had come
-upon him suddenly when engaged upon his daily business, and had there
-and then painted him, without arranging or posing, whether of silk, or
-linen, or gold, or steel, or glass, are painted with a fidelity to
-nature never excelled by the Dutchmen or Flemings of the following
-century, who devoted their whole career to the rendering of still-life.
-In Holbein’s portrait, however, all these carefully-wrought minor
-details, beautiful in themselves as they may be, in no way force
-themselves on the attention to the detriment of the portrait itself,
-which stands out as a vivid representation of the sitter’s personality,
-in which the essentials of his character have been seen with an unerring
-eye, and set down upon the panel with an unerring hand. We get here the
-young German merchant to the very life, precise, deliberate and orderly
-in the transaction of his affairs, with strongly-marked German features,
-long nose, and determined chin, a living presentment which only a master
-could have produced.
-
-Ruskin’s glowing description of the picture is well known, but it is so
-true and so eloquent that a sentence from it may be quoted:—
-
-    “Every accessory is perfect with a fine perfection; the
-    carnations in the glass by his side; the ball of gold, chased
-    with blue enamel, suspended on the wall; the books, the
-    steelyard, the papers on the table, the seal ring with its
-    quartered bearings—all intensely there, and there in beauty of
-    which no one could have dreamed that even flowers or gold were
-    capable, far less parchment or steel. But every change of
-    shade is felt, every rich and rubied line of petal followed,
-    every subdued gleam in the soft blue of the enamel and bending
-    of the gold touched with a hand whose patience of regard
-    creates rather than paints. The jewel itself was not so
-    precious as the rays of enduring light which form it, beneath
-    that errorless hand. The man himself what he was—not more; but
-    to all conceivable proof of sight, in all aspect of life or
-    thought—not less. He sits alone in his accustomed room, his
-    common work laid out before him; he is conscious of no
-    presence, assumes no dignity, bears no sudden or superficial
-    look of care or interest, lives only as he lived—but for ever.
-    It is inexhaustible. Every detail of it wins, retains, rewards
-    the attention with a continually increasing sense of
-    wonderfulness. It is also wholly true. So far as it reaches,
-    it contains the absolute facts of colour, form, and character,
-    rendered with an unaccusable faithfulness.”[15]
-
-Footnote 15:
-
-  Ruskin, “Sir Joshua and Holbein,” _Cornhill Magazine_, March 1860;
-  reprinted in _On the Old Road_, vol. i. pt. i. pp. 221-236.
-
-[Illustration:
-
-  VOL. II., PLATE 2
-  HANS OF ANTWERP
-  1532
-  WINDSOR CASTLE
-]
-
-[Sidenote: PORTRAIT OF HANS OF ANTWERP]
-
-The portrait of Hans of Antwerp, in Windsor Castle (Pl. 2),[16] belongs
-to the summer of the same year, 1532, and was one of the earliest of the
-Steelyard series. It is in oil on panel, and has darkened with age, and
-has suffered to some extent from repaintings. It represents the
-half-length figure of a middle-aged man, about three-quarters the size
-of life. He is turned to the right, seated at a table, upon which his
-elbows rest, and he is about to cut the string of a letter with a long
-knife. He has thick bushy hair and beard, brown in colour, and brown
-eyes, and is wearing a dark overcoat, which may have been originally
-dark green in colour, edged with a broad band of brown fur, and beneath
-it a brown dress and a white shirt with the collar embroidered with
-black Spanish work. On his head is a flat black cap. The table is
-covered with a dark green cloth, and upon it, in front of him, are
-placed a pad of paper with a quill pen resting on it, some coins and a
-seal engraved with the letter W. The head, strongly lightened, stands
-out against a background of grey-brown wall, with a strip of darker
-colour on the right-hand side of the panel. He wears a signet ring on
-the first finger of his left hand, and a smaller ring on the little
-finger of the right.
-
-Footnote 16:
-
-  Woltmann, 265. Reproduced by Law, _Holbein’s Pictures at Windsor
-  Castle_, Pl. ii.; Davies, p. 30; Knackfuss, fig. 119; Cust, _Royal
-  Collection of Paintings, Windsor Castle_, 1906, Pl. 46; Ganz,
-  _Holbein_, p. 96.
-
-The letter which he holds in his hand has a superscription in crabbed
-Teutonic writing, which Woltmann, after careful examination, deciphered
-as follows:—
-
-                     “_Dem ersamen H[a]nnsen
-                      Von Anwerpen ... lo [....] vpn
-                      Stallhoff zv h[anden]._”
-
-The parts in brackets are hidden in the original by the knife, and have
-been added conjecturally by him, so that the whole inscription would run
-in English: “To the honourable Hans of Antwerp in London, in the
-Steelyard, these to hand.” The words “ersamen” and “Stallhoff” are
-distinct, but the “Anwerpen” is less clear, and only the first letter of
-the Christian name is certain.
-
-The brown under-dress the sitter is wearing certainly has some
-appearance of the leather apron worn by goldsmiths which Woltmann
-declared it to be;[17] and this, together with the gold coins on the
-table, such as goldsmiths were in the habit of exhibiting in their
-shops, he regarded as additional proof that the portrait represents the
-goldsmith, Hans of Antwerp, Holbein’s close friend and one of his
-executors.[18] There is considerable probability that this ascription is
-correct, though it is by no means absolutely certain. On the paper-pad
-lying on the table there is an inscription, evidently in the sitter’s
-handwriting, giving his age and the date. Even this inscription is not
-absolutely clear. Woltmann reads it:—
-
-Footnote 17:
-
-  Woltmann, i. p. 368. An under-dress of similar fashion, however, is
-  worn by nearly all Holbein’s Steelyard sitters.
-
-Footnote 18:
-
-  It should be noted, however, that similar coins appear in the box on
-  the table in the portrait of Georg Gisze.
-
-                     “Anno dm. 1532 an. d. 26 Julii
-                        Ætatis suæ ...”
-
-The second “A.D.,” however, is evidently wrong. Mr. Law[19] reads it as
-a possible “Aug.” for August, and is doubtful about the word “Julii.”
-Both these writers fail to decipher the sitter’s age, but it appears to
-be “53,” or, perhaps, “33,” the latter agreeing better with the apparent
-age of the sitter.
-
-Footnote 19:
-
-  Law, _Holbein’s Pictures_, &c., p. 5.
-
-The W. on the seal affords some evidence against the portrait being that
-of John of Antwerp. Woltmann calls it “the device of his trading house,”
-and in this Mr. Law follows him. It is much more probable, however, that
-it is the initial of his surname. The seal is of a similar shape to
-those in the portraits of Georg Gisze and Derich Tybis. In the former
-the lettering is illegible, but in the latter it is plainly “D. T.”
-Before Hans of Antwerp’s surname was known, Woltmann’s suggestion was
-not out of place, but Mr. Lionel Cust[20] has recently discovered it to
-have been Van der Gow, which does not accord with the letter on the
-seal. Among the numerous references to John of Antwerp in the State
-Papers and elsewhere he is never once spoken of as belonging to the
-Steelyard, whereas the picture in question is in all probability a
-portrait of some merchant of the Hanseatic League. More than one German
-merchant of the Steelyard whose surname began with W is mentioned in the
-records, such as Gerard van Werden and Ulric Wise, while one of the
-leading jewellers of Henry’s reign was Morgan Wolf, though he was almost
-certainly a Welshman. However, until further evidence is forthcoming,
-the name Hans of Antwerp must stand as the sitter for this portrait, and
-it has much in its favour.
-
-Footnote 20:
-
-  _Burlington Magazine_, vol. viii. No. XXXV. (Feb. 1906), pp. 356-60.
-
-[Sidenote: PORTRAIT OF HANS OF ANTWERP]
-
-As the friend and witness and administrator of Holbein’s will, the
-question of the true portrait of John of Antwerp is of unusual interest.
-The two men appear to have been closely associated, and there is no
-doubt that Holbein supplied him with designs. One such design is well
-known—the drawing for a beautiful drinking-cup in the Basel Gallery upon
-which is inscribed the name “Hans Von Ant....” (Pl. 42).[21] Mr. Lionel
-Cust conjectures that the cup given by Cromwell to the King on New
-Year’s Day, 1539, made by John of Antwerp, was this identical cup; but
-it hardly appears probable that an object made for such a purpose would
-have the maker’s name placed upon it so prominently on a broad band
-running round its centre. It may be suggested that it is more likely to
-have been intended by the maker for presentation to the Hanseatic League
-to form part of the corporation plate of that body kept in the Guildhall
-of the Steelyard.
-
-Footnote 21:
-
-  Woltmann, 110 (104). See p. 275.
-
-John of Antwerp’s name occurs frequently in the private accounts of
-Thomas Cromwell for the years 1537-39, and Mr. Lionel Cust has gathered
-together much interesting information about him. In a letter from
-Cromwell to the Goldsmiths’ Company we learn that he had been settled in
-London since 1515, but the first reference to him Mr. Cust finds is in
-March 1537, in the Privy Purse Expenses of the Princess Mary, which
-runs: “Item payed for goldsmythes workes for my ladies grace to John of
-Andwarpe iiij _li_, xvij _s_, vij _d_.” There is, however, an earlier
-reference, and one of considerable interest, in the State Papers, in a
-letter from one Richard Cavendish to the Duke of Suffolk, dated Norton,
-5th June 1534, which shows that John Van Andwerp was at that time
-employed with a certain Hans De Fromont in searching for a gold mine at
-Norton. “They are,” says Cavendish, “applying themselves with diligence
-to find the mine. Here is the greatest diversity of earth and stones,
-for the stones in the gravel in most places appear to be very gold. Many
-assays have been made to prove it, but nothing found as yet, and it is
-believed the glitter ‘is but the scum of the metal which groweth beneath
-the ground.’ They have now begun to dig pits to get at the principal
-vein. The people are as glad as ever he saw to further the matter, for
-in old evidences the place is called Golden Norton, which proves that
-gold may be found there. He sees no great forwardness as yet, but prays
-God they may find some.”[22]
-
-Footnote 22:
-
-  _C.L.P._, vol. vii. 800.
-
-Cromwell employed him in a number of ways. In December 1537[23] he
-received 15_s._ for setting a great ruby, and 29_s._ for the gold in the
-ring. In November 1538[24] he was at work on the cup already mentioned
-for a New Year’s Gift to Henry, for which purpose he received 52 oz. of
-gold, and was paid nearly £20. Other work during these years consisted
-in making a George, setting stones in rings, making chains and
-trenchers, and repairing various Georges, Garters, and other jewellery
-belonging to the Lord Privy Seal, full details of which will be found in
-Mr. Cust’s paper, the last entry being dated 15th December 1539.[25]
-
-Footnote 23:
-
-  _C.L.P._, vol. xiv. pt. ii. 782, ii. (p. 333).
-
-Footnote 24:
-
-  _C.L.P._, vol. xiv. pt. ii. 782, ii. (p. 338).
-
-Footnote 25:
-
-  _Ibid._, under various dates.
-
-An entry in the Book of Payments of the Treasurer of the Chamber for
-April 1539[26] shows him in another capacity, one, as already noted, in
-which the foreign traders in England were frequently employed by the
-Court. He received one shilling from the King’s purse for forwarding
-letters of importance to Christopher Mount and Thomas Panell, “his
-gracis servauntes and oratours in Jarmayne.”[27]
-
-Footnote 26:
-
-  _C.L.P._, vol. xiv. pt. ii. 781 (p. 309).
-
-Footnote 27:
-
-  Mr. Cust suggests that this message was addressed to Holbein. He says:
-  “At Lady Day, 1539, he (Holbein) seems to have been still absent (in
-  Basel), though he was back in England before Midsummer.” (_Burlington
-  Magazine_, February 1906, p. 359.) This, however, is not probable.
-  Holbein was certainly back from Basel by December 1538, when he
-  received £10 for his journey to Upper Burgundy, and he presented a
-  portrait of Prince Edward to the King on New Year’s Day, 1539. He
-  received no salary on Lady Day, 1539, because he had already received
-  a year’s wages in advance at Midsummer, 1538, to date from the
-  previous Lady Day, and not because he was out of England. At this
-  period messages and money were being constantly sent to Christopher
-  Mount, who was much abroad on missions to the German Protestant
-  princes, and the question of the marriage with Cleves was only one of
-  the many affairs, and one of the least important, upon which he was
-  then engaged.
-
-In 1537 Hans of Antwerp’s name occurs in the return for Subsidies of
-Aliens in England, among foreigners dwelling in the parish of St.
-Nicholas Acon, as “John Andwarpe, straunger, xxx _li._, xxx _s._” In a
-similar list for the same parish in 1541 he is given for the first time
-his proper name: “John Vander Gow, _alias_ John Andwerp, in goodes, xxx
-_li._, xxx _s._” Mr. Cust suggests that his name may have been Van der
-Goes. This assessment of his goods at £30 and the tax on it of thirty
-shillings was the customary rate for foreigners. Nicholas Lyzarde,
-Elizabeth’s serjeant-painter,[28] was assessed to the same amount—but
-Holbein was taxed at the higher rate of £3 on his salary of £30, as it
-was the custom to tax “lands, fees and annuities” at double the rate of
-goods.
-
-Footnote 28:
-
-  See p. 309.
-
-[Sidenote: PORTRAIT OF HANS OF ANTWERP]
-
-In April of the same year Van der Gow was anxious to obtain the freedom
-of the Goldsmiths’ Company as a step towards being admitted to the right
-of citizenship in London. Cromwell’s letter, recommending him to the
-Company “most hartely,” states that he had already lived twenty-six
-years in London, had married an Englishwoman, by whom he had many
-children, and purposed continuing in London for the rest of his life.
-This desire to become a naturalised Englishman might be taken as some
-evidence that he was not a member of the Steelyard confraternity.
-
-From the register of the church of St. Nicholas Acon, in Lombard Street,
-where the goldsmiths have always congregated, we learn that he had a
-son, Augustine Anwarpe, baptized on 27th November 1542, and a second
-son, Roger, on 10th December 1547; that on three successive days in
-September 1543 three of his servants, John Ducheman, Jane, his maid, and
-Richard, were buried; that a fourth servant was buried on the 10th
-August 1548; and that his son Augustine was buried on 1st July 1550.[29]
-There can be little doubt that the three servants died of the plague
-which was raging in London in September 1543. Holbein was almost
-certainly another of its victims, and Mr. Cust suggests that he may very
-probably have caught the infection in John Van der Gow’s house.
-
-Footnote 29:
-
-  These facts are taken from Mr. Cust’s paper.
-
-The portrait, it is to be supposed, like Holbein’s other representations
-of Steelyard merchants, was very possibly presented to the Guild, and
-would remain hanging in their Guildhall until they were expelled by
-Elizabeth in 1598. “When in 1606,” says Woltmann, quoting from
-Lappenberg, “under James I, the Steelyard was given back to its
-possessors, the rooms were found in an evil condition, and all movables,
-such as tables, seats, bedsteads, and even panels and glass windows,
-were almost entirely stolen. That under such circumstances a sparing
-hand watched over the pictures is scarcely to be expected.”[30] The
-portrait of Hans of Antwerp, whatever its earlier adventures may have
-been, was in the collection of Charles I, in which it was No. 29, and is
-described in his catalogue as: “Done by Holbein. _Item._ Upon a cracked
-board, the picture of a merchant, in a black cap and habit having a
-letter with a knife in his hand cutting the seal thread of the letter; a
-seal lying by on a green table; bought by Sir Harry Vane and given to
-the King.” The crack in the panel is still plainly visible. It was
-valued by the Commonwealth Commissioners at £100, and sold for that sum.
-It reappears, however, in James II’s catalogue, No. 499: “By Holbein. A
-man’s head, in a black cap, with a letter and penknife in his hand.” It
-is possible that it is the picture by “Holbin” of “a Dutchman sealing a
-letter,” which was in the Duke of Buckingham’s collection at York House
-in 1635,[31] from which it may have passed into that of Charles I. The
-picture, though it has not the richness and transparency of colour of
-the “Gisze,” or its extreme delicacy of execution and luxuriance of
-detail, is a vigorous and life-like representation of a somewhat stolid
-German, painted with the truth and sincerity which Holbein brought to
-everything he touched.
-
-Footnote 30:
-
-  Woltmann, i. p. 381. See also Norman, _Archæologia_, vol. lxi. pt. ii.
-  p. 394.
-
-Footnote 31:
-
-  See Randall Davies, “Inventory of the Duke of Buckingham’s Pictures,”
-  &c., _Burlington Magazine_, March 1907, p. 382.
-
-[Sidenote: PORTRAITS OF TWO OF THE WEDIGHS]
-
-The two small roundels, which hitherto have always been regarded as
-likenesses of Holbein himself, undoubtedly represent, as Dr. Ganz has
-recently pointed out, the same individual as the sitter in the Windsor
-picture, who, until his identity is finally settled, it is most
-convenient to call Hans of Antwerp. The first is the beautiful little
-painting on oak in the Salting collection,[32] in which the sitter is
-shown in full-face, with a flat black cap, a gown lined with
-light-coloured fur, and a dark under-coat or vest, cut straight across
-the top, as in most of Holbein’s other Steelyard portraits. The left
-hand only is shown, with a ring on the first finger. On the background
-on either side of the head is the faded inscription “ETATIS SVÆ 35.” It
-was possibly painted a year or two later than the Windsor portrait, to
-which the likeness is very marked. If, however, the sitter really
-represents Hans of Antwerp, and he was painted a second time by Holbein
-about 1534-5, when 35 years of age, he must have been only a boy when he
-settled in London in 1515. The second roundel is in Lord Spencer’s
-collection at Althorp,[33] and this, too, has always been regarded as a
-portrait of Holbein by himself. Here again the likeness to the Windsor
-picture is a strong one, though the opposite side of the face is seen,
-as he is shown in three-quarters profile to the spectator’s left. There
-are slight variations in the dress, the undervest being lower, and
-disclosing more of the white shirt. Some critics regard it as a genuine
-work by Holbein, but Dr. Ganz places it among the doubtful and
-wrongly-attributed pictures. He suggests that it is probably one of the
-two roundels considered to be self-portraits by Holbein which C. van
-Mander saw in Amsterdam in 1604, and was engraved by A. Stock as such in
-1612 and published by H. Hondius. There is a replica of it in the
-Provinzial Museum in Hanover.[34] All three works evidently represent
-the same man, and at about the same age.
-
-Footnote 32:
-
-  Exhibited Burlington Fine Arts Club, 1909, Case D, No. 1, and
-  reproduced in the Catalogue, Pl. xxxiv.; also by Ganz, _Holbein_, p.
-  114.
-
-Footnote 33:
-
-  Reproduced by Ganz, _Holbein_, p. 226.
-
-Footnote 34:
-
-  See Ganz, _Holbein_, p. 253.
-
-In the same year, 1532, he painted another goldsmith, Hans von Zürich,
-but the picture has disappeared, and is now only known from the
-engraving Hollar made of it in 1647, when it was in the Arundel
-collection. In the engraving he is shown at half-length, full-face, the
-body turned slightly to the left, and is a thin man, with a pleasant
-expression. It is inscribed on the top: “Hans von Zürch, Goltshmidt.
-Hans Holbein, 1532,” and below, “W. Hollar fecit, 1647, ex collectione
-Arundeliana,” and has a dedication by the publisher, H. Vander Borcht,
-to Matthäus Merian.[35] The date indicates that Hans von Zürich must
-have been living in London at that time, though his name does not occur
-in the State Papers.
-
-Footnote 35:
-
-  Reproduced by Ganz, _Holbein_, p. 197 (i.). Parthey, No. 1411.
-
-One other portrait of a German merchant by Holbein was painted in the
-year 1532.[36] It is in the collection of Count von Schönborn in Vienna,
-and is one of a pair of portraits of brothers or near relations, members
-of the Wedigh family of Cologne.[37] They hung together until 1865, in
-which year the finer one of the two, dated 1533, was acquired by Herr B.
-Suermondt, of Aix-la-Chapelle, and is now in the Berlin Gallery, having
-been purchased in 1874, together with another fine portrait by Holbein
-of an unknown young man, from the Suermondt collection. The close
-relationship of the two sitters is proved by the exactly similar coat of
-arms on the enamelled ring each one is wearing. In the first edition of
-his book Woltmann gave it as his opinion that they were Englishmen, but
-afterwards came to the conclusion that both portraits represented German
-Steelyard merchants. The belief that they were Englishmen was afterwards
-strengthened by a communication to the Berlin authorities from Privy
-Councillor Dielitz, who, from the coat of arms on the rings, held that
-the pictures represented two members of the English family of Trelawney.
-This ascription, however, has been proved to be wrong, and it may be
-pointed out that the motto inscribed on the paper projecting from the
-book in the Vienna portrait,—“Veritas odium parit” (“Truth brings
-hatred”), is not the present motto of the Trelawney family. On the side
-of the same book, painted on the edges of the leaves, are the letters “H
-E R. W I D.,” and more recent research has established the fact that the
-two men were members of the Wedigh family. Members of this patrician
-family of Cologne had been connected with the London Steelyard since
-1480. In this connection it is interesting to note that the seal in the
-so-called “Hans of Antwerp” picture is engraved with the letter “W,”
-which suggests some possibility that he, too, may have been a Wedigh.
-
-Footnote 36:
-
-  Woltmann, 262. Reproduced by Knackfuss, fig. 118; Ganz, _Holbein_, p.
-  97.
-
-Footnote 37:
-
-  Both portraits are mentioned in an inventory of 1746.
-
-The 1532 picture in the Schönborn collection is a small half-length. The
-subject, who is seated at the back of a table, is turned to the right,
-with head almost full-front and looking at the spectator. His right arm
-rests on the table, and he holds his gloves in his left hand. His hair,
-cut straight across his forehead, covers his ears, and he is
-clean-shaven. He is wearing the usual dark overcoat with deep fur
-collar, and an inner collar or lining of lighter fur, opened
-sufficiently to show a part of his embroidered under-dress, the sleeves
-of which are of watered or patterned silk, and a white pleated shirt
-gathered round the neck in a small frill. The customary flat black cap
-is on his head. On the table to the left is a leather-bound book with
-two clasps, with the artist’s initials on the cover, and a piece of
-paper projecting from between the leaves on which is written the Latin
-motto already quoted. On the plain blue background is inscribed on
-either side of the head, “ANNO. 1532.” and “ÆTATIS.SVÆ. 29.” It is a
-sympathetic and simple rendering of a young man of serious expression,
-in which both the beardless face, of a somewhat reddish complexion, and
-the two hands are very finely painted. Woltmann conjectured that the
-Latin motto indicated that the book on the table might be one of those
-writings which the German reformers were at that time busily engaged in
-smuggling into England, the secret dissemination of which neither Wolsey
-or More could stay, in spite of the drastic methods they employed to
-stamp it out. Although possessing many privileges, the men of the
-Steelyard were by no means free from persecutions of this nature.
-
-[Sidenote: PORTRAIT OF HERMANN WEDIGH]
-
-The companion picture, in the Berlin Gallery (No. 586B) (Pl. 3),
-represents Hermann Hillebrandt Wedigh.[38] Like that of his brother, it
-is a small half-length. He stands directly facing the spectator, the
-left hand holding his buff-coloured gloves, and the right half hidden by
-the heavy dark-brown cloak, with black velvet collar and velvet at the
-wrists, the folds of which are finely arranged and painted. This cloak
-lacks the customary fur collar. The white shirt, partly open and showing
-the bare chest beneath, is tied in the front by long strings passed
-through a white button, and the embroidered collar is almost hidden by
-his beard. A flat black cap is on his head, of the type worn by all the
-Steelyard merchants in Holbein’s portraits. The hair, beard, and long
-moustache are fair, the separate hairs being indicated with almost
-microscopic care. The eyes are brown, the left one being decidedly
-smaller than the right, and there is a corresponding difference in the
-development of the two sides of the face. There are no accessories of
-any kind, and upon the plain blue background, on either side of the
-head, is inscribed, in gold letters: “ANNO. 1533.” and “ÆTATIS SVÆ. 39.”
-The gold ring is enamelled in red, white and black, and in the circle
-round the coat of arms there are some letters now undecipherable. This
-is one of the finest and most sympathetic portraits ever painted by
-Holbein. The face, in spite of its slight irregularity, is one of great
-charm and much sweetness of expression. The drawing of the hands and
-mouth is particularly fine.[39]
-
-Footnote 38:
-
-  Woltmann, 116. Reproduced by Dickes, p. 79; Knackfuss, fig. 121; Ganz,
-  _Holbein_, p. 98; and in colour in _Early German Painters_, folio v.
-
-Footnote 39:
-
-  Mr. Dickes, who does not hesitate to suggest that a date has been
-  tampered with if it suits his argument to do so, regards this picture
-  as “an unmistakable portrait of the second person” in the
-  “Ambassadors” picture, such person being, in his opinion Philipp,
-  Count Palatine. This picture, he says, “has a damaged date, catalogued
-  as 1533, and a more clear “ætatis 34,” which is no doubt correct, for
-  the moustache shows five years’ more growth” (_i.e._ than in the
-  “Ambassadors”). “No one who compares the two faces can doubt the
-  identity, or that if of Philipp—born November 12, 1503, as indicated
-  in our picture—its correct date is 1538.” It requires a very vivid
-  imagination to see a likeness between Wedigh and the portrait of the
-  Bishop of Lavaur in the National Gallery group; but Mr. Dickes sees
-  Philipp and Otto Henry in so many portraits scattered about Europe,
-  having but the faintest resemblance to one another, and gives to
-  Holbein so many pictures he never painted, and takes from him at least
-  one of his finest works (the Morette in Dresden, which he calls Otto
-  Henry and attributes to Amberger) that his attribution with regard to
-  the Wedigh portrait is not worth serious consideration. The date upon
-  it is plainly enough 1533. At the time he was writing his book the age
-  of the sitter appeared to be “34,” but recent cleaning shows it to be
-  “39.” (Dickes, _Holbein’s “Ambassadors” Unriddled_, p. 81.)
-
-Three other portraits of Steelyard merchants bear the date 1533: Derich
-Born at Windsor, Derich Tybis at Vienna, and Cyriacus Fallen at
-Brunswick. The portrait of Derich Born (Pl. 4 (1)),[40] in the royal
-collection at Windsor Castle, painted when he was twenty-three, is,
-after the “Gisze” and “Hermann Wedigh” portraits, perhaps the most
-attractive of the Steelyard series. It is slightly under life-size, the
-figure shown nearly to the waist, turned to the right, and the head,
-upon which the light falls strongly from above on the right, nearly in
-full-face. His right elbow rests on a stone ledge or parapet which runs
-across the picture, the left hand placed across the right wrist, and a
-gold signet-ring with a coat of arms on his forefinger. He wears a flat
-black cap, black silk dress, and a white shirt with a collar of
-so-called Spanish work of black silk thread, very delicately painted. He
-is beardless, and has chestnut-brown hair, cut straight across the
-forehead and hiding the ears in the customary fashion.
-
-Footnote 40:
-
-  Woltmann, 266. Reproduced by Law, Pl. 3; Davies, p. 154; Ganz,
-  _Holbein_, p. 100; Cust, _Royal Collection of Paintings, Windsor
-  Castle_, 1906, No. 45.
-
-On the flat stonework below the ledge on which his arm rests is
-inscribed, in large Roman letters as though cut in the stone, the
-following Latin couplet:
-
-               “Derichvs si vocem addas ipsissimvs hic sit
-                Hvnc dvbites pictor fecerit an genitor.”
-
-    (“If you were to add a voice this would be Derich, his very
-    self; and you would doubt whether a painter or a parent had
-    produced him.”)
-
-Below this runs, in slightly smaller letters of the same type:
-
-                  “DER. BORN ETATIS SVÆ 23 ANNO 1533.”
-
-The background is of a dark greenish blue against which stand out some
-branches and leaves of a vine or fig tree. It is painted in cool and
-delicate tones, with flesh tints of a pale brown, in which it bears a
-close resemblance to the portrait of Georg Gisze. It is marked, too, by
-the same simplicity and restraint, and air of quiet and dignified
-repose, and searching truth and insight in the rendering of what must
-have been a very attractive nature, qualities which make Holbein’s
-portraiture so great.
-
-[Illustration:
-
-  VOL. II., PLATE 3
-  HERMANN HILLEBRANDT WEDIG
-  KAISER FRIEDRICH MUSEUM, BERLIN
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 4A
-  DERICH BORN
-  1533
-  WINDSOR CASTLE
-]
-
-[Sidenote: PORTRAIT OF DERICH BORN]
-
-This is the only one of several portraits of the series without letters
-or papers bearing the name and address of the sitter which can be said
-with absolute certainty to represent one of the London Steelyard
-merchants. Mr. W. F. Dickes suggests that it represents the eldest son
-and successor of Theodorichus de Born, the printer, of Deventer and
-Nimeguen, who issued the Netherland New Testament in 1532, and he quotes
-a reference to a Theodorichus de Born de Novimagio acting as Secretary
-to the Faculty of Arts at Cologne University, and also to a Derichus de
-Born who had a licence to preach. “Remembering,” he says, “that Erasmus
-spent his schooldays at Deventer, and that Holbein owed to him several
-of his introductions, I think my suggestion deserves to be considered.
-At any rate, there is no necessity to assume, as is done without a
-tittle of evidence, that this young scholar was a member of the
-Stahlhof! Nor does the presence of this portrait at Windsor prove that
-it was painted in England.”[41]
-
-Footnote 41:
-
-  Dickes, _Holbein_, &c., p. 6.
-
-Mr. Dickes, whose chief object is to prove, for the purposes of his
-theory about the “Ambassadors,” that none of these Steelyard portraits
-was painted in England, starts by misquoting the inscription on the
-picture, which he gives as “Derichus si vocem addas de Born,” an
-extraordinary mixing of the first and third lines. There is no “de Born”
-in it, it is distinctly “Der. Born,” and though the young man depicted
-may have been a member of Theodorichus de Born’s family, as he suggests,
-he was certainly a member of the Steelyard, and known in London as
-Derich Born. In the Calendars of Letters and Papers, under the heading
-of “Ordnance,” a paper is printed which gives a list of “payments made
-by Erasmus Kyrkenar, the King’s armourer, by his Majesty’s command, from
-15th Sept, to 13th Oct. 28 Hen. VIII” (1536), for wages of armourers,
-and the providing of armour, harness, &c., in connection with the
-Rebellion in the North. Among the items included in his account is the
-following:
-
-“For various bundles of harness bought of Mr. Locke, merchant of London,
-and of _Dyrycke Borne, merchant of the Steelyard_,” &c.[42] This, though
-it does not actually prove him to have been in London in 1533, shows
-that he was most certainly here three years later as a member of the
-Steelyard. Evidence of his presence in London in the years 1542-49 is to
-be found in the _Inventare hansischer Archive des 16. Jahrhunderts, I_,
-quoted by Dr. Ganz,[43] who states that he was a merchant of Cologne.
-
-Footnote 42:
-
-  _C.L.P._, vol. xi. 686.
-
-Footnote 43:
-
-  _Holbein_, p. 240.
-
-The picture is on oak, 1 ft. 11½ in. high by 1 ft. 7¼ in. wide. It was
-at one time in the Arundel collection, and is entered in the 1655
-inventory as “Derichius a Born.” It is possible that the earl owned more
-than one of the Steelyard portraits, for there are two entries of
-portraits of men with black birettas. On the back is the brand of
-Charles I, “C.R.” crowned, though it is not described in his catalogue.
-There is a second portrait of Derich Born by Holbein, a small oval of
-about 3 in. high (9 × 8 mm.), on paper, in the Alte Pinakothek at
-Munich, giving the head and shoulders only.[44] It is painted in oil on
-paper, and has suffered somewhat from retouching, but is still an
-excellent example of the small portraits in oil on wood or paper,
-usually enclosed in a case of wood or ivory, which Holbein was fond of
-painting at this period, closely akin to his true miniatures of a rather
-later date. In the Munich version the position is reversed, the sitter
-being turned to the right, and the face not quite so fully to the front.
-The workmanship, more particularly of the collar, is as fine as in the
-larger Windsor portrait. His name and age and the date are given, but
-the last figures and letters have been cut away, probably when fitting
-it into the frame, so that all that is left of the inscription on the
-background, on either side of the head, now reads:
-
-Footnote 44:
-
-  Woltmann, 220. Reproduced by Ganz, _Holbein_, p. 147.
-
-                    “DEBOR . .         .   .
-                     TATIS         SVÆ   .   .
-                     M. D.          XXX   .   .   .”
-
-There is every probability that the completed date was 1533, and that
-the little picture was produced at about the same time as the Windsor
-version, though the sitter looks slightly younger, and while the more
-important work was painted for a place on the walls of the Hanse
-Guildhall, the lesser one may well have been done for sending to the
-sitter’s relations abroad. The Munich catalogue states that it is from
-the Elector Palatine’s palace at Mannheim, but otherwise nothing is
-known of its history.
-
-[Illustration:
-
-  VOL. II., PLATE 4B
-  DERICH TYBIS
-  1533
-  IMPERIAL GALLERY, VIENNA
-]
-
-[Sidenote: PORTRAIT OF DERICH TYBIS]
-
-The half-length portrait of Derich Tybis, of Duisburg (Pl. 4 (2)), about
-half the size of life, in the Vienna Gallery (No. 1485), is of the same
-date, 1533.[45] It is a full-face representation of a young man, with
-dark brown eyes and hair, his double chin and upper lip being
-clean-shaven and tinged with blue. In his hands, which rest on a table
-in front of him, he is holding a letter which he is about to open. He
-wears the usual heavy, black, sleeveless cloak or overcoat, with a deep
-collar of fur, and a smaller inner collar of lighter fur. The
-fore-sleeves of his under-dress are of dark-brown velvet. The open fur
-collar allows a glimpse of a finely-pleated white shirt, with a
-neck-band of a conventional design of holly leaves worked in gold thread
-in place of the more usual black Spanish embroidery. He wears two rings
-on the forefinger of his left hand, one with an oval green stone in a
-claw setting. The table is covered with an olive-green cloth, and lying
-upon it are a second letter, a paper with an inscription, a seal,
-quill-pen, sealing-wax, and a circular inkstand in two divisions, with
-an ink-well in one half and some gold coins in the other.
-
-Footnote 45:
-
-  Woltmann, 251. Reproduced by Knackfuss, fig. 120; Ganz, _Holbein_, p.
-  101; and in colour in _Early German Painters_, folio ii.
-
-The picture has suffered some damage, more particularly in the colour.
-The ground, which was originally azure blue, has turned to a greenish
-tone, and the shadows of the flesh are now too grey; but the masterly
-draughtmanship is still there and the extraordinary insight into
-character. Here again the fine and expressive hands at once attract
-attention.
-
-The letter he holds in his hands is from his father, and is addressed
-“Dem ersamen Deryck tybis von Duysburch alwyl London vff wi ... dgyss
-mynem lesten Sun....” (“To the honourable Derich Tybis of Duisburg, at
-the time in London, in Windgyss, my dear son”). This address shows that
-Tybis was living in Windgoose Alley, one of the passage-ways running
-through the Steelyard, with the houses and shops of the members on
-either side.
-
-On the open paper lying on the table is inscribed, in imitation of the
-sitter’s handwriting:
-
-                           “_Jesus Christus._
-
-    “Da ick was 33 jar alt was ick Deryck Tybis to London dyser
-    gestalt en hab dyser gelicken den mark gesch[rieben] myt myner
-    eigenen Hant en was Holpein malt anno 1533. per my Deryck
-    [device here] Tybis fan Drys[burch].”
-
-    (“When I was 33 years old, I, Deryck Tybis, in London, had this
-    appearance, and I have marked this portrait with my device in my
-    own hand, and it was painted by Holbein in the year 1533, by me
-    Deryck (here stands the device) Tybis von Drys....”)
-
-The device, a combination of crosses, is repeated on the seal on the
-table, with the letters D.T., reversed, on either side of it. There is a
-somewhat similar device on some of the letters in Georg Gisze’s
-portrait. The address on the second letter, lying in front of him, is
-now almost illegible. There is no inscription on the background. The
-writer has found no reference to Tybis in the English State Papers.
-
-The fourth Steelyard portrait of 1533, that of Cyriacus Fallen, in the
-Brunswick Gallery,[46] is also a half-length, about half the size of
-life. Like Derich Tybis, the sitter is shown full-face, looking at the
-spectator. His hair is cut in the customary Steelyard fashion, and he is
-clean-shaven. His black cap is set rather jauntily on one side, and his
-black overcoat has a very heavy fur collar, while his fore-sleeves are
-of brown silk with a pattern, as in the Wedigh portrait. The neck of his
-white embroidered shirt is just visible over the collar. In his hands he
-holds his gloves and two letters, superscribed with his name and address
-in London. These addresses are not very legible. Dr. Woltmann at first
-supposed the Christian name to be Ambrose, but further examination
-proved it to be Cyriacus. One of the inscriptions is: “Dem Ersamen
-syryacussfalen zu luden vp Stalhoff sy disser briff”; and the other:
-“Dem Ersamen f. ... syriakus fallenn in Lunde ... stalhuff sy dies....”
-
-Footnote 46:
-
-  Woltmann, 126. Reproduced in _The Masterpieces of Holbein_ (Gowan’s
-  Art Books, No. 13), p. 34; Ganz, _Holbein_, p. 99. Reinach gives the
-  surname as Kale, _Répertoire des Peintures_, Vol. ii. p. 518.
-
-On the green background, on either side of the sitter’s head, is
-inscribed his motto, “Patient in all things,” his age, and the date:
-
-                IN ALS GEDOLTIG        SIS ALTERS. 32.
-                    · ANNO ·                     · 1533 ·
-
-Fallen has a broad face, and a somewhat stolid expression; like his
-fellow merchants, he has been placed upon the panel with absolute truth
-and precision, without a touch of flattery. The eyes, hands, and dress
-are still in excellent condition, but the head, unfortunately, has
-suffered greatly in the course of time, and has been much rubbed and
-overcleaned, and retouched in numerous places.[47]
-
-Footnote 47:
-
-  Restored in 1892 by Hauser.
-
-[Illustration:
-
-  VOL. II., PLATE 5
-  DERICH BERCK
-  1536
-  Lord Leconfield’s collection
-  PETWORTH
-]
-
-[Sidenote: PORTRAIT OF DERICH BERCK]
-
-There is a gap of three years before the next and last of this series of
-portraits of Hanse merchants is reached, that of Derich Berck or Berg of
-Cologne, in Lord Leconfield’s collection at Petworth (#Pl. 5#),[48]
-which is dated 1536. He is represented life-size, at half-length, and
-full face, with brown hair and beard, and black dress and cap. Both
-hands are shown, and the left, resting on a table with a red cover,
-holds a letter addressed:—“Dem Ersame’ v[n]d fromen Derich berk i.
-London upt. Stalhoff,” together with the motto _besad dz end_ (“Consider
-the end”), and the trade-mark of his business house. On the table is a
-slip of paper with the Latin motto, “Olim meminisse juvabit,” selected
-by Berck, says Dr. Ganz, to indicate that Holbein’s brush will secure
-him immortality.[49] In the top right-hand corner are the date and the
-sitter’s age, “AN. 1536. ÆTA: 30” twice over, a later inscription being
-painted over the faded original one. The background is blue, with a
-green curtain on the left.
-
-Footnote 48:
-
-  Woltmann, 241. First published by Dr. Ganz in _Burlington Magazine_,
-  October 1911, vol. xx. p. 33; Ganz, _Holbein_, p. 107.
-
-Footnote 49:
-
-  See _Burlington Magazine_, vol. xx. p. 32.
-
-The writer has not seen this picture, but it is described as follows by
-Dr. Ganz in the _Burlington Magazine_:—“The merchant’s cloth and cap are
-black, but not dark; the heavy silk reflects the light in a greenish
-colour finely observed. The background is blue, of the same blue as in
-the portrait of Richard Southwell at Florence executed in the same year.
-It is enriched by a green curtain with red strings, giving an
-opportunity for the artist—like the red cloth on the table—for
-introducing other tones into his composition, such as black, besides the
-main notes of blue and flesh colour. The brightest point in this
-profound harmony of colours, a part of the white shirt with black
-embroidery, is placed just under the face and makes the fresh and lively
-expression of it stronger. The light shines with a rare splendour over
-this man’s healthy face and is reflected in the grey-blue eyes, which
-look so frank and kindly.” This picture has suffered from over-painting,
-but it remains a splendid and virile example of Holbein’s portraiture.
-There is a poor copy of it in the Alte Pinakothek at Munich,[50]
-purchased in 1899 from a local picture-dealer. It had come originally
-from France, and was regarded as an unfinished portrait by Holbein of an
-unknown man. The Munich catalogue describes it as a school-replica.
-
-Footnote 50:
-
-  Reproduced by Ganz, _Holbein_, p. 219.
-
-To Holbein the Steelyard proved to be in all ways a fruitful source of
-income. Not only was he busily engaged for some years in painting
-individual members of the League, but he was also employed by them in
-their corporate capacity upon an important work of decoration for their
-Guildhall, and in at least one other direction. This decoration
-consisted of two large allegorical paintings in tempera representing
-“The Triumph of Riches” and “The Triumph of Poverty.” No record exists
-as to the date of this work, but it is reasonable to suppose that the
-commission was given him in 1532 or 1533, at the time when he was in
-constant attendance within the precincts of the Steelyard for the
-purpose of painting some of its leading members in the midst of their
-daily occupations.
-
-These decorative paintings have long since disappeared, but the original
-design for “The Triumph of Riches” exists, as well as numerous copies of
-both compositions, so that it is possible to gain some idea of their
-beauty and importance. These allegories, which contained many life-size
-figures, were not painted on the walls, but on canvas, and so easily
-removable. They added greatly to the artist’s reputation in this
-country, and before the close of the sixteenth century they were
-celebrated throughout Europe among artists and connoisseurs of painting.
-Carel von Mander says that Federigo Zuccaro, about the year 1574, made
-two drawings from them, and declared them to be equal to anything
-accomplished by Raphael, and that after his return to Italy he told
-Goltzius the painter that they were even finer than any wall-paintings
-from Raphael’s brush.
-
-The two pictures remained in the Guildhall of the Steelyard until 1598,
-when it was closed by Queen Elizabeth, who at the same time expelled the
-Germans from their houses. For some years the place remained desolate,
-and when, in 1606, under James I, the buildings were restored to the
-League, most of the property left behind was found to have been stolen
-or badly damaged. The glory and prosperity of the Steelyard, indeed, had
-completely vanished, never to be fully restored again, and when the
-affairs of the Company in London were finally wound up, the two pictures
-were presented by the League, through their representative, the
-house-master, Holtscho, on January 22nd, 1616 (old style) to Henry,
-Prince of Wales, like his brother, Charles I, a patron of the fine arts.
-Holtscho, in describing the event, says: “I cannot, also, leave it
-unnoticed, that although these works are old, and have lost their
-freshness, yet His Highness, as a lover of painting, and as the works of
-the master, specially this work, have been highly commended, has taken
-great pleasure in them, as I have myself perceived, and have also heard
-from himself.”[51] The researches of Dr. Lappenberg have placed these
-facts beyond doubt, thus disproving the old legend that the pictures
-were destroyed when still hanging on the walls of the banqueting-hall of
-the Easterlings during the Great Fire in 1666.
-
-Footnote 51:
-
-  Woltmann, i. 381, quoting from Lappenberg, _Urkundliche Geschichte des
-  hansischen Stahlhofes zu London_, 1851, pp. 82-87.
-
-[Sidenote: THE TWO “TRIUMPHS”]
-
-It has been generally supposed that on the death of Prince Henry, two
-years after they were presented to him, the pictures passed into the
-possession of Charles I; and as they were not included among the
-pictures of that King’s collection sold by order of the Commonwealth in
-1648-53, Dr. Lappenberg concluded that they must have remained at
-Whitehall until destroyed in the fire at that palace in 1698. Further
-evidence, however, appears to contradict this conclusion. In Van der
-Doort’s carefully-prepared catalogue of Charles I’s collection, although
-several less important works by Holbein are included, among them two
-miniatures, these two celebrated pictures are not mentioned. Again,
-Sandrart, in his autobiography, describes the two compositions in some
-detail, after seeing them in 1627 in the Earl of Arundel’s possession,
-in the long garden gallery in Arundel House. He does not say whether
-they were pictures or drawings, so that they may have been only the
-original designs; it is much more probable, however, that they were the
-large paintings, as Sandrart speaks of them first of all, as the chief
-of Holbein’s works belonging to the Earl, and afterwards describes three
-of his best known portraits, hanging in the same gallery, those of
-Erasmus, Sir Thomas More, and a “Princess of Lorraine” (the Duchess of
-Milan), which seems to indicate that Lord Arundel possessed the large
-works. It has been suggested that they may have been presented by
-Charles I to the Earl; but it is more likely that they were obtained by
-exchange with that monarch. Later on they were taken abroad with the
-rest of the collection by the Countess of Arundel, and were in Amsterdam
-at the time of her death in 1654. In the inventory then drawn up they
-are merely described as “Triumpho della Richezza” and “Triumpho della
-Poverta.” Probably they were among the pictures hastily sold by Lord
-Stafford in that town immediately after his mother’s decease.[52] The
-last trace of their history to be found is in a paragraph in Félibien’s
-_Entretiens sur les Vies et sur les Ouvrages des plus excellents
-Peintres anciens et modernes_, published in 1666, in which he speaks of
-them as having been brought from Flanders to Paris: “Il y avait encore
-dans la maison des Ostrelins, dans la salle du Convive, deux tableaux à
-détrempe, qu’on a veûs icy depuis quelques années, et qu’on avait
-envoyez de Flandres.”[53]
-
-Footnote 52:
-
-  See _Burlington Magazine_, August 1911, vol. xix. pp. 282-6.
-
-Footnote 53:
-
-  Quoted by Woltmann, i. p. 382.
-
-If Félibien is correct, the pictures had once more come into the
-possession of the Hanseatic League. They were, no doubt, purchased in
-Amsterdam by that body, and forwarded to Paris. No further record of
-them has been discovered, and as they were already in a damaged state
-when presented to the Prince of Wales, the probability is that they have
-perished.
-
-[Illustration:
-
-  VOL. II., PLATE 6
-  THE TRIUMPH OF RICHES
-  Design for the wall-decoration in the Guildhall of the London
-    Steelyard Merchants _Pen-and-wash drawing heightened with white_
-  LOUVRE, PARIS
-]
-
-[Sidenote: THE TWO “TRIUMPHS”]
-
-Holbein’s original sketch for “The Triumph of Riches,” a masterly pen
-drawing washed with Indian-ink, and touched with white in the high
-lights, is in the Louvre (#Pl. 6#).[54] A similar drawing in the British
-Museum, purchased in 1854, which at one time was attributed to Holbein
-himself, is said by Woltmann to be a tracing of the Louvre example; but
-it has no appearance of being traced, and is certainly a copy, perhaps
-by an Italian.[55] The heads and attributes are given a Raphaelesque
-air, strikingly different from the Flemish style of a second drawing in
-the Museum, of the second composition, “The Triumph of Poverty.”[56]
-This latter is in black and red chalks and pen, washed with Indian-ink,
-and heightened with white, on a blue background, and was acquired in
-1894 from the Eastlake collection. Lady Eastlake possessed a similar
-drawing of the “Riches.” Both are in all probability by Lucas Vorsterman
-the younger, and were purchased by Sir Charles Eastlake from the Walpole
-sale in 1842 for sixteen guineas. They appear to be copies, as Vertue
-suggested, made for engraving purposes by Lucas Vorsterman from the
-drawings done by Zuccaro in 1574; or possibly from the original
-paintings when in Amsterdam. Vorsterman certainly engraved one, if not
-both subjects, though only his engraving of the “Poverty” is known.
-These drawings,[57] at one time in the Lely collection, were in
-Buckingham House, before it was purchased for a royal palace, and were
-sold as allegorical works by Van Dyck, and bought by Horace Walpole, who
-regarded the “Riches” as by Vorsterman, and the “Poverty” as by Zuccaro;
-but the latter, like the former, is decidedly Flemish in style.[58]
-Sandrart possessed copies, in all probability those made by Zuccaro,
-which were afterwards in the Crozat collection, and when that collection
-was sold passed into that of Privy Councillor Fleischmann, of Strasburg,
-and while in his possession were engraved for Von Mechel’s “œuvres de
-Jean Holbein,” and inscribed “Zuccari delin. 1574.” All further traces
-of these Zuccaro drawings have now been lost.
-
-Footnote 54:
-
-  Woltmann, 233. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 31;
-  Woltmann, i. p. 384.
-
-Footnote 55:
-
-  British Museum Catalogue of Drawings, &c., Binyon, ii. p. 342.
-
-Footnote 56:
-
-  _Ibid._, p. 342.
-
-Footnote 57:
-
-  The Vorsterman copies are reproduced in outline in Waagen’s edition of
-  Kugler’s _German, &c., Schools of Painting_, from drawings made by Sir
-  George Scharf when they were in the Eastlake collection.
-
-Footnote 58:
-
-  Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 89. Dr. Ganz, however,
-  regards the “Poverty” as Zuccaro’s copy. See _Holbein_, p. 248.
-
-The British Museum possesses a very rare and interesting engraving,
-dated 1561,[59] and inscribed “Faicte par Maistre Hans Holbeyn tres
-excellent pointre. Et imprime par Johan Borg^{ni} Floret^o en Anuers lan
-M·D·LXI.” It is evidently taken from Holbein’s original design, which
-must have been in Antwerp at that date. Larger copies of both paintings
-are also in the British Museum; they are by Jan de Bisschop, a Dutch
-artist who died in 1686, and were probably made from the original large
-compositions when they were in Amsterdam. They are pen drawings washed
-with bistre, and are executed with great detail (#Pl. 7#).[60] The
-“Riches” shows several minor differences and some additions when
-compared with the Louvre drawing. Two new characters are introduced,
-_Phileas_ and _Leo Pisanus_, their heads appearing before and behind the
-charioteer, as well as _Heliogabalus_ and some unnamed persons; there is
-a parrot on the tree in the background (as in the Vorsterman drawing),
-while the tree itself is much larger and more finished. All goes to
-prove, in short, that the Louvre drawing and the copy of it in the
-British Museum represent Holbein’s study for the painting, while the
-Bisschop drawings were made from the paintings themselves, and the
-Vorsterman drawings either from the finished works or from Zuccaro’s
-copies of them, and represent the final designs.[61] The British Museum
-possesses a third copy of the “Triumph of Poverty,” made by Matthäus
-Merian the Younger in 1640, when the picture was still in London.[62]
-
-Footnote 59:
-
-  Reproduced by Ganz, _Holbein_, p. 175.
-
-Footnote 60:
-
-  Both reproduced by Ganz, _Holbein_, pp. 176-7.
-
-Footnote 61:
-
-  See the British Museum Catalogue, i. p. 343.
-
-Footnote 62:
-
-  A small version of the “Riches” until recently belonged to Mr. Edwin
-  Seward, F.R.I.B.A., of Cardiff.
-
-It has been noted in an earlier chapter that Holbein, in his
-wall-paintings, was influenced by the example of Andrea Mantegna, whose
-“Triumph of Cæsar” had a European reputation. The Steelyard allegories
-were compositions of a similar nature, though in no sense copies of any
-earlier Italian work. The “Triumph of Riches” represents a crowded
-procession moving towards the spectator’s left. The magnificent chariot
-of Plutus, drawn by four white horses, is followed and surrounded by the
-most famous men of wealth of antiquity. The god of riches himself, old,
-bent, and bald, is seated on a high seat at the back of the car, with
-his feet on a sack of gold. In front of him sits Fortune on a globe,
-blindfolded,[63] her veil blown out like a sail, and stooping down to
-scatter gold among the crowd; and in front of her sits the Charioteer,
-named _Ratio_, holding the reins, which are labelled _Notitia_ and
-_Voluntas_. The two near horses, _Impostura_ and _Contractus_, are led
-by _Bona Fides_ and _Justitia_, two finely designed figures of women,
-while two other women, _Liberalitas_ and _Æqualitas_, are mounted on the
-off horses, _Avaritia_ and _Usura_, which they urge along with short
-whips. On either side of the chariot walk Simonides, Sichaeus, Leo
-Byzantius, Bassa, Themistocles, Pythius, Crispinus, Ventidius, who holds
-up his toga to catch the coins Fortune is scattering, Gadareus and
-others, some of them bent down with the weight of gold they are carrying
-in sacks or large purses. Behind the car rides Crœsus, a majestic,
-crowned figure, his horse led by Narcissus, with Cleopatra, Midas,
-Tantalus, and other riders bringing up the rear. On the extreme right of
-the composition _Nemesis_ hovers over them in the clouds. To each figure
-a label with the name is attached, all of which are not given on the
-Louvre drawing, but are found in the Vorsterman and Bisschop copies. On
-the extreme left, in the sky, is a large cartellino,[64] with a Latin
-inscription of two lines in Roman characters:—
-
-              “Avrvm blanditiæ pater est natvsq. doloris
-               Qvi caret hoc moeret qvi tenet hic metvit.”
-
-This sentence was also written up over the central door of the Steelyard
-Guildhall, and has been ascribed, according to Walpole, to Sir Thomas
-More, but this appears to be a legend without any real foundation in
-fact.
-
-Footnote 63:
-
-  In the original drawing. In the Bisschop copy her head is raised, and
-  she is not blindfolded.
-
-Footnote 64:
-
-  Not shown in the Louvre drawing.
-
-[Illustration:
-
-  VOL. II., PLATE 7
-  THE TRIUMPH OF POVERTY
-  Seventeenth-century copy of the wall-decoration in the Guildhall of
-    the London Merchants of the Steelyard
-  By JAN DE BISSCHOP
-  BRITISH MUSEUM
-]
-
-[Sidenote: THE “TRIUMPH OF POVERTY”]
-
-Both compositions were of the same height, but the “Triumph of Riches”
-was much the longer of the two, so that they must have been painted to
-fill particular and prescribed wall-spaces in the Hall. Probably the
-“Riches” occupied the place of honour on one of the long walls, opposite
-the windows, with the “Poverty” at one of the ends of the room. The
-latter, according to Dr. Ganz, came first, as the heads of a number of
-the figures in the foreground are turned backwards as though looking
-across the room at the other procession following them. In the “Triumph
-of Poverty,” in which the procession moves in the same direction, from
-right to left, the central figure is Poverty, an old woman, lean, and
-bare to the waist, seated in a rough waggon with upright poles bearing a
-canopy of straw. Over her head is a label with the Greek title “Πενια.”
-Behind her sits _Infortunium_, striking with a rod at the heads of the
-crowd of poverty-stricken, half-naked figures following the cart, among
-whom are an old man, _Mendicitas_, and an old woman, _Miseria_. In front
-of Poverty sits _Industria_, distributing instruments of labour,
-hammers, chisels, flails, squares, and other tools to the poor workmen
-walking below, and she is supported by _Usus_ and _Memoria_. The cart is
-driven by _Spes_, who looks up towards heaven, and is drawn by two oxen,
-_Negligentia_ and _Pigritia_, in the shafts, and two asses, _Stupiditas_
-and _Ignavia_, as leaders. These steeds are led by four finely designed
-female figures, _Moderatio_, with a whip, _Diligentia_, _Solicitudo_,
-and _Labor_, the last carrying a heavy spade. Behind _Labor_ walks a
-young man with a basket of carpenter’s tools, and a flail over his
-shoulder. On a tree in the left background hangs a large wooden tablet
-with a long Latin inscription, also attributed to Sir Thomas More,
-beginning:
-
-         “Mortalivm jvcvnditas volvcris et pendvla
-          Movetvr instar tvrbinis quam nix agit sedvla,” &c.[65]
-
-Footnote 65:
-
-  The lines are quoted in full by Wornum, p. 265, and Woltmann, i. p.
-  385.
-
-From the Louvre sketch in particular, but also from the numerous more or
-less faithful copies, sufficient evidence of the fine decorative
-character of the originals, their sense of rhythmic movement, their
-creative power and imagination, and the nobility of their design, can be
-obtained. The allegories they set forth were plain enough to read. They
-pointed out the instability of fortune and glory, and the virtue to be
-found in honest poverty, and warned the merchants who daily looked upon
-them, and whose avocations were the making of money, against undue
-arrogance in prosperity or needless despondency in adversity. “Both
-pieces,” says Van Mander, who describes them with some care, “were
-excellently arranged, freely drawn, and well delineated.” The
-colour-scheme appears to have matched the fine decorative qualities of
-the design. The compositions were not carried out in natural colours as
-in a picture. They were painted in greyish monochrome, with colour
-sparingly used. The background was blue, green was used in the trees,
-and the horses which drew the chariot of Plutus were white. The flesh
-tints of the numerous figures were rendered naturally, but the garments
-they wore were in monochrome, ornamented at the borders with gold, which
-was also used in other parts of the canvas with excellent effect, so
-that the paintings, when in position on the walls, must have added to
-the rich and brilliant appearance of the room, with its sideboards
-covered with silver plate and pewter ware.
-
-We have one other record of a commission given to Holbein by the
-Steelyard. This was the design for the triumphal arch which they erected
-on Saturday, May 31st, 1533, when Anne Boleyn rode in procession from
-the Tower through the City to Westminster for her coronation. From a
-letter written by Chapuys, the Imperial Ambassador in London, to Charles
-V, dated May 18th in that year, it is evident that the Germans were not
-anxious to incur the cost of this decoration; but the Londoners, who had
-contributed 5000 ducats towards the festivities, of which 3000 were for
-a present to the new Queen, were determined to make all the inhabitants,
-irrespective of nationality, pay their due share.
-
-“The Easterlings,” says Chapuys, “as being subjects of your Majesty,
-would like to be excused, but the great privileges they enjoy here
-prevent them from objecting.”[66]
-
-Footnote 66:
-
-  _C.L.P._, vol. vi. 508.
-
-[Sidenote: “APOLLO AND THE MUSES”]
-
-Having determined to do it, however, they did it well, as contemporary
-records bear witness. Stow tells us that Anne, after being greeted at
-Fenchurch Street by the children of the City Schools, was still more
-splendidly welcomed at the corner of Gracechurch Street, “where was a
-costly and marvellous cunning pageant made by the merchants of the
-Stilyard: therein was the Mount Parnassus, with the Fountaine of
-Helicon, which was of white marble, and four streames without pipe did
-rise an ell high, and mette together in a little cup above the
-fountaine, which fountaine ranne abundantly with Reynish wine till
-night. On the mountaine sat _Apollo_, and at his feete sate _Caliope_;
-and on every side of the mountaine sate four Muses, playing on severell
-sweet instruments, and all their jestes, epigrams, and poesies were
-wrytten in golden letters, in the which every Muse, according to her
-property, praysed the Queene.” Camusat, in his narrative, says: “In all
-open places were scaffolds, on which mysteries were played; and
-fountains poured forth wine. Along the streets all the merchants were
-stationed.”
-
-This triumphal arch was designed by Holbein. His original sketch for it,
-formerly in the Crozat collection, and more recently in that of the late
-Herr Rudolph Weigel, of Leipzig, is now in the Berlin Print Room (#Pl.
-8#).[67] In its details it corresponds almost exactly with Stow’s
-description. In the centre Apollo is seated on a rock, beneath a slight
-bower or baldachin consisting of thin pillars supporting slender arches
-wreathed with leaves, across which hangs a scroll-shaped tablet for an
-inscription, the whole surmounted by a two-headed Imperial eagle. Apollo
-holds a small harp on his left knee, and with his right hand directs the
-music of the attendant Muses, who are grouped beneath him, five on the
-left hand and four on the right, on either side of a fountain of fine
-Renaissance design, in which the wine is falling from the smaller upper
-basin into the larger one beneath. The two front figures, Calliope and
-Polyhymnia, are seated, with lute and viol. Four of the others are
-singing, and the remainder playing various musical instruments, one with
-both a trumpet and a small drum. Apollo, crowned with a wreath, is clad
-in classical costume, but the ladies are wearing dresses of Holbein’s
-day. On either side of the group rise two tall candelabra, with blank
-shields for coats of arms, surmounted with royal crowns. In the
-background rocky mountains are indicated. The whole composition is
-supported by a central arch, of rich Renaissance design, shown in
-perspective, with a large blank tablet, to contain words of welcome, at
-its crown, and there are indications of smaller arches on either side.
-Thus it is evident that the decoration was not a painted one, but was a
-solid structure built across the street, under which the royal carriage
-would pass, and that Apollo and the Muses were represented by living
-persons, who played their instruments as the procession went by, while
-the white marble fountain splashed its Rhenish wine.
-
-Footnote 67:
-
-  Woltmann, 175. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 30,
-  and in _Holbein_, p. 178; Davies, p. 146; His, Pl. 51.
-
-The sketch is a very hasty one, but would be quite sufficient to
-indicate to the Steelyard the artist’s intentions. Holbein himself, no
-doubt, superintended the erection of the archway. Slight as it is, it is
-masterly in draughtsmanship, displaying Holbein’s delicacy and certainty
-of touch in every stroke. The two seated figures, more particularly the
-one on the right, are rapidly drawn with the greatest grace and charm.
-According to Woltmann the Imperial eagle on the summit has only one
-head; the drawing is rubbed at the top, but there seem to be indications
-that the split or two-headed bird, which was then customary, was
-intended. Mr. W. F. Dickes denies that this drawing was intended for the
-Steelyard arch; he considers it to be a sketch for one of the Apollo
-musical festivals of Holbein’s Guild “zum Himmel” at Basel, and uses it
-as a proof that the painter had returned to his adopted city in
-1533.[68] He bases this on an entry in the Banner Book of the Guild,
-dated November 23rd, 1533, which he reads as a payment to Holbein for
-banners painted for some festivity.[69] The symbol of the Basel
-Painters’ Guild was a pigeon with outstretched wings, within a wreath or
-bower, and Mr. Dickes sees in the eagle of the Berlin drawing, which is
-not within a bower, the pigeon of the Guild. He states, too, that as the
-Hanseatic League included merchants of other than German nationality
-they would have been unwilling to use an emblem so limiting as the
-Imperial bird. This statement is, however, incorrect. No doubt exists as
-to the use of the eagle on this particular occasion. It was, indeed,
-viewed with extreme distaste by the new Queen. Eustace Chapuys, writing
-to Charles V on July 11th, less than six weeks after the event, says: “I
-understand the lady (_i.e._, Anne) complains daily of the Easterlings,
-who on the day of her entry had set the Imperial eagle predominant over
-the King’s arms and hers.... This may serve as an indication of her
-perverse and malicious nature.”[70] And again, on the 30th of the same
-month, he returns to the same subject: “... the Lady who, as I am told,
-was not at all pleased with the Easterlings and other Germans for
-bringing me to see their fleet, which is greater than any that has been
-seen here for a long time; or that, at a solemn banquet which they made,
-the ships did march with their artillery. She is in a still worse humour
-because this was done near Greenwich park; and this has renewed the
-regret she felt for the eagle which the Easterlings carried in triumph
-the day of her entry here.”[71] These letters afford additional evidence
-that Holbein made this drawing for the occasion of Anne’s coronation,
-and that it has nothing to do with Basel or the Zunft zum Himmel.
-
-Footnote 68:
-
-  Dickes, _Holbein’s “Ambassadors” Unriddled_, p. 3.
-
-Footnote 69:
-
-  This point is dealt with in a later chapter. See pp. 157-158.
-
-Footnote 70:
-
-  _C.L.P._, vol. vi. 805.
-
-Footnote 71:
-
-  _C.L.P._, vol. vi. 918.
-
-[Illustration:
-
-  VOL. II., PLATE 8
-  APOLLO AND THE MUSES
-  Design for the Decoration of the Steelyard on the occasion of the
-    Coronation of Anne Boleyn
-  _Pen-and-wash drawing touched with green_
-  ROYAL PRINT ROOM, BERLIN
-]
-
-[Sidenote: “APOLLO AND THE MUSES”]
-
-The Imperial two-headed eagle was also carved in stone over the
-principal entrance to the Steelyard. The old device had disappeared in
-the course of time, but in 1670 a new one was placed in position. The
-following item occurs in a series of accounts still extant in connection
-with the Steelyard buildings of that period: “December 31st, 1670. To
-Gabriel Cibbert, stone-cutter,—for the eagle put on over the gate from
-Thames Street, fixed on John Balls buildings, £5.” Caius Gabriel Cibber,
-a native of Holstein, and father of Colley Cibber, was a sculptor of
-some merit who practised in London. This sculptured shield-shaped stone,
-bearing an eagle displayed with a crowned collar and two heads,
-surrounded by an inscription, was also removed in course of time, and
-was recently found by Mr. Lawrence Weaver in the garden of Bickley Hall,
-Kent.[72]
-
-Footnote 72:
-
-  See Dr. Philip Norman’s paper, already quoted, in _Archæologia_, vol.
-  lxi. pt. 2, p. 406, in which the shield is reproduced.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XVII
-                      “THE TWO AMBASSADORS,” 1533
-
-Holbein receives the offer of a yearly pension from the Basel Town
-  Council—“The Two Ambassadors”—The identity of the sitters—History and
-  description of the picture—Other portraits of Dinteville and the
-  members of his family—Félix Chrétien—Mr. Dickes’ theory that the
-  picture represents the Princes Palatine Otto Henry and Philipp—The
-  “Portrait of a Musician” at Bulstrode Park.
-
-
-THROUGHOUT the earlier years of Holbein’s second sojourn in England,
-though he was busily occupied on work for the German merchants of the
-Steelyard, his time was by no means completely taken up with the
-commissions they gave him both individually and as a corporate body.
-During the same period he painted the portraits of more than one
-Englishman and several foreigners of distinction.
-
-[Sidenote: LETTER OF RECALL FROM BASEL]
-
-As already pointed out, he probably returned to England during the first
-months of 1532. It is to be presumed that he arrived thus early—or even
-in the late autumn of the previous year—or otherwise it is difficult to
-account for the letter of recall, dated 2nd September 1532, which was
-sent to him in England by the Burgomaster of Basel, Jakob Meyer—not his
-old patron, Meyer zum Hasen, but Jakob Meyer zum Hirschen—on behalf of
-the Council. Such a letter would hardly have been written if he had been
-absent from Basel for only a month or two. It is probable that the best
-part of a year would be allowed to elapse before a recall was sent to
-him. It runs as follows:
-
-“Master Hans Holbein, the painter, now in England.
-
-“We, Jacob Meiger, Burgomaster, and the Council of the City of Basel,
-send greeting to our dear citizen, Hans Holbein, and let you herewith
-know that it would please us if you would repair home as soon as
-possible. In that case, in order that you may the better stay at home
-and support your wife and children, we will furnish you yearly with
-thirty pieces of money, until we are able to take care of you better.
-
-We have wished to inform you of this, in order that you may conform to
-our desire. Dated Monday, 2nd September 1532.”[73]
-
-Footnote 73:
-
-  Woltmann, English translation, p. 336. Original text in Woltmann, i.
-  363, and Wornum, p. 265.
-
-The offer contained in this letter, which, though its terms were not
-lavish, was a proof that his fellow-citizens appreciated his art and
-were anxious to induce him to reside permanently in Basel, was not
-tempting enough to induce Holbein to leave England. Whatever his answer
-may have been—for it is to be presumed that he received the letter,
-though there is no actual evidence to show that he did so—the Council’s
-request proved ineffectual. He must have felt that it would be folly to
-abandon regular and remunerative employment in London for doubtful and
-ill-paid municipal commissions in Switzerland, more particularly as he
-had so recently formed a new and lucrative connection with the
-Steelyard, while memories of the bad times lately encountered in Basel
-were still vivid.
-
-As already pointed out, the only three portraits by him bearing the date
-1532 are of German merchants. In the following year, however, more than
-one fine work affords proof that the Steelyard was by no means his only
-source of income. His most important undertaking in 1533 was the large
-double portrait generally known as “The Two Ambassadors,” now in the
-National Gallery, for which it was purchased, in 1890, with two other
-pictures, from the fifth Earl of Radnor, for £55,000, of which £25,000
-was contributed by the State, and £30,000 by Messrs. Nathaniel
-Rothschild & Sons, Lord Iveagh, and Mr. Charles Cotes. The addition of
-this great painting to the national collections, in which, until then,
-Holbein had been unrepresented, aroused much curiosity as to the
-personality of the two sitters. Many attempts were made to identify
-them, and numerous solutions of the riddle were suggested in letters to
-the _Times_ and other papers and reviews. Magazine articles were written
-about it, and, lastly, two volumes of considerable size were published
-with this picture as their sole subject. Probably no other painting in
-the world has produced so great a mass of literature.
-
-The two men represented are Frenchmen: Jean de Dinteville, Lord of
-Polisy, and Bailly of Troyes, and, at the time the picture was painted,
-resident French ambassador in London, and his close friend George de
-Selve, afterwards Bishop of Lavaur, who came over to England in the
-spring of 1533 on a short visit to the Bailly. The painting (#Pl.
-9#),[74] which is on ten vertical panels of oak, is 6 ft. 10 in. high by
-6 ft. 10¼ in. wide, and is thus described in the National Gallery
-catalogue:
-
-Footnote 74:
-
-  Woltmann, 215. Reproduced by Davies, p. 152; Miss Hervey, _Holbein’s
-  Ambassadors_, frontispiece; Dickes, frontispiece; Ganz, _Holbein_, p.
-  103; and elsewhere.
-
-[Illustration:
-
-  VOL. II., PLATE 9
-  THE TWO AMBASSADORS
-  Jean de Dinteville and George de Selve
-  1533
-  NATIONAL GALLERY, LONDON
-]
-
-“The scene is a chamber paved with inlaid marbles, and hung with green
-damask, which in the upper left-hand corner partly reveals a silver
-crucifix attached to the wall behind. In the centre of the composition
-is a wooden stand, having an upper and a lower shelf. To the left of
-this, leaning his arm upon it, stands Jean de Dinteville, a young man
-with dark-brown eyes and beard, in a rich costume of the period of
-Henry VIII, wearing a heavy gold chain with the badge of the French
-order of Saint-Michel, and, on his right side, depending from his
-girdle, a dagger with wrought gold hilt and sheath: on the sheath the
-inscription—ÆT. SVÆ 29. in relief. In his black bonnet is a jewel
-formed of a silver skull set in gold. To the right, George de Selve,
-dark-eyed, with a close beard, also leans upon the stand, or, more
-immediately, on a clasped book, the edges of which are inscribed:
-ÆTATIS SVÆ 25. He wears a four-cornered black cap, and a loose,
-long-sleeved gown of mulberry and black brocade, lined with sable, and
-reaching to the ground. Both these persons regard the spectator. The
-upper shelf of the stand is covered with a Turkish rug, on which are
-several mathematical and astronomical instruments, and, close to the
-principal personage, a celestial globe. The lower shelf bears a case
-of flutes, a lute, an open music-book containing part of the score and
-words of the Lutheran hymn, ‘Komm, heiliger Geist,’ a smaller book, on
-arithmetic, kept partly open by a small square, a pair of compasses,
-and a terrestrial hand-globe, which is in a direct line below the
-other globe. Under the stand lies the lute-case. Conspicuous in the
-foreground is the _anamorphosis_, or perspectively distorted image, of
-a human skull, which, touching the floor on the left, stretches
-obliquely upwards towards the right. In the shadow cast on the floor
-by the chief personage is the inscription—‘JOANNES HOLBEIN PINGEBAT
-1533’ in sloping Roman letters.” To this it should be added that
-Dinteville’s dress consists of a slashed doublet of rose-coloured
-satin, and a black surcoat. The latter is lined with ermine, with
-which the shoulder-puffs, further adorned with gold tags, are piped. A
-large gold and green silk tassel, of very fine execution, hangs, with
-the dagger, from his girdle, and he also wears a sword, only the hilt
-and sheathed point of which are seen.
-
-[Sidenote: HISTORY OF THE PICTURE]
-
-All that was known about the picture at the time of its purchase for the
-National Gallery was that at the end of the eighteenth century it was in
-the possession of Jean Batiste Pierre Le Brun, the Parisian
-picture-dealer, and husband of the well-known portrait-painter, Madame
-Vigée Le Brun. Le Brun issued a very indifferent engraving of it by J.
-A. Pierron in Part XII (dated 1790) of his “Galerie des Peintres
-Flamands, Hollandais et Allemands.” In the index it was described as
-representing “MM. de Selve et d’Avaux; l’un, Ambassadeur à Venise,
-l’autre, dans les pays du Nord, avec les attributs des Arts qu’ils
-cultivaient; on voit à terre une Tête de Mort en perspective, à prendre
-de l’angle gauche, qui de face ressemble à un poisson.” When the
-publication was issued in volume form in 1792, with text, Le Brun
-slightly amplified this note, and added “J’ai depuis vendu ce tableau
-pour l’Angleterre, où il est maintenant; les figures sont de grandeur
-naturelle.” He gives no information as to the source from which he
-obtained the picture. It is stated in the National Gallery catalogue
-that it is probable that it came into the hands of the dealer
-Vandergucht, and that from him it was purchased by the second Earl of
-Radnor, about 1790 or 1795; but from the account books of Longford
-Castle it would appear that it was sold to the Earl by the dealer
-Buchanan, who received one thousand guineas for it, the payments being
-made in 1808 and 1809.
-
-During the years the picture remained in Longford Castle many guesses
-were made as to the identity of the personages. Le Brun’s title, which,
-after all, contained half the truth, was not accepted by the leading
-critics, largely owing, no doubt, to the fact that the title of Avaux
-did not exist until more than a hundred years after the picture was
-painted, so that, the one name being impossible, the other was included
-in the same category. In the end, a suggestion that the man on the left
-of the picture was Sir Thomas Wyat was regarded as a very possible
-solution. Mr. Wornum, in his book published in 1867, gave this
-attribution a qualified acceptance—“the subject is doubtful, but it is
-supposed to represent Sir Thomas Wyatt, the poet and diplomatist, and
-some learned friend”[75]—and Dr. Woltmann followed suit, but went a step
-further, suggesting John Leland, the antiquary, as the second
-figure.[76] Both identifications, however, were shown to be inaccurate
-by Mr. J. Gough Nichols in a paper contributed to _Archæologia_ in
-1873;[77] but he could offer no name in substitution, and so the matter
-stood until the purchase of the picture for the nation.
-
-Footnote 75:
-
-  Wornum, p. 275.
-
-Footnote 76:
-
-  Woltmann, i. 374.
-
-Footnote 77:
-
-  _Archæologia_, vol. xliv. pt. ii. pp. 450-55.
-
-[Sidenote: THE IDENTITY OF THE SITTERS]
-
-The public exhibition of this splendid example of Holbein’s art produced
-a long and interesting correspondence in the _Times_ newspaper. Sir J.
-C. Robinson upheld Dr. Woltmann’s belief that the two men were Wyat and
-Leland, but Sir Sidney Colvin,[78] by means of convincing proofs, showed
-that this attribution was untenable, as also that of Le Brun. He gave,
-at the same time, four reasons for supposing that the personage on the
-left was really a Frenchman and an ambassador—(1) the traditional title;
-(2) its having been sold into this country from France; (3) the wearing
-of the French order of Saint-Michel; and (4) the close resemblance in
-dress and fashion of the personage in question and the portrait of
-another French Ambassador, the “Morette” at Dresden. He proposed, as a
-probable solution, the name of Jean de Dinteville—a suggestion which
-afterwards proved to be the correct one. When, in August 1891, the
-picture was cleaned, and the name of Polisy, Dinteville’s birthplace, an
-obscure village in Burgundy, was discovered on the terrestrial globe,
-the only other French towns upon it being Paris, Lyon and Bayonne, the
-identity of the left-hand figure was placed almost beyond doubt. Sir
-Sidney also suggested that the second person might be Nicolas Bourbon,
-the French poet.
-
-Footnote 78:
-
-  _The Times_, September 1890.
-
-Other attempted identifications included such divers personages as Lord
-Rochford, brother of Anne Boleyn; Count Balthazar Castiglione, who came
-to England to receive the Order of the Garter for the Duke of Urbino;
-and Guillaume and Jean du Bellay. The last-named solution was published
-in a pamphlet in 1890 by Mr. Elias Dexter, under the title of _Holbein’s
-Ambassadors Identified_. The writer sought to prove that the National
-Gallery picture and the one engraved for Le Brun were not the same, and
-that there must be two versions of the subject in existence. This
-contention he based on a number of slight differences between the
-accessories in the picture and in Pierron’s print, but such differences
-may be easily explained by the inferiority of the engraver’s work and
-the unusual complexity of the many details. To prove the identity of the
-two sitters with the brothers Du Bellay, who in 1533 were about 42 and
-41 years of age respectively, he was obliged to declare the inscriptions
-on the dagger and the book to be forgeries. It is true that Jean du
-Bellay was in England in that year for a short time, and this is Mr.
-Dexter’s sole evidence, though he professes to see a strong likeness
-between the two ambassadors and the portraits of the brothers Du Bellay
-engraved on the same plate in the ninth volume of the _Versailles
-Gallery_.
-
-A much more elaborate theory was advanced by Mr. W. F. Dickes in three
-articles in the _Magazine of Art_, and in several letters to the _Times_
-in answer to critics unfriendly to his attempted solution of the riddle.
-His contention is that the picture was painted as a memorial of the
-Treaty of Nuremberg between the Catholics and Protestants in 1532, and
-that the two persons represented are the brothers Otto Henry and Philipp
-of Neuburg, Counts Palatine of the Rhine. This theory he still further
-elaborated in a book published in 1903 under the title of _Holbein’s
-Ambassadors Unriddled_. His arguments, however, are singularly
-unconvincing, and have failed to obtain the support of any serious
-student of Holbein. Before dealing with them, however, it will be better
-to give a brief account of the discoveries of Miss Mary F. S. Hervey, by
-means of which the identity of Holbein’s two sitters was finally set at
-rest. Her account of her discovery of a document which provided
-conclusive evidence that the two Ambassadors were Jean de Dinteville and
-George de Selve was communicated to the _Times_,[79] and this, together
-with further corroborative evidence, was embodied in a book, _Holbein’s
-Ambassadors: the Picture and the Men_, published in 1900.
-
-Footnote 79:
-
-  _The Times_, December 7, 1895.
-
-In 1895 Miss Hervey happened to come across a copy of the _Revue de
-Champagne et de Brie_ for 1888, which gave a short notice of a picture
-formerly preserved at Polisy, containing the portraits of Jean de
-Dinteville and George de Selve. This paragraph was based on a catalogue
-published in March 1888 by M. Saffroy, an antiquarian bookseller of
-Pré-Saint-Gervais, in which a seventeenth-century parchment, describing
-the picture, was offered for sale. Miss Hervey hastened to communicate
-with M. Saffroy, and by one of those happy chances which seldom occur,
-the document was still in his possession, and proved to contain exactly
-the information which had so long been sought in vain. The following is
-a translation of its complete text as given by Miss Hervey:—
-
-“[Remarks on the subject of an excellent picture of the Sieurs
-d’Inteville Polizy, and George de Selve Bishop of Lavour, showing the
-offices they held, and the time of their decease.]
-
-“In this picture is represented, life-size, Messire Jean de DIntevile
-chevalier Sieur de Polizy, near Bar-sur-Seyne, Bailly of Troyes, who was
-Ambassador in England for King Francis I in the years 1532 [O.S.] and
-1533 and since Gouverneur of Monsieur Charles de France, second son
-(_sic_) of the said King; the said Charles died at Forest Monstier in
-the year 1545, and the said Sr. de DIntvile in the year 1555. Interred
-in the Church of the said Polizy. There is also represented in the said
-picture Messire George de Selve, Bishop of Lavaur, a personage of great
-learning and virtue, who was Ambassador with the Emperor Charles V; the
-said Bishop was the son of Messire Jean de Selve, Premier President of
-the Parliament of Paris; the said Bishop died in 1541, having in the
-above-mentioned year 1532, or 1533, gone to England by permission of the
-King, to visit the said Sieur de DIntevile, his intimate friend, and
-also of all his family; and they two having met in England an excellent
-Dutch painter, employed him to make this picture, which has been
-carefully preserved at the same place, Polizy, up to the year 1653.”
-
-The manuscript consists of an oblong piece of parchment which may have
-been cut from an inventory, but it is more probable that it was written
-as a descriptive label to be attached to the picture-frame, after the
-picture’s removal from Polisy in 1653. The latter supposition would
-account for the fact that no mention is made of the place where the
-picture then was, which would, of course, be unnecessary. The
-authenticity of this document has been pronounced by the British Museum
-authorities to be indisputable. The body of it was written just after
-the middle of the seventeenth century, while the heading was added at a
-slightly later date, at a time, no doubt, when the label had become
-separated from the picture.
-
-[Sidenote: THE PICTURE AT POLISY]
-
-In her book Miss Hervey gives a long and interesting account of the
-lives of the two men. It is sufficient to state here that Jean de
-Dinteville was born in September 1504, and was therefore in his
-twenty-ninth year when he came to England as resident French ambassador
-in February 1533; and that the name “Polisy” is given a prominent place
-on the terrestrial globe placed near him in the picture. The second
-sitter, George de Selve, was appointed to the see of Lavaur in 1526,
-when he was in his eighteenth year, but was only consecrated in 1534,
-when he was in his twenty-sixth year, which exactly agrees with the
-inscription on the picture, which states that he was then in his
-twenty-fifth year.[80] Further evidence exists in the shape of a grant
-from the Pope to De Selve, dated May 1526, permitting him to hold
-several benefices “although only seventeen years old.” The fact that he
-was not consecrated until the year after the picture was painted,
-although appointed to the see of Lavaur in 1526, explains why Holbein
-has not represented him in episcopal robes.
-
-Footnote 80:
-
-  See _Gallia Christiana_ (Lutetiæ, 1715), vol. xiii. (1722), p. 344.
-  _Ecclesia Vaurensis_, No. xxi., Georgius de Selve. (Quoted by Miss
-  Hervey, p. 13.)
-
-This document is confirmed by a further discovery by Miss Hervey of a
-_Mémoire_ preserved in the Bibliothèque de l’Institut at Paris, which
-gives a summary of three letters concerning the picture. The letters
-themselves, which so far, with possibly one exception, have not yet been
-discovered, were addressed by Nicolas Camusat, the antiquary, canon of
-Troyes, and an intimate friend of the Dinteville family for many years,
-to his friends the Godefroy brothers, to whom and to others he
-constantly supplied antiquarian and genealogical information. His
-letters relating to Polisy extended from 1607 to 1655.
-
-The following is a translation of the memorandum:
-
-    “Memoir in explanation of three letters sent by Monsr. Camusat,
-    Canon of St. Pierre at Troyes, [touching a picture made in
-    England of George de Selve, Bp. of Lavaur, who had gone thither
-    to visit the Bailly of Troies, Sr. de Polizi, Jean d’Inteville,
-    at that time the King’s ambassador].
-
-    “There are two relating to the Bishop of Lavaur, George de
-    Selve, son of Mr. le Premier President de Selve, which Bishop
-    had been invited by Mr. de Polizy, bailly of Troyes, ambassador
-    in England in the years 1532 [O.S.] and 1533, to visit him in
-    England, which he did, having first taken leave of the King. And
-    being in England, they had made the excellent picture by a Dutch
-    painter, Holben, which picture was preserved in the House of
-    Polizy, distant but one league from Bar-sur-Seine, a hundred and
-    forty [_sic_] years and more, as belonging to the Seigneur of
-    the place, Sr. de Sessac, until the year 1653, when he had it
-    removed to Paris, to his house near the parish of St. Sulpice;
-    the said picture representing the said Sr. de Polizy, Jean de
-    d’Inteville, and the said Sr. Bishop of Lavaur, who was
-    afterwards ambassador with Charles V; and the said Bishop died
-    in 1541. The said picture is considered the finest piece of
-    painting in France in the opinion of the best painters. M. le
-    Mareschal du Plessis-Praslain not long since bought the estate
-    of Polisy for three hundred thousand livres from the said Sr. de
-    Sessac.
-
-    “Mr. de Vic, garde des sceaux, formerly said that it was the
-    most beautiful piece of painting in France.
-
-    “Mr. George de Selve, and his brothers, worthily served France
-    in various embassies and legations.”
-
-In this document the name of the painter, “Holben,” is given; it is
-inserted between the lines, but is in the same hand and of the same date
-as the writing which surrounds it. The portion at the head of the
-memorandum between brackets is by another hand. It is interesting to
-note that not only is the name of the painter given but that in the
-seventeenth century Holbein’s work was considered, both by painters and
-amateurs, to be the finest picture then in France. There is in the
-Godefroy collection a second paper, a copy, dated 1654, of a memorandum
-drawn up by Camusat, in which there is further reference to the picture.
-It need not be quoted here, but it speaks of the figures as life-size,
-and concludes by saying that “the piece is esteemed the richest and best
-wrought that is to be found in France.”[81]
-
-Footnote 81:
-
-  See Miss Hervey, _Holbein’s Ambassadors_, p. 18 _et seq._, where both
-  documents are reproduced in facsimile.
-
-Thus the identity of Holbein’s sitters is irrefutably established, and
-the picture’s history can now be traced almost without a break.
-Dinteville, who had already been in England on a short mission in 1531,
-reached London at the beginning of February 1533, and was lodged in the
-royal palace of Bridewell, by the Thames. The exact date of George de
-Selve’s visit to him is not known, but it was between February and
-Easter in that year; he was back in France before the end of May. There
-appears to have been some secrecy in connection with the latter’s
-journey to England, for though he had the permission of Francis I, for
-some reason Montmorency, the Grand Master, was, if possible, to be kept
-in ignorance of it. In a letter, dated 23rd May, to his brother, the
-Bishop of Auxerre, Dinteville says: “Monsr. de Lavor m’a fait cest
-honneur que de me venir veoir, qui ne m’a esté petit plaisir. Il n’est
-point de besoing que Mr. le grant maistre en entende rien.”[82]
-
-Footnote 82:
-
-  From a letter in the Dupuy Collection, Paris, Bibl. Nat., vol. 726, f.
-  46, quoted by Miss Hervey, p. 80.
-
-[Sidenote: JEAN DE DINTEVILLE AND HOLBEIN]
-
-It is impossible to say in what way Dinteville became acquainted with
-Holbein, or to whose offices the introduction between ambassador and
-painter was due. Dinteville counted among his friends more than one of
-Holbein’s sitters, while he was, no doubt, well acquainted with Niklaus
-Kratzer through his keen interest in mechanics and the various
-astronomical and mathematical sciences. He had thus more than one
-opportunity of seeing examples of Holbein’s skill in portraiture, and it
-is to be gathered that he conceived a great admiration for it, for
-otherwise he would not have ordered so large and important a portrait
-group of himself and his friend. With the exception of the “Duchess of
-Milan,” the More family group, and the now lost “Fitzwilliam, Earl of
-Southampton,” of which there is a good copy in the Fitzwilliam Museum,
-Cambridge, the “Ambassadors” is the only portrait-panel painted by
-Holbein in England of which there is any record in which the figures are
-shown both life-size and at full-length. As there is no reference in the
-State papers of England or France to the semi-secret business which
-brought George de Selve over to London, the suggestion may be hazarded
-that he came for the express purpose of having his portrait painted,
-Dinteville urging him to do so on account of the excellent painter he
-had discovered. The picture, crowded as it is with intricate
-accessories, must have taken a considerable time to complete. It was, no
-doubt, painted in the Ambassador’s own room in Bridewell Palace, and the
-sitter and the painter must have spent long hours in planning out and
-arranging the many mathematical and scientific instruments which form so
-important a feature of the panel, some of which may have been lent by or
-purchased from Kratzer. The visit of the future Bishop of Lavaur was so
-short that he can hardly have seen more than the beginning of the work
-and the finishing of his own head and hands. No doubt Holbein followed
-his usual practice and made preliminary studies of the two heads, but
-these drawings have not been traced, although there is a very fine
-unnamed study in the Windsor collection (Pl. 36 (1))[83] which is
-supposed to represent Jean de Dinteville, the features showing
-sufficient resemblance to those of the Bailly of Troyes to induce the
-suggestion that it represents him at a later date. Both Sir Sidney
-Colvin and Miss Hervey hold this opinion, as did the late Sir Frederick
-Burton; but it must be confessed that the resemblance is not very
-striking.[84] The Windsor drawing is of a man considerably older than
-the Dinteville of the picture; but the Bailly, after his residence in
-this country throughout the greater part of 1533, paid only three short
-visits to London between the years 1535 and 1537. Even if the drawing
-had been made by Holbein in the last-named year he would only have been
-in his thirty-third year. A miniature or portrait, painted by Holbein
-from this drawing, was in the Arundel Collection, and was engraved by
-Hollar. It is highly improbable, too, that after he had been so
-elaborately painted Dinteville would have sat again for his portrait a
-few years later, so that, all things considered, this attribution can
-only be accepted with caution. There is, however, an undoubted portrait
-of Dinteville at Chantilly, forming part of the collection of drawings
-of the ladies and gentlemen of the Court of Francis I, by Jean Clouet
-and his school, which was formerly at Castle Howard. This portrait was
-identified by Miss Hervey in 1904.[85] The likeness is very marked,
-though the drawing lacks the strength and fine draughtsmanship to be
-found in similar portrait-studies by Holbein, and it appears to have
-been done within a few years of the picture itself.
-
-Footnote 83:
-
-  Woltmann, 345; Wornum, i. 12; Holmes, i. 52; engraved by Hollar, 1649
-  (Parthey, 1547). Reproduced by Miss Hervey, p. 110; Ganz, _Hdz. von H.
-  H. dem Jüng._, No. 33; Mantz, p. 177. Hollar’s engraving reproduced by
-  Ganz, _Holbein_, p. 199 (i.).
-
-Footnote 84:
-
-  The drawing was conjectured at one time to represent Charles Brandon,
-  Duke of Suffolk, and it has also been suggested that it is a likeness
-  of Edward Stafford, Duke of Buckingham. It is described on p. 257.
-
-Footnote 85:
-
-  _Burlington Magazine_, vol. v. No. xvi. (July 1904), where the drawing
-  is reproduced.
-
-[Sidenote: “THE COURT OF FRANCIS II”]
-
-The picture was taken back to France by Dinteville, and remained at
-Polisy until the middle of the seventeenth century. By the marriage, in
-1562, of Dinteville’s niece, Claude, with François de Cazillac, Baron de
-Cessac, the family estates, and with them the picture, passed into the
-possession of the latter house, a distinguished family in the south of
-France. In 1654 a later François de Cazillac sold Polisy, and
-permanently removed to the Château of Milhars in Languedoc, his chief
-residence. From the second document quoted above we learn that De Cessac
-removed the picture to his town house in Paris in 1653. This house was
-in the Rue du Four, St. Germain des Prez, behind the house known as
-Chapeaufort, in the parish of St. Sulpice.[86] From 1653 onwards there
-is no actual evidence as to the whereabouts of the picture until it
-turned up one hundred and twenty years later in the Beaujon sale in
-Paris in 1787. During his researches into its past history Mr. W. F.
-Dickes discovered this sale-catalogue in the Cabinet des Estampes in
-Paris.[87] Nicolas Beaujon, a rich financier and collector of pictures
-and objects of art, died without heirs in 1786, leaving all his money to
-charities. His pictures were sold in the following spring, and among
-them were two attributed to Holbein. These two works were not,
-apparently, part of Beaujon’s collection, but were put into the sale by
-some other person.[88] The first, which, according to the
-sale-catalogue, represented the Court of Francis II, has recently come
-to light again;[89] the second was the “Ambassadors” picture. The two
-were sold together in one lot for the insignificant sum of 602 francs,
-and the purchaser was evidently Le Brun. The description of the picture
-in the sale-catalogue tallies almost exactly with Le Brun’s description
-which accompanied Pierron’s engraving. From the sale-catalogue he
-obtained the supposed names of the sitters, “MM. de Selve et d’Avaux,”
-and he evidently endorsed, without troubling to make a careful
-examination of his own, the further statement of the catalogue that
-there was no date upon it. Probably the picture was in need of cleaning,
-so that both signature and date were obscured. Mr. Wornum discovered
-them in 1865, and they had been noted by others before that date. When
-the picture was acquired for the National Gallery, however, the
-signature had again become obscured by dirt, after the passage of some
-thirty years, and was only deciphered after re-cleaning.
-
-Footnote 86:
-
-  See Miss Hervey, _Holbein’s Ambassadors_, pt. i. chap. ii. p. 21.
-
-Footnote 87:
-
-  Dickes, p. 9.
-
-Footnote 88:
-
-  See below, p. 46.
-
-Footnote 89:
-
-  This picture, which is the subject of a very interesting article by
-  Miss Mary F. S. Hervey and Mr. R. Martin-Holland in the _Burlington
-  Magazine_ for April 1911 (vol. xviii. No. xcvii. pp. 48-55), where it
-  is reproduced, together with other works of its author, a forgotten
-  French painter named Félix Chrétien, was described in the Beaujon
-  catalogue as “The Court of Francis II and the principal nobles of that
-  time, with the attributes of Moses and Aaron, who present themselves
-  before the King of Egypt, who is Francis II himself; their names are
-  written on the different contours of their robes,” &c. It further
-  stated that it was “by the famous Holbein, towards 1552.” From the
-  time of the Beaujon sale in 1787 all traces of this large panel
-  painting—5 ft. 9 in. high by 6 ft. 2 in. wide—were lost, until it
-  suddenly reappeared in Messrs. Christie’s saleroom on February 26,
-  1910, in company with the big group of Sir Thomas More and Family. In
-  the catalogue it was given to Holbein, and was described as “Moses and
-  Aaron before Pharaoh” (“a group of figures, said to represent King
-  Henry VIII as Pharaoh,” &c.), and as formerly in the collection of the
-  Prince de Cerny. The mystery of the picture’s meaning was cleared up,
-  and the name of its painter discovered, by Miss Hervey and Mr.
-  Martin-Holland, and will be found in their paper. It contains
-  portraits of a number of the members of the Dinteville family,
-  including the Bailly of Troyes, who appears as Moses, and his brother,
-  François II, Bishop of Auxerre, as Aaron. The Pharaoh is evidently
-  Francis I, though the likeness is by no means a good one. The names of
-  most of the figures are given on the hems of their robes. The picture
-  affords valuable additional proof of the identity of the personage on
-  the spectator’s left in the “Ambassadors” with Jean de Dinteville, for
-  the likeness is striking. The picture was painted in 1537, and
-  remained in the possession of the Dinteville family, together with the
-  greater work by Holbein, for exactly two hundred and fifty years. The
-  identity of the picture with the one in the Beaujon sale was first
-  pointed out by Mr. P. G. Konody (_Burlington Magazine_, vol. xix. No.
-  xcviii., May 1911, p. 106). Félix Chrétien, the painter of it, was a
-  chorister, and afterwards a canon of Auxerre, of which town he was
-  probably a native. He was a protégé of the Bishop’s, and no doubt owed
-  his training in art to him. Several of his pictures, considerably
-  damaged, remain in the immediate district of Auxerre.
-
-Although no actual proofs can be produced as to the whereabouts of the
-picture between 1653 and 1787, Miss Hervey, in the course of her
-researches into the history of the De Cessac family, discovered
-sufficient evidence to point to the probability that M. de Cessac took
-it with him to Milhars when he finally settled there a few years later,
-and that it remained there until shortly before the Beaujon sale. The
-Milhars estate descended from heir to heir of the house of Dinteville
-until 1765, when it was sold by the Marquis de Basville, who then
-represented the family. He was the intimate friend of Beaujon, who made
-him his executor, in which capacity he drew up the inventory of all the
-banker’s pictures and art objects. In this inventory, however, there is
-no trace of Holbein’s “Ambassadors” to be found, and the inference is
-that as it was included in the Beaujon sale three months later it was
-put into that sale by the executor himself. It seems certain, therefore,
-that from the time when the picture was taken from England by Dinteville
-in 1533 until it was sent back again by Le Brun more than two hundred
-and fifty years later it never once left France, but remained as a
-treasured possession in the family for whose ancestor it was
-painted.[90]
-
-Footnote 90:
-
-  See Miss Hervey, pt. i. chap. ii.
-
-[Sidenote: THE THEORIES OF MR. DICKES]
-
-In spite of the conclusive proof brought forward by Miss Hervey, Mr. W.
-F. Dickes, in his book devoted to the unriddling of the “Ambassadors,”
-refused to abandon his theory of the Nuremberg Treaty, and still pinned
-his faith to his Princes Palatine Otto Henry and Philipp. It is
-essential to his theory that Holbein should be proved to have been
-absent from England in 1533, and he, therefore, gives it as his opinion
-that the Steelyard portraits of that year, and the Cheseman
-portrait,[91] were most probably painted abroad. He cites, as actual
-proof that Holbein was in Basel in 1533, in addition to the extract from
-the “Banner Book” referred to in the preceding chapter,[92] the “Wheel
-of Fortune” picture in distemper at Chatsworth, which is dated 1533,
-with the arms of Basel on the post supporting the wheel. “No one can
-doubt,” he says, “that it was painted by Holbein at Basel in 1533;”[93]
-but, as a matter of fact, it is not by Holbein at all, being far too
-poor a work to be from his hand, but by Hans Schaeufelin, and the
-initials “H. H.” on it are of later date. The monogram and the
-well-known mark, in the form of a shovel, of the latter painter, which
-have been tampered with, are still clearly discernible beneath the
-letters.[94]
-
-Footnote 91:
-
-  See pp. 54-56.
-
-Footnote 92:
-
-  Page 32. See also pp. 157-178.
-
-Footnote 93:
-
-  Dickes, p. 6.
-
-Footnote 94:
-
-  As pointed out by Mr. S. Arthur Strong in his preface to _The
-  Masterpieces of the Duke of Devonshire’s Collection of Pictures_,
-  1901, and republished in _Critical Studies and Fragments_, 1905, p.
-  92, and Pl. viii. 1.
-
-In his book Mr. Dickes abandons, or at least does not reprint, some of
-the more fantastic theories he advanced in his magazine articles; but in
-all that he has published on the subject his method of procedure is the
-simple one of denying the authenticity of all evidence which is
-destructive of his theory. Thus, he does not hesitate to declare the
-first document discovered by Miss Hervey to be an eighteenth-century
-forgery, and the two confirmatory papers amongst the Godefroy
-correspondence he places in the same category. With regard to the date
-and Holbein’s signature, he accepts as a fact the “staggering statement”
-of the Beaujon sale-catalogue that in 1787 the picture was unsigned and
-undated; and he infers that the inscription was added by Le Brun, and
-that the three documents discovered by Miss Hervey were all forgeries
-due to the same unscrupulous dealer. Why such an elaborate falsification
-should be thought necessary, and what purpose it served, unless merely
-to display the genealogical learning of the forger, Mr. Dickes fails to
-explain. When Le Brun issued his engraving in 1792, with a descriptive
-note lifted bodily from the Beaujon catalogue, and retaining the same
-title, “MM. de Selve et d’Avaux,” he had already sold the picture into
-England, so that to elaborate a series of forgeries in connection with
-it, and then scatter them about France and get them inserted among the
-papers of learned antiquaries, after the picture had left the country,
-would seem to be a very futile proceeding; and if he had added the date
-1533 and a false signature to it before selling it he would surely have
-refrained from stating in his printed description of it that it was
-painted in “la manière dont il a marqué ses ouvrages HB. BH. 1515.” The
-whole theory, in fact, is absurd, as is Mr. Dickes’ further declaration
-that the name “Policy” on the globe is also a forgery due to Le Brun.
-The inscription on the book giving the age of George de Selve, “ætatis
-suæ 25,” is also a forgery according to the same authority, or rather,
-he holds that the last figure was originally an 8, but that it became
-damaged, and that when repaired it was altered to a 5 through the
-ignorance of the restorer. The alteration of the age from 25 to 28, it
-should be noted, is vital to Mr. Dickes’ argument, for otherwise the
-second figure cannot represent Count Philipp. Even this change, however,
-is not sufficient to put matters right, and so he assumes arbitrarily
-that although the picture was painted in 1533 (in spite of its forged
-date!) the ages of the sitters inscribed on the dagger and the book were
-purposely calculated from the previous year, in order to indicate that
-the painting was a memorial of the Nuremberg Treaty of 1532. Mr. Dickes
-professes to find further proofs of the ages of the sitters from the
-numerous accessories on the table. The cylindrical sundial is so
-arranged that it informs us that the sitter against whom it is placed
-was born on April 10th, about 10.30 P. M., in the latitude of Neuburg,
-which exactly agrees with the birth of Otto Henry, and this information
-is confirmed by the decagonal sundial further along the table. With
-respect to the second figure, the instruments are still more explicit,
-for the date, November 12th, is repeated no less than four times on
-Apian’s Torquetum, the astrolabe, and the quadrant, with the additional
-information that the hour of birth was between five and six, which
-exactly agrees with the day of the month and the hour of the birth of
-Philipp.[95]
-
-Footnote 95:
-
-  The present writer, although he has made a careful study of Mr.
-  Dickes’ readings of the instruments, has not sufficient scientific
-  knowledge to speak with authority as to the correctness or otherwise
-  of the results he obtains, which, if true, provide by far the most
-  ingenious and, indeed, the only plausible evidence he has brought
-  forward in favour of his theory. This evidence, however, is not always
-  as convincing as he would have us to believe. Thus, the decagonal
-  sundial, which on two of its sides gives the time as 10.30 (the hour
-  of Otto Henry’s birth), very clearly indicates 9.30 on its third and
-  most prominent side, while it almost touches the elbow of the second
-  figure, and so should refer, if to any one, to Philipp. Mr. Dickes
-  gets over this difficulty by the statement that the sundial,
-  “presenting three circles to be read, naturally devotes the two chief
-  dials to the principal person. These are—the dial with the wire stile,
-  in front, and the dial beneath the magnet on the top;” but he offers
-  no suggestion as to whose birth the third and most prominent dial
-  refers.
-
-[Sidenote: THE ACCESSORIES OF THE PICTURE]
-
-Space does not permit even a brief reference to further erroneous
-inferences which Mr. Dickes draws from other parts of the picture, all
-of which were fully and finally dealt with by Sir Sidney Colvin in a
-review of the book.[96] Mr. Dickes by no means strengthens his case by
-reproducing a number of portraits, selected from various European
-galleries, in which he sees likenesses to his two heroes, though they
-bear but the faintest resemblance either to genuine portraits of the
-Counts Palatine or to the sitters in the “Ambassadors” picture.[97]
-
-Footnote 96:
-
-  _Burlington Magazine_, August 1903, pp. 367-69.
-
-Footnote 97:
-
-  The two most glaring examples of this, which show to what lengths a
-  fixed idea can carry one, are the splendid portrait by Holbein of the
-  Sieur de Morette, which he declares to be painted by Amberger, and to
-  represent Otto Henry at some date after 1556, when he was Elector
-  Palatine; and the beautiful little portrait of Hermann Wedigh, of the
-  Steelyard, dated 1533, which, as already noted, he holds to be an
-  unmistakable portrait of Philipp.
-
-The book, in spite of the false theory on which it is based, displays
-much careful if misplaced research, and as, for this reason, it is apt
-to mislead those who have made no serious study of Holbein’s work, its
-arguments have been briefly dealt with here. Mr. Dickes, however, is not
-alone in refusing to accept Jean de Dinteville and George de Selve as
-the two ambassadors. Mrs. G. Fortescue, in her book on the painter,[98]
-holds that both Miss Hervey and Mr. Dickes are wrong; but she brings
-forward no names to take the place of those she condemns, and merely
-suggests, somewhat mysteriously, that later on she will produce facts
-which will provide the correct solution.
-
-Footnote 98:
-
-  _Holbein_ (“Little Books on Art”), 1904, p. 149.
-
-Turning again to the picture itself, it is evident that the accessories,
-with which the table is crowded, both from their unusual number and
-character, were not collected at haphazard merely to afford an
-opportunity for displaying Holbein’s skill in depicting minutiæ, but
-that they represent the tastes and learned pursuits of the two sitters,
-and were selected and arranged by Dinteville himself. The prevailing
-love of allegory and symbolism, of the emblem or “devise,” which was a
-marked characteristic of that age, is apparent in many of the picture’s
-details, in some of them to be read plainly, in others so obscurely that
-it is now impossible to explain them satisfactorily. Miss Hervey has
-described them with care, and has elucidated much of their meaning and
-purpose. The appearance of the Death’s-head twice over in the picture—in
-the hat-medal worn by Dinteville and in the distorted skull in the
-foreground—seems to indicate that the ambassador had adopted it as his
-personal badge or _devise_. The picture, indeed, in its general
-arrangement bears considerable likeness to the woodcut in the “Dance of
-Death” series known as “The Arms of Death” (“Die Wappen des Todes”), as
-was first pointed out by Mr. Wornum.[99] This suggests the possibility
-that Dinteville had been shown, perhaps by Holbein himself, a proof set
-of the “Dance of Death” woodcuts, and that he had been greatly impressed
-by them. He suffered much from ill-health while in England, which may
-have had something to do with his choice of a device of so gloomy a
-nature.
-
-Footnote 99:
-
-  Wornum, p. 181.
-
-Certain of the instruments depicted are apparently set to indicate
-various dates, such as the birthdays of the sitters or important events
-in their lives, as pointed out by Mr. Dickes. The same instruments,
-together with the other objects, also represent certain of the Seven
-Liberal Arts—Music, Arithmetic, Geometry and Astronomy. The terrestrial
-globe is copied from Johann Schöner’s globe of 1523, to which about
-twenty names of towns have been added by Holbein, chiefly in France and
-Spain, selected by Dinteville as an epitome of the foreign relations of
-France in shaping which he had taken some share, the most important of
-these additions, as elucidating the identity of the chief sitter, being,
-of course, Polisy. The Lutheran hymn-book and the crucifix may be taken
-as symbolical of France’s religious diplomacy and the opinions of the
-two friends. The hope of religious union between the Roman Catholic and
-the Reformed Churches played a large part in the life of the Bishop of
-Lavaur. “To find means to promote that end was the object of his most
-earnest thought; to see it accomplished, the dearest wish of his
-heart.”[100] Dinteville, too, belonged to the liberal Catholic party in
-France, and shared the Bishop’s views. Mr. Barclay Squire first pointed
-out that the hymn-book in the picture was painted from a copy of Johann
-Walther’s _Geystliche Gesangbüchlein_, published at Wittemberg in 1524.
-The German arithmetic book was copied from a manual, _The Merchant’s
-Arithmetic Book_, by Peter Apian, published at Ingoldstadt in 1527. The
-badge of the order of St. Michael is worn by Dinteville without the
-collar of scallop-shells, and merely suspended from his neck by a gold
-chain. This was in accordance with the rules of the Order, which
-permitted it to be so worn when under arms, or when travelling, hunting,
-or when at home in private, or in other places where there was no
-company. Other details of the picture are equally interesting, more
-particularly the elaborate mosaic pavement, which Miss Hervey discovered
-to be an accurate copy of the well-known paved floor in the Sanctuary of
-Westminster Abbey, for the construction of which marbles and workmen
-were brought from Italy by Abbot Richard Ware in the reign of Henry III.
-This interesting discovery affords additional proof that the
-“Ambassadors” was painted in England.
-
-Footnote 100:
-
-  Miss Hervey, p. 221.
-
-[Sidenote: THE ACCESSORIES OF THE PICTURE]
-
-The picture, which in point of size and in the elaboration of its many
-details is the most important work by Holbein remaining in England, is a
-brilliant example of the painter’s technical abilities, though as a
-composition it is less successful than certain other less ambitious
-portraits from his brush. The accessories, on account of their number,
-variety, and brilliance of execution, and the central position given to
-them—so that the two figures have something of the appearance of the
-supporters to a coat of arms, as in some of Holbein’s designs for
-glass—to some extent distract the attention from the ambassadors
-themselves. Dinteville appears to have selected them with great care,
-and evidently attached great importance to them and the meanings they
-were intended to convey; while the painter carried out his wishes so
-admirably that they remain to-day almost as important a part of the
-picture as they did in the opinion of the man for whom the work was
-painted. The distorted skull, in particular, which at once catches the
-eye, however entertaining or clever a rebus or emblematic puzzle the
-Bailly may have thought it, holds far too prominent a position in the
-composition for the painting to be regarded as a picture in the highest
-sense of the word. It is, nevertheless, a work possessing very great
-qualities, and, in many respects, must be placed in the forefront of
-Holbein’s achievement. The faces of the two men are finely and
-delicately modelled, though their character is not quite so subtly
-expressed as in such a portrait as that of the “Duchess of Milan.” The
-dark, penetrating eyes and well-chiselled mouth of Dinteville give
-vitality to his intellectual face, in which can be traced some
-indications of the delicate constitution which was so ill suited to the
-climate of England. De Selve is grave in contrast, with dark eyebrows
-and a more pallid complexion, and his countenance has less expression
-and vitality than is to be found in that of his companion. It has been
-suggested that this contrast between the two figures is so great that it
-indicates the fact proved by Dinteville’s letter, that the future
-Bishop’s stay in this country was of limited duration, and that his
-portrait was probably not completed from life.
-
-[Illustration:
-
-  VOL. II., PLATE 10
-  PORTRAIT OF A MUSICIAN
-  SIR JOHN RAMSDEN, BULSTRODE PARK
-]
-
-[Sidenote: “PORTRAIT OF A MUSICIAN”]
-
-In concluding this account of Dinteville’s connection with Holbein
-reference must be made to a portrait in the possession of Sir John
-Ramsden, Bt., of Bulstrode Park, Buckingham, recently published and
-described for the first time by Dr. Ganz in the _Burlington
-Magazine_,[101] which represents a man with a book of music and a lute
-(Pl. 10). This “Portrait of a Musician” he regards as an undoubted
-likeness of the Bailly of Troyes from Holbein’s brush. He describes it
-as follows: “The man is sitting behind a table, and holds in his right
-hand a roll of paper, in the left a guitar. Two books in red bindings
-with green ribbons are placed, one open, one closed, on the red
-tablecloth, and this group of colours forms the contrast to the green
-curtain of the background. The cap and the black coat with large facings
-and white shirt-ruffles hanging down are decorated with golden buttags
-of a longish form, after the French fashion of the time. The blue eyes,
-looking with a sharp and cold glance, give the impression of a man of
-great reflection and prudence; and the beautiful, carefully tended hands
-belong to a gentleman of the Court.... Round the neck he wears a small
-golden chain and a black silk ribbon, to which is attached an object of
-a very singular form, executed in gold and embellished with precious
-stones. This cannot be a simple jewel, intended merely to hang on the
-gold chain, but it seems to be a kind of whistle used in place of a
-tuning-fork.”[102] This portrait is said to represent Lord Vaux of
-Harrowden, from its supposed resemblance to the two drawings by Holbein
-of that personage at Windsor, but Dr. Ganz holds that it bears a much
-closer resemblance to Dinteville as he is shown in the “Ambassadors,”
-and still more so to the drawing found by Miss Hervey at Chantilly. He
-considers that the longer beard indicates that it was painted two years
-later than the National Gallery picture. “The technical execution,” he
-says, “confirms a later date of origin; the blending of the colours and
-the brilliancy are in the well-preserved parts like the finest enamel.
-The right hand, which has a smooth appearance, is retouched; but the
-extraordinary quality of Holbein’s art in modelling the flesh without
-any contrast is to be found in the face and in the execution of the left
-hand. His attention was not limited to creating a portrait with the
-exactness of a looking-glass; he tried to give the man in his intimacy
-by obtaining a spacious effect. He placed the figure between two objects
-and painted the shadows in their real values.” While admitting that the
-likeness between this Musician and Dinteville is a strong one, the
-present writer is of opinion that the picture at Bulstrode Park does not
-represent the French ambassador. As already pointed out,[103]
-Dinteville’s subsequent visits to England were all short ones, of only a
-few weeks’ duration, during which time there would be little opportunity
-for sitting for his portrait, nor is it very probable that he would want
-a second likeness of himself so shortly after the big work was finished.
-Little is known of the history of Sir John Ramsden’s picture, but it is
-probably the _ritratto d’un Musico_ of the Arundel inventory. It is said
-to have been purchased in 1860 from a sale in Scotland. Either this
-picture, or a replica of it, was in the Ralph Bernal sale, 1855, when it
-was sold to Mr. Morant for one hundred guineas. It was described in the
-sale catalogue as: “Portrait of Nicholas, Lord Vaux, the poet and
-musician, in a black dress and cap, seated at a table, an open book
-before him, he holds a viol de gambe in his left hand, green drapery
-behind, 17½ × 17, a most beautiful portrait of the highest interest.”
-
-Footnote 101:
-
-  Vol. xx., October 1911, pp. 31-2. Also reproduced in _Holbein_, p.
-  137.
-
-Footnote 102:
-
-  This object is in reality “a penknife containing also tooth-picks and
-  ear-spoons or other little instruments such as tweezers or awls.” See
-  letter from Mr. Sydney J. A. Churchill in _Burlington Magazine_, vol.
-  xx., January 1912, p. 239, who calls attention to a similar penknife
-  in the Figdor Collection, and to an engraving by Aldegrever of a like
-  object dated 1539.
-
-Footnote 103:
-
-  See above, p. 44.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                             CHAPTER XVIII
-                         PORTRAITS OF 1533-1536
-
-Portraits of Robert Cheseman—Thomas Cromwell—Lord Abergavenny—Charles de
-  Solier, Sieur de Morette—The Earl of Arundel’s collection of
-  pictures—Roundels of a man and his wife at Vienna—Portraits of members
-  of the Poyntz family—Nicolas Bourbon—His verses in praise of
-  Holbein—Design for the title-page of Coverdale’s Bible—Other woodcut
-  designs produced in England—Hall’s Chronicle—Portraits of Sir Thomas
-  Wyat—Margaret Wyat, Lady Lee—Sir Richard Southwell—Sir Thomas le
-  Strange—Lady Vaux—Sir Nicholas Carew.
-
-
-THERE is only one portrait by Holbein bearing the date 1533 which can be
-said with any certainty to represent an Englishman. This is the very
-beautiful one of Robert Cheseman, now in the Hague Gallery, which has
-been known for so long under the erroneous title of “Henry VIII’s
-Falconer” (Pl. 11).[104] It represents a man holding a much higher
-social position than that of a mere keeper of hawks. Henry’s falconers
-were paid at a rate which did not permit them to employ the services of
-the leading artist of the day should they wish—which is not at all
-probable—to have their portraits painted. Their wages, in fact, ranged
-between fifty and twenty shillings a month. Cheseman, in common with
-other gentlemen of that period, chose to be painted with his favourite
-hawk upon his wrist, for the same reason that the country squires of the
-eighteenth century were so often depicted with their favourite dogs.
-Another example of this habit is to be seen in the equally fine portrait
-by Holbein of an unknown man, also in the Hague Gallery, dated 1542, who
-is evidently a gentleman, and not a professional falconer.[105]
-
-Footnote 104:
-
-  Woltmann, 159. Reproduced by Davies, p. 158; Knackfuss, fig. 122;
-  Ganz, _Holbein_, p. 102; and elsewhere.
-
-Footnote 105:
-
-  See p. 203.
-
-[Illustration:
-
-  VOL. II., PLATE 11
-  ROBERT CHESEMAN
-  1533
-  ROYAL PICTURE GALLERY, MAURITSHUIS, THE HAGUE
-]
-
-[Sidenote: PORTRAIT OF ROBERT CHESEMAN]
-
-Robert Cheseman, of Dormanswell, near Norwood, in Middlesex, and
-Northcote, in Essex, was a man of wealth, and one of the leading
-commoners of the first-named county. He was born in 1485, son and heir
-of Edward Cheseman, Cofferer and Keeper of the Wardrobe to Henry VII,
-and succeeded to the family estates in 1517. His father is mentioned in
-a pardon granted on March 2nd, 1486,[106] “to Edward Cheseman of London,
-gentleman, of all fines, forfeitures, etc., due to the King or to
-Richard III, late, in deed and not of right, King of England,” which was
-granted him as one of the executors of the will of Thomas Windesore,
-Constable of Windsor Castle. There was also a William Cheseman, probably
-an uncle of Robert, who in 1485 and 1486 received grants of the offices
-of bailiff of the rapes of Lewes and of Braneburgh, and of Clerk of the
-Market of the town of Lewes, “in consideracion of the true and
-feithfulle service that our welbeloved servaunt and true liegeman
-William Cheseman hathe doone unto us, as well in the parties of beyonde
-the see, as at oure late victorious felde within this oure
-royaume.”[107]
-
-Footnote 106:
-
-  Rev. William Campbell, _Materials for a History of the Reign of Henry
-  VII_, Rolls Publications, 1873, p. 336.
-
-Footnote 107:
-
-  _Ibid._, p. 345.
-
-On August 30th, 1523, Robert Cheseman was appointed Commissioner for
-Essex to collect the subsidy,[108] and in December 1528 was placed upon
-the commission of the peace for Middlesex. In 1530 he represented the
-same county on a commission “to make inquisition in different counties
-concerning the possessions held by Thomas Cardinal Archbishop of York
-(Wolsey) on 2 Dec. 15 Hen. VIII, when the Cardinal committed certain
-offences against the Crown for which he was attainted.”[109] During his
-life he served on a number of commissions for collecting tithes,
-subsidies, and the like, including one in 1533, the year in which he sat
-to Holbein. In 1536 his name appears among a list of people from whom
-money is due to the King by obligations,[110] while in the same year he
-supplied thirty men for the army against the Northern rebels, which
-proves him to have been a man of considerable substance.[111] He served
-on the Grand Jury at the trials of Sir Geoffrey Pole, Sir Edward
-Neville, and others, in 1538,[112] and of Thomas Culpeper and Francis
-Dereham for treason in connection with the trial of Queen Catherine
-Howard in 1541.[113] He was among the “squires” selected to welcome Anne
-of Cleves when she first landed in England, and was, in fact, one of
-some half-dozen men of position who represented Middlesex on all such
-public occasions. In 1543 he supplied ten footmen for the army going
-into Flanders “for the defence of the Emperor’s Low Countries,[114] and
-in the following year he himself appears to have gone with the English
-army into France, and it is noted against his name in the muster book
-that he had “10 footmen already beyond the seas.” He married Alice,
-daughter of Henry Dacres, of Mayfield, Staffordshire, a merchant-tailor
-and alderman of Fleet Street, London. She died on July 31st, 1547, and
-was buried at Norwood. His daughter and heir, Anne Cheseman, married
-Francis Chamberlayne.
-
-Footnote 108:
-
-  _C.L.P._, vol. iii. pt. ii. 3282.
-
-Footnote 109:
-
-  _C.L.P._, vol. iv. pt. iii. 6516, 6598.
-
-Footnote 110:
-
-  _C.L.P._, vol. x. 1257.
-
-Footnote 111:
-
-  _C.L.P._, vol. xi. 580.
-
-Footnote 112:
-
-  _C.L.P._, vol. xiii. pt. ii. 986.
-
-Footnote 113:
-
-  _C.L.P._, vol. xvi. 1395 (p. 645).
-
-Footnote 114:
-
-  _C.L.P._, vol. xviii. pt. i. 832 (p. 467).
-
-The portrait of Cheseman is a half-length, facing the spectator, the
-head and eyes turned to the left. He wears a purplish red silk doublet,
-and a black cloak trimmed with fur, and the customary black cap. On his
-left hand, which is gloved, he carries a hooded hawk, with a bell on its
-claw, and with the other hand strokes its feathers. He is clean-shaven,
-and his long hair, which is beginning to turn grey, covers his ears.
-Across the plain blue background, which has turned green through the
-discoloration of the varnish, on either side of the sitter’s head, runs
-the inscription in Roman lettering:
-
-      “ROBERTVS CHESEMAN. ETATES SVÆ XLVIII · ANNO DM. M D XXXIII.”
-
-The painting of the beautiful plumage of the bird is a most masterly
-piece of work, and the keen, piercing eyes and clean-cut face of its
-master are rendered with that unerring truth and wonderful insight which
-give Holbein his foremost place among the supreme painters of portraits.
-
-[Sidenote: PORTRAIT OF ROBERT CHESEMAN]
-
-This picture was seen by Sir Joshua Reynolds during his tour through
-Flanders and Holland in 1781, and in his diary he describes it as:—“A
-portrait by Holbein; admirable for its truth and precision and extremely
-well coloured. The blue flat ground which is behind the head gives a
-general effect of dryness to the picture: had the ground been varied,
-and made to harmonize more with the figure, this portrait might have
-stood in competition with the works of the best portrait painters.”[115]
-This accusation of a slight “dryness” is to some extent true of certain,
-though by no means all, of the portraits painted by Holbein in England,
-when compared with some of his earlier work done in Basel. It has been
-suggested that this may have been due to a growing habit, caused by the
-increasing demands made upon his time, of placing greater reliance on
-his preliminary chalk studies in painting a portrait, and thereby
-reducing the number of sittings given him by the actual model.[116]
-
-Footnote 115:
-
-  _A Journey to Flanders and Holland in the year 1781._ Works, vol. ii.
-
-Footnote 116:
-
-  Wornum, p. 251-2.
-
-An old copy of this portrait was lent to the Tudor Exhibition, 1890 (No.
-173A), by the Rev. Charles Shepherd. The original picture was once in
-the royal collections of England. It was No. 8 on the list of objects of
-art which Queen Anne reclaimed from the Dutch States at the death of
-William III as having formed part of the collection belonging to the
-English royal house. Her claim was unsuccessful, and the picture
-remained in Holland. On the back of the panel are the letters
-W.E.H.P.L.C. and the seal of Johan Willem Friso, Prince of
-Orange-Nassau, in whose collection it was, and afterwards in that of
-William V. The second fine portrait of a man with a hawk in the Hague
-Gallery,[117] dated 1542, was another of the pictures claimed by Anne,
-and was No. 21 in her list. A third picture in the Hague, the beautiful
-portrait of a young woman[118] (No. 275), now considered to represent
-Holbein’s wife, has been already described. The Cheseman and the 1542
-portrait were evidently taken over to Holland, with other paintings, by
-William III during one of his visits to the Hague.
-
-Footnote 117:
-
-  See p. 203.
-
-Footnote 118:
-
-  See Vol. i. p. 106.
-
-A small round portrait on wood, in the collection of Frau L.
-Goldschmidt-Przibram in Brussels,[119] is dated 1533. According to both
-Woltmann and Zahn it is in a very damaged condition, but is a genuine
-work of Holbein. It represents a young man at half-length, facing the
-spectator, but with the head slightly turned to the left. He is
-clean-shaven, with bushy hair half hiding his ears, and wears the small
-flat black cap and costume of the German merchants of the Steelyard, and
-he was probably a member of that body. The right hand only is shown,
-holding a carnation. Across the plain background, on either side of the
-head, is inscribed “ANNO 1533.” The face is a very attractive one, and
-the portrait has for years been regarded as representing the painter
-himself. Dr. Woltmann so included it in his book, but it bears little
-resemblance to the genuine portraits of Holbein. It was previously in
-the Jäger, Gsell, and Fräulein Gabriele Przibram collections in Vienna.
-
-Footnote 119:
-
-  Woltmann, 261. Reproduced by Ganz, _Holbein_, p. 104. Exhibition of
-  Miniatures at Brussels, 1912, No. 855_a_.
-
-[Sidenote: PORTRAIT OF THOMAS CROMWELL]
-
-During 1533, or in the first months of 1534, Holbein painted Thomas
-Cromwell. The future Earl of Essex and “viceregent of the King in all
-his ecclesiastical jurisdiction within the realm” was then only at the
-beginning of his political career, and filled the minor post of Master
-of the Jewel House. The portrait of him in the possession of the Earl of
-Caledon,[120] at Tyttenhanger Park, St. Albans, which is evidently the
-original of several versions still in existence, although it has
-suffered greatly in the course of time, must be regarded as a genuine
-work of Holbein’s brush. The face has undergone severe repainting, but
-in many of the details his hand can be clearly traced. On one of the
-papers on the table in front of the sitter is the following address: “To
-our trusty and right wellbiloved Counsailler Thomas Cromwell, Maister of
-o^r Jewelhouse,” which proves that it cannot have been painted later
-than the first months of 1534, for early in that year Cromwell was
-promoted to be First Secretary of State and Master of the Rolls. He
-must, therefore, have sat to Holbein at some date between the latter
-half of 1532 and the spring of 1534, having been appointed to the Jewel
-House on the 12th April 1532 in place of Robert Amadas, the jeweller. If
-done after his advancement, his higher titles would have been noted in
-the inscription.
-
-Footnote 120:
-
-  Woltmann, 249. Reproduced by Davies, p. 159; Pollard, _Henry VIII_, p.
-  180; Cust, _Burlington Magazine_, vol. xx. p. 7; Ganz, _Holbein_, p.
-  106.
-
-It is very possible that Cromwell first made the acquaintance of Holbein
-through their common friends, the merchants of the Steelyard, with whom
-the future Lord Privy Seal was closely allied in more than one business
-transaction, more particularly in connection with the wool trade, of
-which the Hanse merchants then had a monopoly. He also made constant use
-of their services later on in his career for the collection of
-continental news, the forwarding of diets to various English ambassadors
-abroad, the translating of foreign letters, and so on.
-
-Eustace Chapuys, the Spanish Ambassador in London, in reply to a query
-from his Imperial master as to the character of Henry’s new minister,
-sent, in November 1535, a short and amusing biographical sketch of his
-career, interesting as showing how Cromwell appeared in the eyes of a
-foreigner.
-
-“The Secretary, Cromwell,” he wrote, “is the son of a poor farrier, who
-lived in a little village a league and a half from here (London), and is
-buried in the parish graveyard. His uncle, father of the cousin whom he
-has already made rich, was cook (_cousinier_) of the late archbishop of
-Canterbury. Cromwell was ill-behaved when young, and after an
-imprisonment was forced to leave the country. He went to Flanders, Rome,
-and elsewhere in Italy. When he returned he married the daughter of a
-shearman, and served in his house; he then became a solicitor. The
-cardinal of York, seeing his vigilance and diligence, his ability and
-promptitude, both in evil and good, took him into his service, and
-employed him principally in demolishing five or six good monasteries. At
-the Cardinal’s fall no one behaved better to him than Cromwell. After
-the Cardinal’s death Wallop attacked him with insults and threats, and
-for protection he procured an audience of the King, and promised to make
-him the richest king that ever was in England. The King immediately
-retained him on his Council, but told no one for four months. Now he
-stands above everyone but the Lady (Anne Boleyn), and everyone considers
-he has more credit with his master than Wolsey had—in whose time there
-were others who shared his credit, as Maistre Conton (Compton), the duke
-of Suffolk, and others, but now there is no one else who does anything.
-The Chancellor is only his minister. Cromwell would not accept the
-office hitherto, but it is thought that soon he will allow himself to be
-persuaded to take it. He speaks well in his own language, and tolerably
-in Latin, French and Italian; is hospitable, liberal both with his
-property and with gracious words, magnificent in his household and in
-building.”[121]
-
-Footnote 121:
-
-  _C.L.P._, vol. ix. 862.
-
-This is the man whom Holbein painted when he was merely Master of the
-Jewel House and Clerk of the Hanaper of Chancery. He is shown, in Lord
-Caledon’s picture, at half-length, seated in a high-backed wooden seat,
-his head and body turned to the left, looking towards a window, only a
-small part of which is seen, with a small table beneath it covered with
-a Turkish cloth, on which papers are placed. He is dressed in a black
-surcoat with a deep fur collar, and a black cap. He rests his left elbow
-on another table in front of him, and holds a paper in his left hand, on
-the first finger of which is a heavy signet ring. The right hand is not
-shown. He is clean-shaven, and his bushy hair almost covers his ears and
-falls on the back of his neck. On the table are pen and ink, a
-richly-bound book with jewelled clasps, and several papers, on one of
-which is the inscription already quoted. On a second paper the word
-“Counseilor” can be deciphered at the head. The face, with its small
-eyes set closely together, its thin, compressed lips and double chin,
-and its sinister expression of cold determination, is a far from
-attractive one, and lays bare that side of Cromwell’s character for
-which he was so heartily hated by the Catholic party. In it is to be
-seen little of that other side of him, of which, after his downfall,
-Cranmer spoke, when writing to Henry on behalf of his old minister.
-“Cromwell,” he said, “was such a servant in my judgment, in wisdom,
-diligence, faithfulness, and experience, as no prince in this realm ever
-had.” A large scroll stretching across the top of the picture, evidently
-added after Cromwell’s death, contains a Latin inscription in his
-praise. The portrait is on panel, 30 in. × 24 in.
-
-[Sidenote: PORTRAITS OF THOMAS CROMWELL]
-
-A smaller portrait of Cromwell, a circular painting with a green
-background, and enclosed in a painted square stone frame, showing the
-head only, is described by Wornum and Woltmann.[122] It was at that time
-in the possession of Captain Ridgway, of Waterloo Place, London.[123] It
-is 12 in. square, and differs in some details from the Tyttenhanger
-portrait. Both writers appear to regard it as a genuine work by Holbein.
-A portrait of Cromwell was one of the few works mentioned by name by Van
-Mander when describing De Loo’s collection of Holbein’s works:—“the old
-Lord Crauwl, about a foot and a half high, taken unusually artistically
-by Holbein.” Although the dimensions do not quite agree, Woltmann
-suggests that Captain Ridgway’s little picture was the one thus
-described. According to Mr. Lionel Cust,[124] the few portraits of
-Cromwell which have any claim to authenticity are all traceable to
-Holbein, and fall into two groups, or at most three, each group deriving
-from an original portrait by him. In the first class are the
-Tyttenhanger picture and others based directly upon it. This portrait,
-he says, descends direct from Sir Thomas Pope, one of Cromwell’s
-instruments in the suppression of the monasteries. The second group
-includes such pictures as the one in the National Portrait Gallery (No.
-1683, 16¾ in. × 13 in.),[125] purchased in 1897, of which there are
-several versions in existence, though there is no portrait of this type
-so far traced which can be attributed to Holbein himself. The pictures
-in this group show the head and shoulders only, and differ in minor
-details from the Tyttenhanger type. The look of craftiness is
-accentuated, and he is shown with a slight grey whisker, and the pointed
-arch of the eyebrows is more strongly marked. The third group, which is
-closely allied to the second, includes the recently-discovered miniature
-in the late Mr. J. Pierpont Morgan’s collection,[126] and the medal in
-the British Museum, of the date 1538, which, according to Mr. Cust, is
-evidently based on a drawing by Holbein.[127] There was a portrait of
-Cromwell in the Arundel collection, which is entered in the inventory as
-“ritratto de Cromwell.” This was evidently the one in the possession of
-De Loo, which afterwards passed, with other works by Holbein, from that
-dealer’s collection into that of the Earl. Hollar’s engraving,[128]
-which is not signed or dated, does not appear to have been taken from
-the portrait at Tyttenhanger, but was most probably based upon the
-Arundel picture; but whether that picture was an original by Holbein,
-now lost, or one of the numerous versions now in existence, it is
-impossible to say. One of these versions is in the collection of M. Ch.
-Léon Cardon, Brussels.
-
-Footnote 122:
-
-  Woltmann, 212, and i. 376; Wornum, p. 287.
-
-Footnote 123:
-
-  Now, according to Dr. Ganz (_Holbein_, p. 241) in that of M.
-  Kleinberger, Paris.
-
-Footnote 124:
-
-  In an interesting paper on “A newly-discovered miniature of Thomas
-  Cromwell,” _Burlington Magazine_, vol. xx., October 1911, pp. 5-7.
-
-Footnote 125:
-
-  Reproduced in Mr. Cust’s illustrated catalogue of the National
-  Portrait Gallery, vol. i. p. 19, and in the _Burlington Magazine_,
-  vol. xx. p. 7.
-
-Footnote 126:
-
-  Described in chapter xxv. See p. 231 and Pl. 31 (6).
-
-Footnote 127:
-
-  Reproduced in _Burlington Magazine_, vol. xx. p. 7.
-
-Footnote 128:
-
-  Parthey, 1386.
-
-Several portraits of Cromwell were included in the Tudor Exhibition,
-1890, wrongly attributed to Holbein. Among them was a bust portrait, to
-the right, with a jewel in the cap, and the Garter George suspended from
-a black ribbon, lent by the Duke of Sutherland (No. 39, 20 in. × 17
-in.); a small half-length, to the left, wearing both collar and George
-of the Garter, from Corpus Christi College, Cambridge (No. 160, 22½ in.
-× 17 in.); and versions of the Tyttenhanger picture lent by Mr. Charles
-Penruddocke (No. 162, 18 in. × 16 in.), and the Duke of Manchester (No.
-163, 14 in. × 11½ in.).[129] In addition to the Hollar print, engravings
-were made, from one or other of the copies of the original picture, by
-Houbraken for his _Heads of Illustrious Persons_, 1745, from a picture
-in the possession of Mr. Edward Southwell, and by Freeman for Lodge’s
-_Portraits_, 1835, the latter from a picture in the possession of Sir
-Thomas Constable, Bt., at Tixall. Probably both engravings were done
-from the same painting.
-
-Footnote 129:
-
-  A portrait of Cromwell, attributed to Holbein, the property of the
-  late Mr. J. P. Hardy, was sold at Christie’s on 13th December 1912.
-
-There is a magnificent drawing, one of the most powerful studies Holbein
-ever accomplished, in the collection of the Earl of Pembroke and
-Montgomery at Wilton House,[130] which until recently has been generally
-regarded as a portrait of the Lord Privy Seal—though it bears little
-likeness to the Tyttenhanger panel—because the words “Lord Cromwell” and
-“Holbein” have been inscribed in the bottom corners by a later hand than
-the painter’s. It is in black and red chalk on paper tinted pink, with
-slight touches of colour on the fur of the gown and the jewel in the
-cap. The outlines of the features have been reinforced in ink, but this,
-in contradistinction to some of the drawings in the Windsor collection,
-where such retouching is evidently from a later hand, has been carried
-out with such power combined with delicacy that it seems certain that it
-was done by Holbein himself. The drawing evidently at one time formed
-part of the Windsor series, at the date when the latter was given by
-Charles I to an earlier Earl of Pembroke in exchange for the little “St.
-George” by Raphael, which is now in the Hermitage. This book of drawings
-was afterwards given by Pembroke to the Earl of Arundel, and it is most
-probable that the so-called “Cromwell” drawing remained behind, perhaps
-by accident. Quite recently it has been definitely identified as the
-portrait of George Nevill, third Lord Abergavenny, by means of a
-miniature in the possession of the Duke of Buccleuch, in water-colours,
-on a playing card, which is based on Holbein’s drawing, and is inscribed
-“G. Abergaveny.”[131] It bears a very strong likeness to the drawing,
-and is attributed to Holbein himself. Further proof of identity is
-obtained from a picture, which agrees with the miniature but does not
-show the hands, in the collection of the Marquis of Abergavenny at
-Edridge Castle, Kent. Both the Wilton drawing and the miniature were
-included in the Burlington Fine Arts Club Exhibition, 1909 (No. 70 and
-Case C. No. 22), and the former was in the Tudor Exhibition, 1890 (No.
-1414).
-
-Footnote 130:
-
-  Woltmann, 263. Reproduced by Davies, p. 162; Vasari Society, pt. v.
-  No. 28; _Catalogue of Burlington Fine Arts Club Exhibition_, 1909, Pl.
-  xxviii.
-
-Footnote 131:
-
-  Reproduced in _The Connoisseur_, vol. xviii. No. 71, July 1907,
-  frontispiece (in colour); and in the _Illustrated Catalogue of the
-  Burlington Fine Arts Exhibition_, Pl. xxxiii.
-
-[Sidenote: PORTRAIT OF MORETTE]
-
-Singularly few examples remain of work executed by Holbein in 1534 and
-1535. There are no dated portraits from his brush of the former year,
-with the exception of the two small roundels in Vienna, and none of the
-latter year, for the date on the beautiful miniature of little Henry
-Brandon at Windsor, usually given as 1535, has been misread.[132] There
-are one or two portraits which must have been done during this period,
-among them the Morette, the drawing of Nicolas Bourbon, and a portrait
-of Nicholas Poyns the younger; but there are so few examples which can
-be definitely given to these two years that the writer hazards the
-conjecture that for a part of the time Holbein was out of England.
-Throughout his too short career the painter seems never to have severed
-his connection with Basel, nor to have broken the friendly relationships
-which existed between him and its Council. He remained a citizen of his
-adopted city, and apparently retained his membership of the Painters’
-Guild, until his death. To do so he must have paid some heed to the
-somewhat strict laws as to the duties of citizenship then in force. The
-customary leave of absence was about two years, and Holbein may well
-have returned to Basel more often than is generally supposed. He did not
-accede to the Council’s request contained in their letter of September
-2nd, 1532, but at the end of two years, in the summer of 1534, he may
-possibly have paid a visit of some duration to Switzerland, returning to
-England in the summer or autumn of 1535. This is only conjecture, for
-there is no evidence of his presence in Basel during that period, but it
-would account for the lack of English portraits of that date, and would
-also help to explain the fact—in some ways inexplicable—that he did not
-enter the service of the royal house of England until about 1536.
-Against this assumption it must be noted that when he paid his
-well-known visit to Basel in September 1538 he was feasted and fêted by
-his fellow-citizens in a way which seems to indicate that he had been
-absent for a longer period than three years. Still, it is not impossible
-that he was there in 1534-5, and that he even paid a final visit home,
-about the winter of 1540-41, before his death in 1543, in this way
-retaining until the end his citizenship and the pension paid by the
-Basel authorities to his wife.
-
-Footnote 132:
-
-  See p. 225.
-
-[Illustration:
-
-  VOL. II., PLATE 12
-  CHARLES DE SOLIER, SIEUR DE MORETTE
-  ROYAL PICTURE GALLERY, DRESDEN
-]
-
-The wonderful portrait of Morette in the Dresden Gallery (Pl. 12)[133]
-must certainly have been painted during the period under discussion.
-Charles de Solier, Sieur de Morette, a well-known French diplomatist and
-fighting man of his day, who had paid more than one earlier visit to
-England, in each case of short duration, arrived in London as French
-resident ambassador in place of Castillon, on Good Friday, April 3rd,
-1534, and returned to France on July 26th, 1535. This was his last and
-longest sojourn in this country, and Holbein must have painted him
-between these two dates. Even though the painter may have paid a visit
-to Basel as suggested, it would still leave ample time for the portrait
-to have been taken in the summer of either year. Probably Holbein’s
-introduction to Morette was brought about through the good offices of
-Jean de Dinteville. Though the Bailly of Troyes had left England in the
-previous November, Morette may have seen the “Ambassadors” picture in
-France in the interval, or have heard of it from Castillon, who
-succeeded Dinteville in London. In any case, Morette, who was one of the
-special ambassadors who came over for the signing of the treaty in the
-spring of 1528, was acquainted with at least one work of Holbein, the
-“Battle of Spurs,” in the temporary banqueting-hall at Greenwich, to
-which the King had drawn the particular notice of the envoys.
-
-Footnote 133:
-
-  Woltmann, 145. Reproduced by Davies, p. 156; Knackfuss, fig. 128;
-  Ganz, _Holbein_, p. 116.
-
-[Sidenote: THE ARUNDEL COLLECTION]
-
-The first known reference to the portrait of Morette occurs in the
-correspondence of Thomas Howard, Earl of Arundel and Surrey, the great
-collector of Holbein’s work, who employed friends and agents on the
-Continent to hunt up and buy everything from his brush that they could
-discover. He got together a remarkably fine series of pictures and
-drawings by Holbein, which, on his death at Padua, 1646, came into the
-possession of his widow, then residing in Holland. Upon her decease in
-1654, at Amsterdam, her youngest son, Lord Stafford, who was living with
-her, propounded a nuncupative will in his own favour, and began as
-quickly as he could to sell the pictures, which it had been the
-intention of the Earl should become heirlooms, but the deed had never
-been executed. The sale, however, was stopped by other representatives
-of the Arundel family, and a lawsuit resulted. Among the documents in
-connection with these proceedings was one of very great interest, an
-inventory of the pictures and objects of art in the possession of the
-Countess at the time of her death. The original list, which was in
-Italian, and probably drawn up for the Earl in Padua, has disappeared,
-but a copy of it has been recently discovered by Miss Mary L. Cox in the
-Record Office. This valuable document was evidently copied from the
-original by some clerk in Amsterdam ignorant of the Italian language,
-for it is full of mistakes. The complete inventory was published by Miss
-Cox, with an introduction by Mr. Lionel Cust, in the _Burlington
-Magazine_.[134] From it we learn that Lord Arundel possessed no less
-than forty-one works by or attributed to Holbein, in addition to the
-drawings, which are not included in the inventory. Among the portraits,
-some of which have been already noted, were those of the Duchess of
-Milan, Jane Seymour, Anne of Cleves, Edward VI, the Duke of Norfolk and
-his son the Earl of Surrey, Sir Thomas Wyat, Cromwell, Erasmus, the Earl
-of Southampton, Thomas and John Godsalve, Sir Edward Gage, Sir Henry and
-Lady Guldeford, Archbishop Warham, Dr. John Chamber, Derich Born, and
-Sir Thomas More and his family, as well as several unnamed portraits, to
-all of which reference will be found in these pages. Very possibly some
-few of these pictures, such as the full-length of the Earl of Surrey,
-were not by Holbein, though given to him in the list. Lord Arundel also
-possessed several works which so far have not been traced, though the
-titles may help towards their future rediscovery. Among them is a
-portrait said to be of Holbein’s wife, which is most probably the
-picture at the Hague;[135] one of a lady “con gli mani giunti e un agato
-atacato al beretino”; another of a lady, aged 40, with the inscription,
-“In all things, Lord, thy wilbe fulfilled”; the portrait of a
-musician;[136] one of an armed man, which may possibly be the portrait
-of Sir Nicholas Carew; the portrait of the goldsmith Hans of Zürich; the
-Death’s-head and bones already referred to in speaking of Ambrosius
-Holbein; a picture of gamblers or people playing games (“un quadretto
-con divers figure Jocatori, &c.”); another with the title “Legge Vecchio
-& Nove” (ancient and modern law); and the Arms of England in
-water-colours. Before his relations could interfere Lord Stafford had
-sold a number of pictures to the Spanish Ambassador in London, to
-Eberhard Jabach, of Cologne, and to the agent of the Archduke Leopold,
-and this may account for the fact that certain of them remained abroad,
-such as the Jane Seymour and Dr. Chamber in Vienna, and the Thomas and
-John Godsalve in Dresden.
-
-Footnote 134:
-
-  Vol. xix., August and September 1911, and vol. xx., January 1912, from
-  which the above facts are taken.
-
-Footnote 135:
-
-  See Vol. i. p. 106.
-
-Footnote 136:
-
-  See above, p. 52.
-
-In a letter from Turin, dated November 26th, 1628, from Sir Isaac Wake
-to William Boswell, the former states: “The picture after which you do
-seem to inquire was made by Hans Holbein in the time of Henry VIII, and
-is of a Count of Moretta. My Lord of Arundel doth desire it, and if I
-can get it at any reasonable price he must and shall have it.”[137] The
-picture was evidently then in the market, under the true names of both
-sitter and painter, but apparently the price was too high, and so
-Arundel, who possessed the original drawing for it, was not able to
-secure it. It was eventually bought by the Marquis Massimiliano
-Montecucculi, ambassador of the house of Este at Parma and Rome, and
-presented by him to the Duke Francesco d’Este, and so passed into the
-Modena gallery. According to Venturi, the portrait was at that time
-attributed by the Marquis Montecucculi to “Gio. Olben.” Some thirty
-years after the date of Wake’s letter, Scannelli, in his
-_Microcosmo_,[138] describes, under the name of “Olbeno,” a picture in
-the Modena collection which can be no other than the “Morette.” He says:
-“There was also lately among ultramontane painters a certain Olbeno, a
-highly qualified master, and in painting individual portraits verily
-stupendous. It is true in his execution there is something of that
-native hardness which belongs to his country in other respects; yet
-through his extreme diligence and truthful fidelity to nature it shows a
-high degree of perfection. As we see, for example, in the already
-noticed gallery of H.S.H. the Duke of Modena, where there is a
-half-length portrait by him which in its exact imitation of nature is
-quite wonderful.”
-
-Footnote 137:
-
-  For this and other letters see Sainsbury, _Original Unpublished
-  Papers_, &c., 1859, Appendix, Nos. 44, 53, 55, 57. See also Appendix
-  (K).
-
-Footnote 138:
-
-  Ed. 1657, Vol. ii. p. 265. See also Vol. i. p. 306.
-
-[Sidenote: PORTRAIT OF MORETTE]
-
-At a later date the true name of the sitter appears to have become lost.
-It has been suggested[139] that, owing to the similarity of the sound,
-the name Morette was first changed to Morus, as the name of Sir Thomas
-More would naturally suggest itself in connection with Holbein. In
-Italy, Morus, again naturally, would become Moro, and so in course of
-time the picture was said to represent Lodovico Sforza, familiarly known
-as Il Moro. There is no need, however, to bring in the name of Sir
-Thomas More at all. The change must have been directly from Morette to
-Maurus, which was Sforza’s second name, from which his popular nickname
-“Il Moro” was taken.[140] Holbein’s name in connection with the picture
-having been by this time forgotten, the title “Maurus,” combined with
-the beauty of the work, gave rise to the supposition that it could only
-be from the hand of Sforza’s great countryman, Leonardo da Vinci; and it
-was as a portrait of Il Moro by Leonardo that it was purchased by
-Augustus III, King of Poland and Elector of Saxony, from the Duke
-Francesco of Este-Modena in 1746. It formed part of a collection of
-about one hundred pictures, known as the “Modena Gallery,” some of which
-are now among the chief masterpieces of the Dresden Gallery, which,
-after long and secret negotiations, the Elector procured for his own
-collection at the cost of one hundred thousand sequins and very liberal
-largesse to various agents and go-betweens. For the next hundred years
-it remained at Dresden as a portrait of Lodovico and a masterpiece by Da
-Vinci. Then Rumohr, the critic, pointed out that the style and quality
-of the painting proved it to be an undoubted work by Holbein, while at
-the same time Von Quandt produced evidence to show that it did not
-represent Il Moro, but a certain jeweller employed by Henry VIII named
-Hubert Morett. The paper he contributed to the _Kunstblatt_ in 1846 was
-accompanied by a reproduction of Hollar’s engraving of the original
-drawing of the picture, upon which his case was based. This engraving is
-inscribed “Mr. Morett” and “W. Hollar fecit, ex Collectione Arundeliana.
-A^o 1647. 31 Decē.” In spite of Rumohr’s criticism, however, the picture
-continued to be described in the official catalogues as by Leonardo, the
-authorities, it is said, objecting to the change of name, as in so doing
-the collection would be robbed of its sole work by Da Vinci; and it was
-not until the death of King Frederick Augustus that Holbein was allowed
-to come into his own again. There was considerable opposition, too, to
-the change from Il Moro to Mr. Morett, the goldsmith, Hollar’s engraving
-being a poor one, and not very much like the picture. The title was not
-changed, nor was the final restitution made to Holbein until 1860, in
-which year Holbein’s original drawing for the portrait made its
-appearance in London, in the sale of Samuel Woodburne, the art dealer,
-when it fetched £43, and was purchased immediately afterwards for the
-Saxon Government by Herr L. Gruner, the director of the Dresden
-Gallery.[141] For the next twenty-five years the picture was known as
-“Mr. Hubert Morett, goldsmith to Henry VIII,” who was considered by all
-writers to be an Englishman, his sumptuous apparel, quite unlike the
-sober garments worn by jewellers in those days, being explained away by
-a reference to the tradition that in the sixteenth century all
-Englishmen, of whatever class of society, had a passion for finery in
-dress.
-
-Footnote 139:
-
-  Wornum, p. 301, and Dresden Catalogue, 1884.
-
-Footnote 140:
-
-  See _Milan under the Sforza_, by C. M. Ady, p. 124.
-
-Footnote 141:
-
-  Woltmann, 146. Reproduced by Wornum (photograph), p. 300.
-
-As a matter of fact Hubert Morett was not an Englishman at all, nor
-could he be rightly described as “goldsmith” to Henry VIII. He was a
-Frenchman, one of several jewellers of Paris, who paid periodical visits
-to London for the purpose of selling their wares to the King and Court.
-Thus, in August 1536, in Gostwick’s accounts, is the entry: “Hubbert
-Morret, jeweller of Paris, for jewels bought by the King £282, 6_s._
-8_d._,”[142] while in January 1532 he received 242 crowns, or £56, 9_s._
-4_d._, for similar goods.[143] Granger’s statement that Morett “did many
-curious works after Holbein’s designs” has no foundation in fact.
-Hollar’s engraving[144] simply calls the subject “Mr. Morett,” though
-Parthey, in a second edition of his book, cites a second state of the
-engraving, sold in 1844, with the added words, “Jeweller to Henry VIII”;
-no one, however, has so far succeeded in discovering a proof of this
-state, and, in all probability, these words were merely written on this
-particular proof by someone who had noted the reference to Morett in the
-_Privy Purse Expenses of Henry VIII_, published by Nicolas in 1827.
-This, no doubt, was the source of the legend, adopted at Dresden, that
-the picture represented a court jeweller.
-
-Footnote 142:
-
-  _C.L.P._, vol. xi. 381.
-
-Footnote 143:
-
-  _C.L.P._, vol. v., Privy Purse Expenses of Henry VIII, under January
-  1532.
-
-Footnote 144:
-
-  Parthey, No. 1470.
-
-[Sidenote: PORTRAIT OF MORETTE]
-
-It remained for a Swedish critic, M. S. Larpent, finally to re-establish
-the identity of the sitter as that Count of Moretta mentioned in Wake’s
-letter in the seventeenth century. In a pamphlet published in
-Christiania in 1881, _Sur le Portrait de Morett_, he proved conclusively
-that the Dresden picture represents Charles de Solier, Sieur de Morette.
-M. Larpent drew attention to the fact that the drawing for the head was
-once in the possession of Richardson, the painter, and that at his sale
-in 1746 it was included in his catalogue as “One Holbein, sieur de
-Moret, one of the French hostages in England,” this, no doubt, being the
-traditional title which had remained with the drawing since it was in
-the Arundel collection. It has been suggested that Hollar’s engraving
-was done neither from the Dresden picture nor from the drawing, as it
-shows considerable differences in the dress and details, and is circular
-in shape, while the inscription is “Holbein pinxit” not “delineavit,”
-indicating that it was done from a painting and not a drawing, and thus
-proving that the Earl of Arundel possessed another portrait of Morette,
-which has disappeared. In this connection Sir Sidney Colvin draws
-attention to the print by Hollar of an unknown man after a painting by
-Holbein formerly in the Earl of Arundel’s collection, which he thinks
-represents Jean de Dinteville.[145] “Now, this print of Hollar’s,” he
-says, “is an exact companion to his other print from the ‘Mr. Morett’ in
-the Arundel collection. Both are small rounds, apparently taken from
-paintings of almost miniature size, such as Holbein is in several
-instances known to have made of persons who had also sat to him for
-full-sized portraits. I conclude that he had painted two such companion
-miniatures, besides his larger pictures, of the two successive French
-envoys, Dinteville and Morette, and that both came into the possession
-of the Earl of Arundel.”[146]
-
-Footnote 145:
-
-  This is the print, already mentioned (see p. 44), in connection with
-  the fine Windsor drawing to which Miss Hervey first drew attention as
-  a possible likeness of Dinteville.
-
-Footnote 146:
-
-  In a letter to _The Times_, 11th September 1890.
-
-The identity of the sitter was established beyond all possibility of
-doubt in 1903 by the late Mr. Max Rosenheim’s discovery of a fine
-contemporary medallion portrait of the same personage, carved in
-boxwood, with his name and titles in full, and on the back his device of
-a seaport, a horse, and a dolphin.[147] Charles de Solier was born in
-1480, and was fifty-four years old when resident ambassador in England
-in 1534, the year in which Holbein painted him. He represented him
-life-size and half-length, standing facing the spectator, dressed in a
-doublet of black satin, the sleeves of which, from the elbow downwards,
-are slashed with white silk. His surcoat is of the same black material,
-with a heavy collar and lining of fur. Both dress and black cap are
-decorated with gold tags, and in the latter he wears a circular gold
-enseigne with a figure of Fortune. Round his neck hangs a gold chain to
-which is suspended a medallion or watch-case of open-work. In his right
-hand he holds a glove, and his left, which is gloved, grasps the gilt
-and elaborately chased sheath of a dagger, suspended from his girdle by
-a chain with a large tassel, such as the one worn by Dinteville. His
-long beard of a reddish colour is touched here and there with grey. The
-background consists of a curtain of green damask. It is about 3 ft. 1
-in. high by 2 ft. 6½ in. wide.
-
-Footnote 147:
-
-  See _Burlington Magazine_, vol. ii., August 1903, p. 369. The
-  medallion is in the Salting Collection, and the costume is the same as
-  in the picture. The inscription runs: “CAROLVS · DE · SOLARIO · DNS ·
-  MORETY · ANNO · AGENS · L.”
-
-Holbein’s art, both in the subtle insight it displays into character and
-in its technical achievement, is seen in its highest manifestation in
-this superb and nobly-dignified portrait, which bears the stamp of truth
-in every touch. The handling is both brilliant and delicate in all the
-accessories, in the fine modelling of the flesh, and in the wonderful
-draughtsmanship of the right hand grasping the glove. As a likeness of a
-living man and as an expression of the most intimate traits of his
-character, it holds its own with any piece of portraiture in the world,
-and is, indeed, complete in every respect, displaying the finest taste
-in conception combined with consummate skill and unerring accuracy in
-execution, and most harmonious colour. The original study for it, which,
-no doubt, once formed a part of the Windsor collection, and now hangs by
-the side of the picture in Dresden, is unsurpassed for its truth and
-force, and the subtlety with which the likeness is expressed by the
-simplest means, eye and hand acting in perfect accord and allowing
-nothing essential to escape them.
-
-[Sidenote: ROUNDELS OF ENGLISHMAN AND WIFE]
-
-The two small roundels, about six inches in diameter, portraits of a
-man, probably an Englishman, and his wife, in the Vienna Gallery[148]
-(Nos. 1482, 1484), formerly in the Schloss Ambras collection, are dated
-1534. They are fine works, almost in miniature, though they do not show
-Holbein at his highest point of achievement. The man, who has a
-dark-brown beard, wears a black cap and a scarlet surcoat on which the
-letters H. & R. are embroidered in black and gold, indicating that he
-was in the service of Henry VIII. Across the background is inscribed:
-“ETATIS SVÆ 30. ANNO 1534.” The woman, of a very homely type of face, is
-wearing a dark-brown and black dress, and a white head-dress, which
-hides her hair and falls on her shoulders in the form of a cape. This
-head-dress is identical with the one worn by the unknown lady in the
-Windsor collection (Holmes No. 10), which Sir Richard Holmes thought
-might be a portrait of “Mother Jack,” nurse to Edward VI. It is
-inscribed: “ETATIS SVÆ 28. ANNO 1534.” Both portraits have now a very
-dark blue-green background with a small circular ring of gold round the
-outer edge. The two are evidently husband and wife, and the latter has
-more the appearance of a German than an Englishwoman. It may be
-suggested, therefore, though with diffidence, that it is not impossible
-that these two small portraits represent Susanna Hornebolt and her
-husband, John Parker, the King’s bowman and a yeoman of the robes. Dürer
-speaks of Susanna as being “about eighteen” in 1521, which does not
-quite tally with the age of the sitter in the Vienna roundel, who was
-twenty-eight in 1834, but it is again not impossible that Dürer imagined
-the young lady to be two or three years older than she was in reality.
-Dr. Ganz draws attention to the close likeness between this portrait and
-the one of an unknown man, also a small roundel, in the possession of
-Herr F. Engel-Gros, at Château de Ripaille near Thonon,[149] which he
-reproduces for the first time. The sitter is clean-shaven, facing
-three-quarters to the right, with a small flat red cap, elaborate black
-and white Spanish work on his shirt collar, and a red livery coat, lined
-with blue, with black bands and the initials “H. R.” embroidered on it.
-He considers him to be either a Netherlander or a German, and suggests
-that he was possibly a painter in Henry VIII’s service. It may be
-permitted to go a step further and to suggest that we have here a
-portrait of Susanna’s brother, Lucas Hornebolt. It was first exhibited
-in Basel in 1891, and nothing of its earlier history is known. It bears
-no signature or date, but is evidently of the same period as the two
-Vienna roundels. There is an excellent old copy on copper of this
-roundel in the Fitzwilliam Museum, Cambridge (No. 537),[150] in which,
-however, the cap and coat are black, while no trace of the royal
-initials on the latter can be discerned.
-
-Footnote 148:
-
-  Woltmann, 256, 257. Reproduced in _Magazine of Art_, March 1897, p.
-  279; _Masterpieces of Holbein_ (Gowan’s Art Books, No. 13), pp. 46,
-  47; Ganz, _Holbein_, p. 105.
-
-Footnote 149:
-
-  Reproduced by Ganz, _Holbein_, p. 115. Purchased by the present owner
-  in Paris.
-
-Footnote 150:
-
-  Reproduced in F. R. Earp’s _Descriptive Catalogue of the Pictures in
-  the Fitzwilliam Museum_, 1902, and in _The Principal Pictures in the
-  Fitzwilliam Museum_, Gowans & Gray, Ltd., 1913, p. 86.
-
-Among the Windsor drawings there are three, two of them very fine, which
-represent members of the Poyns or Poyntz family—John Poyns,[151] of
-North Wokendon, Essex, a member of the royal household and one of Wyat’s
-most intimate friends, in which the face is almost in profile to the
-right, with the eyes turned upwards, and a small round black cap which
-only covers the hair in part; and two of Nicholas Poyntz, of the
-Gloucestershire branch of the family.[152] Both are inscribed “N. Poines
-Knight,” and they are generally regarded as portraits of a father and
-son, and are described as Sir Nicholas Poyntz the Elder, and Sir
-Nicholas Poyntz the Younger. In the one he is represented almost
-full-face, with beard and bare head, a free drawing without the black
-lines, and somewhat rubbed. The other is a small head in profile to the
-left, with a short beard and moustache, wearing a round cap with white
-feather, and a gold chain on his shoulders. There seems to be no great
-difference between the ages of the two, and as Nicholas Poyntz’s father
-was named Anthony, probably the inscription on the first-named drawing
-is incorrect, and the sitter is not a member of this family. There are
-various portraits based upon the second drawing, all apparently
-contemporary copies of a lost original.[153] One of them was lent by the
-Marquis of Bristol to the Tudor Exhibition, 1890 (No. 79). It is a
-life-size portrait, half-length, in a black dress, on panel, 24 × 17 in.
-Another is described by Woltmann, who saw it in the possession of the
-Marquis de la Rosière in Paris.[154] It was photographed by Braun, but
-since then has disappeared. It agrees with the drawing and Lord
-Bristol’s picture. Both are inscribed on the right-hand side of the blue
-background:—“ETATIS SVÆ 25. ANNO 1535,” and above, a three-lined French
-motto—“IE OBAIS A QVI IE DOIS. IE SERS A QVI ME PLAIST. ET SVIS A QVI ME
-MERITE.” Woltmann regarded the Paris example as a fine and genuine work
-by Holbein,[155] but it is only an old copy. There is another in the
-possession of Lord Spencer at Althorp. Wornum notes a miniature on
-vellum, with a plain blue background, then in the possession of Mr. R.
-S. Holford, of Dorchester House, which corresponds with the Windsor
-drawing.[156] Sir Nicholas Poyntz was the eldest son of Anthony Poyntz,
-of Iron Acton, Gloucestershire, and Elizabeth, daughter and heir of
-William Hudson, of Devonshire. He does not appear to have held any
-office in connection with the Court. He married Joan, daughter of
-Thomas, Lord Berkeley, and died in 1557.
-
-Footnote 151:
-
-  Woltmann, 301; Wornum, i. 9; Holmes, i. 47. Reproduced by Davies, p.
-  220; and in _Drawings of Hans Holbein_ (Newnes), Pl. xx. A fine head
-  of “John Poines,” on a reddish ground, was in the recently dispersed
-  collection of Mr. J. P. Heseltine.
-
-Footnote 152:
-
-  Woltmann, 299, 300; Wornum, i. 19, 36; Holmes, i. 37, ii. 26;
-  reproduced in _Drawings of Hans Holbein_, Pl. xxii. xxv.
-
-Footnote 153:
-
-  This original is in Lord Harrowby's collection. See Appendix (K).
-
-Footnote 154:
-
-  Woltmann, 239. Reproduced by Ganz, _Holbein_, p. 217. There was a
-  portrait of the “Cavaglier Points” in the Arundel Collection.
-
-Footnote 155:
-
-  Woltmann, i. pp. 408-9.
-
-Footnote 156:
-
-  Wornum, p. 404. It was included in the Exhibition of Miniatures held
-  at South Kensington in 1865, No. 763.
-
-[Sidenote: PORTRAIT OF NICOLAS BOURBON]
-
-Another portrait painted by Holbein in 1535 was that of the French poet,
-Nicolas Bourbon de Vandœuvre, who was in England during that year.
-Bourbon was court-poet to Francis I, but eventually fell into disgrace
-owing to certain passages in his poems. In 1534 he was thrown into
-prison, from which he was finally released through the intervention of
-Henry VIII, whose interest in him had been aroused both by Anne Boleyn,
-who had made his acquaintance during her residence at the French Court
-in her younger days, and also by Henry’s physician, Dr. Butts. To show
-his gratitude he came over to England in 1535, and found plenty of
-employment in court circles as an instructor of youth. He returned to
-France in 1536, leaving many friends behind him. While in London he
-appears to have lodged with Cornelis Hayes, one of the chief goldsmiths
-employed by the King. Among his more intimate friends were Kratzer and
-Holbein, as may be gathered from a letter which he wrote after his
-return to France to Thomas Solimar, the King’s secretary, in which he
-says:—“I have yet to beg you to greet in my name as heartily as you can
-all with whom you know me connected by intercourse and friendship: Mr.
-Thomas Cranmer, the Archbishop of Canterbury ... Mr. Cornelius Heyss, my
-host, the King’s goldsmith; Mr. Nicolaus Kratzer, the King’s astronomer,
-a man who is brimful of wit, jest, and humorous fancies; and Mr. Hans,
-the royal painter, the Apelles of our time. I wish them from my heart
-all joy and happiness!”[157]
-
-Footnote 157:
-
-  Quoted by Woltmann, i. p. 404.
-
-Bourbon held Holbein’s art in the greatest admiration, and more than one
-reference to it, couched in terms of high praise, appears in his printed
-works. The original study for the portrait Holbein painted of him is
-among the Windsor drawings,[158] but the picture itself has disappeared.
-In the sketch he is represented turned to the left, with a pen in his
-hand, as though in the act of composing. He has a small beard, and wears
-a black cap over his long hair, and looks thoughtfully in front of him,
-the right arm and hand being only roughly indicated. It is inscribed
-“Nicholas Borbonius Poeta,” and is a fine drawing, in excellent
-condition, but some doubts have been expressed as to whether it really
-represents the poet. Bourbon was delighted with the portrait Holbein
-painted of him, and sings its praises in an epigram on the “incomparable
-painter” Hans Holbein, which he published in his _Nugae_. It runs:
-
-Footnote 158:
-
-  Woltmann, 311; Wornum, i. 30; Holmes, i. 54. Reproduced by Knackfuss,
-  fig. 123; _Drawings of Hans Holbein_, Pl. xxxv.
-
-              “Dum divina meos vultus mens exprimit Hansi,
-               Per tabulam docta præcipitante manu,
-               Ipsum et ego interea sic uno carmine pinxi:
-               Hansus me pingens major Apelle fuit.”
-
-    (“While the divine genius of Hans immortalises my features,
-    tracing them on the panel with skilful hand, I also have painted
-    him thus in verse; Hans, thus painting me, was greater than
-    Apelles.”)
-
-Holbein made a smaller drawing of the portrait, which was produced as a
-woodcut for the 1538 edition of Bourbon’s poems, the _Nugae_. In this
-also the poet is engaged in writing, but the position is reversed. It is
-inscribed “Nic. Borbonius Vandop. Anno Aetatis xxxii. 1535.” The
-portrait is circular, within a square, the corners being filled in with
-Renaissance ornament, and below two naked boys supporting a shield with
-Bourbon’s coat of arms, a swan surmounted by a cross. On the last page
-is printed the following:
-
-                             “IN IMAGINEM SVI.
-              Corporis effigiem pictor saepe exprimit arte:
-                Forma animi nulla pingier arte potest.
-              Corpora corporeo mortalia lumine cernis,
-                O homo: noto Deus pectora solus habet.”
-
-Both his friendship for Holbein and his admiration for his art find
-expression in a further poem or epigram printed in the _Nugae_, headed
-“In picturam Hansi regii apud Britannos pictoris et amici.” The verses
-describe a miniature painting by Holbein:
-
-             “Sopitum in tabula puerum meus Hansus eburna
-                Pinxerat, et specie qua requiescit Amor:
-              Ut vidi, obstupui, Chaerintumque esse putavi,
-                Quo mihi res non est pectore chara magis
-              Accessi propius, mox saevis ignibus arsi;
-                Osculaque ut coepi figere, nemo fuit.”
-
-    (My Hans has painted on an ivory panel a slumbering boy, looking
-    like a reposing Cupid; I see him, I am astonished, I regard him
-    as Charintus, whom my heart loves most warmly; I approach
-    burning with passion, yet as I kiss him, it is only a
-    semblance.)
-
-All traces of this miniature, which Bourbon extols so highly, have
-disappeared. Two other laudatory references to Holbein occur in the
-_Nugae_. In the 1538 edition, which was published in Lyon in the same
-year as the “Dance of Death” cuts and the Old Testament illustrations,
-the following lines have reference to the former designs:
-
-                    “_De morte picta a Hanso pictore nobili._
-            Dum mortis Hansus pictor imaginem exprimit,
-            Tanta arte mortem retulit, ut mors vivere
-            Videatur ipsa: et ipse se immortalibus
-            Parem Diis fecerit operis huius gloria.”
-
-          (On the picture of Death by the noble painter Hans.
-
-    Painter Hans has expressed the image of Death with so much art,
-    that Death himself now seems a living being, and he by the glory
-    of his work has made himself the compeer of the immortal gods.)
-
-[Sidenote: NICOLAS BOURBON AND HOLBEIN]
-
-These verses read as though they were written to accompany the first
-edition of the “Dance of Death” woodcuts, but for some reason were never
-used. They are interesting, too, as containing the only contemporary
-reference to Holbein as the actual designer of the series. In the same
-edition occur the following lines:
-
-                “Videre qui vult Parrhasium cum Zeuxide,
-                  Accersat a Britannia
-                 Hansum Ulbium et Georgium Reperdium
-                  Lugduno ab urbe Galliae.”
-
-which may be paraphrased as—“Whoever wishes to see the painter equal to
-Parrhasius or Zeuxis must call Hans Holbein from England and Georgius
-Reperdius from the French town of Lyon.” Reperdius was the Italian
-engraver Reverdino, about whom little is known, except that much of his
-engraved work was after Primaticcio. The latter was working at
-Fontainebleau at this period, and, if Bourbon is to be believed,
-Reperdius was settled in Lyon, where the poet probably met him when
-visiting that town for the purpose of making arrangements for the
-republishing of his _Nugae_.
-
-For the second edition of the “Old Testament” illustrations, published
-in 1539, Bourbon furnished, as already noted,[159] a Latin poem in which
-Holbein, as the designer of the woodcuts, is compared with and placed
-above the greatest painters of antiquity. It describes a scene in
-Elysium, in which the three great Greek painters, Apelles, Zeuxis and
-Parrhasius appear:
-
-Footnote 159:
-
-  See Vol. i. p. 227.
-
-               “Nuper in Elysio cum forte erraret Apelles
-                Una aderat Zeuxis, Parrhasiusque comes.”
-
-Apelles breaks forth into a lament over the eclipse of their fame
-brought about by Holbein, and exclaims:
-
-              “Holbius est homini nomen, qui nomina nostra
-               Obscura ex claris ac prope nulla facit.”
-
-The verses are too long for quotation. Bourbon has added to them a Greek
-distich, with its translation into Latin:
-
-            “Cernere vis, hospes, simulacra simillima vivis?
-             Hoc opus Holbinae nobile cerne manus.”
-
-[Illustration:
-
-  VOL. II., PLATE 13
-  TITLE-PAGE OF COVERDALE’S BIBLE
-  1535
-  _From a copy in the British Museum_
-]
-
-No other portrait by Holbein can be definitely attributed to the year
-1535. It was in this year that he lost two of his first English patrons,
-and both on the scaffold—Sir Thomas More and Bishop Fisher, and his
-distress must have been keen, more particularly over the death of the
-former, who had done so much for him when he first arrived in London, a
-practically unknown foreign painter, with no knowledge of the English
-language. One other work of his, however, the design for the title-page
-of Coverdale’s Bible, in the publication of which Thomas Cromwell was
-greatly interested, was issued in this year, and possibly it was he who
-placed the commission in Holbein’s hands. It is interesting to note that
-Holbein, who illustrated the first translations of the Bible into German
-in Switzerland, also supplied a design for its first complete rendering
-into English, which was published under the title of “Biblia. The Bible,
-that is, the holy Scripture of the Olde and New Testament, faithfully
-and truly translated out of Douche and Latyn in to Englishe, M.D.XXV.”
-This fine folio was printed in Zürich by Froschover, and no doubt
-Holbein’s title-page[160] (Pl. 13) was also cut abroad, for there was no
-one in England at that time capable of producing so excellent an
-engraving. The design is divided into six little pictures which surround
-the title. The one across the top contains the Fall and the Redemption;
-on the left Adam and Eve stand under the Tree, and on the right Christ
-rises from the tomb, triumphant over Death and Hell. On the left-hand
-side of the page Moses is shown on Mount Sinai receiving the Tables of
-the Law, and beneath him is a representation of Ezra reading the Old Law
-to the Jews on their return from the Captivity. On the opposite side, in
-the upper picture, Christ is sending forth His disciples into the world
-to preach the gospel, and in the lower Paul is seen preaching. In the
-panel across the bottom of the page Henry VIII is seated on his throne
-under a canopy, with a sword of state in one hand and a Bible in the
-other, which he presents to the high dignitaries of the Church and the
-nobles of his Court, who kneel below him. On either side within arched
-niches are the figures of King David playing the harp, and the Apostle
-Paul. The King is represented with a beard, which became the fashion in
-the year Coverdale’s Bible was published, but in facial likeness there
-is little resemblance to Henry, due, possibly, to the fact that the
-block was cut in Switzerland. The design, as a whole, is a particularly
-fine and effective one, and has not suffered to any great extent from
-the cutting, which is good, though not the handiwork of a Lützelburger.
-Certain of the figures are of great beauty, in particular those of the
-risen Christ, the Adam and Eve, and the Paul. The resemblance, in facial
-type and movements, between the figure of the Saviour sending forth His
-disciples to preach and the Christ in the “Noli me Tangere” picture at
-Hampton Court, has been already noted.[161]
-
-Footnote 160:
-
-  Woltmann, 237. Reproduced by Woltmann, i. dedication; Davies, p. 192.
-
-Footnote 161:
-
-  See Vol. i. p. 97.
-
-The few designs which Holbein made for woodcuts while in England appear
-to have been all done at about this time, when the abuses of the Church
-were being attacked most severely and the monasteries were being swept
-away; though some of them were not actually published until some years
-later. In them Holbein, just as he had done in his woodcuts produced in
-Basel, in no way attempts to disguise his adherence to the reformed
-religion. This feeling was shown very strongly in a series of twenty-two
-small satirical drawings of the Passion which appear to have been
-preserved in a little book, now unfortunately lost. At one time it was
-in the possession of the Earl of Arundel, and was shown by him to
-Sandrart as a work of Holbein’s. The latter mentions it in his _Teutsche
-Akademie_, stating that each sheet was full of little figures of every
-kind, that of the Redeemer always appearing under the form of a monk
-attired in black. Sixteen of these designs were engraved in the
-seventeenth century, no doubt while in the Arundel collection, and most
-probably by Hollar, though they are unsigned and have not the customary
-“Ex Collec. Arundell:” beneath them. In them “the enemies of Christ are
-represented in the dress of monks and friars, and instead of weapons
-they bear croziers, large candlesticks, and other church ornaments;
-Judas appears as a capucin, Annas as a cardinal, and Caiaphas as a
-bishop. In the subject of Christ’s Descent to Hades the gates are hung
-with papal bulls and dispensations; above them are the Pope’s arms, and
-the devil as keeper of the gate wears a triple crown.”[162]
-
-Footnote 162:
-
-  Chatto, _Treatise on Wood Engraving_, p. 378, note. Described more
-  fully by Woltmann, i. 395-7. See also Walpole, _Anecdotes_, ed.
-  Wornum, i. p. 98.
-
-Woltmann describes a second title-page, very finely cut, which he
-considers to have been produced during Holbein’s sojourn in England. So
-far it has not been discovered in any published book, but there is a
-fine proof of it in the Munich Print Room. On either side stand St.
-Peter and St. Paul, the latter pointing upwards, two tall slender
-figures. They appear as pillars of the church, and are represented as
-supporting the blank title itself, which is in the form of a paper
-scroll. In an arch above is Christ risen from the Tomb, trampling upon
-Death and Satan, and below are the arms of Henry VIII supported by two
-heraldic beasts.[163]
-
-Footnote 163:
-
-  Woltmann, 238.
-
-Something of the same satirical feeling shown in the lost drawings of
-the Passion is to be seen in two or three small woodcuts of this
-period, which, from the inferiority of the cutting, were very probably
-produced in England. Two of them appeared among the twenty-six little
-cuts in _Cranmer’s Catechism_, a small octavo volume published in
-1548, the full title being, “Catechismus, that is to say, a shorte
-instruction into Christian religion for the singular commoditie and
-profyte of childrē and yong people. Set forth by the mooste reverende
-father in God, Thomas Archbyshop of Canterbury, primate of all
-Englande and Metropolitane.—Gualterus Lynne excudebat, 1548.” The
-first of Holbein’s two small pictures (folio CL) represents the
-parable of the Pharisee and the Publican,[164] the scene taking place
-in a church, with the Pharisee as a monk, kneeling at an altar, whom
-Christ points out to His disciples, while the Publican stands with
-head bent in front of them. On the edge of a book on the altar steps
-are the initials “H. H.” The subject of the second cut (folio CCI) is
-Christ casting out the Devil from the possessed man,[165] which, in
-spite of the unsatisfactory cutting, is very dramatic and retains much
-of the beauty and individuality of Holbein’s design. The Pharisees and
-others who stand behind are represented as bishops, monks and priests.
-It is signed in full “HANS HOLBEN.” A third woodcut, very similar to
-these, but still more feeble in execution, represents Christ as the
-Good Shepherd,[166] surrounded by His disciples, and pointing to the
-“hired servant,” here again dressed as a monk, who is flying before
-the wolf which scatters his frightened flock. This also is signed in
-full “HANS HOLBEIN.” It appears in a small English pamphlet, “A lytle
-treatise after the manner of an Epystle, wryten by the famous clerk
-Doctor Vrbanus Regius,” which was also published by Walter Lynne, in
-the same year, 1548, as the Catechism.
-
-Footnote 164:
-
-  Woltmann, 198. Reproduced by Chatto, p. 380; and in _Hans Holbein_
-  (Great Engravers Series), ed. A. M. Hind.
-
-Footnote 165:
-
-  Woltmann, 199. Reproduced by Woltmann, i. p. 391; Chatto, p. 381;
-  Wornum, p. 191; and in _Hans Holbein_ (Great Engravers Series), ed. A.
-  M. Hind.
-
-Footnote 166:
-
-  Woltmann, 200. Reproduced by Woltmann, i. p. 399.
-
-A third, and more important, publication of 1548, _Hall’s Chronicle_,
-contains a large folio woodcut representing King Henry VIII in
-Council,[167] which Woltmann regarded as undoubtedly of Holbein’s
-design. The scene takes place in a magnificent chamber hung with
-tapestries, with the King, his legs apart in his characteristic
-attitude, seated on a throne beneath a baldachin bearing his arms. He is
-surrounded by his councillors, twenty-seven in number, some listening,
-others lost in thought, and others again whispering among themselves.
-The cutting is excellent, and was probably done in Switzerland. The
-socle with the framework enclosing the inscription “King Henry the
-eyght,” and the two supporting sirens, are almost identical with the
-socle and supports in the beautiful woodcut of Erasmus with the figure
-of Terminus already described. These, with the small portraits of Wyat
-and Bourbon, and the “Charitas” device for Reinhold Wolfe, constitute
-almost the whole of Holbein’s work as a book-illustrator while in
-England.
-
-Footnote 167:
-
-  Woltmann, 210. Reproduced by Dibdin, _Typographical Antiquities_, vol.
-  iii. It bears the engraver’s initials, “I. F.,” possibly Faber.
-
-[Sidenote: PORTRAIT OF SIR THOMAS WYAT]
-
-There are several undated portraits and studies for portraits which must
-have been produced between the years 1535 and 1537, among them the
-likeness of Sir Thomas Wyat, the famous poet and courtier, whose father,
-Sir Henry Wyat, had been painted by Holbein during his first English
-visit. Wyat was about the Court during the period under discussion; a
-few years later he was often absent from England on foreign embassies.
-There is a study for his portrait among the Windsor drawings (Pl.
-14)[168] which is one of the finest in the collection, though
-considerably rubbed and stained, and also a good, possibly contemporary,
-copy.[169] He is represented nearly full-face, wearing a cap, and with a
-long flowing beard, both hair and beard being modelled with the brush.
-The portrait which must have been painted from this singularly
-attractive study is not now known to exist; a small painting in oils
-corresponding to the drawing, but not by Holbein, was exhibited by Mr.
-Bruce at the National Portrait Exhibition in 1866. A second portrait of
-Sir Thomas was drawn by Holbein at a somewhat later date, which was
-reproduced as a woodcut, shortly after the poet’s death, in the little
-book entitled _Næniæ in Mortem Thomæ Viati Equitis Incomparabilis_,
-written by John Leland, the antiquary, in honour of his memory, and
-published in 1542. The portrait,[170] which is a small roundel in the
-style of the circular portraits in wax or boxwood which were at that
-time much in vogue, may have been drawn by Holbein himself on the block.
-The engraving itself is somewhat crudely done, but was, no doubt, the
-best that could be procured at that time in London; yet in spite of its
-roughness the little portrait is a true likeness, full of character,
-such as no one in England but Holbein could have produced. Wyat is
-represented almost in profile to the right, with a long beard and a high
-bare forehead, bearing out Leland’s description in his panegyric that
-“nature had given the youth dark auburn hair, but this gradually
-disappeared and left him bald, but the thick forest of his flowing beard
-increased more and more.” The neck is bare, and bounded by a slight
-drapery in the classical manner, giving it the appearance of a
-medallion. Underneath the woodcut, which is printed on the reverse of
-the title, are the following lines in praise of both painter and poet:
-
-Footnote 168:
-
-  Woltmann, 289; Wornum, i. 18; Holmes, i. 32. Reproduced by Knackfuss
-  fig. 139, and elsewhere.
-
-Footnote 169:
-
-  Woltmann, 290; Wornum, i. 40; Holmes, not numbered.
-
-Footnote 170:
-
-  Woltmann, 209; reproduced by him, i. 364.
-
-                      “_In Effigiem Thomæ Viati._
-            “Holbenus nitida pingendi Maximus arte
-             Effigiem expressit graphice; sed nullus Apelles
-             Exprimet ingenium felix animumque Viati.”
-
-    (Holbein, the greatest in the magnificent art of painting, has
-    sketched this portrait, yet no Apelles can express in painting
-    Wyat’s mind and happy genius.)
-
-[Illustration:
-
-  VOL. II., PLATE 14
-  SIR THOMAS WYAT
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-[Sidenote: PORTRAIT OF SIR THOMAS WYAT]
-
-The drawing, no doubt, was made by Holbein on purpose for the book, but
-whether it was an original study from memory, or was based on a portrait
-of Wyat he had painted some little time previously, is uncertain.
-Several circular oil paintings exist which are either founded upon the
-_Næniæ_ woodcut, or are contemporary copies of a portrait by Holbein
-which cannot now be traced. The latter is the more probable supposition,
-as in all the paintings the head is turned to the left, whereas in the
-woodcut it faces to the right, not having been reversed when drawn on
-the block. One of these versions, formerly in the collection of the
-Marquis of Hastings, who lent it to the National Portrait Exhibition,
-1866, is now in the National Portrait Gallery (No. 1035);[171] a second,
-apparently a copy from the former, is in the Bodleian Library at Oxford.
-This latter was in the Tudor Exhibition, 1890 (No. 169), the Oxford
-Exhibition of Historical Portraits, 1904 (No. 24), and the Burlington
-Fine Arts Club Exhibition, 1909 (No. 50). It is a bust, three-quarters
-to left, with dark hair, beard, and moustache, and bald forehead, red
-drapery round the shoulders, and a plain brown background; and is
-inscribed “SYR·THOMAS·WYAT.” A smaller circular portrait, also on an oak
-panel, belonging to the Countess of Romney, showing Wyat in the same
-position, but dressed in the costume of his day, with a black coat lined
-with white fur, is attributed to Lucas Cornelisz.[172] It is inscribed,
-“Sir Thomas Wiat. B.1503. D.1541. Lucas Cornelii,” but this is of a
-later period than the painting, and the date of Wyat’s death is given
-wrongly. The head is in the same position as in the _Næniæ_ woodcut. On
-the back of this portrait was at one time another panel, which now hangs
-by it in Lady Romney’s collection, representing Wyat’s “Maze,” and
-painted as a record of an amusing incident in his diplomatic mission to
-Italy in 1527. In the centre of the maze is shown a falling centaur with
-the Pope’s triple crown on his head. There was a portrait of a Wyat in
-the Arundel collection (_il ritratto del Cavaglier Wyat_), but whether
-this was one of Sir Thomas, or the one of his father, now in the Louvre,
-is uncertain.
-
-Footnote 171:
-
-  Reproduced in Mr. Cust’s illustrated catalogue of National Portrait
-  Gallery, vol. i. p. 20.
-
-Footnote 172:
-
-  Reproduced in _Burlington Magazine_, vol. xvi., December 1909, p. 155.
-
-There are two very similar circular portraits in existence of Wyat’s
-son, Sir Thomas Wyat, the younger, which bear so strong a likeness to
-the portraits of his father that at first sight they appear to have been
-painted from the same original. One of them was lent to the Burlington
-Fine Arts Club, 1909 (No. 48), by the Rt. Hon. Lewis Fry, and the other
-belongs to Lady Romney.[173] He is shown in profile, to the left,
-looking upwards, the neck cut off at the beginning of the shoulders, as
-in the portraits of his father, and wearing a slight, light brown
-moustache, pointed beard, and short hair. Lady Romney’s version is of
-the same size as the Cornelisz portrait, while Mr. Fry’s more nearly
-approaches that of the National Portrait Gallery and Oxford portraits of
-his father. Mr. Fry’s panel was once in the collection of Charles I,
-having his brand on the back, and it is possibly the portrait which was
-in the possession of John, Lord Lumley, in 1590. The “classical”
-treatment followed in the cutting short of the bare neck has led to the
-erroneous supposition that the portrait has reference to Wyat’s
-decapitation in 1554 for rebellion against Queen Mary. It is possible
-that these portraits of the younger Wyat are based on a lost original by
-Holbein. He was born in 1521, so that he would have been twenty-two at
-the time of Holbein’s death. Mr. Roger E. Fry sees in Mr. Lewis Fry’s
-version a predominant Flemish influence. “It remains,” he says, “one of
-the most inscrutable riddles of the exhibition. It is a work of such
-great technical excellence that its authorship ought to be discoverable.
-It seems probable that it was painted in England and from life.”[174]
-
-Footnote 173:
-
-  Both reproduced in _Burlington Magazine_, vol. xvi., December 1909, p.
-  158; and the former in the illustrated edition of the Exhibition
-  Catalogue, Pl. xvi.
-
-Footnote 174:
-
-  _Burlington Magazine_, vol. xv., May 1909, p. 75.
-
-The very interesting and beautiful portrait of a lady lent by Major
-Charles Palmer to the Royal Academy Winter Exhibition, 1907 (No. 13),
-and to the Burlington Fine Arts Club, 1909 (No. 64) (Pl. 15),[175] is
-now identified, with some degree of certainty, as a portrait of Sir
-Thomas Wyat the elder’s sister, Margaret Wyat, Lady Lee. This
-identification is based upon an enlarged version of the portrait in the
-possession of Viscount Dillon at Ditchley, Oxfordshire, which, according
-to family tradition, is said to represent that lady, who was the wife of
-Sir Anthony Lee, and the mother of Sir Henry Lee, K.G. She is shown at
-three-quarters length, three-quarters to the left. Her hair, of reddish
-gold, is almost hidden by her black and white French hood decorated with
-a band of pearls arranged in groups of four, alternating with small
-panels of gold filigree work. Her dress is of dark-brown damask, puffed
-at the shoulders, and ornamented with numerous gold tags or points, and
-a rose-coloured petticoat. Her hands are clasped in front of her, and
-she holds by a short ribbon a circular gold medallion on which is a
-figure of Lucrece above a dark oblong stone. On her right hand are two
-signet rings, one with a red and one with a dark stone. The dress, open
-at the neck, shows a white collar or lining, and white ruffles cover her
-wrists. A rose in red enamel is at her breast, and a gold chain round
-her neck. Across the plain dark green background is inscribed,
-“ETATIS·SVÆ·34.” It is on panel, 16½ in. × 12½ in. Her long, very sharp
-nose resembles that of her brother, and her complexion is of a somewhat
-unpleasant reddish tone. The drawing of the face, and particularly of
-the hands, is very delicate. It is now in the Collection of Mr. Benjamin
-Altman, New York.
-
-Footnote 175:
-
-  Reproduced in _Burlington Magazine_, vol. xv., June 1909,
-  frontispiece; illustrated catalogue of Burlington Fine Arts Club
-  Exhibition, Pl. xxii.; and Ganz, _Holbein_, p. 143.
-
-[Illustration:
-
-  VOL. II., PLATE 15 PORTRAIT OF A LADY
-  (Probably Margaret Wyat, Lady Lee)
-  UNTIL RECENTLY IN THE COLLECTION OF MAJOR CHARLES PALMER, NOW IN THAT
-    OF MR. BENJAMIN ALTMAN, NEW YORK
-]
-
-[Sidenote: PORTRAIT OF MARGARET WYAT, LADY LEE]
-
-Opinion, so far, is divided as to whether this fine work is by Holbein
-or not. The first impression received is that it is certainly not by
-him, from the flatness of the modelling of the face, a certain hardness
-in the execution, and the rather unpleasant red tone of the complexion;
-but further examination considerably modifies this opinion. It is
-difficult, if the attribution to Holbein is rejected, to suggest the
-name of any other artist then practising in England, who possessed the
-ability to produce a portrait as fine and as remarkable as this one is.
-To Sir Martin Conway “it appears to be obviously and all over
-Holbein.”[176] Mr. Roger E. Fry says that “opinion is so divided that it
-would be rash to dogmatize. The picture is in wonderful condition and is
-entirely in Holbein’s manner. Indeed, it must in any case be derived
-directly from a drawing by Holbein. The only question to be settled is
-whether the master himself ever became so entirely the craftsman
-absorbed in the technical perfection of his work to the exclusion of the
-larger issues of expression; whether he could have ever so far lost his
-sense of relief, treated line so entirely as a matter of edge with so
-little sense of the mass it should define. Such questions can only be
-decided by a gradual consensus of opinion. My own belief is that it will
-be decided ultimately against Holbein’s having actually executed the
-painting, though I am bound to admit no other known imitator comes as
-near to Holbein himself as does the author of this.”[177] Dr. Ganz
-regards it as a genuine work by Holbein, and dates it 1540, drawing
-attention to the similarity of the enamelled rose fastened to her dress
-to the one worn by Lady Butts, who was painted by Holbein at about that
-date.[178] It will be seen that the critics are divided; and it is
-certainly by no means easy to arrive at a definite conclusion. It is
-interesting to note, as a minor point, that the gold tags with which
-Lady Lee’s dress is decorated are very similar to those on the surcoat
-of Sir Thomas Wyat in the Lucas Cornelisz portrait, and are arranged in
-much the same manner.
-
-Footnote 176:
-
-  _Burlington Magazine_, vol. xvi., December 1909, p. 159.
-
-Footnote 177:
-
-  _Ibid._, vol. xv., May 1909, pp. 74-5.
-
-Footnote 178:
-
-  See Ganz, _Holbein_, p. 245.
-
-The dated portraits of the year 1536 are only three, one of which, the
-Steelyard merchant, Derich Berck, has been already described.[179] The
-second is the portrait of Sir Richard Southwell in the Uffizi Gallery,
-Florence (Pl. 16),[180] of which there is an excellent replica in the
-Louvre. It was finished on the 10th July 1536, when Southwell was
-thirty-three years old. It is a small half-length figure, the face
-three-quarters to the right, wearing a black dress, open at the neck,
-with black satin sleeves, and a black cap with a circular gold medallion
-with a negro’s head carved in cornelian. His hands are folded, and he is
-wearing a gold ring with a green stone, and a gold chain round his neck.
-He is closely shaven, and his black hair, which partly covers his ears,
-is cut straight across the forehead. Across the plain dark green
-background is inscribed on either side of the head in gold lettering:
-
-Footnote 179:
-
-  See pp. 22-23.
-
-Footnote 180:
-
-  Woltmann, 149. Reproduced by Ganz, _Holbein_, p. 108.
-
-              “· X^O · IVLII · ANNO          ETATIS · SVÆ
-               · H · VIII · XXVIII           ANNO XXXIII.”
-
-It is on an oak panel about 19 in. high × 14 in. wide. This is one of
-Holbein’s finest portraits of his second English period, and displays a
-very subtle insight into what must have been an unattractive and in many
-ways despicable nature. The small brown eyes have a look of cunning, and
-the face with its smooth fat cheeks has few pretensions to comeliness.
-Southwell was heir to great wealth, and was brought up with Henry
-Howard, Earl of Surrey, and was intimate with the family of the Duke of
-Norfolk. In 1531 he was obliged to pay a fine of £1000 before he could
-obtain pardon for being concerned in a murder, yet three years later he
-was Sheriff of Norfolk. From 1535 onwards he took an active share in the
-dissolution of the monasteries, and was in all ways a willing and able
-tool of his royal master. His treachery helped to bring Sir Thomas More
-to the scaffold, and, later on, he played an even more treacherous part
-at the trial of his early companion, the Earl of Surrey. He was knighted
-in 1542, and appointed one of the King’s executors, and under Queen
-Elizabeth he became Master of Ordnance. Something of his unsavoury
-character is suggested by Holbein in his portrait, which is
-distinguished by its remarkable individuality and its fine technical
-qualities both in the flesh painting, more particularly in the hands and
-the eyes, and in all the details of the costume. Nothing is known of the
-history of the picture except that it belonged to the Earl of Arundel,
-who presented it to Cosimo II, Grand Duke of Tuscany, in 1620,[181] as
-one of the best Holbeins in his collection. It is still in its
-seventeenth-century frame, with a silver tablet engraved with the arms
-of England and the Medici, and an inscription, “Effigies domini Ricardi
-Southwelli Equitis aurati, consiliarii privati Henrici VIII, Regis
-Angliae.—Opus celeberrimi artificis Johannis Holbieni pictoris Regis
-Henrici VIII.”
-
-Footnote 181:
-
-  See _Rivista d’Arte_, vi. 5, 6, 1909.
-
-[Illustration:
-
-  VOL. II., PLATE 16
-  SIR RICHARD SOUTHWELL
-  1536
-  UFFIZI GALLERY, FLORENCE
-]
-
-[Sidenote: PORTRAIT OF SIR RICHARD SOUTHWELL]
-
-The replica in the Louvre (No. 2719)[182] corresponds in all its details
-with the Florence picture, and appears to be only a good old copy. It
-has on the back the seal of the Newton family, and was brought by
-Napoleon from Germany in 1806. Another copy was lent to the National
-Portrait Exhibition at South Kensington, 1866, by Mr. H. E. Chetwynd
-Stapylton. A portrait of Southwell, apparently based on Holbein’s
-picture, was lent to the Tudor Exhibition, 1890 (No. 217), by Mr. W. H.
-Romaine Walker. In this version Southwell’s coat of arms and the
-inscription “Copley Stili” are on the right-hand side of the background,
-and on the left “Richd. Southwell of Horsham St. Faith’s in Norfolk
-ÆT.95.” The age in this inscription is altogether wrong, for Southwell
-was fifty-seven at his death in 1561.
-
-Footnote 182:
-
-  Reproduced by Ganz, _Holbein_, p. 218.
-
-Holbein’s study for the portrait is one of the most remarkable among the
-Windsor drawings.[183] The head and shoulders only are shown, but
-otherwise it is almost identical with the Uffizi panel; even the four
-black buttons which stand out against the white shirt are indicated in
-the same position as in the finished work. It is inscribed “[A]NNO
-ETTATIS SVÆ 33,” and bears the note in Holbein’s own handwriting, “die
-augen ein wenig gelbass” (the eyes a little yellowish). This study,
-which is about 16 in. × 11 in., is in excellent condition.
-
-Footnote 183:
-
-  Woltmann, 304; Wornum, i. 20; Holmes, i. 34. Reproduced by Davies, p.
-  180; Ganz, _Hdz. von H. H. dem Jüng._, Pl. 37; _Drawings of Hans
-  Holbein_, Pl. xlvi; and elsewhere.
-
-The third portrait of 1536 represents Sir Thomas le Strange. It is on
-panel, 15¼ × 10½ in., and was exhibited at the Tudor Exhibition, 1890
-(No. 113), and at the Burlington Fine Arts Club Exhibition, 1909 (No.
-41), lent by Mr. Hamon le Strange.[184] It is a bust portrait,
-three-quarters to the left. The sitter has greyish hair cut straight
-across the forehead, and a short brown beard and moustache. His black
-cap has a number of gold tags and a medallion, and he wears a gown with
-a brown fur collar over a black dress, a pleated white collar from which
-long tags hang down, and a long gold chain over his shoulders. Across
-the top, on the green-blue background, is the repainted inscription
-“ANNO D^E 1536 ÆTATIS SVÆ 43.” It has suffered considerable repainting
-about the face, but it is a picture of much interest, and since it was
-last exhibited has been acknowledged by most of the leading critics to
-be a genuine work by Holbein. The original drawing for this picture,
-which shows some slight differences, is in the Windsor collection.[185]
-Sir Thomas Strange or le Strange, of Hunstanton, Norfolk, was born in
-1493, and entered the service of Henry VIII as esquire of the body, was
-knighted, and accompanied the king to the Field of the Cloth of Gold. He
-was High Sheriff of Norfolk in 1532, and died in 1545.
-
-Footnote 184:
-
-  Reproduced by Ganz, _Holbein_, p. 109, and in the illustrated
-  catalogue of the Burlington Fine Arts Club Exhibition, Pl. xii.
-
-Footnote 185:
-
-  Woltmann, 294; Wornum, i. 32; Holmes, ii. 6.
-
-A small, undated bust portrait of Lady Vaux, wife of Thomas, second Lord
-Vaux, of Harrowden, the poet, has every appearance of belonging to this
-period. There are two versions of it, one in the Prague Gallery (No.
-608),[186] and one at Hampton Court (No. 591 (337)).[187] Dr. Ganz
-regards both as old copies, but Sir Claude Phillips considers the former
-to be the original work by Holbein, and A. von Zahn says that it is
-indubitably original, but has suffered so severely and has been so
-heavily over-painted that little of Holbein’s handiwork is left. The
-Hampton Court version is the better of the two, and is apparently an
-excellent copy, though in technique of a somewhat later date.[188] It
-has been held, nevertheless, by most English writers to be a genuine but
-badly-damaged work of Holbein. The head has been repainted, which gives
-it that faded appearance noted by Mr. Wornum[189] and Dr. Waagen,[190]
-though the latter attributed it to “the attempt to give the refinements
-of the modelling in grey half-tones,” in doing which Holbein “sacrificed
-the warm local colours observable in his earlier pictures.” On the other
-hand, many of the accessories, such as the gold-and-enamel medallion,
-the chain round her neck, the ring, and the cuffs, display a delicacy of
-execution not easily attributable to anyone but Holbein. She is
-represented to the waist, almost full-face, the body turned slightly to
-the spectator’s left, and is dressed in black, with ermine upon the
-sleeves, and the customary diamond-shaped hood, edged with pearls, and
-with a black fall. She wears a thin black chain round her neck, and at
-her breast a circular brooch with a figure of the Virgin enthroned. Her
-hands rest in her lap, and in her right she holds a pink. It is on
-panel, 1 ft. 3 in. high by 11¼ in. wide. Mr. Law suggests that it is
-identical with “The picture of Madame de Vaux, by Holbein,” which was
-among the Duke of Buckingham’s pictures sent to be sold at Antwerp,
-whence it presumably returned with the “Dutch Gift,” and may, perhaps,
-be identified with No. 410 in James I’s catalogue, described as “One of
-King Henry VIII’s Queens, holding a gillyflower.”[191] There is a study
-for the head among the Windsor drawings,[192] in which the strengthening
-lines are exceptionally hard and pronounced, and mar an otherwise fine
-drawing. Holbein also painted her husband, though the picture has been
-lost, but the very beautiful drawing for it, described in a later
-chapter,[193] remains at Windsor. There is a second study of Lord Vaux
-by Holbein in the same collection.
-
-Footnote 186:
-
-  Woltmann, 243. Reproduced by Ganz, _Holbein_, p. 220.
-
-Footnote 187:
-
-  Woltmann, 163. Reproduced by Law, _Royal Gallery of Hampton Court_, p.
-  212; Ganz, _Holbein_, p. 221.
-
-Footnote 188:
-
-  See Ganz, _Holbein_, p. 252.
-
-Footnote 189:
-
-  Wornum, p. 411.
-
-Footnote 190:
-
-  _Treasures of Art in Great Britain_, vol. ii. p. 361.
-
-Footnote 191:
-
-  Law, _Royal Gallery of Hampton Court_, p. 213.
-
-Footnote 192:
-
-  Woltmann, 321; Wornum, ii. 30; Holmes, i. 24. Reproduced by Davies, p.
-  218; Ganz, _Holbein_, p. xxxvii.; and elsewhere.
-
-Footnote 193:
-
-  See p. 257. See also pp. 52-53 with reference to the “Portrait of a
-  Musician” at one time considered to represent Lord Vaux.
-
-[Illustration:
-
-  VOL. II., PLATE 17
-  SIR NICHOLAS CAREW
-  _Drawing in black and coloured chalks_
-  BASEL GALLERY
-]
-
-[Sidenote: PORTRAIT OF SIR NICHOLAS CAREW]
-
-The portrait of Sir Nicholas Carew, Henry’s Master of the Horse, was
-probably painted during the earlier years of Holbein’s second residence
-in London. It could not have been done later than 1537, for in 1538
-Carew was thrown into prison for supposed connection with the conspiracy
-of Cardinal Pole and the Marquis of Exeter, and was beheaded on March
-3rd, 1539. There is a brilliant study for this portrait in the Basel
-Gallery (Pl. 17), a drawing in black and coloured chalks.[194] He is
-wearing body armour, and has a short beard and moustache; his hair is
-concealed by a close-fitting coif, and there are an octagonal medallion
-and a white feather in his black cap. It is one of the most masterly
-drawings Holbein ever made, searching in its truth, and of exact and
-delicate draughtsmanship.[195] As it was included among the collection
-of works by Holbein formed by his friend and admirer, Bonifacius
-Amerbach, it may have been presented to the latter by the artist himself
-when he was in Basel in 1538.
-
-Footnote 194:
-
-  Woltmann, 31. Reproduced by Davies, p. 212; Ganz, _Hdz. Schwz. Mstr._,
-  iii. 40, and _Holbein_, p. xxxiii. Dr. Ganz is of the opinion that
-  this drawing is of Holbein’s first English period, and that the
-  finished portrait was painted in 1527 or 1528. See _Holbein_, p. 238.
-
-Footnote 195:
-
-  It has been suggested that the fine drawing of an English lady in the
-  same collection is a portrait of Lady Carew, but it more probably
-  represents Lady Guldeford. See Vol. i. p. 321.
-
-The oil painting done from this study is in the collection of the Duke
-of Buccleuch and Queensberry, K.G.,[196] and was last publicly exhibited
-at the Burlington Fine Arts Club in 1909 (No. 45). It is a
-three-quarters length, turned to the left as in the drawing. The beard
-is brown, and the coif below the black hat is of cloth of gold. The
-octagonal gold badge represents a tree stem raguly and a banderole
-inscribed “SOLA.” He is wearing full plate-armour, and brown trunks
-slashed with cloth of gold. With his right hand he holds a white
-truncheon against his hip, and with the other grasps his sword by the
-scabbard. The background is a green damask curtain, and on a small
-cartellino in the left-hand bottom corner is inscribed in a cursive hand
-“SR NICHOLAS CAREWE, MASTER OF THE HORSE TO KING HENRY YE 8.” It is on a
-panel of unusual shape, being 36 in. high by 40 in. wide. This picture,
-as a whole, is a fine and interesting example of Tudor portraiture, but
-parts of it are certainly not by Holbein. The head is good, but the
-armour and many of the details are by some other, and possibly a later,
-hand. The probabilities are that it was begun by Holbein and finished by
-someone else; perhaps the arrest of Carew may have brought the
-completion of the work to an abrupt conclusion as far as Holbein was
-concerned. The fact that his name is given on the cartellino suggests
-that the portrait may be a posthumous one. It was not the usual custom
-at that time to place more than the date and the age of the person
-depicted upon the panel. Except in the form of a superscription to a
-letter held by the sitter, as in the Kratzer, Cromwell, and some of the
-Steelyard portraits, Holbein was not in the habit of adding the name to
-the pictures he painted in England. The “Duchess of Milan” is an
-exception,[197] but even here there is every probability that the
-cartellino was painted in at a later date. It is difficult to decide
-whether the Carew portrait was begun by Holbein and finished by some
-other hand, or whether it is an almost contemporary copy from some lost
-original. The head follows the Basel drawing closely, but as the latter
-was owned by Amerbach it is improbable that a copyist could have made
-use of it; so that, taking all things into consideration, it is safer to
-assume that Holbein himself had a share in its painting.[198] This
-portrait was in the possession of John, Lord Lumley, in 1590, and was
-sold from Lumley Castle in 1785 for ten guineas. In the inventory of
-1590 it is described as “Of S^r Nichls Carewe M^r of the horse to
-K:H:8”; and it is interesting to note that the words “drawne by Haunce
-Holbyn” are not added, as they are after several other works by the
-master which Lord Lumley possessed. It has been suggested that this
-portrait is the “Ritratto d’homo armato” of the Arundel inventory of
-1655, but if the picture remained in the possession of the Lumley family
-until 1785 this supposition cannot be correct. Symonds, in his
-Note-Books, has an entry of “A Ritratto of an English knight by Holbein
-who sits in a chayre and a table by him,” in the collection of the Earl
-of Northumberland in Suffolk House, which seems to refer to this
-picture.[199]
-
-Footnote 196:
-
-  Woltmann, 142. Reproduced in illustrated catalogue of Burlington Fine
-  Arts Club Exhibition, 1909, Pl. xv.; Ganz, _Holbein_, p. 77.
-
-Footnote 197:
-
-  Also the Cheseman portrait.
-
-Footnote 198:
-
-  Dr. Ganz, as already noted, considers it to be a genuine work of
-  1527-8.
-
-Footnote 199:
-
-  Quoted by Mr. C. H. Collins Baker in _Lely and the Stuart Portrait
-  Painters_, Vol. ii. p. 184.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XIX
-                    “SERVANT OF THE KING’S MAJESTY”
-
-Holbein’s entry into Henry VIII’s service—Painting of “Adam and
-  Eve”—Portraits of Henry VIII—The Whitehall fresco—Van Leemput’s copies
-  of it—The life-size cartoon of Henry VII and Henry VIII—Drawing at
-  Munich—Portraits of the King at Belvoir Castle, Petworth, St.
-  Bartholomew’s Hospital, Chatsworth, Warwick Castle, Hampton Court,
-  Windsor, Rome, and elsewhere—The portrait at Althorp—Portraits and
-  miniatures of Jane Seymour.
-
-
-THE exact date of Holbein’s entry into the royal service is unknown.
-Three records of the household expenditure of the King are in existence:
-the Accounts of Bryan Tuke, Treasurer of the Chamber, which extend from
-1st October, 20th Hen. VIII (1528) to May, 23rd Hen. VIII (1531), during
-which period Holbein was out of England; the Privy Purse Expenses of the
-King, from November 1529 to December 1532; and further Accounts of Tuke,
-as Treasurer, from Lady Day, 29th Hen. VIII (1538) to Midsummer, 33rd
-Hen. VIII (1541). Although Holbein was in England during the latter half
-of 1532, his name does not occur in the Privy Purse expenses, as it
-certainly would have done had he then been in the King’s employment.
-Unfortunately, no accounts have been preserved for the period between
-1533 and 1537, and so it is not until 1538 that we have definite proof
-that the painter was in receipt of a regular salary from the royal
-purse. The first entry referring to him is at Lady Day, 1538, when the
-following occurs: “Item, for Hans Holben, paynter, vii_li._ x_s._” As
-his salary of £30 a year, paid quarterly, was not as a rule paid in
-advance, he must have already been in the royal service at least three
-months earlier, that is in December 1537.
-
-[Sidenote: HOLBEIN’S ENTRY INTO ROYAL SERVICE]
-
-The first actual reference to him as painter to the King is contained in
-the letter of Nicolas Bourbon, already quoted, written early in 1536, in
-which he speaks of him as the “royal painter,” and it is to be inferred
-from it that Holbein already held that position in 1535, when the poet
-was in England and made his acquaintance. The circular miniature of Jane
-Seymour by Hilliard in the Windsor Collection, apparently copied from an
-original by Holbein, is inscribed “ANŌ DNĪ 1536 ÆTATIS SVÆ 27”; and the
-great painting of Henry VII, Henry VIII, Elizabeth of York, and Jane
-Seymour, with which Holbein covered one of the walls of the Privy
-Chamber at Whitehall, was done in 1537. None of the earlier portraits of
-Henry or of his two first queens, usually ascribed to Holbein, are
-authentic works of his, which affords some proof that he did not enter
-the royal service until after Jane Seymour had been crowned Queen in
-1536, or, if Bourbon is to be believed, that at least he did not do so
-until towards the end of Anne Boleyn’s life. The small portrait of Henry
-VIII on the frontispiece of Coverdale’s Bible, printed in 1535, bears
-little real likeness to the King, and may well have been designed by
-Holbein without any sitting from him; though, on the other hand, it may
-also be taken as some indication that he was already the King’s servant
-in that year. It is safer, however, to assume, as the evidence for an
-earlier year is so scant, that he received his first pay from the royal
-purse in the autumn of 1536.
-
-It is extraordinary, and indeed almost inexplicable, that Holbein was at
-work for so long a time in England before he received royal recognition.
-That this did not happen during his first sojourn in London is
-surprising enough, but that on his return he should remain for three or
-four years busily employed in painting portraits of people about Henry’s
-court, some of which the King must have seen, is still more difficult of
-explanation. Henry entered into keen but friendly rivalry with Francis I
-in his patronage of art, and was anxious at all times to induce good
-foreign artists to settle in England; and yet here was a painter of
-gifts which placed him high above his fellows, who, apparently, went
-quite unrecognised. This is the more remarkable when it is remembered
-that the King was well acquainted with, and had expressed his delight
-in, at least one work of Holbein done during his first English
-visit—“The Battle of Spurs,” which decorated the back of the arch of the
-temporary Banquet Hall at Greenwich. It is hardly possible that it was
-owing to any disinclination on Holbein’s own part, however anxious he
-may have been to retain his rights as a citizen of Basel. He could have
-entered Henry’s service for a year or two without renouncing his
-burghership, or becoming a naturalised English subject, and that he did
-obtain the post in the end seems to indicate that the obstacle, whatever
-it may have been, was not one of his own making. It was, on the other
-hand, an honour to which he would aspire, and the possibility of holding
-some such position must have been one of the reasons which induced him
-to visit this country, as it was with all the foreign artists and
-craftsmen who made London their temporary home. A satisfactory
-explanation of this mystery is hard to find, and unless further evidence
-is discovered, it must remain unsolved.
-
-That there is some possibility that Holbein was indirectly employed by
-the Crown even earlier than 1535 is suggested by an interesting
-memorandum dealing with goldsmiths’ work published in the Calendars of
-Letters and Papers. The paper is undated, but is placed by the editor
-under the year 1534. It is an account rendered to the King’s Secretary,
-Thomas Cromwell, by the Dutchman Cornelis Hayes, one of the leading
-foreign goldsmiths in London during Henry’s reign, who was constantly
-employed by the King and the court. The articles supplied were
-apparently for the royal service, the chief among them being an
-elaborately decorated silver cradle, which may possibly have been for
-the use of the Princess Elizabeth, who was born on the 7th September
-1533. The document runs as follows:
-
-“Parcels delivered to Mr. Secretary by me, Cornelys Hayes, goldsmith. A
-silver cradle, price 16_li._ For making a silver plate, altering the
-images, making the roses underneath the cradle, the roses about the
-pillars, and new burnishing, 13_s._ 4_d._ For the stones that were set
-in gold in the cradle, 15_s._; for fringes, the gold about the cushions,
-tassels, white satin, cloth of gold, lining, sypars, and swadyl-bands,
-13_s._ 6_d._ Total, 18_li._ 1_s._ 10_d._ The silver that went to the
-dressing of the Adam and Eve, the making of all the apples, the gilding
-of the foot and setting of the currall (coral), 33_s._ 4_d._ To Hance,
-painter, for painting the same Adam and Eve, 20_s._”[200] Other items
-are included in the account which need not be quoted.
-
-Footnote 200:
-
-  _C.L.P._, vol. vii. 1668.
-
-The “Hance, painter,” who supplied this picture of “Adam and Eve,” was
-undoubtedly Holbein, who was acquainted with Hayes, as we learn from
-Bourbon’s letter, and for whom he almost certainly provided designs for
-jewellery.[201] The document is not very clear, and on a first reading
-it would appear that the “Adam and Eve” formed part of the decoration of
-the cradle; but it is more probable that it had nothing to do with it,
-but was a separate piece of work, either a picture or a carving in wood,
-honestone, or alabaster, which Holbein was employed to colour; possibly
-the latter, as the fee paid, twenty shillings, was a small one for an
-original painting from his brush. Whether picture or carving, it was
-evidently set in a very elaborate silver frame, decorated with silver
-apples in relief, as appropriate to the subject it contained, and with
-coral inset. No trace of this work remains, but the possibility that
-Holbein’s share in it was a small picture recalls that earlier “Adam and
-Eve” of the first Basel years, which, as already noted,[202] bears a
-considerable resemblance to the heads in the picture of the same subject
-by Mabuse in Hampton Court.
-
-Footnote 201:
-
-  The same paper contains an item for “the garnishing of two books with
-  silver-gilt, 66 oz. at 6_s._,” which recalls Holbein’s designs in the
-  British Museum for work of a similar kind. The velvet for covering
-  them was supplied by William Lock, the leading London mercer, at a
-  cost of 43_s._ 9_d._
-
-Footnote 202:
-
-  See Vol. i. p. 56.
-
-[Sidenote: PORTRAITS OF HENRY VIII]
-
-Among the numerous portraits of Henry VIII to be met with in so many of
-the great houses of this country and in several European museums, which,
-in almost all cases, are attributed by their owners to Holbein, only
-three[203] can be ascribed to him with any certainty. These are the
-large cartoon for the left-hand half of the Whitehall wall-painting,
-belonging to the Duke of Devonshire; the beautiful little panel portrait
-in Earl Spencer’s collection at Althorp; and the crayon study in the
-Munich Gallery. The greater number of the remaining portraits of him,
-most of them based on the Whitehall likeness, are merely inferior
-copies, and copies of copies, “shop” pieces supplied to order by Henry’s
-painters for presentation to foreign potentates and ambassadors, and to
-his own statesmen and courtiers as a reward for faithful service. Less
-frequently one is met with which is a good and original work by some
-painter of lower rank than Holbein, and such portraits, in their turn,
-have been multiplied by assistants in order to meet the constant demand
-for the King’s likeness.
-
-Footnote 203:
-
-  A fourth work, the portrait in the National Gallery, Rome, is,
-  however, considered by Dr. Ganz and other critics to be an original
-  work by Holbein.
-
-The great Whitehall fresco was painted in 1537, and was the first work
-of importance which Holbein undertook for the Crown. It achieved immense
-popularity, and for one hundred and fifty years or so every foreign
-visitor of distinction was taken to see it, while all artists who had an
-opportunity of examining it spoke loudly in its praises. It covered one
-of the walls in the Privy Chamber at Whitehall, and was painted on
-either side and over the top of a window, or, more probably, the
-fireplace, and consisted of four great figures, Henry VIII and his
-father, Henry VII, on one side, and his mother, Elizabeth of York, and
-his third wife, Jane Seymour, on the other, arranged within an
-elaborately designed architectural setting. This great work, which added
-so much to Holbein’s fame among his contemporaries, was destroyed in the
-fire at Whitehall in January 1698; but happily, owing to the foresight
-of Charles II, we still possess, in the small copy of it by the Flemish
-artist Remigius van Leemput, in Hampton Court[204] (No. 601 (308)), a
-very valuable record of the composition of the work. The copy is
-evidently a very faithful one, and though, of course, it lacks all the
-greatness of style, the vividness of character, and the beauty of colour
-of the original—for Remée was a poor artist—it reproduces the
-composition with some exactitude, and so is invaluable to students of
-the master. This copy was made by Van Leemput in 1667, the probable
-reason being that the fresco was then beginning to show signs of decay,
-and that Charles was anxious to retain an accurate record of it before
-it was ruined. Patin, who visited England about 1670, and saw both the
-painting and the copy, said that the latter was ordered by the King
-“pour en estendre la posterité s’il faut ainsi dire, et n’abandonner pas
-une si belle chose à la fortune des temps.”[205] Walpole says that
-Remée, as he was familiarly called here, received £150 for his
-work,[206] which was a very large fee for those days, and shows how
-highly the King valued the original.
-
-Footnote 204:
-
-  Reproduced by Ganz, _Holbein_, p. 179, from Vertue’s engraving.
-
-Footnote 205:
-
-  Patin, _Relations historiques_, Basel, 1673, p. 211 _et seq._
-
-Footnote 206:
-
-  Walpole, _Anecdotes_, ed. Wornum, 1888, i. p. 82.
-
-Footnote 207:
-
-  “Zo wel getroffen, dat het den beschouwer met verbaastheid aandoet.”
-
-[Sidenote: THE WHITEHALL WALL-PAINTING]
-
-The wall-painting itself was still in perfect condition when Van Mander
-saw it in 1604. He was deeply impressed by this “over-heerlijk Portret”
-of Henry, which, he wrote, was so true to life that it filled the
-spectator with dismay.[207] “The King, as he stood there, majestic in
-his splendour, was so life-like, that the spectator felt abashed,
-annihilated, in his presence.” Earlier travellers who saw it and praised
-it were Johann Fischart, in 1576,[208] and Hentzner, who visited England
-in 1598; while Duke Johann Ernst of Saxony, who was here in 1613, was
-also taken to see it; it is noted in the records of his journey, “upon
-this his Royal Highness was conducted into the King’s apartment; it was
-small but hung with beautiful tapestries on all sides. In this room were
-the full-length portraits of Henrici VIII, and his father, Henrici VII.
-They were regarded as special works of art, and similar works are said
-not to be seen throughout England.” Both Pepys and Evelyn mention it in
-their diaries. The latter, under the date 11th February 1656, says he
-was glad to find, on revisiting Whitehall for the first time for many
-years, that “they had not much defac’d that rare piece of Hen. VII, &c.,
-don on the walles of the King’s privy chamber.” This entry proves that
-ten or eleven years before Charles II ordered the copy to be made the
-fresco was beginning to show signs of decay. It narrowly escaped
-destruction in the earlier fire at Whitehall in 1691, but the
-conflagration of 1698 was a much more serious one. It burnt down the
-entire Palace, with the exception of the Banqueting House and a few
-buildings adjoining it. More than a thousand apartments perished in the
-flames, and a number of pictures in the Matted Gallery and elsewhere,
-mentioned by Evelyn, were destroyed. “This terrible conflagration, which
-broke out about four in the afternoon and lasted upwards of seventeen
-hours, originated through the neglect and carelessness of a laundress, a
-Dutch woman, who had left some linen to dry in front of a fire, in the
-lodging of a certain Colonel Stanley. She and twelve other persons, so
-it is reported, perished in the flames.”[209]
-
-Footnote 208:
-
-  Quoted by Ganz, _Holbein_, p. xxxviii.
-
-Footnote 209:
-
-  Dr. Sheppard, _The Old Royal Palace of Whitehall_, 1901, pp. 385-6.
-  According to Scharf, _Old London_, p. 322, the fresco was destroyed in
-  the fire of 1691.
-
-By the aid of the large cartoon and Van Leemput’s copy a very good idea
-of the general effect and composition of the picture can be obtained. It
-is divided into two stages. On the spectator’s left hand stands Henry
-VIII, turned fully to the front, with arms akimbo, and legs stretched
-widely apart, and opposite him, on the other side of the picture, is
-Jane Seymour. Behind and above the King, and to the right of him, on a
-raised step or low platform, stands his father, Henry VII, and in a
-corresponding position on the other side, his mother, Elizabeth of York.
-Henry was very proud of his legs, and Holbein has depicted him in his
-favourite attitude. He holds a glove in his right hand, and with the
-left the cord of his dagger, gold hilted, with a gold and blue velvet
-sheath. His gold-brown doublet is richly jewelled, and his red surcoat
-is trimmed with fur and elaborately brocaded with gold thread; a heavy
-jewelled chain crosses his shoulders, and from another hangs a pendant.
-His flat black bonnet is ornamented with pearls, devices in gold, and
-white feathers. The figure is rather larger than life-size, but looks
-colossal. His shoulders appear enormous, partly owing to the dress, and
-partly, no doubt, through some exaggeration on the artist’s part to
-flatter the vanity of his royal sitter. Henry VII is shown in simpler
-costume; with his right hand he holds together the folds of his long
-ermine-trimmed gown, his left elbow resting on the marble pedestal which
-Van Leemput has placed in the centre in lieu of the window or
-chimney-piece which occupied the same position in the wall itself. He
-holds his gloves in his left hand, and has the Garter collar across his
-breast. Unlike his son, he is beardless, and his long hair falls to his
-shoulders. Jane Seymour is wearing a dress of tawny gold, full ermine
-sleeves, and several necklaces of pearls. Her hands are clasped in front
-of her, and a small white dog is lying on the long skirt of her gown.
-Behind her, Elizabeth of York stands with her arms crossed, and holding
-up her dress with her right hand. The floor is covered with a Turkey
-carpet, and the background consists of richly-decorated pilasters and
-capitals, niches, and a frieze, in various coloured marbles, in the
-Renaissance style of which Holbein made such brilliant use. In the
-frieze on either side are figures supporting a shield. The shield shown
-in the cartoon bears the initials H and J; the other, no doubt, gave the
-date. In Van Leemput’s copy the initials have been changed to “AN^o.
-Dō.” with “1537” in the corresponding panel, while the centre of the
-picture is filled with a high marble pedestal, with two cushions on the
-top, and on the front of it a long Latin inscription in praise of the
-two monarchs. Below this is inscribed: “Prototypvm Magnitvdinis Ipso
-Opere Tectorio Fecit Holbenivs Ivbente Henrico VIII,” and a little
-below, on a plinth: “Ectypvm A Remigio Van Leempvt Breviora Tabella
-Describi Volvit Carolus II. M.B.F.E.H.R. A°. DNI. M.DCLXVII.”
-
-[Illustration:
-
-  VOL. II., PLATE 18
-  HENRY VII AND HENRY VIII
-  _Cartoon_
-  Duke of Devonshire’s collection
-  UNTIL RECENTLY AT HARDWICK HALL, NOW AT CHATSWORTH
-]
-
-[Sidenote: CARTOON OF HENRY VII & HENRY VIII]
-
-Van Leemput’s inferiority as an artist is shown most clearly in his
-rendering of the faces. In that of Henry VIII, in particular, the
-drawing is weak and lacking in character, and as a likeness it bears no
-close resemblance to the many portraits still existing which were copied
-or adapted from the fresco. It must be regarded, therefore, as a not
-very reliable record of the facial appearance of the four sitters as
-Holbein painted them.
-
-The pedestal was, no doubt, Van Leemput’s own invention, and the Latin
-verses must have been specially written for the purpose of his copy. As
-already pointed out, the wall on which the fresco was painted contained
-either a window or a fireplace. Charles Patin describes it as “sur le
-pignon de la croisée”; but it has been suggested that “croisée” is a
-typographical error for “cheminée.” Patin, however, was not a very
-careful observer, for he speaks of the subject as “de la main d’Holbein,
-le portrait d’Henry huit et des Princes ses enfants.”[210] In this,
-nevertheless, he may not be so completely wrong as at first sight
-appears. In 1897 Mr. Ernest Law, the historian of Hampton Court Palace,
-discovered another copy of the great wall-painting, also by Van Leemput,
-and of the same size and scale as the Hampton Court example, but with
-one important difference. In the middle foreground the copyist has
-placed a standing figure of Edward VI. This interesting little picture
-belongs to Lord Leconfield, and is in one of the private bedrooms at
-Petworth, Sussex. Patin may have seen this copy, and afterwards may have
-confused it with the wall-painting; or again, he may have confused the
-fresco with the picture of Henry VIII and his family, by an unknown
-artist of the school of Holbein, now in Hampton Court, No. 340 (510),
-but probably in Patin’s day hanging in Whitehall.[211]
-
-Footnote 210:
-
-  Patin, _Relations historiques_, Basel, 1673, p. 211 _et seq._
-
-Footnote 211:
-
-  It is hardly possible that the figure of Edward VI was added to the
-  wall-painting itself after the death of Holbein, or otherwise it would
-  appear in both Van Leemput’s copies. It was, no doubt, taken from some
-  independent portrait of the young king then hanging in Whitehall.
-
-The life-size cartoon of Henry VIII and his father, belonging to the
-Duke of Devonshire, until recently at Hardwick Hall (Pl. 18),[212] is,
-though only a working drawing, a superb example of Holbein’s mastery of
-composition on a monumental scale. It is the original design for the
-left-hand part of the Whitehall fresco, and along its outlines the
-prickings are still visible by means of which the design was pounced on
-the wall. It provides evidence that Van Leemput’s copy was a faithful
-one, for, with one important exception, the two agree in all points. The
-exception is in the position of the King’s head. In the cartoon it is
-about three-quarters to the right, but in the copy it has been turned so
-that the monarch is looking directly at the spectator. Woltmann is, no
-doubt, right when he suggests that the change was made by the express
-wish of Henry himself while the wall-painting was in progress.[213] He
-desired to be shown full-fronted to the world, for he was proud of his
-appearance, more particularly of his calves, as more than one
-contemporary anecdote shows. In his younger days, at the beginning of
-his reign, he was the most commanding figure at the English court,
-praised by all for his good looks, and celebrated for his great bodily
-strength and for his proficiency in all manly sports and exercises. He
-is thus described by the Venetian ambassador Pasqualigo in 1515; “His
-Majesty is the handsomest potentate I ever set eyes on; above the usual
-height, with an extremely fine calf to his leg; his complexion very fair
-and bright, with auburn hair combed straight and short in the French
-fashion; and a round face so very beautiful, that it would become a
-pretty woman, his throat being rather long and thick.”[214]
-
-Footnote 212:
-
-  Now (1913) at Chatsworth. Woltmann, 167. Reproduced by Davies, p. 168;
-  Ganz _Holbein_, p. 180; _Burlington Fine Arts Club Exhibition_, 1909,
-  _Catalogue_, Pl. i.
-
-Footnote 213:
-
-  Woltmann, i. 421.
-
-Footnote 214:
-
-  _C.L.P._, vol. ii. pt. i. 411.
-
-When Holbein painted him he was forty-six years old, and his face had
-coarsened and had lost all its youthful freshness and good looks, but
-his figure was still erect and kingly, and retained much of its earlier
-vigour. In the cartoon he stands boldly and firmly on his legs, active
-and alert, though massive in build, and made still broader in appearance
-by his rich apparel, heavily padded about the shoulders. It is in the
-face that his age and the habits of his life are beginning to leave ugly
-indications, though this is not to be gathered from the cartoon, in
-which his features, badly rubbed, are now barely discernible. This,
-however, may not be entirely due to the accidents of time, for as the
-cartoon was made for the purpose of transferring the leading lines of
-the composition to the wall, Holbein possibly only indicated the main
-outlines, leaving the more careful modelling to be done on the wall
-itself. Sadly damaged as the cartoon is, a mere fragment of the first
-conception of a great masterpiece, it nevertheless remains a remarkable
-and precious work of art, doubly valuable in that it not only shows us
-Holbein’s methods of work, but is also the only record from his own hand
-we possess to-day in this country of the most important and celebrated
-painting he produced while in England. The whole composition is drawn in
-with the point of the brush, in the manner, as Mr. S. Arthur Strong
-points out, at once broad and minute, of which Holbein seems to have
-been the solitary master. In this crowd of particulars almost everyone
-else would have lost sight of the whole, and given us a map instead of a
-view.[215] Mr. Roger E. Fry speaks of it as one of Holbein’s greatest
-creations. “It has all the grandeur of style, the lucidity and ease of
-arrangement of the greatest monumental design of Italy, together with a
-particularity and minuteness which would seem incompatible with those
-greater qualities of style had they not been thus wonderfully united. In
-all the decorative details, too, this great work gives us a measure of
-Holbein’s impeccable taste at a time when taste was by no means as
-universal as it had been in earlier centuries.”[216]
-
-Footnote 215:
-
-  S. Arthur Strong, _Reproductions of Drawings by the Old Masters at
-  Chatsworth_, 1902; republished in _Critical Studies and Fragments_,
-  1905, p. 132.
-
-Footnote 216:
-
-  _Burlington Magazine_, vol. xv., May 1909, p. 74.
-
-[Sidenote: DRAWING OF THE KING AT MUNICH]
-
-This cartoon was in 1590 in the possession of John, Lord Lumley, at
-Lumley Castle, and is entered in the inventory of the pictures as “The
-Statuary of King Henry the Eight and his father Kinge Henry the Seventh
-Joyned together, doone in white and black by Haunce Holbyn.” It passed
-subsequently into the collection of the Duke of Devonshire, and has been
-preserved ever since at Hardwick Hall.[217]
-
-Footnote 217:
-
-  See p. 97, note 3.
-
-When it was decided to change the position of the face, it became
-necessary for the King to give the painter another sitting, and the
-full-face drawing now in the Munich Gallery[218] is, no doubt, the very
-study Holbein made for the purpose. This is not only evident from its
-agreement with Van Leemput’s copy, but also from its dimensions. It is
-life-size, and thus considerably bigger than any other preliminary
-portrait-study by Holbein which has survived. It is in black and red
-chalks, on paper prepared with body-colour in the manner practised by
-the painter at that period. The study is of the face alone, part of the
-hat, the collar, and a small portion of fur on the shoulders being
-roughly indicated. The short, scanty beard and the still scantier
-whiskers do not conceal the shape of the massive, almost square face,
-with its thin eyebrows, fat, heavy cheeks, which from their size make
-the mouth look small. He gazes in front of him, his eyes unconscious of
-the spectator, as though the thoughts of the sitter were entirely given
-to himself. The modelling is masterly, and is obtained by the simplest
-means; but the sketch, simple as it appears to be, produces a wonderful
-effect of perfect truth to life. Here is the King exactly as he was, as
-none other but Holbein could have drawn him. He has given not only an
-absolutely faithful rendering of the face itself, but has laid bare much
-of the complex character which lurked behind it, and the drawing must
-always remain both one of the artist’s very finest portrait-studies and
-also a living document of the utmost value in the history of Tudor
-England. How this drawing came to be in Munich is not known. It was
-discovered among a number of other drawings, put aside as of no
-particular value, by Herr J. H. von Hefner-Alteneck when he was keeper
-of the Print Room. It does not appear to have ever formed a part of the
-Windsor series of drawings.
-
-Footnote 218:
-
-  Woltmann, 221. Reproduced by Davies, p. 166; Knackfuss, fig. 125; A.
-  F. Pollard, _Henry VIII_, p. 220.
-
-The Whitehall painting became the prototype of nine-tenths of the very
-numerous portraits of Henry which were produced during his reign and for
-some little time afterwards. With one possible exception, these works
-are not from Holbein’s own hand; they were all the work of the less
-important artists attached to the English court. These, again, are of
-very varying degrees of skill, some being but coarse and common
-productions, while others have considerable artistic merits. There is
-great probability that some of the best of them were from the workshop
-of Gerard and Lucas Hornebolt, more particularly those half-lengths of
-which the portrait in Warwick Castle is perhaps the finest example. All,
-however, had their real origin in the Whitehall painting; in every one
-of them the King is shown full-face, and in the same characteristic
-attitude.
-
-[Sidenote: OTHER PORTRAITS OF THE KING]
-
-Interesting as the subject is, the scope of this book does not permit
-any attempt to describe, or even to compile a list of, all the portraits
-of Henry VIII still remaining in England. A few of the principal ones
-may be mentioned briefly. Several of them are full-lengths. Among these
-one of the most interesting is in Belvoir Castle.[219] It was purchased
-by the fourth Duke of Rutland at Lord Torrington’s sale in 1787 for
-£211. Except in some minor details of the dress, it follows the
-Whitehall painting very closely. The King is wearing “white hose, with
-the Garter on his left leg; a gold chain round his neck with the letter
-H, with a pendant circular gold case without any device; another gold
-chain or collar across the shoulder over the surcoat is mounted in
-jewels set in gold-and-enamel. The whole of the dress and ornaments is
-most elaborately painted and gilded, and in excellent effect of light
-and colour, being in an absolutely perfect state of preservation.”[220]
-The copyist has made the face younger and more handsome, and much more
-lacking in expression than the Munich sketch. The background is a
-curtain with an elaborate design in panels, each one surmounted by a
-crown. Dr. Waagen thought it to be a genuine work by Holbein. “Although
-painted on canvas,” he says, “the picture is of such truth, delicacy,
-and transparency, that I consider it an original.” A similar
-whole-length on wood, belonging to the Seymour family, is described by
-Dr. Woltmann, who regarded it as an excellently painted contemporary
-copy, which very possibly came into the possession of that family
-through their connection with Jane Seymour.[221] There is a far finer
-example at Petworth, much more transparent and delicate in its tones,
-which Wornum describes as “really magnificent.”[222] This work is by no
-means an exact copy; it differs in various details, more particularly in
-the dress, which is of silver brocade with a blue mantle lined with
-ermine. It is possibly the work of a Fleming. The background is
-architectural. There is another full-length version at St. Bartholomew’s
-Hospital, with a further variation of the background and the floor.
-Other repetitions are at Chatsworth,[223] Trinity College, Cambridge,
-and in the possession of Viscount Dillon at Ditchley, Enstone.[224]
-
-Footnote 219:
-
-  Reproduced in _The Connoisseur_, vol. vi. No. 22, June 1903,
-  frontispiece.
-
-Footnote 220:
-
-  _The Connoisseur_, vol. vi. No. 22, June 1903, p. 68 (quotation from
-  Radford’s catalogue of the collection).
-
-Footnote 221:
-
-  Woltmann, ii. 20.
-
-Footnote 222:
-
-  Wornum, p. 308.
-
-Footnote 223:
-
-  Described by Mr. S. Arthur Strong as “one of the best of the royal
-  effigies that are all probably based in common upon the Hardwick
-  cartoon. The artist, whoever he was, had a manner of his own, and was
-  more than a mere copyist. The cold grey scheme of colour is a contrast
-  to the depth and richness at which Holbein aimed, and is more akin to
-  what we afterwards appreciate as characteristic in Honthorst and
-  Mytens.”—_Critical Studies and Fragments_, p. 91. The figure is
-  evidently copied directly from the wall-painting. The position and the
-  details of the dress agree exactly with the Hardwick cartoon. It is
-  reproduced by Dr. Ganz, _Holbein_, p. 181.
-
-Footnote 224:
-
-  Reproduced by A. F. Pollard, _Henry VIII_, p. 150.
-
-The half-length and three-quarter-length versions, of which the
-portraits at Rome and in Warwick Castle are, perhaps, the most
-important, are still more numerous. In these the King is shown in the
-same position, and apparently several years older, the cheeks fatter and
-more shapeless, and with greyer beard, while in a number of them,
-instead of holding his dagger, he has a stick in his left hand. The
-Warwick picture, which is life-size, to the knees, and full-front, was
-considered by Dr. Waagen to be a genuine work by Holbein of about the
-date 1530, but more recent criticism has shown him to be wrong in both
-these assertions. “The square face is so fat,” he says, “that the
-several parts are quite indistinct. There is in these features a brutal
-egotism, an obstinacy, and a harshness of feeling, such as I have never
-yet seen in any human countenance. In the eyes, too, there is the
-suspicious watchfulness of a wild beast, so that I became quite
-uncomfortable from looking at it a long time; for the picture, a
-masterpiece of Holbein, is as true in the smallest details as if the
-king himself stood before you. In the very splendid dress much gold is
-employed. The under-sleeves are of gold, with brown shadows; the hands
-most strikingly true to nature; in the left he has a cane, and in the
-right a pair of gloves; on his head a small cap. The background is
-bright green. The want of simplicity of the forms, the little rounding
-of the whole, notwithstanding the wonderful modelling of all the
-details, the brownish red local tone of the flesh, the grey of the
-shadows, and the very light general effect, show this picture to be a
-transition from the second to the third manner of Holbein, and that it
-may have been painted about 1530.”[225]
-
-Footnote 225:
-
-  Waagen, _Treasures of Art in Great Britain_, iii. p. 215.
-
-It is, however, impossible that the portrait can have been painted in
-that year, when Henry was not forty. He appears to be at least fifteen
-years older than this. The head and hands are good, but the style of
-painting has little in common with that of Holbein, while the details of
-the dress lack the beauty, delicacy, and truth of draughtsmanship which
-are to be found in his work. There is a portrait in the collection of
-the Marquis of Bute, which, according to Dr. Waagen, is “exactly like
-the picture by Holbein at Warwick Castle, only less finished.”[226] When
-he saw it, as far back as 1854, it was ascribed to “Gerard Horebout,”
-and there is every probability that this attribution is the correct one,
-for it is not to be expected that the almost forgotten name of Hornebolt
-would have been substituted for the much better known one of Holbein,
-and the fact that the former name has clung to the picture for so long
-is strong evidence in favour of the contention that Hornebolt was the
-painter of it. For this reason the Warwick portrait, and others like it,
-are now tentatively attributed by most modern writers to the workshop of
-Gerard and Luke Hornebolt.
-
-Footnote 226:
-
-  _Ibid._, vol. iii. p. 482.
-
-[Illustration:
-
-  VOL. II., PLATE 19
-  HENRY VIII
-  NATIONAL GALLERY, ROME
-]
-
-[Sidenote: PORTRAIT OF HENRY VIII AT ROME]
-
-The portrait in the National Gallery, Rome (Pl. 19),[227] which was
-formerly in the Corsini Collection, is a three-quarter length, and is
-inscribed across the plain background, on either side of the head, “ANNO
-· ÆTATIS · SVÆ · XLIX,” and was, therefore, painted in 1539 or 1540. In
-dress and position it closely follows Van Leemput’s copy, and the
-Windsor and other versions, in which the left hand holds the
-dagger-cord. With the exception of the substitution of brown fur for
-ermine, and different embroidery on the upper sleeves, the Rome and the
-Windsor portraits are in exact agreement as to the costume. The face in
-the Rome portrait is decidedly younger than in the Warwick and Windsor
-versions, as the date would indicate, so that it is possibly one of the
-earliest of the contemporary copies, taken directly from the
-wall-painting under Holbein’s own supervision. It is undoubtedly the
-best of the later portraits of the King, the face being full of
-character finely rendered, and it is regarded by a number of modern
-critics, including Dr. Ganz, as a work from Holbein’s own brush.
-
-Footnote 227:
-
-  Reproduced by Ganz, _Holbein_, p. 125.
-
-An important example of this type of the portraits of Henry VIII is the
-three-quarter length belonging to St. Bartholomew’s Hospital, London,
-which was last exhibited at the Burlington Fine Arts Club in 1909 (No.
-23). The dress is very similar to the Warwick portrait. The King is
-grasping in his left hand a black staff mounted in gold. The background
-is dark, and on it is inscribed: “ANNO [~D][~N]I 1544. ÆTATIS SVÆ 55,”
-which is incorrect, as Henry did not enter his fifty-fifth year until
-1545.[228] The portrait in Windsor Castle,[229] which, as Mr. Ernest Law
-points out, is the only contemporary likeness of Henry in the whole of
-the royal collections which has anything of an Holbeinesque character,
-was evidently copied from the Whitehall fresco. In the attitude and in
-the details of the dress it follows the original with considerable
-closeness, though slight differences are to be noted, as in the position
-of the right hand, which is here placed over the sword-belt, instead of
-below it as in Van Leemput’s copy. Its agreement with the Rome portrait
-has been already pointed out. The face, however, more closely resembles
-the Warwick portrait. Mr. Ernest Law suggests that it was executed
-several years later than the Holbein prototype, by some pupil or
-imitator, such as Guillim Stretes, after the master’s death,[230] the
-general attitude, pose, dress, and accessories of the original being
-carefully adhered to, but the features modified, and the beard shown as
-thinner and turning grey, to suit his added years, though in outline
-they still closely resemble Holbein’s drawing at Munich. The size of the
-panel is 3 ft. 3¾ in. high × 2 ft. 5½ in. wide. It may be the picture
-which was No. 866 in James II’s catalogue: “King Henry VIII at
-half-length, with gloves in his right hand”; though this description
-suits equally well the smaller portrait (18 in. × 16 in.) at Hampton
-Court, No. 606.
-
-Footnote 228:
-
-  There is another version of this portrait with the black staff in the
-  left hand at Chatsworth, in which, Mr. S. Arthur Strong says, “the
-  drawing of the features is masterly, and the detail is minute and
-  searching without being petty; but here again the effect is flat, and
-  we feel that Holbein himself would have better conveyed the sense of
-  roundness and depth.... On the whole, there is a French rather than a
-  German look about this picture, which suggests the possibility that it
-  may have been painted at the time of the Field of the Cloth of
-  Gold.”—_Critical Studies and Fragments_, p. 91, and Pl. ix. i.
-
-Footnote 229:
-
-  Reproduced by Law, _Holbein’s Pictures_, &c., Pl. v.; Davies, p. 165;
-  Knackfuss, fig. 126; Pollard, _Henry VIII_, frontispiece (in colour);
-  Cust, _Royal Collection of Paintings, Windsor Castle_, Pl. 49; Ganz,
-  _Holbein_, p. 222.
-
-Footnote 230:
-
-  _Holbein’s Pictures_, &c., p. 13.
-
-Another good version of this portrait, with the left hand on the
-dagger-cord, is the half-length belonging to the Earl of Yarborough,
-while an excellent example of the Warwick Castle type, with a cane
-substituted for the dagger, was lent by Lord Sackville to the Burlington
-Fine Arts Club in 1909 (No. 21).
-
-There is also an excellent portrait of the Warwick type in the
-collection of the Duke of Manchester at Kimbolton Castle.[231] It is on
-panel, 35 in. × 25 in., and closely resembles the picture in the
-National Portrait Gallery (No. 496) (35⅛ in. × 26¼ in.), which is
-attributed to Luke Hornebolt.[232] The latter had at one time a coat of
-arms on the frame indicating that it belonged at some period to the
-Nassau family. It may have been taken over to Holland at the time of the
-marriage of Princess Mary, daughter of Charles I, to William of Orange,
-in 1641. There are three other portraits of the King in the National
-Portrait Gallery, while other versions or old copies exist at Castle
-Howard, and at Serlby, the seat of Viscount Galway. The latter (35 in. ×
-27 in.) has an inscription on the background giving the King’s titles
-and the date 1547, the year of his death. Another (36 in. × 30 in.), at
-one time in the collection of Mr. Henry Willett, and now in the Brighton
-Art Gallery, is said to have been taken from a wainscot in King’s Walden
-House, Herts, formerly the residence of Anne Boleyn.
-
-Footnote 231:
-
-  Tudor Exhibition, 1890, No. 97, and reproduced in the Catalogue, p.
-  48.
-
-Footnote 232:
-
-  Reproduced in Mr. Cust’s illustrated Catalogue of _National Portrait
-  Gallery_, vol. i. p. 23.
-
-[Sidenote: “HENRY VIII WITH A SCROLL”]
-
-All these portraits, whether by the Hornebolts or less important
-copyists attached to Henry’s court, are based on Holbein’s Whitehall
-painting. There is, however, one other representation of Henry VIII, of
-about the date of Holbein’s first entry into the royal service, which is
-of a very different character, and was not painted under the influence
-of the great German. This is the fine picture at Hampton Court (No. 563
-(313)), generally known as “King Henry VIII with a Scroll.”[233] He is
-seen at half-length, with head turned slightly to the right, but eyes to
-the front. He has reddish hair, and a small thin beard and moustache,
-and his eyes are dark grey. He wears a doublet of cloth of gold, cut
-square across the chest, covered with strings of pearls, and slashed
-with rows of white puffs, above which his white frilled shirt is seen.
-Over this is a sable-furred cloak. His black cap has a medallion, with
-figures of the Virgin and Infant Christ in enamel, and a white jewelled
-feather. In front of him is a table or ledge with a crimson cushion, on
-which his right hand is placed, and a scroll of white paper, one end of
-which he holds between the thumb and forefinger of his left. On it is
-inscribed a sentence from the Gospel of St. Mark in Roman lettering:
-“Marci—16. Ite in Mũdvm Vniversṽ et predicate Evangelivm omni creatvræ.”
-The background is a rich green. It is on panel, 2 ft. 4 in. high × 1 ft.
-10 in. wide.
-
-Footnote 233:
-
-  Reproduced by Law, _Royal Gallery at Hampton Court_, p. 204.
-
-The probable authorship of this painting has given rise to much
-discussion and difference of opinion. It has been attributed at
-different times to Holbein, Janet, Joos van Cleve, and Girolamo da
-Treviso, and even to Toto or Penni. Dr. Woltmann considered it to be the
-work of a Frenchman, whereas Mr. Wornum was inclined to attribute it to
-an Italian hand, possibly Da Treviso. The one thing certain about it is
-that it is not by Holbein. There is an equal difference of opinion as to
-the date. The King has so youthful a look, as compared with the Hardwick
-cartoon and the Munich drawing, that some writers hold that he cannot
-have been more than thirty-eight—certainly not more than forty—when it
-was painted. This would make the date about 1529, in which year Holbein
-was in Switzerland. On the other hand, there are two facts which point
-to a later date—the arrangement of the hair and beard, and the text on
-the scroll, which, taken together, make it highly probable that the
-portrait was painted in 1536. It was on the 8th of May 1535 that Henry,
-in imitation of Francis I, ordered all about his court to cut their hair
-short and to grow their beards—“the King commanded all about his court
-to poll their heads; and to give them example he caused his own head to
-be polled, and from thenceforth his beard to be knotted and no more
-shaven.”[234] In the picture both hair and beard are treated in the new
-fashion. Again, on October 4th of the same year the printing of
-Coverdale’s English version of the whole Bible, for which Holbein
-designed the title-page, was finished, and in 1536 Henry ordered a copy
-of it to be laid in the choir of every church, “for every man that will
-to look and read therein; and shall discourage no man from reading any
-part of the Bible, but rather comfort, exhort, and admonish every man to
-read the same.” To this the text on the scroll which Henry holds in the
-portrait clearly refers; and further evidence is supplied by the Bible
-frontispiece, in which the King is shown under a canopy, with a sword in
-his right hand, and a clasped Bible in his left, which he is handing to
-his kneeling bishops. One of the little pictures which form the border
-of the title-page, in which our Saviour is exhorting His disciples to
-preach the Word throughout the world, has the same text (Mark xvi. 15)
-inscribed below it. The evidence, therefore, is very strongly in favour
-of the assumption that the portrait was painted to commemorate Henry’s
-share in the publication of Coverdale’s English version of the Bible.
-Against these two arguments in favour of the date 1536, the compilers of
-the catalogue of the Burlington Fine Arts Club Exhibition point out that
-the King does not look more than thirty, which would place the portrait
-at about the date of the meeting with Francis I at the Field of the
-Cloth of Gold in 1520. “The portrait of Eleonora of Spain, wife of
-Francis I, also at Hampton Court,” they say, “is evidently by the same
-hand; and the smaller portrait of Francis I, also at Hampton Court, is
-either by, or a copy after, the same painter. These circumstances would
-point to a possible French origin, and lend some colour to the
-ascription of the portrait either to “Sotto” Cleef, who worked in France
-before coming to England, or to Jean Clouet—more probably the latter,
-who may very well have been in attendance on Francis I at the Field of
-the Cloth of Gold.”[235] It is difficult, however, to follow these
-writers in their conclusion that the portrait of Eleonora, almost
-certainly by the elder Clouet, and the portrait of Henry VIII are by the
-same hand, while the fact that in all the earlier portraits of the King
-he is shown with long hair, cut straight across the forehead, and no
-beard, makes it still more difficult to accept the date as that of the
-meeting of the two monarchs in France, unless much stronger evidence as
-to its French origin be forthcoming. It is not safe to go farther than
-to ascribe it to a Franco-Flemish origin. It should be noted in passing
-that a small point in favour of those who see in it a work by an Italian
-hand lies in the scroll or cartellino, a feature not often met with in
-French or English portraits of that time.
-
-Footnote 234:
-
-  Stow’s _Annales_.
-
-Footnote 235:
-
-  _Burlington Fine Arts Club Exhibition Catalogue_, p.bv 81.
-
-[Sidenote: “HENRY VIII WITH A SCROLL”]
-
-On the back of the panel is branded Charles I’s cypher, and there is
-also a slip of paper on which is inscribed in contemporary handwriting,
-“Changed with my Lord Arundel, 1624.” In Charles’ catalogue, compiled in
-1639, it is entered as “King Henry VIII when he was young, with a white
-scroll of parchment in his hand; the picture being to the shoulders;
-half a figure so big as the life, in a carved gilded frame. Length 4 ft.
-0. A Whitehall piece, said to be done by Jennet or Sotto Cleve.” It is
-possibly the picture in the Commonwealth inventory—“King Henry y^e
-8^{th} by Gennett,” which was “sold to M^{r.} Baggeley y^e 23^{rd} Oct.
-1651 for £25.” It may also be the “Table with the picture of King Henry
-VIII, then being young,” in Edward VI’s catalogue. An early and
-interesting copy of this picture, on canvas, 28¾ in. × 22¼ in., is in
-the possession of the Merchant Taylors’ Company, which was in the Tudor
-Exhibition, 1890 (No. 120), and the Burlington Club Exhibition, 1909
-(No. 24). In the catalogue of the former exhibition it was attributed to
-Paris Bordone. It was presented to the Company in 1616 by Mr. John
-Vernon. There is a third version of the picture in the Marquis of
-Exeter’s collection at Burleigh House, in which the same Latin verse is
-inscribed on the scroll. Dr. Waagen says that “it is very carefully
-painted in a brownish tone.”[236]
-
-Footnote 236:
-
-  Waagen, _Treasures of Art_, &c., iii. p. 407.
-
-In addition to the Hardwick cartoon and the Munich drawing there is a
-third portrait of Henry existing which can be attributed almost
-certainly to Holbein’s hand. This is the beautiful little panel in Lord
-Spencer’s collection at Althorp (_frontispiece_),[237] which measures
-only 10½ in. × 7½ in. It is a half-length, three-quarters to the right.
-No hair is visible under the cap or beside the ears; the hairs of the
-close-cropped fair beard and moustache are drawn with minute care. The
-eyes are clear blue-grey. He wears a black cap trimmed with jewels and
-loops of pearls and a white feather falling to the left. His gown of
-cloth of gold is lined with brown fur, over a light grey doublet cut low
-at the neck, embroidered with an elaborate pattern in black, trimmed
-with jewels and slashed and puffed with white. The white shirt has a
-high collar fitting close round the neck, embroidered with a rich design
-in gold, and with a very small frill. On his breast is a round jewel
-suspended by a chain of spiral black and gold beads and H’s. The hands
-are shown in part, the left at his side, and the right holding a glove.
-The background is a plain bright blue.
-
-Footnote 237:
-
-  Woltmann, 1. Reproduced (in colour) by the Medici Society;
-  _Masterpieces of Holbein_ (Gowan’s Art Books, No. 13), p. 7;
-  _Burlington Fine Arts Club Exhibition Catalogue_, Pl. x.; Ganz,
-  _Holbein_, p. 120.
-
-[Sidenote: PORTRAIT OF HENRY VIII AT ALTHORP]
-
-It is a miniature painting of unusual size, and is drawn with
-extraordinary delicacy and truth, and there is an exquisite finish in
-all the details of the dress and ornaments, and a harmony in the colour,
-which no other painter then practising at the English court but Holbein
-was capable of producing. The first impression it gives is that, in
-spite of its beauty and brilliance, it yet displays certain differences
-from Holbein’s usual style which renders its attribution to him not
-absolutely certain; but repeated examination modifies this first
-impression, and it becomes impossible not to agree with such critics as
-Dr. Woltmann, Mr. Lionel Cust, and Dr. Ganz, who are emphatically of
-opinion that Holbein was the author of it. It is impossible, again, to
-find any other painter who could have produced so vivid and striking a
-portrait of the King, and so accomplished a work of art. Mr. Roger E.
-Fry describes it as one of Holbein’s most miraculous pieces of
-craftsmanship. “It is little more in scale than a large miniature, and
-Holbein has treated it with all the skill in minute delineation which he
-alone possessed, and that without losing for a moment unity of tone and
-breadth of feeling; but, wonderful as it is, it gives one scarcely any
-idea of an actual character. Holbein seems never to have read anything
-behind the expansive mask of his royal patron; whether he abstained out
-of discretion or failed from want of interest one can but guess.”[238]
-After examining the Munich head, however, it is difficult to agree with
-Mr. Fry’s opinion that Holbein saw nothing of Henry’s real character.
-The Althorp panel is almost identical in position and dress with the
-original cartoon for the Whitehall wall-painting, and it is probable
-that Holbein intended to use it as his model for the latter. It must
-have been painted in 1537, before the wall-painting itself was begun, or
-at least before the change in the position of the King’s head was
-decided upon. It may be the portrait which in the inventory of Henry
-VIII’s pictures, made at his death, was joined to that of Queen Jane
-Seymour in a diptych—“Item, a table like a booke, with the picture of
-Kynge Henry theight and Quene Jane”; though, if so, the corresponding
-portrait of Jane Seymour is lost, for the one of that queen in the
-Vienna Gallery is much larger than Lord Spencer’s portrait. The latter
-was at South Kensington in 1862 (No. 2651), and again in 1865 (No.
-2028), and at the Burlington Fine Arts Club, 1909 (No. 38).
-
-Footnote 238:
-
-  _Burlington Magazine_, vol. xv., May 1909, p. 74.
-
-There is an excellent contemporary copy of it in the National Portrait
-Gallery (No. 157),[239] 10¾ in. × 7½ in., on copper, which was purchased
-in 1863, and was formerly in the collection of Mr. Barrett, of Lee
-Priory, Kent. When in his possession it was engraved in line for
-Singer’s edition of Cavendish’s _Life of Wolsey_, 1825. The background
-is now very dark, but in the engraving it is shown to be a curtain. This
-is the chief point of difference between it and Lord Spencer’s panel.
-There is also a somewhat weak copy of it among the miniatures in the
-Duke of Buccleuch’s collection, which, like the original, has no
-inscription. It has suffered extensive repairs at some time or other,
-and the eyes are now a bright chestnut colour, evidently due to the
-ignorance of the restorer. Other miniatures of Henry VIII, attributed to
-Holbein, are dealt with in a succeeding chapter.[240]
-
-Footnote 239:
-
-  Reproduced in the illustrated Catalogue, National Portrait Gallery,
-  vol. i. p. 23.
-
-Footnote 240:
-
-  See pp. 233-236.
-
-[Sidenote: PORTRAIT OF QUEEN JANE SEYMOUR]
-
-Jane Seymour was the first of Henry’s queens to be painted by Holbein.
-The various portraits of Katherine of Aragon and Anne Boleyn still
-existing are not by him, and it is evident that the artist did not enter
-the royal service until after Anne’s execution on 19th May 1536, and
-Henry’s very precipitate marriage with Jane Seymour on the following
-day. Portraits of both these ladies are usually ascribed to Holbein by
-their owners, according to the prevailing fashion of earlier days, when
-everything dating from Tudor times was unhesitatingly given to him.
-Shortly before Holbein’s return to England in 1532, Katherine of Aragon
-had permanently retired from court, and in the seclusion of The Moor,
-deserted by the King, her thoughts fully occupied with her impending
-divorce, it is not likely that she would have any desire to sit for her
-portrait, or to command Holbein to visit her for that purpose. There is
-more probability that Anne Boleyn may have been painted by him, but as
-no such portrait has been discovered, it must be taken for granted that
-he did not. The head among the Windsor drawings, inscribed “Anna Bollein
-Queen,”[241] has been wrongly named, and bears no likeness to the few
-portraits which may be said with some degree of certainty to represent
-her. Much information respecting the portraits of these two queens will
-be found in the papers read by Mr. John Gough Nichols and Sir George
-Scharf before the Society of Antiquaries in 1863 and published in
-_Archæologia_.[242]
-
-Footnote 241:
-
-  Woltmann, 323; Wornum, ii. 18; Holmes, i. 25. Reproduced by Davies, p.
-  214, and elsewhere.
-
-Footnote 242:
-
-  Vol. xl. pt. i. pp. 71-88.
-
-There is no evidence to show that Holbein painted either Katherine’s
-daughter, Mary, or Anne’s daughter, Elizabeth, though here again
-portraits of them exist which in less critical days were said to be by
-him. The drawing in the Windsor Collection inscribed “The Lady Mary
-after Queen,”[243] has no claim to represent Queen Mary, nor is there
-any known portrait of her which bears any likeness to Holbein’s style of
-painting. The Princess Elizabeth was ten years old at the time of the
-painter’s death, whereas the youngest portrait of her extant is the very
-interesting one at the age of about fifteen or sixteen in the Royal
-Collection,[244] which was included in Charles I’s catalogue as “A
-Whitehall piece of Holben,” and said to represent “Queen Elizabeth when
-she was young, to the waist.” This is probably a work of Franco-Flemish
-origin, and has nothing to do with Holbein, who, if he had painted her,
-must have shown her as a little girl. Mr. Nichols, in his paper
-mentioned above, states that “there can be little doubt that Holbein
-drew the King’s natural son, Henry FitzRoy, Duke of Richmond and
-Suffolk, who lived until the 22nd July 1536,” but no such portrait or
-drawing of him can be discovered. There is, however, among the Windsor
-heads, a drawing of his wife, Mary,[245] daughter of Thomas, third Duke
-of Norfolk, and sister of Henry, Earl of Surrey, both of whom sat to
-Holbein. It is a fine drawing, but very badly rubbed. She is represented
-full-face, with the eyes cast down, and wearing a close-fitting white
-cap or hood, and a large flat black hat with a big ostrich feather. The
-dress is powdered with the letter R, which in some cases seems to be
-formed of pearls, while the letter M also occurs twice. This fashion of
-wearing an initial letter, usually as a pendant ornament, was by no
-means unusual at that period, and occurs in more than one of Holbein’s
-portraits. The drawing of the Duchess is inscribed “The Lady of
-Richmond.”
-
-Footnote 243:
-
-  Woltmann, 331; Wornum, ii. 39; Holmes, ii. 15. Reproduced by Davies,
-  p. 216.
-
-Footnote 244:
-
-  Reproduced by Cust, _Royal Collection of Paintings, Windsor Castle_,
-  Pl. 48.
-
-Footnote 245:
-
-  Woltmann, 324; Wornum, ii. 17; Holmes, ii. 23.
-
-It is not until we come to the portrait of Queen Jane Seymour in the
-Imperial Gallery, Vienna (No. 1481) (Pl. 20),[246] that we are on
-certain ground. This is a genuine work of Holbein of very fine quality.
-She is shown almost to the knees, the body and head turned slightly to
-the left, and her hands clasped in front of her. She is dressed in red
-velvet, with hanging sleeves covered with gold embroidery, and
-under-sleeves of lilac-grey watered silk with an elaborate pattern,
-worked with seed pearls, and slashed and puffed with white. The cuffs
-have a deep border of wonderfully painted black Spanish work. She wears
-two heavy necklaces, of jewels and pearls, and a band of similar
-ornament along the edge of her square-cut bodice, and an ornament at the
-breast composed of the initials I.H.S. and three pendant pearls. Her
-head-dress is of the angular English pattern. The inner cap, which
-completely hides her hair, is of brown silk with a black stripe, and the
-jewelled band or framework is of the same pattern as the border of the
-dress. The body of the head-dress is cloth of gold, with the customary
-black fall. The background is of dark grey-blue without inscription. The
-colour scheme is rich and harmonious, but delicate and pearly in tone,
-and a considerable amount of gold has been used in the painting of the
-jewels, and the gold tissue and embroidery of the cap. Once again the
-extraordinarily fine painting of the hands has to be recorded; they are
-full of expression and character. There is less expression in the face.
-She has no great pretensions to beauty, and her complexion is pale, thus
-agreeing with all contemporary accounts of her appearance. In a
-singularly frank letter from Chapuys to Antoine Perrenot, dated London,
-18th May 1536, which was intended for the Emperor’s ears, the Spanish
-ambassador says: “She is sister to one Edward Semel, of middle stature,
-and no great beauty, so fair that one would call her rather pale than
-otherwise.... The said Semel is not a woman of great wit, but she may
-have good understanding. It is said she inclines to be proud and
-haughty. She bears great love and reverence to the Princess (_i.e._
-Mary). I know not if honors will make her change hereafter.”[247] He
-then proceeds to throw doubts upon the lady’s virtue, and to speak in
-coarse innuendo of Henry’s matrimonial ventures. The panel, which is
-probably the one which was in the Arundel Collection, measures 65 cm. by
-48 cm., and is of the same size as the portrait of Dr. John Chamber;
-they are the largest of Holbein’s works in the Vienna Gallery. This
-portrait was evidently the one seen by Van Mander in Amsterdam in 1604.
-He says: “There was, at Amsterdam, in the Warmoesstraat, a portrait of a
-Queen of England, admirably executed, and very pretty and nice; she was
-attired in silver brocade, which appears to be genuine silver with some
-admixture, and it was depicted so transparently, curiously, and
-exquisitely, that a white foil seemed to lie beneath.”[248]
-
-Footnote 246:
-
-  Woltmann, 252. Reproduced by Davies, p. 170; Knackfuss, fig. 127;
-  Vienna Catalogue, p. 345; A. F. Pollard, _Henry VIII_, p. 232; Ganz,
-  _Holbein_, p. 119.
-
-Footnote 247:
-
-  _C.L.P._, vol. x. 901.
-
-Footnote 248:
-
-  Quoted by Woltmann, Eng. trans., p. 398.
-
-[Illustration:
-
-  VOL. II., PLATE 20
-  QUEEN JANE SEYMOUR
-  IMPERIAL GALLERY, VIENNA
-]
-
-[Sidenote: PORTRAITS OF QUEEN JANE SEYMOUR]
-
-The original study for this portrait is in the Windsor Collection.[249]
-It is a fine drawing of very delicate draughtsmanship, and shows more of
-the figure than most of the sketches in the series, the folded hands
-being included. Several replicas of the picture still remain in England,
-the two best of which, excellent contemporary copies, are in the Duke of
-Bedford’s collection at Woburn Abbey, and in that of Lord Sackville at
-Knole. The latter was in the Tudor Exhibition, 1890 (No. 44), and the
-Burlington Fine Arts Club, 1909 (No. 46). Another version is in the
-possession of the Duke of Northumberland. Hollar made an admirable
-engraving from the Arundel version, a small circle dated 1648 (Parthey
-1427); and there is at Windsor, as already noted, a miniature painted
-from it by Nicholas Hilliard, which is inscribed “ANŌ DNĪ 1536 ÆTATIS
-SVÆ 27.”[250] Hilliard, no doubt, found this inscription on the original
-from which he worked, but nothing of the kind is now discernible either
-on the picture in Vienna or Lord Sackville’s version. It may, however,
-have been taken from one of the numerous miniatures of this Queen, dealt
-with in a later chapter.[251] This inscription is valuable as giving the
-probable date at which Holbein painted the Queen, and proves that he was
-in the royal service as early as in the summer of 1536. Very probably
-the portrait was afterwards used by him as the basis for the head and
-position of Jane in the Whitehall wall-painting. There is an excellent
-old copy of the portrait in the Hague Gallery (No. 278) which shows
-slight differences.[252]
-
-Footnote 249:
-
-  Woltmann, 325; Wornum, ii. 22; Holmes, i. 1. Reproduced by Davies, p.
-  170, and elsewhere.
-
-Footnote 250:
-
-  See p. 91. Reproduced in _Burlington Magazine_, vol. viii., Jan. 1906,
-  Pl. ii. (9), in an article on “Nicholas Hilliard” by Sir Richard
-  Holmes.
-
-Footnote 251:
-
-  See pp. 237-238.
-
-Footnote 252:
-
-  Reproduced by Ganz, _Holbein_, p. 195.
-
-In addition to this portrait, Holbein prepared a design for a large gold
-cup, bearing the initials of Henry and Jane, and the latter’s motto,
-evidently intended as a present from the King to his consort. The
-finished drawing is in the Bodleian Library, Oxford, and there is
-another version of it in the British Museum. It is the most important of
-Holbein’s designs for goldsmith’s work which has been preserved, and is
-described in a later chapter.[253] Henry VIII appears to have been
-genuinely devoted to his third wife, but his happiness was short-lived,
-for she died on October 24, 1537, twelve days after the birth of her
-son, Edward VI, her death being due to carelessness on the part of her
-attendants.
-
-Footnote 253:
-
-  See pp. 274-275.
-
-Not a single dated portrait of the year 1537 remains, nor is there one
-which can be ascribed with any certainty to this year. Possibly the
-great Whitehall wall-painting and other works for the King occupied much
-of Holbein’s time.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                               CHAPTER XX
-                          THE DUCHESS OF MILAN
-
-Search for a queen to succeed Jane Seymour—Negotiations in France and
-  Brussels—The Duchess of Milan—Hutton’s description of her—Her portrait
-  by some unknown Netherland painter—Philip Hoby sent over with Holbein
-  to obtain her portrait—Cromwell’s instructions to them—Hutton’s letter
-  describing their visit—The small oil painting at Windsor—Description
-  of the picture in the National Gallery—Continuation and final failure
-  of the marriage negotiations—History of the picture—Purchased for the
-  English nation by the National Art-Collections Fund for
-  £72,000—Portrait of the Duchess as a child by Mabuse.
-
-
-ON the very day of Jane Seymour’s death, the King and his Council began,
-with almost indecent haste, their search throughout the Courts of Europe
-for a new queen to fill her place. Henry’s ambassadors and agents were
-instructed to make discreet inquiries as to suitable candidates, and
-before the close of the year a number of names had been submitted to him
-for his consideration. In spite of this unseemly expedition, however,
-nearly two years were to elapse before the final choice was made, for it
-was not until the very end of 1539 that Anne of Cleves came to England
-as Henry’s fourth queen. Throughout the whole of 1538 marriage
-negotiations, which in the end proved fruitless, were carried on
-simultaneously with Francis I and the Emperor Charles V. Though Henry
-was anxious to marry again, in order that the succession, which rested
-on the precarious life of one infant Prince, might be made more assured,
-yet his search for a bride both in France and in Imperial circles at one
-and the same time was undertaken quite as much for political as for
-matrimonial reasons. It was his main object at that time to prevent any
-close understanding between his two rivals. With Charles and Francis
-united, and Europe at peace, there was nothing to prevent a coalition
-against England and an enforcement of the papal excommunication of Henry
-by force of arms. By playing off one monarch against the other with the
-bait of a proffered matrimonial alliance he hoped to keep the two apart,
-and by such means ensure the security of his throne, and be at liberty
-to continue the severe methods by which he sought to maintain his
-supremacy as self-appointed head of the English Church.
-
-[Sidenote: SEARCH FOR A FOURTH QUEEN]
-
-In the course of these negotiations quite a number of ladies were
-suggested, and in most, if not in all, cases, portraits of them were
-procured for Henry’s inspection. In some instances he sent his own
-painter for the purpose; in others, what may be termed “official”
-portraits, painted by foreigners, were forwarded to England by his
-ambassadors abroad. Of these portraits, two—those of the Duchess of
-Milan and of the Princess Anne of Cleves—were painted by Holbein, who
-was despatched to Brussels and to Düren in order to take their
-likenesses; but the authorship of the others is less certain, and as the
-portraits themselves cannot now be traced, it is difficult, if not
-impossible, to arrive at any final conclusion respecting them. There is
-much probability, however, amounting in two instances almost to
-certainty, that Holbein made other special journeys, in addition to the
-two just mentioned, for the purpose of painting ladies who had been
-reported to the King as beautiful or desirable. These journeys were to
-France, and solve, in the writer’s opinion, the mysterious journey to
-Upper Burgundy; but as the negotiations for a French marriage were
-running concurrently with those for the hand of the Duchess of Milan, it
-will be better, in order to avoid confusion, to deal separately with
-each of these proposed alliances, and the various portraits to which
-they gave rise. For this reason the present chapter is concerned with
-Holbein’s painting of the Duchess, while in the following one evidence
-is brought forward which indicates that he also received orders from the
-King to take the likenesses of several high-born ladies of France.
-
-Shortly after the imposing funeral ceremonies of Queen Jane Seymour,
-Cromwell wrote to John Hutton, the English agent in Brussels at the
-court of the Regent of the Netherlands, Queen Mary of Hungary, the
-Emperor’s sister, to ask him to make secret inquiries as to suitable
-brides for the King, and in Hutton’s reply, dated December 4, 1537,
-occurs the first mention of the Duchess of Milan as a possible Queen of
-England. Hutton wrote:
-
-    “Uppon the recept of your letters addressid unto me by this
-    berrar, I have made as myche secret sherche as the tyme wold
-    permyt. The which, albeit had byn of lengar contenewance, I cold
-    not perceve that anny sherche cold have found wone soo notable a
-    personage as were meit to be lykynd to that noble Raynge. In the
-    Court ther is wayttyng uppon the Queyn a lady of thage of 14
-    yerres, daughtar unto the Lord of Breidrood, of a goodly
-    statwre. She is noted varteos, sadde, and womanly; hir beautie
-    is competent, hir mother is departid this world, who was
-    daughter to the Cardynall of Luikes sister. It is thought that
-    the said Cardinall wold give a good dote to have hir bestoid
-    after his mynd. Ther is a widdowe, the wiche also repayrithe
-    offten to the Court, beyng of goodly personage. She was the
-    wyffe of the late Yerle of Egmond, and, as I ame inffarmyd, she
-    parsithe fortie yeres of age, the wich dothe not apeire in my
-    judgement by hir face. Ther is the Duches of Myllayn, whom I
-    have not seyn, but as it is reportid to be a goodly personage
-    and of excellent beawtie. The Dewke of Clevis hathe a daughter,
-    but I here no great preas neyther of hir personage nor beawtie.
-    I have not myche exsperiens emonges ladies, and therfore this
-    commission is to me very hard; soo that, yf in anny thyng I
-    offend, I beseche your Lordshipe to be my mean for pardon. I
-    have wryttyn the treuthe, as nighe as I canne possible lerne,
-    levyng the further judgment to other, that are better skillid in
-    such matters.”[254]
-
-Footnote 254:
-
-  _C.L.P._, vol. xii. pt. ii. 1172. _St. P._, viii. 5.
-
-                  *       *       *       *       *
-
-The Duchess reached Brussels shortly after this letter was despatched,
-and Hutton wrote again to Cromwell on the 9th of December, after a
-personal inspection of the lady, whom he thought to be very like Mrs.
-Shelton, one of Anne Boleyn’s ladies, as follows:
-
-[Sidenote: HUTTON’S LETTERS ABOUT THE DUCHESS]
-
-    “The Duches of Myllan ... arived here as ystarday, very
-    honorably acompenyd as well of hyr owen treyn as withe suche
-    that departed from hence to meit hyr. I ame inffurmyd she is of
-    the age of 16 yeres, very high of stature for that age. She is
-    highar then the Regent, a goodly personage of boddy, and
-    compytent off beawtie, of favor excellent, sofft of speche, and
-    very gentill in countenance. She werythe moornyng aparell aftre
-    the maner of Ytalie.... She resemblythe myche wone Mystris
-    Shelton, that somtyme watid in Court uppon Queyn Anne. She
-    ussithe most to spek Frenche, albeit that as it is reportid she
-    can [speak] Ytalian and Highe Almeyn. I knowlige my self of
-    judgment herein very yngnorant, albeit I have inployd my wittes
-    to sartiffie your Lordshipe off the trewthe.”[255]
-
-Footnote 255:
-
-  _C.L.P._, vol. xii. pt. ii. 1187. _St. P._, viii. 6.
-
-In a transcript of the same letter, addressed to Thomas Wriothesley, one
-of Cromwell’s secretaries, and despatched to England on the same date,
-Hutton added:
-
-    “Ther is non in theis parties off parsonage, beawtie, and
-    byrthe, lyke unto the Duches off Myllayn. She is not soo pewre
-    whyt, as was the late Qweyn, whois soal God pardon; but she
-    hathe a syngular good countenaunce, and when she chancesithe to
-    smyl, ther aperithe two pittes in hir cheikes, and wone in hyr
-    chyne, the wiche becommythe hyr right excellently well.”[256]
-
-Footnote 256:
-
-  _C.L.P._, vol. xii. pt. ii. 1188. _St. P._, viii. 7.
-
-                  *       *       *       *       *
-
-He wrote still further in her praise in a third letter to Cromwell,
-dated December 21:
-
-    “Synns my letter of the 4th sent unto your Lordshipe by Fraunces
-    the corror, I wrot your Lordshipe wone other of the 9th, wherin
-    I sartified the arivall of the Duches of Myllan, withe my
-    judgement of hir personage and beawtie. Synns wiche tyme I have
-    dayly notid hir gestur and countenance, the wiche presentithe a
-    great majestie with myche sobrenes, soo that in the furtherance
-    of that matter I thynke your Lordshipe shuld doo highe sarvis to
-    the Kynges Highness, and to the whole commune welthe of his
-    Realme like proffit.”[257]
-
-Footnote 257:
-
-  _C.L.P._, vol. xii. pt. ii. 1243. _St. P._, viii. 8.
-
-                  *       *       *       *       *
-
-These descriptions were considered to be so satisfactory that Hutton’s
-other suggestions were discarded, and the young Duchess selected as a
-possible wife for Henry, if good terms could be arranged. Christina of
-Denmark, youngest daughter of King Christian II of Denmark and Isabella
-of Hungary, sister of Charles V, was born in 1523, and had been married,
-in 1534, when only eleven years of age, to Francesco Maria Sforza, the
-last Duke of Milan, who died in the following year, October 24, 1535.
-She was now in her sixteenth year, and as the niece of the Emperor, a
-marriage with her, so Henry and his Council considered, would be of
-great political advantage, as it would give the world a proof that his
-quarrel with Charles over the divorce of Katherine of Aragon was at an
-end. Henry, therefore, wrote on January 22, 1538, to Sir Thomas Wyat,
-his ambassador in Spain, ordering him to suggest the marriage to the
-Emperor, who in his reply, sent through his representative in London,
-Eustace Chapuys, declared that he would be glad to treat of it. Henry,
-who naturally wished to see the lady, if possible, before committing
-himself too far, began to throw out suggestions that she should be
-brought to Calais, in order that he might make her acquaintance, but
-this proposal was displeasing to the other parties concerned; and so, as
-the next best thing, it was determined to obtain her portrait. Hutton
-was instructed to procure one if he possibly could, and he wrote to
-Cromwell on February 21, describing a dinner-party he had attended given
-by the “Ladie Marqueis of Barrough,” at which she promised to show him,
-when finished, a portrait for which the Duchess of Milan was sitting,
-and for the purpose of which she had put off her mourning dress. This
-picture, apparently, was to be given to the Lady Marquis. He told
-Cromwell:
-
-    “The Lady Marqueis demaundid of me, yff the letters, wiche I had
-    delyverid the Queyn, cam from the Kynges Highnes my master. Unto
-    wiche I made answar that the cam frome the Empror. Then she said
-    that when she sawe me delyver them, hir hart rejoissid, thynkyng
-    ther had byne some good newis consarnyng the Duches of Myllain,
-    of whom she made great preis, as well for hir beawtie, favor,
-    wisdom, as for hir myche gentilnes. All wiche saynges I
-    affirmyd. Withe that she said, yf I had seyn hir owt of hir
-    mornyng aparell, so gorgeosly as she had seyn hir the day
-    beffore, I wold have marveillid, for she said, to tell me in
-    secret, she cawssid hir pikture to be made, wiche beyng
-    fenisshed, the Duches had promissid to give it unto hir, soo
-    that she of hir owen motion said, assone as it cam to hir handes
-    I shuld have a sight therof.”[258]
-
-Footnote 258:
-
-  _C.L.P._, vol. xiii. pt. i. 326. _St. P._, viii. 14.
-
-He goes on to describe an interview with the Duchess on the following
-day, in which she complained of the rain, telling Hutton, “This wether
-likythe not the Queyn, for She is therby pynnyd upp, that She cannot
-ride abrode to hunt. Then I demandid if Hir Grace did not love huntyng.
-She answered, ‘Non better,’ and soo pawssid.
-
-    “She spekithe French, and semythe to be of fewe wordes. In hir
-    spekyng she lispithe, wiche dothe nothyng mysbecom hir. I canot
-    in anny thyng perceve, but she shuldbe off myche sobreness, and
-    very wisse and no les gentill. It may pleis your Lordship to
-    consedar that my poore knowlege is not to give anny judgement in
-    suche matters, but only to showe my openyon. And for that it
-    wilbe yet theis 8th dais, beffore I can com by hir pikture, I
-    thought it my duetie to sartiffie your Lordshipe the premissis;
-    and incontinent the said pikture shall com to my handes, it
-    shalbe sent your Lordshipe with spedy deligence. Advertissyng
-    the Lady Marques that I did send it unto Barough, for that my
-    wiffe had myche dessire to se the Duches.”[259]
-
-Footnote 259:
-
-  _C.L.P._, vol. xiii. pt. i. 326. _St. P._, viii. 14.
-
-[Sidenote: HOBY AND HOLBEIN GO TO BRUSSELS]
-
-Matters seemed now to be progressing so favourably that it was decided
-to send over Philip Hoby to Brussels, with some show of secrecy, for the
-purpose of a personal interview with the young lady, and, as Henry was
-very anxious to obtain an accurate likeness of her, it was also arranged
-that Holbein should go with him, without waiting for the portrait which
-Hutton hoped to secure.
-
-Philip Hoby, who was born in 1505, was the son of William Hoby, of
-Leominster. His zeal for the Reformation commended him to Henry VIII and
-Cromwell, by whom he was constantly employed from 1538 onwards in
-diplomatic services at the courts of Spain and Portugal, and on special
-missions elsewhere. He was one of the gentlemen ushers of the King’s
-Privy Chamber, and took part in the siege of Boulogne, being rewarded
-with knighthood immediately after the conquest of that town in the
-autumn of 1544. He was made Master of the Ordnance and admitted to the
-Privy Council in 1552, and died in 1558. From his correspondence he
-appears to have been a man of culture and refinement. Holbein made two,
-if not three, journeys abroad in his company, and painted his portrait,
-though its whereabouts is not now known, but the drawing for it, in
-which he is shown with a scanty beard and long thin moustache, is in the
-Windsor Collection.[260]
-
-Footnote 260:
-
-  Woltmann, 302; Wornum, ii. 7; Holmes, i. 40.
-
-Cromwell’s instructions to Hoby were as follows:
-
-    “Instructions given by the L. Cromwell to Philip Hoby sent over
-    by him to the duchess of Lorraine then [to the] duchess of
-    Milan.
-
-    “To repair to Mr. Hutton and tarry secretly at his lodging until
-    he shall have been with the Regent. Then upon Hutton’s
-    advertisement to go to the Duchess, present Cromwell’s
-    commendations and say that no doubt she had heard from the Lady
-    Regent and by the relation of the King’s ambassador there, the
-    cause of his coming and Cromwell’s inclination to the
-    advancement of the same as is declared ‘in the letter.’ He shall
-    then beg her to take the pain to sit that a servant of the King,
-    who is come thither for that purpose, may take her physiognomy;
-    and shall ask when Mr. Hanns shall come to her to do so. The
-    said Philip shall as of himself express a wish that both for my
-    Lord’s reports of her virtues and for his own view of them, it
-    might please the King, being now without a wife, to advance her
-    to the honour of a queen of England. ‘And he shall well note her
-    answers, her gesture and countenance with her inclination, that
-    he may at his return declare the same to the King’s Majesty.’
-    Her picture taken, he and Hanns shall return immediately.”[261]
-    Hoby was also supplied with a second document, in which all that
-    he was to say to the Duchess was carefully drawn up for his
-    guidance.
-
-Footnote 261:
-
-  _C.L.P._, vol. xiii. pt. i. 380(2).
-
-In the heading to these instructions, which is written in a later hand
-than the body of the document, the words “to the” in square brackets
-have been inserted by the editor of the _Calendars of Letters and
-Papers, &c._ In doing this he has been misled by a very similar set of
-instructions issued to Hoby on the eve of a mission to Lorraine in
-August of the same year, which is dealt with in the next chapter. He
-thus reads the heading as indicating that Hoby was to go first of all to
-the Duchess of Lorraine and afterwards to the Duchess of Milan, and that
-the one set of instructions was to serve for the two visits. The
-inserted words, “to the,” however, are not needed. Christina, a few
-years after Holbein painted her, married, in 1540, François, Duke of Bar
-and Lorraine, and the writer who added the heading to the copy of Hoby’s
-instructions quite correctly describes her as the Duchess of Lorraine,
-“then (or “at that time,” _i.e._ at the time of Hoby’s journey to
-Brussels) Duchess of Milan.” This is a small point, but it is necessary
-to draw attention to it, as it has to do with Holbein’s subsequent
-journey to Upper Burgundy.
-
-[Sidenote: HOBY AND HOLBEIN IN BRUSSELS]
-
-The two travellers left London on the 2nd or 3rd of March, and reached
-Brussels on the evening of the 10th. The next day was spent in
-preliminary interviews, Hutton having audience with the Lady Regent and
-the Duchess in the morning, and Hoby delivering his message to the
-latter in the afternoon. All going smoothly, Holbein was fetched to the
-court at one o’clock on the 12th, and accomplished all that he had to do
-within three hours, to the great admiration of Hutton, who considered
-that he showed himself to be a master, and that the likeness was very
-perfect. The English agent, the day before their arrival, had already
-despatched a portrait of the lady to London—in all probability the one
-promised him by the Lady Marquis—but after seeing Holbein’s beautiful
-drawing, he sent a messenger post haste to stop the bearer of the first
-picture, which he now regarded as but “slobbered” in comparison with the
-other. Hoby and Holbein, who started upon their homeward journey on the
-evening of the 12th, appear to have taken this inferior picture with
-them, so that Cromwell might compare the two. There is no evidence to
-indicate by whom it was painted, but as the lady was represented in gay
-apparel, it must have been in marked contrast to Holbein’s study and the
-full-length portrait he afterwards painted, representing her in her
-Italian widow’s weeds. It is possible that this picture is still in
-existence in England, and its discovery would be most interesting.
-
-Hutton’s letter to Cromwell, describing all that took place on the
-occasion, is a long one, but as it is one of the few important documents
-still existing in which Holbein is mentioned by name, it cannot well be
-omitted here. It is dated March 14, 1538, and runs as follows:
-
-    “My moste bounden duetie remembered unto Your good Lordshipe.
-    Pleasithe the same to be advertissid, that the 10th of this
-    present monethe in the evenyng arivid here your Lordshipis
-    sarvand Phillip Hobbie, acompenied with a sarvand of the Kynges
-    Majesties namyd Mr Haunce, by wiche Phillip I recevyd your
-    Lordshippis letter, beryng date at Saynct Jamys the second day
-    of this present. Theffect wherof apercevyd, havyng the day
-    beffore sent wone of my sarvandes towardes youre Lordshipe withe
-    a picture of the Duches of Myllain, I thought it very nessisarie
-    to stey the same, for that in my openion it was not soo
-    perffight as the cawsse requyrid, neyther as the said Mr Haunce
-    coold make it. Uppon wiche determination I dispached another of
-    my sarvandes, in post, to returne the same, wiche your Lordshipe
-    shall receve by this berrar. The next mornyng aftre the arivall
-    of your Lordshippis said sarvand, I did adresse my selff unto
-    the Lady Regent, declaryng unto Hir that the night past ther
-    arivid at my lodgyng a sarvand of your Lordshippis, withe wone
-    other of the Kynges Majesties; by wiche your Lordshippis sarvand
-    I had recevyd commiscion to sartiffie Hir Grace that thEmprors
-    Ambassadors, resident with the Kynges Majestie my master, had
-    made ernyst overture unto your Lordshipe for a marriage to be
-    treatid betwixt the Majestie of my said master, and the Duches
-    Grace of Millain. To the wiche albeit your Lordshipe was of no
-    les good inclination for the furtherance of the same, then the
-    said Ambassadors were, yet your Lordshipe thought it not
-    exspedient to be broken unto the Kynges Highnes, withowt havyng
-    some further occation mynistrid for the openyng of the same. And
-    for as myche as your Lordshipe had hard great commendation of
-    the furme, beawtie, wisdom, and other verteos qualiteis, the
-    wiche God had indewid the said Duches with, you cold perceve no
-    mean more meit for the advauncement of the same, than to procure
-    her perffight pictur; for wiche your Lordshipe had sent, in
-    compeny of your said sarvand, a man very excellent in makyng off
-    phisanymies; soo that your Lordshippis desire was that your said
-    sarvand myght in moste humbleist wisse salute the Duches Grace,
-    requyryng that hir pleisur might be to apoynt the tyme and
-    place, wher the said paynter might acomplische his charge. The
-    Regent, when I began to declare this forsaid purpos, stud uppon
-    hir feit; but, aftre She had a littill ynclyng to what effect
-    the same wold com, She did sit dowen, not movyng, till I had
-    fenisshid all that I had to say, and then answered as foloythe:
-    ‘I thanke yow for your good newis. This is not the first report
-    that I have had of the good inclination that the Lord Crumwell
-    hathe to thEmprores afferris, for recompence wheroff I trust he
-    shall not fynd Us ingrat. And as to his desire in this behalff,
-    it shall gladly be accomplisshid.’ Then I said, ‘Madam, I have
-    yet further commiscion, wiche is to sartiffie the same unto the
-    Duches Grace.’ Hir answar was, that She wold goo to Councell,
-    and when the Duches cam to hir oratorie, I myght [have] very
-    good oportunitie to talke withe hir. Withe that the Regent
-    departid towardes the Councell Chamber, and I taried the Duches
-    commyng; who beying com to hir oratorie, wher as remenyd no moo
-    but two of hir ladeis, I sartiffied Hir Grace the woll effect of
-    your Lordshippis commission consarnyng Phelipe Hobbie, whom,
-    when Hir Grace wold give awdiens, wold more ample sartiffie your
-    Lordshippis pleisur. She made answar that, if ever it shuld ly
-    in hir powar, the good will of your Lordshipe shoid towardes
-    hir, wiche she in no part had desarvid, shuld not remeyn
-    unrecompencesid; and that as to your said request it was not to
-    be denyed, albeit that she, beying ther withe the Queyn hir
-    awnt, thought it not meit to make anny graunt therunto withowt
-    hir consent, wiche she wold move to obteyn at the first
-    convenient leisar, that she myght have with the Queyn consarnyng
-    the same. Commandyng to be called unto hir wone, naymd the Lord
-    Benedike Court, who next unto Monsur de Correra is cheiff about
-    hir; whoo beyng com, she said unto hym, ‘Goo withe thAmbassadour
-    and entarteyn a gentilman that is at his lodgyng, and knowe wher
-    you shall fynd hym at suche tyme as I shall send yow for hym.’
-    This done, wee tooke ower leve of Hir Grace, and cam to my
-    lodgyng, wher the said Lord salutid Phillip Hobbie, communyng
-    together in the Italian tunge a sarten space, and then tooke his
-    leve to repaire agayn to the Court; wiche I percevyng, requyrid
-    hym to take the portion withe us at dynnar, wiche he promissid
-    to doo; but aftre beyng otherweis myndid, he sent us woord that
-    he cold not com, but wold see us aftre dynnar; wiche apoyntment
-    he kept. For at two of the cloke in the aftrenoon he cam for
-    Phillipe to com speke withe the Duches his mystres: who can make
-    relation to your Lordshipe more at large what passid at the
-    tyme. The next day foloyng, at wone of the cloke in the
-    aftrenoon, the said Lord Benedike cam for Mr. Haunce; who havyng
-    but thre owers space hathe shoid hym self to be master of that
-    siens, for it is very perffight; the other is but sloberid in
-    comparison to it, as by the sight of bothe your Lordshipe shall
-    well aperceve. The same night Phillipe tooke his leve of the
-    Duches. I inffurmyd the Lady Regent that the said Phillipe wold
-    gladly, accordyng to your Lordshippis commandment, have com to
-    have done his duetie unto Hir, to have knowen what further
-    sarvis Hir Grace wold commaund hym; but dowttyng he should be
-    notid, wherby myght be discoverid that wiche till then was kept
-    secret as coldbe. She answarid that it shuld not neid, reqwiring
-    me, that I wold make hir most effectios commendations, by my
-    letters, unto your Lordshipe, and that yow shuld here frome Hir
-    more at large by thEmprors Ambassadour resident with the Kynges
-    Majestie. To sartiffie your Lordship of hir sobreness, wisdom,
-    and other varteos qualities shulde be but superfluitie, for this
-    berrar can sartiffie your Lordshipe therof at length.”[262]
-
-Footnote 262:
-
-  _C.L.P._, vol. xiii. pt. i. 507. _St. P._, viii. 17.
-
-[Sidenote: HUTTON’S ACCOUNT OF HOLBEIN’S VISIT]
-
-The Queen Regent wrote to Eustace Chapuys in London, directly after
-Hoby’s departure, saying that: “I deem it opportune to acquaint you with
-a fact, of which you are not perhaps aware, namely, that Sieur Cromwell
-has sent here expressly a man, besides a message by ambassador Hauton,
-to the effect that the Emperor had proposed to the King, his master, the
-marriage of my niece, the dowager duchess of Milan, with honourable and
-advantageous conditions; that he (the Emperor) offers to help
-efficiently towards it, and wishes it to take place before King Francis
-becomes aware of it. Cromwell asks that the man be allowed to see and
-talk with my said niece, and take her portrait in order to show it to
-the King and give him greater desire to see her. This I have allowed,
-and the man has actually returned to England with the portrait, well
-satisfied with the personal appearance and manners of my said niece, who
-has not failed on the occasion to thank Cromwell for his offers and show
-of affection.”[263]
-
-Footnote 263:
-
-  _C.L.P._, vol. xiii. pt. i. 419. _Spanish Calendar_, vol. v. pt. ii.
-  217.
-
-From Chapuys’ reply to her, dated March 23, we learn that Hoby and
-Holbein reached London on March 18, and that the King was delighted with
-the latter’s handiwork. He tells her:
-
-    “On the very same day, the 18th, the painter sent by this King
-    to Flanders came back with the Duchess’ likeness, which, I am
-    told, has singularly pleased the King, so much so, that since he
-    saw it he has been in much better humor than he ever was, making
-    musicians play on their instruments all day long. Two days after
-    he went to dine at a splendid house of his, where he had
-    collected all his musicians, and, after giving orders for the
-    erection of certain sumptuous buildings therein, returned home
-    by water, surrounded by musicians, and went straight to visit
-    the duchess of Suffocq, the mother-in-law of the duke of
-    Norfolk, and the wife of his brother, and ever since cannot be
-    one single moment without masks, which is a sign he purposes to
-    marry again, unless he does all that by way of dissimulation
-    whilst the bishop of Tarbes is here still.”[264]
-
-Footnote 264:
-
-  _C.L.P._, vol. xiii. pt. i. 583. _Spanish Calendar_, vol. v. pt. ii.
-  220.
-
-                  *       *       *       *       *
-
-For the cost of this journey Hoby received £23, 6_s._ 8_d._ from the
-royal purse, which is noted in the book of the King’s household expenses
-for March 1538. “Item paid to Philip Hoby by the kinges commandment
-certifyed by my lord privy seal lettre for his coste and expences sent
-in all possible diligence for the kinge affaires in the parties of
-beyonde the See. xxiij _li._ vj_s._ viij_d._”[265]
-
-Footnote 265:
-
-  _C.L.P._, vol. xiii. pt. ii. 1280 (f. 6).
-
-[Sidenote: PORTRAIT OF THE DUCHESS AT WINDSOR]
-
-No doubt the portrait which so delighted the King was one of those
-masterly studies in black chalk touched with colour, such as the “John
-Godsalve” among the Windsor drawings, from which Holbein afterwards
-painted the magnificent full-length now in the National Gallery. He
-could not have done much more than this in the three hours which was the
-whole time allowed him for the sitting. Sir Claude Phillips, however, is
-of opinion that it must have been something more than a drawing, however
-consummate—perhaps a finished sketch of the head only in oils. “It is
-difficult to believe,” he says, “that a layman would express so
-enthusiastic an approval of a drawing of modest dimensions, and (if it
-followed the usual Windsor type) of modest aspect. Neither sketch,
-however, nor drawing is known to exist.”[266]
-
-Footnote 266:
-
-  _Daily Telegraph_, May 8, 1909.
-
-It was suggested by the late Sir George Scharf, F.S.A., that the small
-oil panel, showing the Duchess to the waist, which is practically a
-replica of the upper half of the National Gallery picture, is the
-original study made by Holbein in Brussels. This portrait, then unnamed,
-he discovered in 1863, in a small apartment in Windsor Castle, and it
-was described by him in a paper read before the Society of Antiquaries,
-and published in _Archæologia_, with a good lithograph of the picture by
-T. H. Maguire.[267] It is on wood, 17 in. high by 13 in. wide.
-
-Footnote 267:
-
-  “Remarks on a Portrait of the Duchess of Milan, recently discovered at
-  Windsor Castle, probably painted by Holbein at Brussels in the year
-  1538,” _Archæologia_, 1866, vol. xl. p. 106.
-
-“The picture by Holbein,” says Sir George, “could only have been a
-drawing or a painting on rather a small scale, inasmuch as it had at
-once to be conveyed by a messenger to England, and one of the objects of
-Hutton’s letter was to show the diligence with which the King’s commands
-were executed and to announce the coming of the picture. The scale and
-workmanship of the picture before us are exactly such as might have been
-expected from a first-rate painter and tactician under such
-circumstances. All essential points are observed with scrupulous
-fidelity, and, certainly, as far as internal evidence extends, without
-flattery. It is not to be supposed that Holbein did nothing to the
-picture beyond the term of the three hours’ sitting afforded by the
-Duchess. Having secured all the essential points of likeness, and given
-the general colouring, he doubtless spent some time in further
-finishings from memory. But time must have been given for the picture to
-dry.”
-
-Wornum, however, refuses to accept Sir George’s ascription. “The head is
-vigorously painted,” he says, “and very natural; it shows, however, no
-complete finish, which, if the picture referred to, is exactly what one
-would expect; but it lacks also the mastery one would expect to find in
-a free sketch by Holbein. The hands are inferior, but they appear to
-have been partly repainted; the background has also been entirely
-repainted.... In its present state, it looks much more like a clever
-study from the Arundel picture, than its pattern; anyhow the distance
-between them is immense, but this does not prove much, for a very
-inferior master to Holbein could elaborate a magical effect from a mere
-rough sketch, provided this possessed the real germs of truth in
-it.”[268]
-
-Footnote 268:
-
-  Wornum, p. 313.
-
-[Sidenote: PORTRAIT OF THE DUCHESS AT WINDSOR]
-
-Woltmann, too, was of opinion that this small panel was not an original
-work by Holbein. “We cannot find in the picture at Windsor,” he says
-“that freedom and bold masterly style which absolutely belong to a
-sketch from life, and which alone could have excited such lively
-admiration in John Hutton. The picture at Windsor is very pretty and
-graceful, but has something almost sober in its treatment. It can indeed
-be just as little a copy from the large painting. It exhibits some
-differences in the costume, for instance, a somewhat larger fur collar,
-and another position of the fingers, although the characteristic
-attitude of the hands is essentially the same. Christina also wears
-three rings instead of a single one; namely, a black widow’s ring on the
-little finger of the right hand, and on the next finger a gold hoop with
-a square black stone. We might, therefore, believe that this is a copy
-by another hand of the sketch Holbein painted from life. In favour of
-this opinion, we find the head, which the sketch naturally gave most
-distinctly, by far the best part of the painting, while the rest, which
-was only indicated in the sketch, appears far weaker.”[269]
-
-Footnote 269:
-
-  Woltmann, 1st ed., English translation, pp. 426-7.
-
-Sir George Scharf describes with care the many small differences between
-the two works. In addition to the three rings instead of one, mentioned
-by Woltmann, the fur of the dress in the smaller picture is much deeper
-and has every appearance of being a wide fur collar separate from and
-placed over the black dress. In the larger portrait the fur is much
-narrower, and evidently forms the lining and collar of the outer robe, a
-narrow edging of it being shown down the front. In the National Gallery
-picture, too, this outer robe is open several inches in front, showing
-the under-dress of black and the knotted ribbon at the waist, all of
-which are missing in the Windsor panel. Again, though the hands holding
-the gloves have the same general position in both, the position of the
-fingers shows considerable variation. In the smaller portrait the two
-last fingers of the right hand and the two middle ones of the left are
-bent inwards; in the larger, the only bent fingers are the two last of
-the left hand. There are some other minor differences which need not be
-specified.
-
-Both pictures at one time belonged to Henry VIII, and are included in
-the inventory of that King’s “money, jewels, plate, utensils, apparel,
-wardrobe stuffs, goods and chattels, consigned to the care of Sir
-Anthony Denny at Westminster.” The volume, now in the Record Office, is
-dated April 24, 1542. They appear again in a similar inventory, made
-after Henry’s death, taken “by vertue of a Commission under the greate
-seale of England, bearing date at Westminster the viij day of September,
-in the first year of our Sovereyne Lord Edwarde the Sixte” (1547). In
-these, the smaller panel is described as “Item, a Table with a Picture
-of the Duchesse of Myllayne.”
-
-Woltmann’s conjecture that it is a contemporary copy made from Holbein’s
-original sketch appears to be the true one, though for whom made it is
-now impossible to say. There seems to be no reason why Henry, having the
-full-length panel in his possession, should have commissioned this
-smaller and inferior one. If ordered by Thomas Cromwell, which is not
-very likely, it may have reached the King in the form of plunder after
-the former’s execution; if done in order to be sent to the Duchess
-herself, it is strange that it should have remained in England. In any
-case, it cannot have been the “slobbered” work which Hutton, in his
-eagerness to serve his royal master, had hurriedly despatched on its way
-to London on the eve of Holbein’s arrival in Brussels. All the evidence
-points to the latter as being the portrait of the Duchess “out of her
-mourning apparel” which was to be given to the Lady Marquess, who had
-promised to show it to Hutton when finished, as his letter tells us.
-Hutton, pleading urgency, and knowing that the latter lady was in favour
-of the match, in all probability borrowed it, or begged it as a gift.
-
-This portrait of the Duchess of Milan,[270] 70 in. by 32 in. (Pl. 21),
-is incomparably the greatest work from Holbein’s brush now remaining in
-England; it is, indeed, in many respects his masterpiece. It is of
-additional interest and value, too, as being the only full-length,
-life-size portrait of a lady painted by him. She is represented
-standing, facing and looking towards the spectator, her hands in front
-of her holding her gloves. She is dressed in mourning apparel as the
-widow of Sforza, a gown of plain black satin tied round the waist with a
-black cord, and a long black cloak reaching to her feet, lined with
-yellow sable, with a collar of the same fur, open in the front
-sufficiently to allow a part of her dress to be seen. At her neck and
-wrists are white frills with a narrow black edging, and on her head a
-closely-fitting black cap, which covers all her hair, and a part of her
-forehead. The gloves are pale buff, and her only ornament is a gold ring
-with a red stone, probably a cornelian, on the third finger of her left
-hand. The floor on which she stands is of pale yellow-brown colour,
-though no floor-boards are indicated, and the background is a plain one
-of deep blue, now almost black, only broken by the white cartellino over
-the sitter’s left shoulder, which is affixed to the wall with four dabs
-of red sealing-wax.
-
-Footnote 270:
-
-  Woltmann, 2. Reproduced by Pollard, _Henry VIII_, p. 250; Davies, p.
-  172; Ganz, _Holbein_, p. 121; and elsewhere.
-
-[Illustration:
-
-  VOL. II., PLATE 21
-  THE DUCHESS OF MILAN
-  1538
-  NATIONAL GALLERY, LONDON
-]
-
-Holbein made the choice of a true artist in thus depicting her in her
-widow’s weeds instead of in all the bravery of the court dress which she
-was again beginning to assume. The effect of fine rich colour produced
-by this wonderful rendering of a plain black costume is masterly, but in
-no way detracts the attention of the spectator from the grace of the
-slender form and the vitality and subtle expression of the face, as more
-elaborate accessories might have done. The whole panel is painted with
-the utmost simplicity and directness, and yet is stamped with real
-grandeur of style in every delicate stroke of the brush. The modelling
-of the flesh is rendered with extraordinary delicacy, while the tints
-are unusually transparent, and a faint rosy glow of health just flushes
-her cheeks. Her dark-brown eyes, from under fair eyebrows, look out upon
-the world with an intensity of expression which is surpassed in few, if
-any, portraits by the greatest masters; the red lips are full of
-character, but not more so than the hands, which are exquisitely
-painted. In the painting of hands Holbein was always a master, but he
-never accomplished anything finer in this direction than those of the
-young Duchess. The portrait, indeed, bears the stamp of truth in every
-line. The painter, who never exaggerated, has made no attempt to add to
-the lady’s beauty; such as she was he painted her. The draperies are
-admirably arranged, and the painting of fur and satin as good as
-anything Holbein ever did, even in such portraits as that of Gisze. The
-restrained but stately attitude of the young girl, still only on the
-threshold of womanhood, the refined, reserved, and dignified character
-in the fresh young face, which, though gentle, is in no way lacking in
-strength, and the sense of humour lurking in the lips, combine to
-produce an effect which is fascinating in the highest degree; indeed, in
-the simplicity of its methods, the strength, refinement, and elegance of
-its conception, and in its extraordinary vitality, it must always remain
-not only Holbein’s masterpiece in the portraiture of women, but one of
-the greatest portraits in the world.
-
-[Sidenote: NATIONAL GALLERY PORTRAIT]
-
-There is no doubt that Holbein painted the portrait immediately after
-his return from Brussels, although some writers have suggested that it
-is a year or so later in date than 1538. This conclusion is based
-largely on the supposition that Holbein’s visit to High Burgundy later
-in the same year was for the purpose of obtaining further sittings from
-the Duchess; but this is an error, as will be shown in the next chapter.
-The portrait was painted for Henry, and would naturally be done at once,
-before the negotiations for the marriage were broken off, and it
-remained in his collection throughout his life. Holbein was out of
-England more often and for a longer period in 1538 than has been
-generally supposed. In addition to at least one other continental
-journey on the King’s service, he was absent from about the middle of
-August until nearly Christmas, and thus everything indicates that this
-important panel was painted in April or May.
-
-Another argument, advanced by Sir George Scharf in favour of the
-contention that it was painted some time after 1538, is that the name
-and titles of the lady written on the fictitious piece of paper attached
-to the dark background near to her left shoulder, by four dabs of
-sealing-wax, designate her “Duchess of Lorraine.” This inscription Sir
-George reads as: “Christine, Daughter to Christierne K. of Deñarke, and
-Dutchess of Lotragne and heretofore (?) Dutches of Milan.” The writing,
-however, is much rubbed, and is by no means easy to decipher; thus the
-word which Sir George read as “heretofore,” Mr. Wornum considered to be
-“hered” (hereditary). “This,” Sir George goes on to say, “would, if the
-writing be contemporary with the picture, bring the date to 1541, the
-year of her second marriage to Francis, Duke of Lorraine and Barr. The
-style of writing on the paper may perhaps raise some question, and may
-possibly be found to belong to the period of James I, when through his
-Queen and the occasional presence of Christian IV in England, a
-considerable interest was felt in matters connected with Denmark.”[271]
-
-Footnote 271:
-
-  _Archæologia_, xl. p. 109. The date of her marriage to Lorraine
-  appears to have been 1540.
-
-The inscription as it now is was probably painted over an earlier one
-from Holbein’s brush, for it is too badly done to be original; but there
-is no need to place it as late as Sir George suggests, for the Lumley
-inventory speaks of her as the Duchess of Lorraine, so that the
-alteration may have been due to Lord Lumley or his father-in-law. It is
-even possible that Holbein may have placed no title of any kind on the
-picture, but that the whole label was added by some other painter
-employed for the purpose by the owner of Nonsuch.
-
-In spite of Henry’s admiration for the picture, the proposed match came
-to nothing, though for some time Hutton continued to write letters in
-her praises. Thus, on the 1st April 1538, he wrote to the King:
-
-[Sidenote: FAILURE OF MARRIAGE NEGOTIATIONS]
-
-    “Pleasithe Your Majestie to be advertissid that synns the
-    departyng frome hence of Phillipe Hobbie, I have for the most
-    part byne dayly in the Queyns chambre, by cawse I myght withe
-    the more commoditie aperceve, whether the great modestiosnes,
-    that is in the Duches of Myllayn, proceid of a symple
-    yngnorance, or of a naturall inclination acompenid withe wisdom;
-    to that intent I myght the better sartiffie Your Highnes of the
-    same. Wherunto I have inployid my selff withe all celeritie,
-    havyng bothe seyn and hard hir, aswell in matters off weight, as
-    playing at the cardes and other pastymys, not apercevyng in hir
-    anny liklihod that ther is want off wit, but rather to be
-    estemyd, emonge the nombre of wise, the wissist. Hir sobre and
-    gentill demenewre is myche lawdid by all them that knowe hir.
-    Soo that I take it to be above the compas off a womans wit to
-    dissemble longe withe that is graven in the hart to the
-    contrary, but I noot that in all hir acttes she uttrithe such a
-    myldnes, the wiche maniffestithe to be wroght in hir by nature,
-    and presarvid withe grace and wisdom.”[272]
-
-Footnote 272:
-
-  _C.L.P._, vol. xiii. pt. i. 656. _St. P._, viii. 21.
-
-In the following month (May 17) he informed Wriothesley that “the Lady
-Regent, acompenyd with the Duches Grace of Myllayn have byne dayly a
-huntyng, wiche is the exarsis, that the bothe moste desyre, and have
-greatest delit in; and by cawsse I have thought it my bounden duetie to
-repayre wher the Duches Grace was, procuryng occation many tymis to
-talke withe Hyr Grace, whom I fynd of myche wisdom, and of as great
-modestiosnes, as ever I knewe anny woman. Sithe the tyme that Phelip
-Hobbie departid frome theis parteis, Hir Grace hathe, bothe by woordes
-and countenance, ussid towardes me myche benyngnitie.”[273]
-
-Footnote 273:
-
-  _C.L.P._, vol. xiii. pt. i. 1018. _St. P._, viii. 29.
-
-He added that he had presented the Regent with four couple of young
-hounds and an ambling gelding, and had promised the same to the Duchess,
-“wiche offre she gently acceptyd.”
-
-Early in June an obstacle to the match was suggested which proved that
-the Emperor and his sister were only using the Duchess as a pawn on the
-political chess-board, and that there was no real intention of giving
-her to Henry. This obstacle was the fact that the Duchess was a near
-kinswoman of the late Queen Katherine, Henry’s first wife, and that the
-Pope’s dispensation was therefore necessary. The negotiations dragged on
-throughout the year, Hutton suddenly dying in the middle of them, on
-September 5, just when the King his master was sending over two
-commissioners, Thomas Wriothesley, one of his secretaries, and Stephen
-Vaughan, to treat personally with the Regent. There is no need to record
-their adventures, or the manner in which that lady continually put them
-off with plausible excuses. They followed her about the country on her
-journey to Compiègne to meet the King and Queen of France. On neither
-side was there any real sincerity, but the Englishmen, although Dr.
-Edward Carne[274] was sent over to help them, could not score a point in
-the game. They had several personal interviews with the Duchess, after
-one of which they reported that “she is a godly personage, of stature
-hiegher thenne eyther of us, a very good womans face, and competently
-faire, but very wel favored, a lytle browne.”[275]
-
-Footnote 274:
-
-  Knighted by the Emperor some years later.
-
-Footnote 275:
-
-  _C.L.P._, vol. xiii. pt. ii. 550. _St. P._, viii. p. 59.
-
-After another interview Wriothesley wrote to the King, on February 1,
-1539:
-
-    “A blinde man shuld judge no colours, but surely, Sir, after my
-    poure entendement, for that lyttel experyence that I have, she
-    is mervelous wise, very gentel, and as shamfast as ever I sawe
-    soo wittye a woman. I thinke her wisdome no lesse thenne the
-    Quenes, which in my pouer opinion is notable for a woman. Her
-    gentlenes excedeth. Asferre as I canne judge or here for this
-    lytel tyme that I have been here, I am deceyved, if she prove
-    not a good wief, if God send her a wise husbande; and sumwhat
-    the better I lyke her, for that I have been enformed that of all
-    the hole stock of them, her mother (Isabella, sister of Charles
-    V) was of best opinion in religion, and shewed it soo farre,
-    that bothe thEmperour and al the pack of them were sore greved
-    with Her, and seamed in thende to have Her in contempte. I wolde
-    hope no lesse of the doughter, if she might be so happye as to
-    nestle in Englande. Very pure, faire of colour she is not, but a
-    mervelous good brownishe face she bathe, with faire redd lippes,
-    and ruddy chekes; and oneles I be deceyved in my judgement,
-    which in all thinges, but specially in this kynde of judgement,
-    is very basse, she was yet never soo wel paynted, but her lyvely
-    visage dothe muche excel her poincture.”
-
-                  *       *       *       *       *
-
-Later on in the same interview Wriothesley pressed her as to her own
-desire in the matter, and sang his master’s praises:
-
-    “At this she blusshed excedingly, and said: ‘Asfor myn
-    inclination,’ quod she, ‘what shuld I saye? You knowe that I am
-    at thEmperrurs commaundement,’ and again, ‘You knowe I am
-    thEmperours poore servaunt, and must followe his pleasour.’ Your
-    Majesties wisedom shall easly judge uppon this, of what
-    inclination the women be, and specially the Duchesse, whose
-    honest countenaunce, with the fewe woordes that she wisely
-    spake, together with that which I knowe by the meane of her most
-    secrete chamberers and servauntes, maketh me to thinke there
-    canne be no doubt in her.”[276]
-
-Footnote 276:
-
-  _C.L.P._, vol. xiv. pt. i. 194. _St. P._, viii. 137.
-
-[Sidenote: HISTORY OF THE PICTURE]
-
-This letter seems to indicate that there is no truth in the well-known
-story told by Sandrart, and repeated by Walpole, that the Duchess
-herself was not anxious to become Queen of England, telling Henry’s
-ambassadors that “she had but one head; if she had two, one of them
-should be at his Majesty’s service.” On the contrary, Carne and his
-fellow-commissioners frequently mentioned that she seemed bent on the
-alliance, and could not bear to hear of any other marriage proposals.
-Among the frequenters of the English court it was common gossip that she
-was very likely to be the next queen. Thus, Robert Warner, of the Earl
-of Sussex’s household, writing to Lord Fitzwater on November 21, 1538,
-tells him that “there is small speaking of any queen; merely a report
-that it should be the duchess of Milan. In any case it will be an
-outlandish woman and will not happen till the spring.”[277] There was
-also a report that the King had sent her a diamond worth 16,000 ducats.
-
-Footnote 277:
-
-  _C.L.P._, vol. xiii. pt. ii. 884. _Ellis_, 1st series, ii. 96.
-
-Early in 1539 Francis and Charles V were in full accord, and Henry was
-making every possible preparation for war. The Regent and the Emperor no
-longer attempted to keep up the farce of a possible matrimonial alliance
-with England, though even then Wriothesley was writing for Henry’s
-“phisnamy,” which he thought would make the Duchess leave Emperor and
-all rather than be frustrated of so great a match. In the end the three
-ambassadors departed for home on March 19, though not without some
-trouble, as war appeared imminent; and thus Holbein’s famous portrait
-remained as the only record in Henry’s possession of these long and
-futile negotiations.
-
-The picture has never left England since the day it was painted. It was
-in the possession of Henry VIII at the time of his death, and is
-described in the inventory already mentioned, in which it is the twelfth
-entry, as—“Item, a greate table with the picture of the Duchyes of
-Myllayne, beinge her whole stature.” According to Mr. Lionel Cust,[278]
-it passed from King Henry’s collection to that of the King’s cousin,
-Henry Fitz-Alan, Earl of Arundel, after whose death it belonged to his
-son-in-law, John, Lord Lumley, husband of the Earl’s eldest daughter and
-co-heiress, Lady Joan Fitz-Alan. It is included in the manuscript
-inventory of pictures and other objects of art belonging to Lord Lumley
-in the reign of Queen Elizabeth already mentioned more than once. This
-inventory is entitled “A Certyficate from Mr. John Lampton, Stewarde of
-Howseholde to John, Lord Lumley, of all his Lo: Monumentes of Marbles,
-Pictures and tables in Paynture, with other his Lordshippes Howseholde
-stuffe, and Regester of Bookes. Anno 1590.” The picture is described as
-“The statuary of the Duchess of Myllayne, afterwards Duches of Lorreyn
-daughter to Christierne King of Denmarke doone by Haunce Holbyn,” the
-word “statuary” being used for a standing whole-length figure.
-
-Footnote 278:
-
-  Letter to _The Times_, May 5, 1909.
-
-Against the contention that the picture passed directly from Henry’s
-collection into the possession of the Earl of Arundel must be placed
-Carel van Mander’s statement that in 1574 Zuccaro saw it in the Earl of
-Pembroke’s house in London. “The said Zucchero,” he says, “was also
-delighted with the portrait of a certain Countess, dressed in black
-satin, life-size, a full-length figure, unusually pretty and well
-painted by Holbein, and kept in Lord Pembroke’s house, where he saw it
-in company with some painters and lovers of art, and took such great
-delight in it, that he declared he had not seen its like in art and
-delicacy even in Rome; therefore went away filled with admiration.”[279]
-
-Footnote 279:
-
-  See Woltmann, English translation, p. 426.
-
-Van Mander’s book was not published until 1604, thirty years later than
-this incident, and it is, of course, quite possible that either he or
-Zuccaro made a mistake as to the ownership of the picture and the place
-where it had been seen; but the statement is very definite, and must be
-taken into consideration in tracing the portrait’s history. In any case,
-there is no doubt that Lord Lumley owned it in 1590, and that he was a
-lover of Holbein’s works, of which he possessed a considerable number,
-most of which have been referred to individually in preceding pages,
-among them the great cartoon of Henry VII and Henry VIII belonging to
-the Duke of Devonshire, and portraits of Erasmus, Sir Thomas More, and
-Sir Henry and Lady Guideford, and the book of the Windsor drawings, all
-of which are entered in the inventory as “drawne” or “doone” by “Haunce
-Holbyn.” In Lord Lumley’s collection were also portraits of Sir Nicholas
-Carew, Sir Thomas Lovell, the elder and the younger Sir Thomas Wyat, and
-Sir Thomas Hennege, some of which also may well have been by Holbein,
-though no artist’s name is placed against them in the list.
-
-[Sidenote: HISTORY OF THE PICTURE]
-
-For many years Lord Lumley resided at Nonsuch. The erection of this
-palace was begun by Henry VIII in the year in which the Duchess was
-painted. The house, of which Toto was probably the chief architect or
-decorator,[280] was unfinished at the King’s death, and remained so
-during the reign of Edward VI; but in that of Mary it was completed by
-the Earl of Arundel, who had become possessed of it, “after the first
-intent and meaning of the said King his old maister.” Here Lord Lumley
-resided with his wife and father-in-law until the Earl’s death in 1580,
-when he became its owner. He added the front quadrangle, and entertained
-Queen Elizabeth there on more than one occasion. From his hands it
-reverted to the Crown in 1591 in exchange for other property. No doubt
-Lord Lumley’s collection of pictures remained at Nonsuch until that
-year, and very possibly the inventory, dated 1590, was drawn up in
-preparation for the removal of the works of art when this transfer of
-estates took place.[281]
-
-Footnote 280:
-
-  See Vol. i. pp. 276-7.
-
-Footnote 281:
-
-  See Cust, _Burlington Magazine_, vol. xiv., March 1909, pp. 366-8, and
-  _The Times_, May 5, 1909; A. W. Franks, _Archæologia_, vol. xxxix. p.
-  35.
-
-Upon the death of Lord Lumley without issue, it is evident that the
-picture passed, with other portraits of the Fitz-Alan family, into the
-possession of Philip Howard, Earl of Arundel, son of Thomas, fourth Duke
-of Norfolk, and Lady Mary Fitz-Alan, younger daughter and co-heiress of
-Henry, Earl of Arundel. Philip Howard was father of Thomas Howard, Earl
-of Arundel, probably the greatest art-collector the world has ever
-known. When in the latter’s possession it was seen by Sandrart, in 1627,
-who mentions it as the portrait of the King’s “incomparable beloved one,
-a princess of Lorraine” (unvergleichlicher Liebstin, einer Prinzessin
-von Lothringen). It was entered in the Arundel inventory of 1655 as
-“Duchessa de Lorena grande del naturale.”
-
-From that time until 1909 it remained in the possession of the Howard
-family. Walpole adds to his _Anecdotes_ a note to the effect that
-“Vertue saw a whole length of this princess at Mr. Howard’s, in Soho
-Square.”[282] It was afterwards at Worksop Manor, then belonging to the
-Duke of Norfolk, and later on was removed to Arundel Castle, where it
-was described in the catalogue as “a very curious portrait of a Duchess
-of Milan.” It was included in the exhibition of Old Masters at
-Burlington House in 1880, and the Duke of Norfolk then lent it to the
-National Gallery, where it remained on loan for nearly thirty years.
-About 1908 the Duke informed the Trustees that he was receiving large
-offers for the picture, which he felt bound to consider, but that he was
-most anxious that, if possible, it should be secured for the nation; and
-he, therefore, gave an undertaking that before closing with any
-purchaser he would first offer it to the Gallery at the same price.
-
-Footnote 282:
-
-  Walpole, _Anecdotes_, ed. Wornum, p. 72.
-
-On April 22, 1909, his Grace told the authorities that he had been
-offered a sum of £61,000, which he had accepted, subject to the option
-granted to the National Gallery of purchasing at the same price, and
-that the purchasers had consented to wait until May 1 for the completion
-of the transaction. As the Trustees were unable to find so great a sum
-in so short a time, the Duke sold the picture to Messrs. P. & D.
-Colnaghi & Co. for £61,000 on the latter date. The purchasers then in
-turn offered it first of all to the nation, at the enhanced price of
-£72,000, giving the Trustees a month in which to raise the necessary
-fund. A determined effort to secure the picture was then made by the
-chairman, Lord Balcarres, and committee of the National Art-Collections
-Fund, but in spite of strenuous endeavours, the amount subscribed up to
-within a few days of the expiration of the time-limit fell far short of
-the great sum required. Most happily, however, at the last moment a
-munificent anonymous donor came forward with a gift of £40,000, which,
-with £10,000 from the Government, and other subscriptions, including one
-from the vendors, enabled the Fund to complete the purchase, and thus
-this great picture, undoubtedly the finest portrait Holbein ever
-painted, for which more than one millionaire collector was prepared to
-give an even greater price for its possession, was saved for the English
-nation, and has at last found a permanent home in the National Gallery.
-
-[Sidenote: PORTRAIT OF THE DUCHESS AS A CHILD]
-
-It is interesting to note that this Duchess of Milan is identical with
-the little dark-eyed girl wearing a peculiar hood in the well-known
-picture of the three children of the King of Denmark by Mabuse, in the
-English Royal Collection, now in Hampton Court. This picture was
-engraved by Vertue in 1748, and was removed at that date from Kensington
-Palace to Windsor. It was thought at that time—possibly the mistake was
-Vertue’s—to represent the three children of Henry VII, Prince Arthur,
-Prince Henry, and Princess Margaret, though in Henry VIII’s catalogue
-they were correctly named as the “three children of the Kynge of
-Denmarke.” The whole matter was cleared up by Sir George Scharf in a
-paper read before the Society of Antiquaries in 1860, and printed in
-_Archæologia_.[283] The original picture appears to have been painted in
-the spring of 1526 at Malines, where Mabuse was then engaged, amid other
-work, in restoring pictures for the Lady Regent. From a letter from Sir
-Robert Wingfield to Wolsey, written from that city on the 14th March
-1526, we learn that the young Prince of Denmark and his two sisters were
-then on a visit to their aunt, “which be right goodly and fair children,
-specially the daughters.”[284] A letter from the Emperor to the Archduke
-Ferdinand, of about the same date, also mentions this visit. “I am sorry
-to hear of the death of the Queen of Denmark. Her children are with my
-aunt in Flanders.”[285]
-
-Footnote 283:
-
-  Vol. xxxix. p. 245.
-
-Footnote 284:
-
-  _C.L.P._, vol. iv. pt. i. 2025.
-
-Footnote 285:
-
-  _C.L.P._, vol. iv. pt. i. No. 2051.
-
-In Charles I’s catalogue this picture was attributed to Janet (“a
-Whitehall piece thought to be of Jennet”); and the earliest instance of
-its rightful ascription to Mabuse is in the Commonwealth inventory,
-among the pictures at St. James’s, where it is entered as: “Three
-children in one piece by Mabuse, sold to Mr. Grinder for £10, 23rd Oct.
-1651.”
-
-Sir George Scharf, comparing this juvenile likeness with the one painted
-by Holbein some thirteen years later, says: “The same features and
-expression of countenance, notwithstanding the difference of years, may
-be traced in both. The look of the eyes is quite the same, and I would
-also invite attention to the form of the upper eyelids which, especially
-in the Arundel picture, become remarkably broad on the side away from
-the nose.”[286] There are five or six replicas of the Mabuse picture in
-this country, at Wilton, Sudeley Castle, Longford Castle, Corsham House,
-and elsewhere. Other likenesses of the Duchess are to be found on
-existing medals both of Sforza and Lorraine, and in the fine engraving
-or etching of her by Agostino Carracci, published in Campo’s _History of
-Cremona_.
-
-Footnote 286:
-
-  _Archæologia_, vol. xl. p. 140.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXI
-                    THE VISIT TO “HIGH BURGONY”[287]
-
-Negotiations for a French wife for the King—Marie of Lorraine, Duchess
-  of Longueville, afterwards Queen of Scotland—Visit of Peter Mewtas
-  to France to obtain her portrait—Pierre Quesnel—Louise of
-  Guise—Holbein receives a royal licence to export beer—Hoby and
-  Holbein sent to Havre to take portraits of Louise of Guise and some
-  other lady—Renée of Guise—Expedition of Hoby and Holbein to
-  Joinville and Nancy to obtain portraits of Renée and her cousin,
-  Anne of Lorraine—Cromwell’s instructions—Letter from the Duchess of
-  Guise to her daughter, the Queen of Scotland, describing their
-  visit—Holbein’s salary and advances of his wages—Letter from Niklaus
-  Kratzer to Cromwell—Confusion as to the dates of Hoby’s and
-  Holbein’s continental journeys in 1538 owing to a wrong entry in the
-  _Calendar of Letters and Papers_—Holbein goes on to Basel from
-  Nancy.
-
-
-Footnote 287:
-
-  The greater part of this chapter appeared in the _Burlington
-  Magazine_, vol. xxi., April 1912, pp. 25-30.
-
-AS already stated in the last chapter, during the whole of the time the
-negotiations for the hand of the Duchess of Milan were in progress,
-others were being carried on concurrently for a French bride for Henry.
-The King’s personal inclination, indeed, leant much more strongly
-towards an alliance with France than one with the Emperor; and on
-October 24th, the very day of Queen Jane Seymour’s death, Cromwell wrote
-to Stephen Gardiner and Lord William Howard, then at the French court,
-informing them of Henry’s loss, and urging them to make secret inquiries
-as to a possible successor among the princesses of France. “Our Prince,”
-he said, “our Lord be thanked, is in good health, and suckethe like a
-child of his puissance, which youe, my Lord William, canne declare. Our
-Mastres, thoroughe the faulte of them that were about Her, whiche
-suffred Her to take greate cold, and to eate things that her fantazie in
-syknes called for, is departed to God.”[288]
-
-Footnote 288:
-
-  _St. P._, vol. viii. (pt. v. _continued_) 478.
-
-He went on to say that the Council were unanimously of opinion that the
-King should marry again as soon as possible:
-
-[Sidenote: THE DUCHESS OF LONGUEVILLE]
-
-    “Soo considering what personages in Christendom be mete for Him,
-    amonges the rest there be two in Fraunce, that may be thought
-    on, thone is the Frenche Kinges doughter (Margaret, afterwards
-    Duchess of Savoy), whiche, as it is said, is not the metest, the
-    other is Madame de Longevile, whom they say the King of Scottes
-    dothe desire. Of whose conditions and qualities in every pointe
-    His Majeste desireth you both, with all your dexterite and good
-    meanes, to enquire; and likewise in what pointe and termes the
-    said King of Scottes standeth towards either of them; whiche His
-    Highnes is soo desirous to knowe, His Graces desire therin to be
-    nevertheles in any wise kept secret to your selfes.”
-
-The details of the careful search which was made throughout France for a
-suitable successor to Jane Seymour are to be found in the very
-entertaining letters written by Louis de Perreau, Sieur de Castillon,
-the French ambassador in London, to Francis I and his Grand Master, Anne
-de Montmorency. The negotiations necessitated the despatch of numerous
-envoys and messengers, and the painting of four or five portraits; and
-there is very good evidence for the belief that two or three of these
-were painted by Holbein, for which purpose he made at least two
-journeys—to Le Havre in June 1538, and to Joinville and Nancy at the end
-of the following August.
-
-In the first instance, Henry’s inclinations were very strongly set upon
-Marie of Lorraine, the eldest daughter of Claude, Duke of Guise, and the
-young widow of Charles d’Orléans, Duke of Longueville, although she had
-been promised to James V of Scotland before Jane Seymour’s death. Henry
-knew quite well that this arrangement had been made, but he would not
-listen to the names of other ladies which were suggested to him, and
-maintained with great pertinacity to Castillon that the match with
-Scotland had not yet been settled, and that Madame de Longueville had
-not herself agreed to it. “He is so amorous of Madame de Longueville,”
-wrote Castillon to Francis, on December 30, 1537, “that he cannot
-refrain from coming back upon it.” “I asked him,” he goes on, “who
-caused him to be more inclined to her than to others, and he said Wallop
-was so loud in her praises that nothing could exceed them. Moreover, he
-said that he was big in person, and had need of a big wife—that your
-daughter was too young for him, and as to Madame de Vendosme, he would
-not take the King of Scots’ leavings!”[289]
-
-Footnote 289:
-
-  _C.L.P._, vol. xii. pt. ii. 1285.
-
-Either in December 1537 or early in the following January, Henry sent
-over Peter Mewtas, of the Privy Chamber, to see the Duchess secretly,
-and to find out from her whether she considered herself bound to James;
-and as a result of this mission he appears to have convinced himself
-that, whatever Francis I might have arranged, the lady herself and her
-parents were attracted by his offer, considering an alliance with so
-powerful a sovereign to be preferred to one with the “beggarly and
-stupid King of Scots,” as Henry termed his nephew to Castillon. There
-was a political attraction, also, about the proposal, from Henry’s point
-of view, for if he succeeded in taking James’s bride from him it would
-tend to alienate the Scots from France.
-
-Formal articles of marriage, however, between the lady and James V were
-drawn up in January; but in spite of this Henry stuck to his point, and
-about the 1st of February Peter Mewtas was again despatched by Cromwell
-to find out definitely if she were still free, and also to obtain her
-portrait. The instructions given him need not be quoted here. They
-concluded by saying that if he perceived any towardness in the lady, he
-was, if possible, to get and bring with him “her picture truly made and
-like unto her.”[290]
-
-Footnote 290:
-
-  _C.L.P._, vol. xiii. pt. i. 203. _St. P._, viii. 10.
-
-[Sidenote: PIERRE QUESNEL AND HIS SONS]
-
-Mewtas’ mission proved fruitless, and he was back in London some time
-before the 6th March. There is no evidence to show that he succeeded in
-obtaining a portrait of Madame de Longueville, or that he took Holbein
-or any other painter with him for that purpose. The Duchess seems to
-have been in Normandy, possibly at Longueville or Le Havre, and it may
-have been left to Mewtas to obtain the services of some local French
-painter, if such an one were to be procured. It is more likely, however,
-that a painter would be taken over for the purpose, though this was not
-mentioned in the instructions, as it was in the case of Hoby’s mission
-to Brussels. If any one were taken, it may have been Holbein, who was
-known personally to Mewtas, for among the Windsor drawings there is one
-of the latter’s wife.[291] This, however, is mere conjecture, and there
-is no evidence, either in writing or in the shape of a drawing, to show
-that Holbein took the portrait of this particular duchess; indeed, the
-fact of his journey to the Netherlands seems to point to the contrary,
-for Mewtas only returned to England from France early in March, so that
-if Holbein had accompanied him, he would have had to start off again
-without a moment’s delay with Hoby in order to reach Brussels as he did
-on the 10th of the same month. It was, of course, possible for him to
-have made both journeys, but the interval between the two was so short
-that extreme expedition would have been necessary.
-
-Footnote 291:
-
-  Woltmann, 339; Wornum, ii. 20; Holmes, ii. 16. See pp. 257-8.
-
-There was, however, a French painter, Pierre Quesnel, who may possibly
-have been attached to Madame de Longueville’s court at the time of
-Mewtas’ visit; in any case, he accompanied her to Edinburgh two months
-later, and entered the service of James V. He came of a family of
-portrait painters, and also practised historical painting. His works are
-now unknown, but he returned to France in 1557, and designed a painted
-window for the Augustins of Paris. He had three sons, François, Nicolas,
-and Jacques. François,[292] who was born in Holyrood about 1543 and died
-in 1619, was a portrait-painter of exceptional ability, as may be seen
-from the fine portrait of “Mary Ann Walker” belonging to Lord Spencer at
-Althorp Park, of which an excellent reproduction in colour has been
-issued by the Medici Society in their National Portrait Series. It is
-signed “F. Q.” in monogram, and dated 1572. This picture was brought
-from France about one hundred years ago, and was obtained from a
-descendant of the lady’s family. In this connection it may be suggested
-that the double portrait of “James V and Marie of Lorraine,”[293] in the
-collection of the Duke of Devonshire at Hardwick, may possibly have
-been, in its original state, the production of the elder Quesnel’s
-brush.[294] It must be noted, in conclusion, that there is no record in
-the English State Papers of the result of Mewtas’ mission, and so it is
-doubtful if Henry VIII ever possessed a portrait of the lady, whether by
-Quesnel, or Holbein, or any other painter, such as Hornebolt, in the
-King’s pay.
-
-Footnote 292:
-
-  See Dimier, _French Painting in the Sixteenth Century_, pp. 191 and
-  289.
-
-Footnote 293:
-
-  Reproduced in the _Burlington Magazine_, Oct. 1906, p. 41, in an
-  article on “The Portraits of Mary Queen of Scots,” by Mr. Lionel Cust
-  and Miss K. Martin.
-
-Footnote 294:
-
-  This picture was exhibited at the Golden Fleece Exhibition at Bruges
-  in 1907 (No. 130), as the work of an unknown Scottish painter.
-
-Marie was married to the King of Scots on the 9th May, thus putting a
-final end to Henry’s plans in that direction. In her place, Francis
-offered him, through Castillon, the choice of any other lady in his
-kingdom. He was told that “she had a sister as beautiful and as
-graceful, clever and well-fitted to please and obey him as any other.”
-This remark bore fruit, and the next morning the King sent Sir John
-Russell, a member of his Privy Council, to make further inquiries.
-Castillon told the latter that France was a warren of honourable ladies,
-from which Henry might choose, and that Louise of Guise was the very
-counterpart of Madame de Longueville. He had not seen her for a long
-time, but had heard her esteemed above any other lady in the kingdom.
-Russell then asked Castillon “to find some way that Francis (to show it
-was not as a refusal that he could not have Madame de Longueville, but
-because she was promised beforehand) should offer him her sister, and
-say something of it to M. Briant (Sir Francis Brian, Master of the
-Toils, then ambassador to France), who would then send her
-portrait.”[295] “Probably,” added Castillon, in writing to Francis, “he
-is troubled that it must be known that his great instance made for the
-one is so suddenly changed for the other.” Francis sent word in reply
-(May 25) that he would very willingly conclude a match with Henry and
-Louise of Guise; and on the 31st of the same month Castillon wrote to
-the Grand Master, Montmorency, urging greater expedition in the matter.
-“If he (Henry) is to marry in France,” he said, “three or four must be
-put forward, but let them be of the best and such as Montmorency shall
-advise as well to M. Brian as in letters from the King to Castillon, who
-should also have portraits of these put forward.”[296]
-
-Footnote 295:
-
-  _C.L.P._, vol. xiii. pt. i. 994. Kaulek, 47.
-
-Footnote 296:
-
-  _C.L.P._, vol. xiii. pt. i. 1102. Kaulek, 54.
-
-[Sidenote: PROBABLE VISIT TO HAVRE]
-
-The narrative may be broken off here to note that Holbein, who remained
-in London throughout April and May, engaged, among other things, upon
-the full-length portrait of the Duchess of Milan, received, on the 29th
-of the latter month, the grant of a royal licence to export “600 tuns of
-beer.” It runs as follows: “Hans Holbeyn, the King’s servant. Licence to
-buy and export 600 tuns of beer. _Del._ Westminster, 29th May 30 Hen.
-VIII.”[297] The painter was evidently prepared, when the opportunity
-arose, to engage in small commercial speculations in order to augment
-his income, as was the case with more than one of his brother artists
-attached to Henry’s court. Thus, in April 1531, Luke Hornebolt received
-a licence to export 400 quarters of barley,[298] and Anthony Toto, “the
-King’s painter,” was granted one in April 1541,[299] exactly similar to
-Holbein’s, for the exporting of 600 tuns of beer. Again, Alard Plumier,
-“the King’s jeweller,” in March 1542,[300] obtained grants for importing
-400 tuns of Toulouse woad and Gascon wine, and exporting 400 tuns of
-beer; while, as already mentioned, Holbein’s friend and compatriot,
-Niklaus Kratzer, the King’s astronomer, received a very similar licence
-in October 1527.[301]
-
-Footnote 297:
-
-  _C.L.P._, vol. xiii. pt. i. 1099 and 1115(65).
-
-Footnote 298:
-
-  _C.L.P._, vol. v. 220(21).
-
-Footnote 299:
-
-  _C.L.P._, vol. xvi. 779(18).
-
-Footnote 300:
-
-  _C.L.P._, vol. xvii. 220(3).
-
-Footnote 301:
-
-  _C.L.P._, vol. iv. pt. ii. 3540(28).
-
-Henry rose promptly to the bait of Louise of Guise as a wife in place of
-her elder sister, now unattainable, and as usual no time was wasted. On
-the 3rd of June he despatched Philip Hoby and a painter to Havre to
-obtain the lady’s portrait. This we learn from a letter of Castillon’s
-to Montmorency, dated June 4th, describing an interview between the Duke
-of Norfolk and the ambassador’s “secretaire a cachetter” respecting the
-suggested marriage, which concludes with the following passage: “Finally
-he (Norfolk) said that yesterday he (Henry) despatched the gentleman,
-who wanted to go to see” (“vouloit aller”; Kaulek reads “souloit”)
-“Madame de Longueville, to Hâvre de Grâce to see Mademoiselle de Guyse;
-for a Scotchman has come hither who has said he wonders at the King of
-Scots taking a widow rather than a young girl, her sister, the most
-beautiful creature that ever he saw.”[302] In the same letter Castillon
-again urges that portraits of two or three of the ladies mentioned in
-his previous despatch should be sent as quickly as possible, as the
-matter is pressing. In this document there is no reference to Hoby by
-name, nor mention of any painter accompanying him; nor is there any
-entry in the King’s Book of Payments as to any expenses paid for such a
-journey either to Hoby or any other special envoy. Hoby had paid a visit
-to France earlier in the year in connection with his master’s
-matrimonial affairs. He had been sent over in February, at about the
-same time as Mewtas, and evidently, like the latter, for the purpose of
-urging Madame de Longueville to throw over James V. For this expedition
-he received exactly the same sum, £23, 6_s._ 8_d._, as for his journey
-to Brussels in the following March. It is entered among the royal
-payments for February as “Philip Hoby, sent into France about the King’s
-necessaries and affairs of importance, £23, 6_s._ 8_d._”[303]
-
-Footnote 302:
-
-  _C.L.P._, vol. xiii. pt. i. 1135. Kaulek, 37.
-
-Footnote 303:
-
-  _C.L.P._, vol. xiii. pt. ii. 1280 (f. 2_b_).
-
-But although there is no record of payment for this second journey in
-June to Havre, or mention of him by name, there is no doubt that Hoby
-was the envoy sent, and that Holbein accompanied him. Evidence of this
-is contained in a letter, quoted below,[304] from the Duchess of Guise
-to her daughter Marie in Scotland, dated September 1, which speaks of
-the arrival of Hoby and Holbein at Joinville, and mentions their earlier
-visit to Havre. Contributory evidence is contained in Castillon’s letter
-of June 4, in which he describes the messenger sent as one who had
-already been over to see, or to try to see, Madame de Longueville, which
-undoubtedly refers to Hoby’s journey in February. According to the same
-letter from Joinville, two portraits at least were painted at Havre, or
-rather studies made, which would only occupy the artist for an hour or
-two, as in the case of the Duchess of Milan, the sitters in question
-being Louise of Guise, who was then eighteen, and some other
-lady—possibly Marie or Margaret of Vendôme.
-
-Footnote 304:
-
-  See p. 148.
-
-Somewhere about the date of Hoby’s return from Havre, a third French
-candidate for Henry’s hand appeared upon the scene. This was Renée, the
-third daughter of the Duke of Guise, who afterwards became abbess of St.
-Pierre de Reims. Castillon wrote to Montmorency on June 19: “If you wish
-to entertain this King urge always the marriages; for he only waits for
-them to be presented, and the pictures must be sent immediately. He has
-heard that Mons, de Guyse has a daughter still more beautiful than the
-second. I hear she is in a religious order, but not professed (_qu’elle
-est en une religion, mais elle n’est pas religieuse_). You can say
-something of it to Mr. Bryant; for he (Henry) expects to be asked and to
-have several offered to him.”[305]
-
-Footnote 305:
-
-  _C.L.P._, vol. xiii. pt. i. 1217. Kaulek, 64.
-
-It will be seen from this letter that Castillon, who was probably
-unaware of the steps Henry was taking to obtain likenesses by means of
-his own artists, was doing his utmost, on his own account, to get
-portraits of likely ladies sent over from France. In a later letter
-(July 3) he harps upon the same theme. After reporting that Henry is
-still in the best of humours, and is ready to meet Francis at a house
-which he will have made between Boulogne and Calais, where they can both
-stay for six or seven days without pomp or great expense, he concludes
-by saying: “The principal point to bring him over to the interests of
-Francis is that he take a wife in France, and they must be more
-energetic than they have been, and let his ambassador see and send
-portraits and write news; for he wishes to be sought, and in the seeking
-they will put him so far in that he cannot draw back.”[306]
-
-Footnote 306:
-
-  _C.L.P._, vol. xiii. pt. i. 1320. Kaulek, 65.
-
-[Sidenote: HENRY’S SEARCH FOR A BRIDE]
-
-In his reply, dated July 10, Montmorency stated that a portrait of
-Louise of Guise had been obtained for Brian, who must have already
-despatched it to England. “If the King does not decide upon her,” he
-said, “others shall be shown to Brian.”[307] Castillon, who, on account
-of the plague in London, was then living in Chelsea, in Sir Thomas
-More’s old house, which had been lent to him by the King for the summer,
-announced to Francis I on July 25 that Brian “has sent the portrait of
-Mademoiselle de Guise, whom this King does not think ugly, as I know by
-his face.”[308] In spite, however, of Henry’s appreciation of the lady’s
-charms, Castillon, in a letter to Montmorency of the same date, urged
-that portraits of Mademoiselle de Vendôme and the young de Guise (_i.e._
-Renée) should be despatched with all diligence.[309]
-
-Footnote 307:
-
-  _C.L.P._, vol. xiii. pt. i. 1356.
-
-Footnote 308:
-
-  _C.L.P._, vol. xiii. pt i. 1451. Kaulek, 73.
-
-Footnote 309:
-
-  _C.L.P._, vol. xiii. pt. i. 1452. Kaulek, 74.
-
-Throughout these negotiations Henry frequently suggested that a
-selection of ladies should be brought to Calais for his personal
-approval, in charge of Francis’ sister, Margaret of Navarre, or some
-other high personage, such as the Duke of Guise. “The ladies he means,”
-wrote Castillon to Francis on August 12, “are Mesdemoiselles de
-Vendôsme, de Lorraine, and the two de Guise. He has heard something of
-the younger of the two last, and I think he will settle on one of them.
-He has a great opinion of their house.”[310] This request of Henry’s
-gave great offence in France, which was voiced in a letter from
-Montmorency to Castillon on July 29: “To bring him thither (_i.e._ to
-Calais), as he asks, young ladies to choose and make them promenade on
-show! They are not hackneys to sell, and there would be no propriety in
-it. Henry has his choice of Mdlle. de Vendosme, or Mdlle. de Guise, and
-can judge of their beauty by the portraits and reports made to him; and
-if these be not approved, there are many other ladies from whom to
-choose. The selection might be left to his ambassador, Briant, who could
-send portraits.”[311] Even this did not quell the King, and in the end
-he was informed that Lorraine was not under the sway of Francis, and
-that he would have to apply for the hand of the damsel (Anne of
-Lorraine) to her father and mother, and as for the two daughters of
-Guise, one had already professed as a nun, while the other, as well as
-the daughter of M. de Vendosme, could not be disposed of as though they
-were on sale.
-
-Footnote 310:
-
-  _C.L.P._, vol. xiii. pt. ii. 77. Kaulek, 80.
-
-Footnote 311:
-
-  _C.L.P._, vol. xiii. pt. i. 1496.
-
-This official portrait of Louise of Guise by some French painter, which
-Brian sent over—and possibly a second one of Marie of Vendôme, as may be
-inferred from the last quoted letter—must not be confused with those
-privately procured by Hoby at Havre in June. These later French
-portraits cannot now be traced, and it would be mere guesswork to
-attempt to name the artist who was employed to produce them; but a
-careful search through the royal collections or in some of the older
-houses in England might possibly result in their discovery.
-
-Some time in August Holbein and Hoby set out together upon their journey
-“into the parties of high Burgony.” The purpose of their expedition was
-to obtain portraits of Renée of Guise, the Duke’s third daughter, and of
-her cousin, Anne of Lorraine, while Hoby was to sound the latter’s
-father as to his inclinations towards a possible marriage between his
-house and England. Hoby’s instructions from Cromwell, as given in
-abstract in the State Papers, run as follows:
-
-    “‘A memorial [by Cromwell] to my friend Philip Hoby touching
-    such matters as he hath now committed to his charge.’
-
-    “To repair with diligence where the young duke of Longueville
-    lies, where he shall find the two daughters of Mons, de Guyse,
-    whom he shall salute, declaring that having business in these
-    parts he could not omit to visit the one of them ‘of whom he
-    hath by his late being there some acquaintance.’ And therewith
-    he shall view well the younger sister, and shall require the
-    Duchess, her mother, or whoever has the government of them, that
-    he may take the physiognomy of her, that he may join her sister
-    and her in a fair table. Which obtained, he shall go to the duke
-    of Lorraine, deliver my letter of credence, and declare that no
-    doubt he has heard of my good will to advance some personage of
-    his house to the marriage of the King my master; and albeit my
-    purpose has not taken the effect I desired, yet my affection
-    remains the same; and learning lately that his Grace has a
-    daughter of excellent quality, I directed the said Philip, who
-    has other affairs there, to see her and get her picture.
-    Requiring him to show his inclination and devise some overture
-    to the King, upon which I may set forth this thing. Philip shall
-    also speak in the same manner to the young lady. As soon as he
-    has gotten her physiognomy and known the Duke’s pleasure he
-    shall return with all possible diligence.”[312]
-
-Footnote 312:
-
-  _C.L.P._, vol. xiii. pt. i. 380(i).
-
-[Sidenote: JOURNEY TO JOINVILLE AND NANCY]
-
-When Marie of Guise married James V of Scotland she left her son
-François, Duke de Longueville, behind her in charge of his maternal
-grandmother, Anthoinette of Bourbon, Duchess of Guise, who throughout
-1538 was at Joinville, one of the chief residences of the family, or at
-places in the immediate neighbourhood. Joinville is a small town in
-Champagne, situated on the Marne between Chaumont and Saint-Dizier, and
-was made a principality by Henri II in 1552 in favour of Duke Claude’s
-eldest son, François II of Guise. Mary Queen of Scots resided there for
-some time when a young girl, under the care of her maternal grandmother,
-the Duchess of Guise. Miss Jane T. Stoddart, in her recently-published
-book, _The Girlhood of Mary Queen of Scots_, describes Joinville as
-follows:
-
-    “The train from Bar-le-Duc passes through a fertile, well-wooded
-    country, with many sparkling streams and closely planted
-    villages. There are few more picturesquely situated towns in
-    Eastern France than Joinville, which lies on a branch of the
-    Marne, in a valley overshadowed by undulating tree-clad heights,
-    on one of which, until near the end of the eighteenth century,
-    stood the Castle of the Guises.... The woods of Joinville to-day
-    are full of singing birds. Every variety of foliage clothes the
-    deep ravines. The high road leading towards Wassy is fringed
-    with innumerable small, well-kept gardens, and the air, on May
-    evenings, is not only light and bracing, but sweet with the
-    scent of flowers. The little town must have changed very much in
-    appearance since the sixteenth century. It once possessed a wall
-    and three gates, and an old map in the Hôtel de Ville shows more
-    than a dozen spires.... It acquired great importance under the
-    first Dukes of Guise, who used it as their habitual country
-    residence, and entertained royal personages in the Castle with
-    regal magnificence. That proud Castle was allowed to fall into
-    ruins during the eighteenth century.... The picturesque quays
-    near the church, where the grass-impeded Marne runs between rows
-    of tall, irregularly built houses, cannot have altered greatly
-    since Queen Mary’s time. In unexpected corners we find
-    whitewashed houses adorned with old and costly sculptor’s work,
-    with carved pillars, and scrolls of vine-leaves surrounding the
-    porch.”[313]
-
-Footnote 313:
-
-  Stoddart, _Girlhood of Mary Queen of Scots_, chapter xxi. p. 346 _et
-  seq._
-
-                  *       *       *       *       *
-
-For Joinville, then, the diplomatist and the artist set out about the
-middle of August. The journey was a long one, and Hoby received in
-advance for travelling expenses, £66, 13_s._ 4_d._, nearly three times
-as much as he had been paid for his earlier journeys to Havre and
-Brussels, thus showing that the expedition was to be of considerably
-longer duration. This payment is entered in the royal accounts under
-August, anno 30, and is undated, but as may be gathered from entries
-preceding and following it, it was on some day between August 11 and 22.
-The place of destination is not mentioned; Hoby is said merely to be
-“sent into the parts of beyond the sea with all diligence.”[314]
-
-Footnote 314:
-
-  _C.L.P._, vol. xiii. pt. ii. 1280 (f. 32).
-
-All the information so far to be gained about this journey is contained
-in a letter from the Duchess of Guise to her daughter in Scotland, dated
-September 1, which is preserved among the Balcarres MSS. in the
-Advocates’ Library in Edinburgh. From it we learn that the two
-travellers reached Joinville on August 30. The letter begins by
-describing the health of the youthful Duke of Longueville, who was not
-quite three years old, and was growing very tall and plump, and goes on
-to give an account of the illnesses of various members of the family.
-Louise was still ill of the fever, and had not moved from her bed for
-eight days. Her brother Claude had been ill, even to death, at Autun,
-but was now quite out of danger. “Your sister Anthoinette is also ill of
-a fever and of a rheum, but I think she will do well. Your aunt (the
-Duchess of Lorraine) is sent for to be at Court at the coming of the
-Queen of Hungary, who is to be presently at Compiègne, where the King
-and all the Court will be in a few days.”
-
-The letter then continues:
-
-[Sidenote: HOLBEIN AT JOINVILLE AND NANCY]
-
-    “It is but two days since the gentleman of the King of England
-    who was at Havre and the painter were here. The gentleman came
-    to me, pretending that he was going to the Emperor, and having
-    heard that Louise was ill, would not go without seeing her, that
-    he might report news of her to the King his master. He saw her
-    (it was the day of her fever), and talked with her as he had
-    done to me. He then told me that, being so near Lorraine, he
-    wished to go to Nency to see the country. ‘Je me doute (doubtai)
-    in contynent il y allet voir la demoyselle (_i.e._ Anne of
-    Lorraine) pour la tirer comes les aultres;’ for which reason I
-    sent to their lodging to see who was there, and found the said
-    painter was there. In fact they have been at Nency, where they
-    spent a day, and were well entertained, and at every meal the
-    _maître de hôtel_ came to eat with them, with plenty of
-    presents. ‘Vella se que j’en ay encore seu; au pis alle sy
-    navyes pour voysine vostre seur se pouret estre vostre
-    cousine.’”[315]
-
-Footnote 315:
-
-  _C.L.P._, vol. xiii. pt. ii. 262. Balcarres MS., ii. 20. For the
-  original text of this letter, see Appendix (L).
-
-                  *       *       *       *       *
-
-This letter fully bears out Cromwell’s instructions to Hoby. It is plain
-from its wording that Hoby had already obtained a portrait of Louise at
-Havre, and at least one other, of some unnamed lady (“pour la tirer
-comes _les aultres_”); and that the painter who had drawn them was the
-painter now at Joinville. Their journey was, however, in part at least,
-a failure, for their chief purpose in visiting the Duchess was to obtain
-a portrait of her daughter Renée, the “religieuse.” Hoby was ordered “to
-take the physiognomy of her, that he may join her sister and her in a
-fair table”; in other words, he was to get a drawing of the younger girl
-in order that her portrait might be painted as a companion to the one of
-her sister Louise already completed, so that they might be hung side by
-side in one of those double frames hinged together of which Henry VIII
-had several in his collection. Unfortunately for their purpose, Renée
-was not at Joinville, so that nothing could be done, and Hoby had to be
-content with an interview with Louise in her bedchamber. The fourth
-daughter, Anthoinette, was at home, but she was then only a child of
-seven. Thanks to the curiosity of the Duchess, however, we know that
-they succeeded in the second half of their mission. They spent a day at
-Nancy, where they were well received by the Duke of Lorraine, and
-evidently procured the drawing required, which Holbein would easily make
-in a few hours. Hoby attempted to conceal the real purpose of this visit
-to Nancy from the Duchess of Guise, but the lady was sharp enough to
-guess what was in the wind. Whether Louise or Anne, however, it was all
-in the family. “If the worst comes to the worst,” she tells the Queen of
-Scots, “if you do not have your sister for neighbour, it may well be
-your cousin.”
-
-The letter is far from easy to decipher, owing to its extraordinary
-spelling and grammar. It is difficult to gather from it which of the two
-places Hoby and his companion first visited. The Duchess, writing only
-two days after they had been with her, says that the envoy told her that
-“he wished to go to Nency,” which seems to indicate a prospective
-journey; but, on the other hand, she says “they have been to Nency,” and
-a journey from Joinville to Nancy and back again, together with a whole
-day spent at the latter place, could not possibly have been accomplished
-between August 30 and September 1, so that it looks as though they had
-gone straight to the Duke of Lorraine in spite of Cromwell’s
-instructions, and then from there on to Joinville. The point, however,
-is of little importance.
-
-Neither in Cromwell’s instructions nor the Duchess’s letter is Holbein
-mentioned by name, but that he was the painter who accompanied Hoby
-seems certain. In less than a fortnight afterwards he was in Basel, an
-easy journey from Lorraine, where he made a stay of at least some weeks,
-returning to England some time before Christmas, when he received from
-the royal purse a special reward of £10 for his journey into “high
-Burgony.” The entry runs as follows: “December, A^o xxx:—Item payde to
-Hans Holbyn, one of the Kingis paynters, by the Kingis commaundement,
-certefyed by my Lorde pryviseales lettre, x _li._ for his costis and
-chargis at this tyme sent aboute certeyn his gracis affares into the
-parties of high Burgony, by way of his Graces rewarde, x _li._”[316]
-
-Footnote 316:
-
-  _C.L.P._, vol. xiii. pt. ii. 1280 (f. 48).
-
-Wornum and other writers have assumed that this journey to High Burgundy
-had to do with the painting of the portrait of the Duchess of Milan. The
-former even suggests that the £10 might be a deferred payment for the
-visit to Brussels in March.[317] But the title “High Burgony” was quite
-appropriate to the district in which Joinville and Nancy are situate.
-Woltmann says that High Burgundy was the name given to the county of
-Burgundy (Franche Comté), which belonged to the Emperor, in distinction
-to the duchy of Burgundy, which was French, and added that, in those
-days, the denomination would not have been impossible for
-Switzerland.[318] It may be taken, therefore, considering the lack of
-accurate geographical knowledge then existing in England, that the
-expression “High Burgony” sufficiently indicated, in the mind of the
-keeper of the royal accounts, that part of the world in which Guise and
-Lorraine had their headquarters.
-
-Footnote 317:
-
-  Wornum, p. 315.
-
-Footnote 318:
-
-  Woltmann, i. p. 455.
-
-[Sidenote: THE PAYMENT OF HOLBEIN’S SALARY]
-
-That the payment of this special reward to Holbein—his travelling and
-other expenses would be included in the sum of £66, 13_s._ 4_d._ paid to
-Hoby—was deferred until Christmas was owing to the fact that, finding
-himself so near Switzerland when at Joinville, he seized the opportunity
-of paying a visit to his family in Basel, and so remained absent from
-England for about three months in all. Another point in favour of the
-contention that Holbein was abroad on the King’s business during 1538
-more often than has been generally supposed, is to be found in the fact
-that at the Midsummer quarter he received three-quarters of a year’s
-salary in advance. At Lady Day he had been paid his customary quarter’s
-salary: “Lady Day, Anno xxix:—Item for Hans Holben, paynter, vii _li._
-x_s._”
-
-At Midsummer he received £30, a whole year’s salary, but it included the
-quarter from Lady Day then owing to him. The entry reads: “Midsummer,
-Anno xxx:—Item for Hans Holbyn, paynter, for one hole yere’s annuitie
-advaunced to him beforehand the same yere, to be accomptedde from o^r
-Ladye dey last past, the somme of xxx _li._”
-
-On the two following quarter-days, owing to this payment in advance, he
-is entered as receiving nothing:
-
-    “Michaelmas, A^o xxx:—Item for Hans Holbyn, paynter, wages
-    nihil^a quia solutum per warrantum.” “Christmas, A^o xxx:—Item
-    for Hans Holbyn, paynter, Nihil.”
-
-This payment in advance has generally been regarded as a mark of the
-King’s special favour and as an acknowledgment of his talents as an
-artist, but it was more probably due to his frequent absences from
-England at that time. On the one hand, his several journeys might well
-entail some amount of extra expenditure not covered by his travelling
-allowances, while on the other his income would be reduced through the
-limited time left him for painting the portraits of English courtiers or
-German merchants. There is, in fact, no portrait from his brush bearing
-the date 1538. Added to this, his great success in painting the Duchess
-of Milan must be taken into account. The King was delighted with this
-portrait, and his choice would naturally fall upon the man who had
-painted it when a similar journey was in contemplation.
-
-There is one piece of evidence, however, against the assumption that
-Holbein was the painter who went to Joinville, which must not be
-overlooked—a letter from Niklaus Kratzer, the King’s astronomer, to
-Cromwell. It is a much-mutilated epistle, written in somewhat halting
-and incorrect Latin. Kratzer begins by saying that he had received, the
-day before writing, by a ship from Antwerp, two little books by Georgius
-Spalatinus, which the author had sent to him in order that he might
-present them to Cromwell. “These,” he says, “I gave to Hans Holbein
-(Joanni Holbein), in order that he might give them to you.” At first
-sight this looks as though Kratzer might have given Holbein the books to
-deliver, knowing that he was about to visit Cromwell for final
-instructions on the eve of his departure for High Burgundy. The
-letter,[319] however, is dated St. Bartholomew’s Day, August 24 (Datum
-Lunduni, in [festo Sancti] Bartholomei), so that if Kratzer had seen
-Holbein on August 23, the latter could not possibly have reached
-Joinville by the 30th; for although the King’s messengers were
-accustomed to travel with great expedition—Castillon complains to
-Montmorency that the English couriers took only five or six days between
-Paris and London, whereas the French messengers took double that time—it
-would have been impossible, even with the utmost speed then attainable,
-to reach the far borders of eastern France within a week. But although
-the letter is dated “St. Bartholomew’s Day,” it has no year-date. It has
-been placed under the year 1538 by the editor of the _Calendars of
-Letters and Papers_ from such internal evidence in it as it is possible
-to decipher; but it is so badly mutilated that it is impossible to make
-much sense of the greater part of it. It contains news from abroad, and
-mentions Burgratus, vice-chancellor of the Duke of Saxony; and Burgratus
-was certainly in London in the summer of 1538, with other envoys from
-the German Protestant princes. These envoys, however, paid more than one
-visit to England. As, therefore, the letter contains no evidence
-absolutely conclusive of the date 1538, it may, perhaps, be permitted to
-hold the opinion that it was written in some other year, and that, by
-itself, it is not sufficient to negative the strong proofs brought
-forward to show that Holbein was the painter who made this particular
-journey into France. Nor was this the only occasion on which Spalatinus
-used Kratzer as the medium for sending copies of his writings to
-Cromwell. On February 5, 1539, Cromwell wrote to the King, enclosing “a
-book brought this morning by Nic. Cratzer, astronomer, which Geo.
-Spalatinus, some time schoolmaster to the duke of Saxony, desired him to
-deliver to the King, on ‘The Solace and Consolation of Princes.’”[320]
-
-Footnote 319:
-
-  _C.L.P._, vol. xiii. pt. ii. 179.
-
-Footnote 320:
-
-  _C.L.P._, vol. xiv. pt. i. 227. _St. P._, i. 592.
-
-[Sidenote: THE DATE OF HOBY’S INSTRUCTIONS]
-
-One other point in connection with this subject must be mentioned before
-leaving it. Hoby’s instructions for visiting the courts of the Duchess
-of Guise and the Duke of Lorraine are not dated. The editor of the
-_Calendars_ has entered them under February 1538, together with the very
-similar instructions for the visit to the Duchess of Milan, which are
-also undated, placing both under the one heading, “Philip Hoby’s
-Missions.” For the latter instructions, which he puts second, February
-is, of course, the correct date, but the former should be under August,
-as the preceding pages prove. Dr. Gairdner was misled, in the first
-place, by the fact that in February Hoby received payment from the royal
-purse for a journey to France, and, in the second, through his
-misreading of the heading to the Brussels instructions, as explained in
-the last chapter.[321] By the insertion of two unnecessary words,[322]
-the last-named instructions are made to read as though it was Cromwell’s
-intention that Hoby, on this particular journey, should go first of all
-to the Duchess of Lorraine, and then to the Duchess of Milan. He
-concludes from this, in his preface to vol. xiii. pt. i. of the
-_Calendars of Letters and Papers_, that Hoby went to France in February
-for the purpose of obtaining the portraits of Marie of Guise and her
-sister Louise in a single picture, and immediately upon his return set
-out for Brussels to get one of the Duchess of Milan. There is no need to
-quote the whole of his argument, as it is based upon a misapprehension,
-for the instructions in question were undoubtedly drawn up in August, as
-the letter of the Duchess of Guise, of the 1st of September, clearly
-proves.[323]
-
-Footnote 321:
-
-  See above, pp. 119-20.
-
-Footnote 322:
-
-  “Instructions given by the L. Cromwell to Philip Hoby, sent over by
-  him to the Duchess of Lorraine then [to the] Duchess of Milan.”
-
-Footnote 323:
-
-  After pointing out that the instructions order Hoby to return home at
-  once after obtaining portraits of the two Guises and the daughter of
-  the Duke of Lorraine, he continues: “Yet instructions for his
-  proceeding on another very similar mission seem to have been drawn up
-  at or near the same time; and by these second instructions he was not
-  to come home at all, but proceed at once from the duchess of Lorraine
-  in France to the duchess of Milan in the Netherlands. It would seem,
-  however, that the heading to the second set of instructions has been
-  supplied by a transcriber of a later date, and it is clearly
-  inaccurate.” _C.L.P._, vol. xiii. pt. i., preface, p. xxxviii.
-
-In spite of this anxiety to obtain portraits, Henry’s negotiations for a
-French marriage were as unsuccessful as his advances for the hand of the
-Duchess of Milan. In each case, no doubt, the proposed alliance was
-largely political, though Henry seems to have been genuinely anxious to
-marry Madame de Longueville, or to prevent his nephew of Scotland from
-doing so, and was afterwards by no means unwilling to take one of her
-sisters. Throughout the whole proceedings the French and the Imperial
-ambassadors in London kept each other well informed of what was going
-on, though each one was of the private opinion that Henry was more
-inclined towards a bride from his country than from the other’s. Thus
-Chapuys, writing to Charles V early in 1539, reports that “everybody
-says he is much inclined to the duchess of Milan, whom, as I was
-informed three days ago, by one who knows almost all secrets, he would
-willingly take, even if she were delivered to him naked without a
-penny.”[324] On the other hand, Castillon told Montmorency: “He,
-however, says the practice of his marriage with the duchess of Milan
-still continues, ... but I know he would willingly return to marry
-Mademoiselle de Guise. If you think the King (Francis) and Emperor
-should have the pastime of seeing him thus ‘virolin virolant,’ I can
-easily get it up, provided a little good cheer is made to his
-ambassador, and that M. le Cardinal or M. de Guise caress him a
-little.”[325] Henry, however, finally turned his attentions in another
-direction, while two of the ladies he had sought were soon married
-elsewhere, Louise of Guise to Charles de Croi, Prince de Chimaix, in
-1541, and Anne of Lorraine to René, Prince of Orange, in 1540. The
-third, Marie of Vendôme, died unmarried, aged twenty-two, on 28th
-September 1538, a week or two after Holbein was at Joinville.[326]
-
-Footnote 324:
-
-  _C.L.P._, vol. xiv. pt. i. 37 (9 Jan. 1539.)
-
-Footnote 325:
-
-  _C.L.P._, vol. xiii. pt. ii. 1120 (2 Dec. 1538.)
-
-Footnote 326:
-
-  She was betrothed to François, Duke of Nevers, who married her sister
-  Margaret before the end of the same year.
-
-[Sidenote: HOLBEIN’S MOVEMENTS IN 1538]
-
-Whether Holbein painted pictures of one or all of these ladies from the
-drawings he made in France it is impossible to say. The drawings
-themselves cannot be traced, but this does not prove that they were not
-taken, for the preliminary studies of Christina of Milan and of Anne of
-Cleves and her sister Amelia have so far remained undiscovered. Holbein
-and Hoby parted company at Nancy early in September, the former to visit
-his wife and family in Basel, while the latter returned post-haste to
-London, no doubt taking with him Holbein’s sketch of Anne of Lorraine in
-order to show it to his royal master. In October Hoby set out for Spain,
-in connection with the negotiations for the Milan marriage.
-
-The contents of this chapter and the preceding one may be summarised as
-follows:
-
-_February 1, 1538._—Peter Mewtas sent over to France to obtain the
-    portrait of Marie of Lorraine, Duchess of Longueville. Early in
-    the same month Philip Hoby was also sent into France for the
-    same purpose (about the King’s “necessaries and affairs of
-    importance”), for which he was paid £23, 6_s._ 8_d._
-
-_March 2 or 3, 1538._ —Hoby and Holbein left London for Brussels to
-    obtain the portrait of the Duchess of Milan, reaching the latter
-    place on the evening of the 10th.
-
-_March 12, 1538._—Holbein made his drawing of the Duchess, and the
-    two men started home on the evening of the same day, reaching
-    London on March 18.
-
-_April and May 1538._—Holbein at work on the full-length portrait of
-    the Duchess of Milan.
-
-_May 29, 1538._—Holbein received a royal licence to export 600 tuns
-    of beer.
-
-_June 3, 1538._—Hoby and Holbein left London for Havre to obtain the
-    portrait of Louise of Guise, and of some other lady, possibly
-    Marie or Margaret of Vendôme.
-
-_June 30, 1538._—Holbein received three-quarters of a year’s salary
-    in advance.
-
-_August 11-22, 1538._—On one of the days between these dates Hoby
-    and Holbein left London for Nancy and Joinville to obtain
-    portraits of Renée of Guise and Anne of Lorraine, receiving £66,
-    13_s._ 4_d._ for their travelling expenses. They arrived at
-    Joinville on August 30, to find Renée absent, but were
-    successful at Nancy in getting a likeness of Anne. From
-    Joinville Hoby returned to London, and Holbein went on to Basel,
-    which he reached before September 10. He remained there until
-    after October 16.
-
-_December 1538._—Holbein, upon his return to London, received a
-    special reward of £10 “for his costis and chargis at this tyme
-    sent aboute certeyn his gracis affares into the parties of high
-    Burgony, by way of his Graces rewarde.”
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXII
-                            BASEL REVISITED
-
-Holbein’s return to Basel—Fêted by his fellow-citizens—His prosperous
-  condition—Proposes to repaint his wall-decorations—Offer of a pension
-  of fifty gulden from the Basel Town Council, with permission to remain
-  in England two years longer—Death and will of Sigmund Holbein—Holbein
-  returns to England, probably by way of Paris, in order to apprentice
-  his son Philip to Jacob David, goldsmith—Back in London before
-  Christmas 1538—Receives a special reward for his journey to “High
-  Burgony”—Portraits of Edward, Prince of Wales—Guillim Stretes.
-
-
-SOME nine days after Hoby and Holbein parted company at Nancy the latter
-was home again in Basel after an absence of six years.[327] The journey
-across the Vosges mountains would not be a long one. On September 12,
-1538, Rudolph Gwalther, then studying in Basel, wrote to the antistes
-Heinrich Bullinger in Zürich: “Hans Holbein came recently to Basel from
-England, and he gives such a glowing account of the happy condition of
-that kingdom, that after a few weeks’ stay he means to go back
-again.”[328] He received a very hearty welcome from the citizens, who,
-now that his reputation was much more than a local one, were naturally
-proud of the fact that he was one of themselves. On September 10 his
-fellow-burghers gave a banquet in his honour in the Guild-house in the
-St. Johanns-Vorstadt, the quarter of the city in which Holbein’s own
-residence was situated. Matthäus Steck, the steward of the Dominican
-Monastery, notes in his Book of Accounts that he and the schoolmaster,
-Brother Jacob, with their wives, were present on the occasion, and that
-they spent eight shillings.
-
-Footnote 327:
-
-  Unless, as suggested above (see p. 63), he had paid an earlier visit
-  to Basel, about 1534-5, of which, however, there is no actual
-  evidence.
-
-Footnote 328:
-
-  “Venit nuper Basileam ex Anglia Johannes Holbein, adeo felicem ejus
-  regni statum praedicans, qui aliquot septimanis exactis rursum eo
-  migraturus est.” This letter, which was first quoted by Hegner (_Hans
-  Holbein der Jüngere_, p. 246), is now among the Zürich State Papers in
-  the Antistical Archives.
-
-[Sidenote: PROPOSAL TO REPAINT WALL-PAINTINGS]
-
-There is a most interesting reference to this home-coming in Dr. Ludwig
-Iselin’s additions to the Faesch manuscript (discovered by Dr.
-His-Heusler), in which he says: “When he returned to Basel for a time
-from England, he was attired in silk and velvet; before this he was
-obliged to buy wine at the tap.”[329] In Basel, a city where wine was
-both cheap and plentiful, and all men of means kept a well-stocked
-cellar, to be obliged to procure it, from day to day, from the tavern
-was a sign of poverty, and Iselin thus contrasts Holbein’s worldly
-condition before leaving Switzerland and after his entry into the
-service of Henry VIII. Iselin adds, after stating that Holbein died soon
-after his return to England, that “his intention was, had God lengthened
-his life, to paint many of his pictures again, at his own expense, as
-well as the apartment in the Town Hall. The house ‘zum Tanz,’ he said,
-was ‘rather good.’” The pictures which he wished to put in order were,
-of course, his wall-paintings on the exterior of several of the Basel
-houses, done in his youth, some eighteen years earlier, which even then
-were beginning to suffer from exposure to the weather, and his frescoes
-in the Town Hall, some of which were already damaged by damp. No doubt,
-too, he felt that he could improve upon them, though it is interesting
-to note that he expressed himself satisfied with the “House of the
-Dance” façade, in which he had given the freest play to his imagination.
-
-Footnote 329:
-
-  See Woltmann, i. p. 456 and ii. p. 43.
-
-Twice during his absence in England, on November 23, 1533, and January
-7, 1537, he had been “laid out for the banneret” by his Guild “zum
-Himmel”—that is, appointed as one of those who had to perform the
-military service of the Guild, but he had ignored the summons.[330]
-Possibly he knew nothing about it. He had even disregarded the letter
-from the burgomaster, sent to him in September 1532, shortly after his
-return to England, in spite of the offer of a pension which it
-contained; for England afforded far better opportunities than
-Switzerland for the making of money.
-
-Footnote 330:
-
-  See Woltmann, i. p. 457. English translation, p. 430.
-
-The two items, from the Banner Book of the Guild “zum Himmel,” are as
-follows:
-
-  “Item A^o 1533 Jar vff Sunthag vor kattrinen Sind dise her noch
-      geschriben von beyden Zünfften vss gelegtt vom Himels vnnd
-      Sternen.
-
-Erstlich zum Fenlin vnd Baner.
-
-     .  .  .   .  .  .  .  .  .  . Zum Baner.
-
-     .  .  .   .  .  .  .  .  .  . Hanns Holbein der Moller” (his name
-being at the head of a number of other guildsmen).
-
-  “A^o 1537 Jar vf Sunthag noch dem nuwen Jar Sindt dise Hemach
-      geschriben zum Fenlin vnd zu dem Baner vss geleytt erstlich Himels
-      vij Mann (here follow the seven names).
-
-  Zum paner xiij man.” Here follow the thirteen names, among them being
-      “Hanns Holbein der maller.”[331]
-
-Footnote 331:
-
-  Woltmann, ii. p. 32, quoting from His, _Die Baseler Archive_, &c.
-
-The first entry is brought forward by Mr. W. F. Dickes as one of the
-strongest pieces of evidence in favour of his contention that Holbein
-obeyed the request contained in the Burgomaster’s letter, and returned
-to Basel in the winter of 1532, and remained there throughout the
-following year, so that he could not have painted “The Ambassadors” in
-England in 1533. He entirely misreads the entry, however, which he
-regards as a record “of monies due to Holbein for festal decorations on
-behalf of the two city guilds”[332] (Von Himmel und von Sternen); and he
-ignores the second entry, which, to be logical, should prove that
-Holbein was also in Basel in January 1537. No “monies” are entered
-against these items, as one would gather from his description, so that
-it is difficult to see how they record sums due to the painter. They
-were merely lists of names, as Woltmann points out,[333] of members of
-the Guilds appointed to take their turn of military service on festal
-occasions. The second entry shows this even more clearly than the first,
-and from it we learn that Holbein was one of thirteen members thus
-appointed as banner-bearers.
-
-Footnote 332:
-
-  Dickes, _Holbein’s Ambassadors Unriddled_, p. 3.
-
-Footnote 333:
-
-  Woltmann, i. p. 457.
-
-[Sidenote: OFFERED PENSION BY BASEL COUNCIL]
-
-It is probable that one of the chief reasons for Holbein’s visit to
-Basel, in addition to a natural desire to see his family, was to make
-some arrangement with the Town Council for a further leave of absence.
-He was now in the actual service of a foreign sovereign, and he ran the
-risk of losing his rights of citizenship unless he could come to some
-understanding with the civic authorities. He had taken, as we have seen,
-no notice of the Council’s urgent request, sent after him to England in
-the autumn of 1532, and he had ignored the calls made upon him by the
-Painters’ Guild during the six years of his absence, for fulfilling his
-share of various official and ceremonial duties. Probably he was quite
-unaware that such calls had been made. Now, however, that he was in
-Henry VIII’s pay, it was necessary that some definite arrangement should
-be made, which would enable him to remain in England at least some years
-longer without risk of unpleasant consequences. The Council, seeing that
-he had become a painter of high reputation, known far beyond the
-confines of Switzerland, were more anxious than ever to keep him in
-Basel. Aware, however, that they were not rich enough to find him
-employment as remunerative as that enjoyed by him at the English court,
-they effected a compromise. A document was drawn up, after consultation
-with the painter, in which a much more generous offer was made to him
-than the one proposed in 1532. This agreement, which was signed on
-behalf of the Council by Jakob Meyer, “zum Hirschen,” after extolling
-Holbein’s reputation as a painter, offered him a pension of fifty gulden
-a year, with permission to remain in England for two years longer,
-during which time they would pay his wife a pension of forty gulden.
-After his final return to Basel, he was still to be permitted to receive
-service money from foreign kings, princes, nobles, and cities, and, in
-order to sell his pictures, was to be allowed to visit France, England,
-Milan, or the Netherlands once, twice, or thrice a year for that
-purpose.
-
-The document runs as follows:
-
-    “Master Hans Holbein the painter’s Pension.”
-
-    “We, Jacob Meyger, Burgomaster, and the Council of the city of
-    Basel, do make known and acknowledge with this letter that:
-
-    “From the special and favourable will which we bear to the
-    honourable Hans Holbein, the painter, our dear citizen, since he
-    is famous beyond other painters on account of the wealth of his
-    art; weighing further that in matters belonging to our city
-    respecting building affairs and other things which he
-    understands, he can aid us with his counsel, and that in case we
-    had to execute painting work on any occasion, he should
-    undertake the same, for suitable reward, we have therefore
-    consented, arranged, and pledged to give and to present to the
-    above-named Hans Holbein a free and right pension from our
-    treasury of fifty gulden, though with the following conditions,
-    and only during his lifetime, whether he be well or ill, yearly,
-    in equal parts at the four quarters.
-
-    “As however the said Hans Holbein has now sojourned for some
-    time with the King’s Majesty in England, and according to his
-    declaration it is to be feared that he can scarcely quit the
-    Court for the next two years, we have allowed him under these
-    circumstances to remain in England the two years following this
-    date, in order to merit a gracious discharge, and to receive
-    salary, and have consented during these two years to pay his
-    wife residing among us forty gulden yearly, _i.e._ ten gulden
-    quarterly, which are to begin from next Christmas, as the end of
-    the first quarter. With the addition that in case Hans Holbein
-    should receive his discharge from England within these two years
-    and should return to us at Basel and remain here, that we should
-    from that moment give him his pension of fifty gulden, and let
-    it be paid to him in equal parts at the end of the quarter. And,
-    as we can well imagine that the said Holbein, with his art and
-    work being of so far more value than that they should be
-    expended on old walls and houses, cannot with us alone reap much
-    advantage, we have therefore allowed the said Holbein, that,
-    unimpeded by our agreement, for the sake of his art and trade,
-    and for no other unlawful and crafty matters, as we have also
-    impressed upon him, he may gain, accept, and receive service
-    money from foreign kings, princes, nobles, and cities; that
-    moreover he may convey and sell the works of art which he may
-    execute here once, twice, or thrice a year, each time with our
-    special permission, and not without our knowledge, to foreign
-    gentlemen in France, England, Milan, and the Netherlands. Yet on
-    such journeys, he may not remain craftily abroad, but on each
-    occasion he shall do his business in the speediest manner, and
-    repair home without delay and be serviceable to us, as we have
-    before said, and as he has promised.
-
-    “In conclusion, when the oft-mentioned Holbein has paid the debt
-    of nature according to the will of God, and has departed from
-    this valley of tears, then shall this warrant, pension, and
-    present letter be at an end, and we and our descendants
-    therefore are not pledged to give aught to anyone. All upright,
-    honourable, and with integrity. This letter, signed with our
-    official seal, we have given into the hand of the oft-mentioned
-    Holbein as a true document. Wednesday the sixteenth day of
-    October, anno xxxviii.”[334]
-
-Footnote 334:
-
-  Woltmann, i. pp. 458-9. English translation, pp. 430-1.
-
-                  *       *       *       *       *
-
-[Sidenote: DEATH AND WILL OF SIGMUND HOLBEIN]
-
-This document shows very clearly that though the civic authorities of
-Basel were anxious to retain Holbein in their service, they were
-doubtful whether they would be able to find much work for him except in
-the direction of an occasional wall-painting or decoration of a
-house-front; and his talents, they acknowledged, were too great to be
-devoted to nothing but the covering of “old walls and houses” with
-designs. They, therefore, made many concessions, which would enable him
-to pursue his art with almost the same freedom he had hitherto enjoyed.
-In spite of the liberality of the terms, however, the document remained,
-as far as Holbein was concerned, a dead letter throughout the five
-remaining years of his life; at least, no evidence has so far been
-discovered to show that he ever visited Basel again, though, as
-suggested in an earlier chapter,[335] he may have done so about the year
-1541. Whether his wife received the pension of 40 gulden for the first
-two years is not known. There is no mention of it in the Council’s
-accounts, but Woltmann suggests that it may have been given, as was
-often the case with pensions of this kind, out of the monastery
-revenues.
-
-Footnote 335:
-
-  See p. 63.
-
-Holbein was bound to return to England for at least another six months,
-as he had received nine months’ salary in advance, but there can be
-little doubt that he had, at the time, every intention of accepting the
-Council’s conditions. He was, however, so popular in England, and had so
-much work on hand, that he found it increasingly difficult to leave, so
-that in the end his arrangement with the Basel Council fell to the
-ground. It has been suggested, too, that the death of his uncle Sigmund
-in Berne, in November 1540, at about the time when Holbein was due to
-return to Basel, may have had something to do with his determination to
-remain in England; for Sigmund bequeathed all his property to his “dear
-brother’s son Hans,” and it was handed over to the latter’s wife in his
-absence. The will, from which we learn that “Sigmund Holbeyn” was then a
-citizen of Berne, and being old, was about to make a journey to Augsburg
-to see his relations, continues:
-
-    “In the first place, I will and bequeath to my dear brother’s
-    son Hans Holbeyn, the painter, citizen at Basel, both as my
-    blood relation and my own race and name, as well as from the
-    especial love I bear him and from the affinity in which he
-    stands to me, the free gift of all my goods and property which I
-    have and leave in the city of Berne, namely, my house, and
-    courtyard, and the garden behind, standing in the Brunnengasse,
-    on the sunny side, above by the Trom Wall, near Görg Zimmerman,
-    the tailor’s, house. The said property is free from taxes, with
-    the exception of five pounds interest, including the
-    commutation-capital, which I owe out of it to Herr Bernhard
-    Tillman, treasurer of the council at Berne, for money lent.
-    Item, my silver utensils, household furniture, colours,
-    painter’s gold and silver, implements for painting, and other
-    things, nothing excepted, that he shall appropriate the same as
-    my appointed heir, have it in his possession, do with it and
-    live as with his own possession and property, unmolested by my
-    sisters and by any one. What I have here bequeathed to him, will
-    be found noted on a separate roll, so that my cousin can better
-    inquire after it.”[336]
-
-Footnote 336:
-
-  Woltmann, English translation, p. 106. Original text in Woltmann, ii.
-  p. 33-5.
-
-He left what property he possessed in Augsburg to his three sisters,
-Ursula Nepperschmid and Anna Elchinger in Augsburg, and Margreth Herwart
-in Esslingen. The will is dated September 6, 1540, and the testator died
-very shortly afterwards.
-
-On the 18th of November the Berne Town Council wrote to both Basel and
-Augsburg notifying his heirs of his decease, and on the 10th January in
-the following year the property was handed over to Holbein’s stepson, as
-the authorised agent of his mother. The confirmation of the testament,
-in the name of Hans Franz Nägely, burgomaster of Berne, speaks of him as
-“the honourable and wise Franz Schmid, citizen of Basel,” and says that
-he brought “a procuracy and a letter from Elsbeth, the wife of Master
-Hans Holbein, the painter, citizen of Basel, and also a letter from the
-burgomaster and council of the town of Basel.”
-
-This legacy would serve to some extent in place of the annuity of 40
-gulden paid by the Council to Elsbeth Holbein, which would cease when
-her husband failed to carry out his part of the agreement. Woltmann
-suggests that she probably settled in Berne in consequence of this
-bequest, in the house on the sunny side of the Brunnengasse, although
-there is no documentary proof of this. On the other hand, the inventory
-of her household goods and property, drawn up after her death in 1549,
-and preserved in Basel, indicates that she never permanently severed her
-connection with that city.
-
-[Sidenote: PHILIP HOLBEIN AND JACOB DAVID]
-
-Holbein must have set out again for England shortly after the drawing up
-of this agreement, and there is some reason to suppose that he travelled
-back by way of Paris, taking his elder son, Philip, with him, and
-apprenticing him in that city for six years to Jacob David, the
-goldsmith, who was a native, and still remained a citizen, of Basel.
-This information is obtained from a letter addressed to David from the
-Burgomaster Adelberg Meyer and the Council of Basel, dated 19th November
-1545,[337] with reference to a dispute between the apprentice and his
-master, the latter refusing to give him his discharge on the completion
-of his six years’ service. This letter speaks of Holbein as deceased,
-and refers to Philip as a “good, pious youth,” still in his minority,
-and under the care of his step-brother, Franz Schmid.
-
-Footnote 337:
-
-  Discovered, and first published, by Dr. His-Heusler.
-
-David is informed that “it has credibly reached our ears that thou wilt
-give no discharge to Philipp Holbein (but that thou hast brought him
-moreover in Paris before the Lord-Lieutenant), although he has served
-thee honestly and honourably his six years, which were promised by his
-father, the deceased Hans Holbein, our citizen, now when he, at
-befitting opportunity, desires to depart from thee, and this not alone
-on account of his honest and honourable service, as was thy duty before
-God and in all honour. Thus thou addest one cause of complaint to
-another, and aimest at oppressing the good, pious youth as far as thou
-canst and in causing his ruin. This thine unfriendly conduct has caused
-us not a little regret; we had in no wise foreseen it, but had rather
-hoped that if any one sought to hinder another in his success and
-welfare, thou would’st have taken up his cause and protected him....
-Besides, this Philipp Holbein is in his minority, and is under the care
-of Franz Schmid, his brother, our citizen, and without his help and
-authority is qualified for no lawsuit; it is our pleasure, therefore,
-and we herewith request thee as our citizen, that thou forthwith and
-immediately breakest off the complaint brought by thee against Philipp
-Holbein and allowest him, kindly and friendly to depart from thee, and
-because he has served thee honestly and truly, that thou givest him a
-good sealed letter of discharge, of which he may make use. In all this
-we express our earnest will and command; we have also written to the
-Lieutenant who is judge between you both, our citizens, not to continue
-the proceedings, and to refer you both hither.” The letter concludes by
-saying that if David feels he has a just claim against Philip, he is to
-cite him before the municipal court of Basel, when full justice shall be
-done. A letter to the same effect, and of the same date, was sent to
-Philip, ordering him not to enter into any further law proceedings in
-Paris, but to take his discharge and return to Basel, where his case
-would be decided by the municipal authorities.[338]
-
-Footnote 338:
-
-  Woltmann, English translation, pp. 329-30.
-
-It seems clear from this letter to David that the dispute arose shortly
-after the completion of Philip’s six years of apprenticeship, in which
-case the boy must have been left in Paris in the autumn of 1539, and not
-of 1538. If that was so, then Holbein cannot have personally apprenticed
-him on his return to England from Basel, and Philip must have gone there
-a year later in charge of someone else. It is possible, however, that
-Holbein took his son with him to England, and kept him there for twelve
-months or so, sending or taking him to Paris in 1539. It is usually
-supposed that the boy in the family group of 1528 represents Philip, the
-elder son, born about 1522. In the picture he appears to be five or six
-years old. He would thus be about fifteen or sixteen in 1538—rather a
-late age upon which to enter his apprenticeship—and twenty-two at the
-date of the letter, which, however, speaks of him as still a minor.[339]
-
-Footnote 339:
-
-  It is possible that the boy in the picture is not the one who was
-  taken to Paris, but that the latter was a second son, born during
-  Holbein’s second residence in Basel (1528-32), whose age would thus be
-  in better accord with the evidence of the letter.
-
-Holbein was back again in London some time before Christmas, 1538, when
-he received the special reward of £10 for his journey into Upper
-Burgundy. His first work of importance after his return was a portrait
-of the infant Prince Edward, then some fourteen months old. This was
-presented to the King on January 1, 1539, being entered in the roll of
-New Year’s gifts as: “By Hanse Holbyne a table of the pictour of the
-p^ince (Prince’s) grace.” In return he received from his royal master a
-silver-gilt covered cup supplied by Cornelis Hayes, one of the King’s
-goldsmiths. “To Hans Holbyne, paynter, a gilte cruse w^t a cover
-(Cornelis) weing x oz. quarter.”
-
-[Sidenote: PORTRAITS OF PRINCE EDWARD]
-
-Holbein died when Edward was just six years old, so that he cannot have
-painted the various portraits of the Prince in which he is represented
-at a somewhat later period of life and after he was King, though at one
-time they were all attributed to him. There are only three portraits of
-him, and a few drawings, which show him as a child of tender years, of
-which the authorship can be given to Holbein. The picture in the
-Provinzial Museum, Hanover, is generally regarded as the original work
-which he painted as a New Year’s gift for the King. An almost identical
-picture is in the possession of the Earl of Yarborough, which some
-writers regard as an unquestionable work of Holbein, while others
-consider it to be merely an excellent old copy.
-
-The Hanover picture[340] is a life-size, half-length figure, facing the
-spectator. The child is dressed in a red velvet coat trimmed with gold,
-and sleeves of gold brocade. A red hat, with gold tags and a large
-ostrich feather, tied under the chin, surmounts the closely-fitting cap,
-from beneath which his fair hair falls over his forehead. His right hand
-is held out with open palm, and in his left he grasps a gold rattle. In
-front of him is a stone or panel on which eight lines of Latin verse
-from the pen of Sir Richard Morysin are inscribed, exhorting the Prince
-to imitate his wonderful father. “Little one, imitate your father,” the
-lines run, “and be the heir of his virtue, the world contains nothing
-greater—Heaven and Nature could scarcely give a son whose glory should
-surpass that of such a father. You only equal the acts of your parent,
-the wishes of men cannot go beyond this. Surpass him, and you have
-surpassed all the kings the world ever worshipped, and none will ever
-surpass you.”[341] The head stands out well against the sky-blue
-background. The round, chubby face, and small fat hands, are most
-truthfully and delightfully rendered, while the colour scheme is very
-harmonious. It is, indeed, in all ways, a most sympathetic and
-delightful study of childhood.
-
-Footnote 340:
-
-  Woltmann, 165. Reproduced by Knackfuss, fig. 130; Pollard, _Henry
-  VIII_, p. 242; Ganz, _Holbein_, p. 122.
-
-Footnote 341:
-
-  Wornum, p. 324, note.
-
-The almost equally charming little work in the Earl of Yarborough’s
-collection (Pl. 22)[342] is practically a replica of the one in the
-Hanover Museum. According to Wornum, it was at one time in the Arundel
-Collection, at Stafford House, and was sold in 1720, subsequently
-passing into the possession of Sir Richard Worsley, of Appuldurcombe,
-Isle of Wight, and afterwards to the present owner. The same writer
-notes some few peculiarities in its execution—“some defects in the right
-hand, and a certain want of transparency, or a mealyness in the
-colouring, that are not entirely consistent with Holbein’s
-practice.”[343] It is most probably an old and careful copy after the
-original at Hanover. It was in the Tudor Exhibition, 1890 (No. 174), and
-the Burlington Fine Arts Club, 1909 (No. 62).
-
-Footnote 342:
-
-  Reproduced in the Catalogue of the Tudor Exhibition, 1890, p. 80; and
-  _Burlington Fine Arts Club Exhibition Catalogue_, 1909, Pl. xxi.
-
-Footnote 343:
-
-  Wornum, p. 323.
-
-Charles I had a copy of this portrait made by Peter Oliver, signed “P.
-O.,” and inscribed “Edwardus Princeps Filius Henrici Octavi Regis
-Angliae.” In the King’s catalogue it is described by Van der Doort as:
-“22. Item, the picture of King Edward VI in his infancy, in a red cap
-with a white feather, and a red coat laced with gold, and golden cloth
-sleeves, holding in his left hand a round golden rattle, and with his
-right hand in some action; by a green table, whereupon is written in
-white and black letters. Being in a black shutting frame. Painted upon
-the wrong light. 4¾ in. × 2 in.” A marginal note describes it as “copied
-by Peter Oliver after Hans Holbein, whereof my Lord Arundel has the
-principal limning.” Wenceslaus Hollar engraved the picture in 1650,[344]
-when it was in the Arundel Collection.[345]
-
-Footnote 344:
-
-  Parthey, 1395.
-
-Footnote 345:
-
-  There were two portraits of the Prince in the Arundel Collection, both
-  attributed to Holbein in the 1655 inventory, and entered as “Eduardo
-  Sesto Re d’Inghilterra.”
-
-The Duke of Northumberland’s version, at Syon House,[346] is larger, and
-the Prince is shown at full-length. It resembles the two others in most
-particulars, and appears to be based on the same original drawing,
-though the sitter looks somewhat younger. He is wearing a jacket of
-patterned cloth of gold, and over it a crimson frock or coat embroidered
-with golden stripes. His head is covered with a white-edged, striped
-skull-cap, beneath which a fringe of fair hair falls on the forehead;
-over this is worn a red hat with a dark feather in it. Thick-soled,
-broad-toed shoes complete his costume. He is standing on a green velvet
-cloth edged with gold, which is thrown over an ornamental stone tablet
-containing, as in the other versions, Morysin’s Latin verses. The
-background is a dark green curtain. It is painted on panel, 4 ft. 3 in.
-high by 2 ft. 5 in. wide.
-
-Footnote 346:
-
-  Woltmann, 246.
-
-This picture has suffered considerably from rubbing and cleaning. The
-preliminary chalk drawing can be plainly seen through the thin painting.
-The position of the hands—which are beautifully painted—is somewhat
-altered, and the child is without his rattle. In one corner of the
-tablet is inscribed “Edwardus Princeps,” and in the other “Filius
-Henrici 8,” now almost obliterated. Mr. Wornum[347] thought it probable
-that this was the New Year’s gift picture, as the child appears to be a
-little younger than in the Hanover and Yarborough versions, and with a
-still brighter expression of face.
-
-Footnote 347:
-
-  Wornum, p. 325.
-
-[Illustration:
-
-  VOL. II., PLATE 22
-  EDWARD VI
-  1538-9
-  LORD YARBOROUGH’S COLLECTION
-]
-
-[Sidenote: DRAWINGS OF PRINCE EDWARD]
-
-All three pictures seem to have been based upon the same drawing in the
-Windsor Collection, in which the Prince is shown full-face, as a young
-child, with a close skull-cap, and a black cap with a feather above it,
-and a single frill round his neck.[348] This drawing has been badly
-rubbed. There is a second drawing in the same collection, also
-full-face, with hair cut closely across the forehead, and a plain black
-hat (Pl. 23).[349] This, too, has suffered considerable damage. The
-strong brush-work of the outlines stands out with undue emphasis, owing
-to the destruction of the more delicate modelling of the crayons. In
-this drawing the Prince appears to be at least a couple of years older
-than in the other drawing, or in the Hanover picture and its variants.
-He looks quite four or five years old. Mr. Wornum thought it might
-represent Henry Brandon, afterwards Duke of Suffolk, from its likeness
-to the boy in Holbein’s beautiful miniature, the proportions of the face
-not quite agreeing with those of the infant Prince;[350] but it is
-undoubtedly a portrait of the latter.
-
-Footnote 348:
-
-  Woltmann, 326; Wornum, ii. 1; Holmes, not given.
-
-Footnote 349:
-
-  Woltmann, 327; Wornum, ii. 2; Holmes, i. 2. Reproduced by Davies, p.
-  176; Knackfuss, fig. 146; Ganz, _Hdz. von H. H. dem Jüng._, 39.
-
-Footnote 350:
-
-  Wornum, p. 407.
-
-There is a third drawing of Edward VI at Windsor, in which he seems to
-be quite six, if not older. It is one of the least pleasing of the
-series, and if by Holbein, must be almost the last drawing he made, as
-the Prince was but six when the painter died. He is shown in profile to
-the left, with hat and feather, and almost yellow hair.[351] Several
-portraits exist which are based on this drawing, though they are not by
-Holbein, among the best of them being the versions in the National
-Portrait Gallery,[352] the Victoria and Albert Museum,[353] and the
-collection of Lord Sackville. The last-named was at the Burlington Fine
-Arts Club in 1909 (No. 60). In this the Prince has golden hair, a black
-cap with a white plume, and a purple gown lined with white fur over a
-pale pink doublet. His right hand, raised, holds a rose, and his gloves
-are in his left. The background is a greenish blue.
-
-Footnote 351:
-
-  Woltmann, 328; Wornum, ii. 3; Holmes, ii. 1. Reproduced in _Drawings
-  of Hans Holbein_ (Newnes), Pl. ii.
-
-Footnote 352:
-
-  Reproduced in the illustrated catalogue, National Portrait Gallery,
-  vol. i. p. 27.
-
-Footnote 353:
-
-  Jones Bequest.
-
-There is a very interesting drawing in coloured crayons by Holbein in
-the Basel Gallery,[354] which is described as a portrait of Edward VI,
-and bears considerable likeness to the various paintings and drawings in
-England. The face, however, is decidedly longer and more oval in shape
-than in the Windsor drawings; but much of the delicate modelling of the
-flesh has vanished during the passage of time, so that it is difficult
-to speak with absolute certainty as to the likeness. Most probably the
-attribution is the correct one. The boy, who appears to be about five
-years old, is dressed in a princely costume, and is holding a meerkat in
-the bend of his right arm, and stroking its back with his left hand.
-There is no portrait known which follows this drawing.
-
-Footnote 354:
-
-  Woltmann, 30. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 37.
-
-Upon one of the leaves of Holbein’s sketch-book, preserved in the Basel
-Gallery, there is a delightful little circular drawing of Edward when a
-small child,[355] evidently of about the same date as the Hanover
-portrait. His costume is much the same as in the pictures described, and
-he is seated on a cushion on the grass, fondling a small dog with his
-left hand. The background on either side of him is filled in with
-branches of oak with acorns. It may have been the first study for a
-miniature, or possibly a design for a medallion or hat-badge to be
-carried out in gold-and-enamel by one of Holbein’s goldsmith friends. In
-spite of its small size the likeness is evident.
-
-Footnote 355:
-
-  Woltmann, 110 (82). Reproduced by Ganz, _Hdz. von H. H. dem Jüng._,
-  Pl. 46, and woodcut in Woltmann, i. p. 449.
-
-The scope of this book does not permit any attempt to give a detailed
-list of the numerous portraits of the young prince painted after the
-death of Holbein, in which he is represented at an age varying from
-about ten to sixteen, some of them being works of very considerable
-merit. In the days when it was believed that Holbein lived until 1554,
-all these portraits were attributed to him, whereas now some other
-authorship must be sought. It is known that Guillim Stretes, the Dutch
-painter, was responsible for at least two of these portraits of the
-young King. According to Strype,[356] in 1551 Stretes was paid by the
-Privy Council “fifty marks for recompence of three great tables, made by
-the said Guillim, whereof two were the pictures of his Highness sent to
-Sir Thomas Hoby and Sir John Mason (ambassadors abroad); the third a
-picture of the late Earl of Surrey, attainted, and by the council’s
-commandant fetched from the said Guillim’s house.” In 1553 “Gillam
-Strettes, Dutchman,” was the King’s painter, in receipt of the high
-salary of £62, 10_s._ a year, and he continued in favour during the
-reign of Queen Mary.
-
-Footnote 356:
-
-  _Memorials_, &c., Vol. ii. p. 494. Quoted by Walpole, _Anecdotes_, ed.
-  Wornum, i. p. 138.
-
-[Illustration:
-
-  VOL. II., PLATE 23
-  EDWARD, PRINCE OF WALES
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-[Sidenote: LATER PORTRAITS OF EDWARD VI]
-
-The excellent little bust portrait of Edward, formerly in the possession
-of the Cokayne family at Rushton Hall, Northamptonshire, which was lent
-by Lord Aldenham to the Burlington Fine Arts Club in 1909 (No. 63), has
-been attributed to this painter. It is dated 1550. Mr. Roger E.
-Fry,[357] on account of the delicate and personal scheme of blonde and
-cool colouring which it displays, considers this portrait to be by the
-same hand as the portraits of Henry VIII and Jane Seymour, lent to the
-same exhibition (Nos. 21 and 46) by Lord Sackville, which have been
-mentioned in an earlier chapter.[358] Others exist of the same type to
-which Stretes’ name has been provisionally given. The Duke of Portland
-has a fine small full-length, undated,[359] probably from the same hand
-as Lord Aldenham’s panel; another whole-length belongs to Mr. Vernon J.
-Watney, while a third is at Southam Delabere, near Cheltenham. A very
-interesting portrait of a different type is at Petworth, an
-elaborately-painted likeness of the young King at full-length, seated on
-his throne, with a canopy over his head, which is dated 1547, when he
-was in his tenth year. This is attributed by Mr. Wornum to Stretes.[360]
-There is another in Christ’s Hospital which closely resembles it, and in
-the same building there is a second portrait of the Prince at the age of
-nine. There is also a fine example in the Royal Collection at Windsor
-Castle,[361] in which the head is of the same type as that in Lord
-Aldenham’s picture. It is apparently by the same hand as that of the
-Princess Elizabeth, also at Windsor, and whether by Stretes or not,
-seems to be of Franco-Flemish origin. The large picture at Bridewell
-Hospital, representing Edward VI transferring Bridewell Palace to the
-City of London, was regarded in Walpole’s day as an excellent example of
-Holbein’s brush, and both he and Vertue, who engraved it in 1750,
-asserted that one of the figures in the background represented Holbein
-himself.[362] The occurrence which the picture commemorates, however,
-took place in 1553, ten years after Holbein’s death. This picture, too,
-has been tentatively given to Stretes, but it is a work of no great
-mastery, though of undoubted historical interest. Descriptions of other
-portraits of Edward VI will be found in a paper contributed by Mr. J.
-Gough Nichols, F.S.A., to _Archæologia_.[363] No less than sixteen, of
-varying degrees of merit, were lent to the Tudor Exhibition in 1890. In
-the inventory of King Henry VIII’s pictures made shortly after his
-death, dated September 8, 1547, three of the earlier portraits of the
-young Prince of Wales were included. Two of these were full-lengths:
-“The Kynge’s Majestie, the whole stature, in a gowne like crymsen satten
-furred with lusernes,” which was protected by a curtain of white
-sarcenet; and “The Kynge’s Majesty, the whole stature, stayned upon
-clothe” (_i.e._ canvas), with a curtain of green sarcenet. The first
-named was not included in the earlier list of King Henry’s pictures
-drawn up in 1542, but the latter is in that inventory, and so must have
-been painted before 1542, and thus represented Edward as a little child.
-The third portrait is merely described as “The Kynge’s Majestie.” This
-may have been the curious “perspective” portrait of the young Prince,
-now in the National Portrait Gallery (No. 1300),[364] a head within a
-circle surrounded by a well-painted landscape, done in 1546, which has
-been attributed to Stretes. According to Walpole,[365] who considered it
-to be the work of Marc Willems, “Gulielmus pinxit” was written on the
-frame. It formed part of the Royal collections from the time it was
-painted, but was sold by the Commonwealth in 1650 for £2. It was seen in
-Whitehall and described by the German traveller, Paul Hentzner, in 1598.
-Two miniatures of Edward were lent to the Burlington Fine Arts Club
-Exhibition (Case C, 13 and 19) by the Duke of Buccleuch, but these are
-not by Holbein.
-
-Footnote 357:
-
-  _Burlington Magazine_, vol. xv., May 1909, p. 75. Reproduced by Miss
-  Hervey, “Notes on some Portraits of Tudor Times,” _Burlington
-  Magazine_, vol. xv., June 1909, p. 155.
-
-Footnote 358:
-
-  See pp. 104 and 112.
-
-Footnote 359:
-
-  Burlington Fine Arts Club, 1909, No. 68.
-
-Footnote 360:
-
-  Wornum, p. 326.
-
-Footnote 361:
-
-  Reproduced by Cust, _Royal Collection of Paintings, Windsor Castle_,
-  Pl. 50; and Ganz, _Holbein_, p. 223.
-
-Footnote 362:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 88.
-
-Footnote 363:
-
-  Vol. xxxix. p. 20.
-
-Footnote 364:
-
-  Reproduced in the Illustrated Catalogue, National Portrait Gallery,
-  vol. i. p. 27.
-
-Footnote 365:
-
-  Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 135.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                             CHAPTER XXIII
-                          ANNE OF CLEVES: 1539
-
-Henry VIII’s fresh matrimonial negotiations with Protestant
-  Germany—Christopher Mont sent to the Court of the Duke of Saxony with
-  reference to a political alliance and the King’s marriage—Anne of
-  Cleves and her sister—Portraits of them by Lucas Cranach—Difficulties
-  in obtaining portraits of the ladies—Richard Beard and Holbein go over
-  to Düren for that purpose—The written descriptions of Anne—The legend
-  woven round Holbein’s portrait of her—Henry’s disappointment on Anne’s
-  arrival in England—Description of the portrait in the Louvre—Miniature
-  in the Salting Collection—Drawing at Windsor—Portrait in St. John’s
-  College, Oxford.
-
-
-WITH the exception of works executed for his royal master, such as the
-“Duchess of Milan” and the lost French portraits, the likeness of the
-infant Prince Edward, and that of Anne of Cleves, there is nothing by
-Holbein which can be ascribed with absolute certainty to the years 1538
-and 1539.[366] It is possible that the portraits of Thomas Howard, Duke
-of Norfolk, and his son, Henry, Earl of Surrey, were produced in the
-latter year, but no dated likeness by him is known of any member of the
-court circle, or, indeed, of any Englishman or German, painted during
-these two years. It is true that more than one of his undated works may
-be of this period, but there is no actual proof, beyond that of style,
-in favour of such a contention. This may be accounted for to some extent
-by his frequent absences from England on the King’s business, which
-would leave him less time than usual for private practice, while there
-is also the possibility that at least some of the works he produced
-during these two years have been lost.
-
-Footnote 366:
-
-  The portrait of Henry VIII in the National Gallery, Rome, now
-  attributed to Holbein, was painted, according to the King’s age
-  inscribed on the background, in 1539 or 1540. See above, p. 103.
-
-By the beginning of 1539, when alarms of war were in the air, and the
-alliance between Francis and the Emperor was growing closer every week,
-Henry had abandoned all idea of a marriage in France or with the Duchess
-of Milan, and was turning his thoughts towards Protestant Germany. The
-project of this fresh matrimonial venture was not entirely a new one; it
-was under consideration during the previous summer in the midst of the
-more active negotiations elsewhere. There is a curious passage in one of
-Eustace Chapuys’ letters to the Emperor, dated London, 17th June 1538,
-in which he infers that Henry had grown less anxious for the Milan match
-because the Germans were making him offers. “Indeed it is a fact,” he
-says, “that about that time the King sent to Germany a painter (_ung
-paintre_) and one gentleman of his chamber for the express purpose of
-pourtraying the personages ‘au naturel’; for, although Cromwell at first
-denied this, or at least dissembled, he afterwards owned to me (Chapuys)
-that the report was true, that both from France and Germany several
-marriages had been proposed.” These marriages, he adds, according to
-report, were to be between the son of the Duke of Cleves and the
-Princess Mary, and Henry and one of the Duke’s kinswomen.[367]
-
-Footnote 367:
-
-  _C.L.P._, vol. xiii. pt. i. 1198. _Spanish Calendar_, v. ii. 225.
-
-This is the only reference in the State Papers to the despatch of one of
-the King’s painters to Germany in the earlier part of 1538, but it is
-interesting as containing a possible reference to Holbein and to some
-journey of his of which we have no further knowledge. It is much more
-likely, however, that Chapuys was misinformed, and that no such
-expedition actually took place, though it may have been suggested but
-afterwards abandoned.
-
-[Sidenote: SEARCH FOR A BRIDE IN GERMANY]
-
-About the middle of January 1539, Christopher Mont, or Mount, a German
-in Henry’s service, was sent abroad with letters of credence to the Duke
-of Saxony and the Landgrave. The ostensible purpose of his mission was
-to promote the attempted agreement between the English and German
-divines which had been the subject of numerous conferences in the
-previous year; but the real object was to find out to what extent Henry
-might rely upon the German Protestant princes in any trouble which might
-arise between England and the Pope or Emperor. At the same time, Mont,
-who was accompanied by Thomas Paynell, took with him private
-instructions from Cromwell, which included a secret message to Francis
-Burgartus,[368] the Duke of Saxony’s vice-chancellor, with respect to a
-marriage between the young Duke of Cleves and the Princess Mary, which
-he and Cromwell had discussed in London in the previous year. If, the
-instructions ran, Burgartus desire “the picture of her face,” Mont is to
-remind him that she is a King’s daughter, and that it was not the custom
-to send the picture of persons of such degree abroad. Burgartus, too,
-had seen her, and could testify of her proportion, countenance, and
-beauty. But there was a matter of still greater importance about which
-Mont was to sound the vice-chancellor, whose master, the Duke of Saxony,
-had married the eldest daughter of the Duke of Cleves, and was one of
-the most interested parties in any alliance proposed between England and
-Germany. Mont was to inquire diligently of the beauty and qualities of
-the elder of the two unmarried daughters of the Duke of Cleves, her
-shape, stature, and complexion, and, if he heard she was such “as might
-be likened unto his Majesty,” he was to throw out suggestions as to a
-marriage between her and the King. The proposal, however, must come from
-the side of Cleves, as the overtures made to his Grace in France and
-Flanders had not been finally refused. Mont, in short, was not to speak
-as if demanding her, “but rather to give them a prick to offer her;” but
-first of all, “it is expedient that they should send her picture
-hither.”[369] In this way the Princess Anne of Cleves first appears on
-the scene, and the Duchess of Milan, and the ladies of Guise and other
-royal French houses finally vanish from it.
-
-Footnote 368:
-
-  Or Burgratus (Burchardt).
-
-Footnote 369:
-
-  _C.L.P._, vol. xiv. pt. i. 103.
-
-Shortly afterwards other diplomatists were sent abroad for the same
-purpose. Dr. Barnes went over to Frankfurt to attend the diet of the
-Evangelic League, while Dr. Edward Carne and Dr. Nicholas Wootton,
-together with Richard Byrd, Bird, or Beard, one of the gentlemen of the
-King’s Chamber, were despatched to Düren, to the court of the young Duke
-of Cleves, whose father had recently died. Their instructions were very
-similar to those given to Mont. They were to offer an offensive and
-defensive league and an English bride to the Duke, but were merely to
-throw out hints with regard to Anne. Here again they were to demand a
-picture of the lady before the match could be considered, for Henry was
-always most anxious to see what his proposed bride was like before
-committing himself too far.[370] If she were ill-favoured he would have
-none of her, however useful for political reasons such an alliance might
-prove to be. A portrait was always asked for, but was by no means always
-considered sufficient. The King feared that such pictures might flatter
-the subject, and so it became his habit, in order to avoid such
-possibilities, to send over one of his own painters to procure an
-independent likeness. Holbein, in particular, he knew to be capable of
-bringing back a true portrait, more valuable in all ways than the
-efforts of some unknown foreign painter, or the written opinions of his
-ambassadors, whose taste might not always agree with his own.
-
-Footnote 370:
-
-  _C.L.P._, vol. xiv. pt. i. 489, 490.
-
-Mont, after an interview with the Duke of Saxony, wrote to Cromwell to
-say that he seemed favourable to the proposed marriage, and that he
-promised to send a portrait as soon as possible, but said that “his
-painter Lucas was sick at home.” “Everyone,” he added, “praises the
-lady’s beauty, both of face and body. One said she excelled the Duchess
-(of Milan) as the golden sun did the silver moon.”[371] The Lucas
-referred to in this letter was Lucas Cranach the elder, and if it had
-not been for his illness Holbein might not have been sent over, for
-Cranach, no doubt, would have painted a portrait which would have
-satisfied the King. Towards the end of April, Cromwell wrote to Beard
-and Wootton, again urging them to get a portrait of the lady, which the
-former was to bring to London as quickly as possible.[372] In their
-reply, dated May 3—the letter, unfortunately, is badly mutilated—they
-describe a recent interview with Dr. Henry Olisleger, the
-vice-chancellor of Cleves, the young Duke being away at the Diet. “He
-said also he would cause the portraits of both the Duke’s younger
-sisters to be delivered to us in fourteen days. They were made, he said,
-half a year before. We said there was no occasion to declare the King’s
-goodwill to the Duke, which was manifest.... And as for the ij pictures,
-we wer verye w[ell] contentyd to receyve theym, and specyallye the
-imaige of my l[ady Anne] ... that yf eny of bothe shulde lyke his Grace
-... yet wolde we gladdelye receyve and sende bothe. [And for a]s muche
-as we hadde not seene the ij ladyes, we shulde [not be] able to
-advertise his Majestye whether theyr imaiges were [l]yke to theyr
-persones, and so shulde his Majestye be never the nerre by the syht of
-the pictures.” Dr. Olisleger, however, assured them that the portraits
-were faithful likenesses, but the ambassadors were not satisfied. “We
-sayde, we hadde not seene theym, for to see but a parte of theyr faces,
-and that under such a monstruouse habyte and apparell, was no syght,
-neither of theyr faces nor of theyr persones. Why, quod he, wolde yow
-see theym nakydde?” What they said in answer to this last remark is lost
-through the mutilation of the letter, but they evidently did not approve
-of the court costume of Cleves. They concluded by saying: “A Moneday,
-God willing, we wylle departe to Duisseldorpe, and, excepte the Duke
-have enye bysynesse with us, we wyll thence to Coleyn, where we ar
-apoyntyd to receyve the said ij pictures, the which we wille send ynto
-England as soone as we canne convenyently.”[373]
-
-Footnote 371:
-
-  _C.L.P._, vol. xiv. pt. i. 552. _St. P._, i. 604.
-
-Footnote 372:
-
-  _C.L.P._, vol. xiv. pt. i. 834. _St. P._, i. 613.
-
-Footnote 373:
-
-  _C.L.P._, vol. xiv. pt. i. 920.
-
-[Sidenote: HOLBEIN AND BEARD GO TO DÜREN]
-
-In spite of these constant demands for portraits, the ambassadors do not
-appear to have received them at the time promised. Early in July Dr.
-William Petre, one of the Clerks of Chancery, was sent to Cleves with
-further messages and instructions to Dr. Wootton. The new ambassador and
-the old were to make a further demand to see the ladies, and if Beard
-had not already started with the portraits, they were to send them “if
-they may be possible gotten,” with their opinion of them as
-likenesses.[374]
-
-Footnote 374:
-
-  _C.L.P._, vol. xiv. pt. i. 1193.
-
-Beard was back in London for a short time in July, but whether he came
-empty-handed or not there is no record to show. It is possible that he
-brought with him the two portraits promised by Olisleger, which were to
-be handed to him at Cologne. There is a portrait of Anne in England,
-described below, which may be one of the two in question, but in any
-case it cannot have satisfied Henry, for Beard was sent back almost
-immediately to Düren, taking Holbein with him, in order that he might
-paint the two sisters. They were allowed £40 for travelling expenses,
-while Holbein received a further sum of £13, 6_s._ 8_d._ for his own
-personal outlay in connection with his craft.
-
-The following is the entry in the Treasurer’s accounts:
-
-    “July, A^o xxxi—Item, to Mr. Richard Bearde, one of the gromes
-    of the Kingis privi-chambre, and Hans Holbyn, paynter, by like
-    lettre sent into the parties of High Almayne upon certain his
-    gracis affaires, for the costes and chardgis of them both, xl.
-    _li._ And to Hans Holben, for the preparation of such thingis as
-    he is appoynted to carie with him, xiij. _li._ vi._s._
-    viii_d._—in alle the some of liij _li._ vi._s._ viii_d._”[375]
-
-Footnote 375:
-
-  _C.L.P._, vol. xiv. pt. ii. 781 (f. 85).
-
-According to Dr. Woltmann, the extra fee of £13, 6_s._ 8_d._ paid to
-Holbein for “the preparation of such things as he is appointed to carry
-with him,” was, “without doubt a portrait of the King, perhaps a
-miniature in a costly frame, which he had to paint and to present to the
-Princess as a gift from his monarch.”[376] This explanation, however, is
-not at all likely to be the correct one. As already pointed out, Henry
-never sent portraits of himself to the lady he was preparing to honour
-with his hand until he had first of all seen what she herself was like.
-He was too cautious a lover to commit himself so far. In all these
-transactions he was the one who was to be sought, and the first offer
-must come from the lady’s side. The simplest explanation is that the
-money was for the provision of the necessary painting materials, and the
-cost of their carriage. The sum was, no doubt, a large one if for such a
-purpose alone, but Holbein was then high in the King’s favour, and well
-paid for all that he did, while his absence from England on the royal
-business put an end for the time to his general practice, and this might
-have been considered in fixing the amount of his allowance.
-
-Footnote 376:
-
-  Woltmann, i. p. 463.
-
-The travellers reached the castle of Düren, where the ladies were
-living, early in August, and Holbein at once set to work. He had
-finished portraits of both Anne and her sister Amelia before the 11th of
-the month, as we learn from a letter of that date from Dr. Wootton to
-Henry VIII. In the course of it he says: “Your Grace’s servant Hanze
-Albein hathe taken th’effigies of my ladye Anne and the ladye Amelye and
-hath expressyd theyr imaiges verye lyvelye.”[377]
-
-Footnote 377:
-
-  _C.L.P._, vol. xiv. pt. ii. 33.
-
-It seems probable that in this instance Holbein did more than make mere
-studies in crayons such as he had done in the case of the Duchess of
-Milan and the French ladies; and the fact that the portrait of Anne of
-Cleves, now in the Louvre, is on parchment fastened down on a wood panel
-affords some proof of this. The portrait would be painted on the
-parchment directly from the sitter, and afterwards mounted and the
-finishing touches given to it. Owing to the haste required, and the
-safer conveyance of the portrait, the latter process was probably not
-carried out until the artist was back in London.
-
-[Sidenote: GOSSIP ABOUT THE KING’S MARRIAGE]
-
-No time appears to have been wasted. Henry not only demanded but
-obtained speed from his servants on their numerous journeys. Travelling
-post, the journey to and from Düren, which was usually made via Antwerp,
-took about eleven days. Holbein was in England again before the end of
-August, as we learn from Marillac, the new French ambassador, who, on
-September 1, writing from Grafton, where he had followed the King fifty
-miles from London, informed Francis I that he “has learnt that an
-excellent painter whom this King sent to Germany to bring the portrait
-of the sister of the Duke of Cleves, recently arrived in Court, and,
-immediately afterwards, a courier, bringing, among other news which is
-still kept secret, news that the said Duke’s ambassadors have started to
-come hither to treat and conclude the marriage of this King and the said
-lady.”[378]
-
-Footnote 378:
-
-  _C.L.P._, vol. xiv. pt. ii. 117. Kaulek, 124.
-
-The proposed marriage afforded opportunity for much speculation on the
-part of the King’s subjects, as more than one of his earlier matrimonial
-projects had done. An excellent idea of the kind of gossip which
-prevailed can be gathered from the evidence taken in the case of a
-certain George Constantyne, who talked so much that he got himself
-charged with treason. It occurs in the report of a conversation between
-Constantyne and the Dean of Westbury during a journey they made together
-to South Wales, and in the course of it Holbein’s visit to Cleves is
-mentioned. “The Dean asked also if Constantyne had any news of the
-King’s marriage. Replied, he could not tell; he was sorry to see the
-King so long without a queen, when he might yet have many fair children:
-his own father was ninety-two years old, and yet, last summer, rode
-thirty-two miles one day before two o’clock, and said he was not weary;
-the duchess of Milan and that of Cleif were both spoken of, as the Dean
-knew. Asked, ‘How call ye the little doctor that is gone to Cleif?’ The
-Dean said, it was Dr. Woten, and that he that was with him of the Privy
-Chamber, whom Woten sent home lately, was Berde; adding that this Berde
-was sent thither again with the King’s painter, and that there was good
-hope of the marriage, for the duke of Cleif favoured God’s word and was
-a mighty prince now, having possession of Gelderland against the
-Emperor’s will.... Said also that the matter of the duchess of Milan was
-really broken off, for she would have the King accept the bishop of
-Rome’s dispensation and give pledges. ‘Why pledges?’ asked the Dean.
-‘Marry,’ said Constantyne, ‘she sayeth that the King’s Majesty was in so
-little space rid of the Queens, that she dare not trust his Council,
-though she durst trust his Majesty; for her Council suspecteth that her
-great aunt was poisoned, that the second was innocently put to death,
-and the third lost for lack of keeping her in childbed.’ Added, that he
-was not sure whether this was her answer or that of Cleif, but that he
-heard a muttering of it before Whitsuntide.”[379] It will be seen from
-this gossip that the legend respecting the Duchess of Milan’s refusal to
-accept Henry because she had fear for the safety of her head was
-commonly believed at the time.
-
-Footnote 379:
-
-  _C.L.P._, vol. xiv. pt. ii. 400. _Archæologia_, xxiii. 56.
-
-The written descriptions of Anne which Henry received from his
-representatives and agents were all favourable, but not enthusiastic.
-Wootton in the letter referring to Holbein, already quoted, says of her:
-“She has been brought up with the lady Duchess her mother (as the lady
-Sybille also was till she was married and the lady Amelye has been and
-is) and in manner never from her elbow, the lady Duchess being a wise
-lady and one that very straitly looketh to her children. All report her
-to be of very lowly and gentle conditions, by the which she hath so much
-won her mother’s favour that she is very loth to suffer her to depart
-from her. ‘She occupieth her time most with the needle, wherewithall
-she.... She canne reede and wryte her ... Frenche, Latyn, or other
-langaige she [hathe no] ne, nor yet she canne not synge nor playe [upon]
-enye instrument, for they take it heere in Germanye for a rebuke and an
-occasion of lightenesse that great ladyes shold be lernyd or have enye
-knowledge of musike.’ Her wit is good and she will no doubt learn
-English soon when she puts her mind to it. ‘I could never hear that she
-is inclined to the good cheer of this country and marvel it were if she
-should, seeing that her brother, to whom yet it were somewhat more
-tolerable, doth so well abstain from it.’”[380]
-
-Footnote 380:
-
-  _C.L.P._, vol. xiv. pt. ii. 33.
-
-Sir Michael Mercator, the German factor of musical instruments, knighted
-by Henry, wrote to Cromwell later in the year, giving praise to God “for
-this alliance with the most illustrious, beautiful, and noble lady Anna
-de Clefves, who has a great gift from God, both of sense and wit. It
-would be difficult to describe her good manners and grace, and how
-Gueldres, Cleves, and all the country of the Duke, rejoice at the
-alliance.”[381]
-
-Footnote 381:
-
-  _C.L.P._, vol. xiv. pt. ii. 500.
-
-[Sidenote: THE “FLANDERS MARE” LEGEND]
-
-Around Holbein’s portrait of Anne there has been woven a legend which
-upon examination is found to have no foundation in fact. The story is to
-be traced back to Bishop Burnet, who, in his _History of the
-Reformation_, says:[382] “Hans Holbin having taken her picture, sent it
-over to the king. But in that he bestowed the common compliment of his
-art somewhat too liberally on a lady that was in a fair way to be queen
-the king liked the picture better than the original, when he had the
-occasion afterwards to compare them.” Instead of the promised beauty,
-continues the bishop, they brought him over a “Flanders mare.”
-
-Footnote 382:
-
-  Vol. i. pt. i. p. 543.
-
-Walpole, following Burnet, elaborates this: “Holbein was next despatched
-by Cromwell to draw the lady Anne of Cleve, and by practising the common
-flattery of his profession, was the immediate cause of the destruction
-of that great subject, and of the disgrace that fell on the princess
-herself. He drew so favourable a likeness, that Henry was content to wed
-her; but when he found her so inferior to the miniature, the storm which
-really should have been directed at the painter, burst on the minister;
-and Cromwell lost his head, because Anne was _a Flanders mare_, not a
-Venus, as Holbein had represented her.”[383]
-
-Footnote 383:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 72.
-
-There is no truth at all in this story. The leading characteristic of
-Holbein’s portraiture is its complete truth; he was not in the habit of
-flattering his sitters, and the portrait of Anne affords one of the most
-striking testimonies of this. He certainly did not paint her as a Venus,
-nor was Cromwell’s fall owing to the picture. He was, indeed, made Earl
-of Essex after the lady’s marriage to the King. Letters in the State
-Papers show very clearly that Henry complained only of the spoken and
-written words of his ambassadors, and made no mention of portraits.
-Russell, the Lord High Admiral, in his deposition in connection with the
-divorce, quoted Henry as saying to him: “How like you this woman? do you
-think her so fair and of such beauty as report hath been made unto me of
-her? I pray you tell me the truth.” Whereupon the said Lord Admiral
-answered, that he took her not for fair, but to be of a brown
-complexion. And the king’s highness said, “Alas! whom should men trust?
-I promise you,” said he, “I see no such thing in her as hath been showed
-me of her, and am ashamed that men hath praised her as they have done,
-and I like her not.” Stow, in quoting this, adds without authority the
-words: “either by pictures or report,” after “I see no such thing in her
-as hath been showed me of her.”
-
-Stow, apparently drawing upon his own imagination, makes exaggerated
-references to the part portraits played in the negotiations for the
-marriage. “Some went over by the king, some by the Lord Cromwell, and
-some went voluntary, to view the Lady Anne of Cleave, and to negotiate
-her marriage with the king. All which, either by letters, speech, or
-both, made very large and liberal reports in praise of her singular
-feature, matchless beauty, and princely perfections, and for proof
-thereof presented the king with sundry of her pictures, which the
-bringers ever affirmed to have been truly made, without flattery.”[384]
-
-Footnote 384:
-
-  Stow, _Annales_, ed. Howes, p. 576.
-
-Henry, however, in his own declaration, never refers to a portrait. He
-entered into the marriage, he said, “because I heard so much both of her
-excellent beauty and virtuous conditions.” In addition, he told Sir
-Anthony Browne, “I see nothing in this woman as men report of her, and I
-mervail that wise men would make such report as they have done.” He also
-told Cromwell, in reply to his question as to how he liked the lady,
-“Nothing so well as she was spoken of; if I had known as much before as
-I know now, she should never have come into the realm. But what remedy?”
-
-After all, however, the praises of her sent home by Henry’s ambassadors
-were not very hearty ones. In Hutton’s letter from Brussels, already
-quoted,[385] written shortly after Jane Seymour’s death, in answer to a
-request that he would search for a possible bride for the King at the
-Court of the Regent, he reported, among other princesses, that “the
-Dewke of Clevis hathe a daughter, but I here no great preas neyther of
-hir personage nor beawtie.” Wootton’s account, given above, is a
-remarkably cautious one, and lays most stress on Anne’s domestic
-virtues. He had also complained that he had found it impossible to judge
-of the personal appearance of the two ladies on account of the ugly
-head-dresses they wore.
-
-Footnote 385:
-
-  See p. 116.
-
-Had the fault been Holbein’s, he would, no doubt, have fallen under the
-King’s displeasure. At the least his appointment would have been taken
-from him, even if he had not been forced to leave England; but the
-contrary was the case. In September, after his return from Cleves, he
-received, for a second time, a whole year’s salary in advance. This was,
-of course, before the King had seen the original of the portrait; but,
-strangely enough, if the accounts are to be believed, in addition to
-this year’s advance, Holbein continued to receive his salary every
-quarter day for the next year, so that he was paid twice over.[386] It
-is thus very evident that the painter suffered no disgrace or lack of
-employment or patronage, so that the legend must be abandoned.
-
-Footnote 386:
-
-  See p. 190.
-
-[Sidenote: PORTRAIT OF ANNE OF CLEVES]
-
-The fine portrait of Anne of Cleves now in the Louvre (Pl. 24) is in all
-probability the picture which Holbein painted in Düren.[387] It is
-almost three-quarter length, less than life-size. She is shown standing,
-facing the spectator, her hands folded in front of her, and dressed in a
-very elaborate costume. Her sumptuous gown of red velvet with wide
-hanging sleeves has heavy bands of gold embroidered with pearls. The
-bodice is cut square, and is edged with a band of ornament decorated
-with jewels, and a similar one round the neck with a pendant jewelled
-cross. She also wears two gold chains, and several rings on her fingers.
-The open front of the dress is filled in with fine white linen with
-bands of embroidery. Her hair is covered with an almost transparent
-head-dress worked with an elaborate pattern and the motto “A BON FINE,”
-over which is a cap wrought all over with gold, pearls, and other
-jewels. Her lace cuffs are also gold-embroidered. The background is
-blue-green, without inscription. Her brown eyes look straight at the
-spectator. More than one writer, influenced no doubt by these stories of
-her lack of beauty, has described this portrait as the likeness of a
-heavy, expressionless, ill-favoured woman; but this is far from being
-the case. Without any pretensions to extraordinary good looks, the face
-is a pleasant one, and by no means as plain as it has been described;
-indeed, in many ways it compares favourably with that of Queen Jane
-Seymour. That it is a truthful representation is certain, for Holbein
-never failed in this respect. Nothing is known of the history of the
-picture, or how it came to find a home in France, except that it was at
-one time in the Earl of Arundel’s possession,[388] and afterwards in the
-collection of Louis XIV.
-
-Footnote 387:
-
-  Woltmann, 228. Reproduced by Davies, p. 174; Knackfuss, fig. 131; A.
-  F. Pollard, _Henry VIII_, p. 260; Ganz, _Holbein_, p. 124.
-
-Footnote 388:
-
-  Entered in the 1655 inventory as “ritratto d’Anne de Cleves.”
-
-Walpole speaks of the portrait done by Holbein in Düren as a miniature.
-He was inclined to believe that the beautiful miniature of Anne, now in
-the Salting Collection at South Kensington, which in his days belonged
-to the Barretts of Lee Priory, was the very miniature painted by Holbein
-on this occasion. “This very picture,” he says, “as is supposed, was in
-the possession of Mr. Barrett, of Kent.... The print among the
-illustrious heads is taken from it: and so far justifies the king, that
-he certainly was not nice, if from that picture he concluded her
-handsome enough. It has so little beauty, that I should doubt of its
-being the very portrait in question—it rather seems to have been drawn
-after Holbein saw a little with the king’s eyes. I have seen that
-picture in the cabinet of the present Mr. Barrett, of Lee, and think it
-the most exquisitely perfect of all Holbein’s works as well as in the
-highest preservation. The print gives a very inadequate idea of it, and
-none of her Flemish fairness. It is preserved in the ivory box in which
-it came over, and which represents a rose, so delicately carved as to be
-worthy of the jewel it contains.”[389]
-
-Footnote 389:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 72, note.
-
-It is not known in what way this miniature,[390] together with the
-companion portrait of Henry VIII,[391] in a similar ivory box, in the
-late Mr. Pierpont Morgan’s collection, came into the possession of the
-Barrett family. They were offered for sale by auction in 1757, but
-bought in; and subsequently sold by Mr. T. B. Barrett in 1826 to a
-dealer named Tuck, who resold them for fifty guineas to Francis Douce,
-by whom they were bequeathed, in 1834, to Sir Samuel Rush Meyrick, of
-Goodrich Court. At a later date the miniature of Anne of Cleves was
-bequeathed by General Meyrick to Miss Davies, from whom it was acquired
-by the late Mr. George Salting. This miniature follows very closely the
-portrait in the Louvre, though there are slight differences in the
-details and colour of the dress. The background is blue, without
-inscription. It is in water-colours, and is 1¾ in. in diameter. It was
-from this miniature, which is regarded as an undoubted work by Holbein,
-that Houbraken engraved, in 1739, the portrait of Anne for his
-“Illustrious Heads.”
-
-Footnote 390:
-
-  Woltmann, 158. Reproduced by Ganz, _Holbein_, p. 148 (2); and in
-  _Burlington Fine Arts Club Exhibition Catalogue_, Pl. xxxii.
-
-Footnote 391:
-
-  Woltmann, 157. See p. 235.
-
-When the Louvre picture was in the Arundel Collection it was etched by
-Hollar, but reversed. This print is 9¼ in. by 7 in., and is dated 1648
-and inscribed—“Anna Clivensis, Henrici VIII Regis Angliæ Uxor IIIIta. H
-Holbein pinxit. Wenceslaus Hollar fecit aqua forti, ex Collectione
-Arundeliana, A. 1648.”[392]
-
-Footnote 392:
-
-  Parthey, 1343. There is a second print by Hollar, of the same year,
-  taken from a picture or drawing in the Arundel Collection, of a lady
-  in profile to the right, wearing a flat black cap, which, it has been
-  suggested, also represents Anne of Cleves (Parthey, 1545). The
-  likeness is not very apparent, nor does the original appear to have
-  been by Holbein, as Hollar states. It is reproduced by Dr. Ganz,
-  _Holbein_, p. 198 (2).
-
-[Illustration:
-
-  VOL. II., PLATE 24
-  ANNE OF CLEVES
-  1539
-  LOUVRE, PARIS
-]
-
-[Sidenote: OTHER PORTRAITS OF ANNE OF CLEVES]
-
-There are several other portraits in existence which are said, with
-little authority, to represent Anne of Cleves; among them a drawing in
-the Windsor Collection,[393] which appears at one time to have become
-separated from the others. It came into the possession of Dr. Meade, and
-at his sale in 1755 was bought by Mr. Chetwynd. After the latter’s death
-it was restored by his executors to the royal collection. It bears
-little or no resemblance to the Louvre portrait, and is almost certainly
-a likeness of some English lady. She is shown full-face, with a
-close-fitting cap covering the ears, and a hat over it. The drawing has
-been damaged by having been cut out round the outline. The face is a
-refined one. There are notes in German as to the material and colours of
-the dress, and the pattern of the Spanish work on the collar is drawn in
-detail on the margin. It has no inscription. In the National Portrait
-Exhibition at South Kensington in 1865, a small head of “Anne of Cleves”
-was exhibited by the Earl of Derby. It was in oil on panel, oval, about
-3 in. by 2½ in., and signed “H. H.” It had been injured, and was then in
-a somewhat dirty condition; the face had considerable likeness to the
-Louvre picture.[394]
-
-Footnote 393:
-
-  Woltmann, 357; Wornum, not included; Holmes, ii. 2.
-
-Footnote 394:
-
-  Wornum, p. 330, note.
-
-There is, however, one other portrait in addition to the Louvre panel
-which is a contemporary likeness of Anne of Cleves, though not by
-Holbein. This is the small picture in St. John’s College, Oxford, a fine
-work by some unknown painter of the Flemish School. It is a half-length,
-standing three-quarters to the left, behind a parapet upon which lie an
-orange and a pair of jewelled gloves. The head-dress is of cloth of gold
-and white gauze, the latter worked with the motto, “A BON FINE,” as in
-the Louvre picture. She is wearing a low-cut dress of striped gold and
-black, filled in with white with embroidered bands, gold and jewelled
-necklaces, and a pendant cross, and several rings on her fingers. Her
-left hand is placed against her waistbelt, and in her right she holds
-three carnations. The background is dark, with a small canopy or curtain
-over her head. It is on panel with arched top, 19¾ in. by 14¼ in. The
-costume is of the same style and period as the Louvre portrait, though
-it differs in numerous small details, more particularly in the colours
-of the materials, the shape of the sleeves, and the jewelled bands of
-the head-dress. The general tone of colour is golden, and there is
-excellent painting in all the details of the elaborate costume. It was
-included in the Oxford Exhibition of Historical Portraits in 1904 (No.
-30), and was one of the most interesting pictures in the
-collection.[395] As a likeness it bears a strong resemblance to
-Holbein’s portrait, and if not of Anne may well be of her sister. The
-suggestion may be hazarded that it is one of the two portraits, painted
-six months before Holbein and Beard were in Düren, which Olisleger had
-promised to procure for Henry VIII’s ambassadors, portraits which Beard,
-apparently, took with him to London early in July 1539.
-
-Footnote 395:
-
-  Reproduced in the Oxford Catalogue, p. 24; _Burlington Magazine_, vol.
-  v., May 1904, p. 214. A very similar picture was lent by Dr. Wickham
-  Flower to the New Gallery Winter Exhibition, 1899-1900, No. 44, as a
-  work of the Early Flemish School. It was described in the catalogue
-  as: “Half-length, turned towards left, habited in a rich Flemish
-  costume of gold tissue covered with jewellery; head-dress ornamented
-  with pearls, and inscribed with the motto ‘A bon fine’; in her right
-  hand she holds a red carnation; flat green background. Painted on
-  vellum and strained on fine canvas, 15 in. × 14 in. This portrait is
-  supposed to have been executed by a Flemish painter a year or two
-  previous to Anne’s marriage in 1540.”
-
-There is no need even to touch upon the concluding stages of this
-miserable story, with which Holbein had nothing to do. Henry married
-Anne at Greenwich on January 6, 1540, and finally divorced her on July
-12 in the same year. She settled at Richmond in the enjoyment of the
-rank of a princess and a pension of £3000 a year, and survived the King
-by ten years, dying in 1557.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXIV
-                       THE LAST YEARS: 1540-1543
-
-    Holbein’s work at Whitehall—His residence in the parish of
-    St. Andrew Undershaft—In high favour at court—Payments of
-    his salary—Possible visit to Basel—Portraits and miniatures
-    of Catherine Howard—Portraits of the Duke of Norfolk—The
-    Earl of Surrey—Unknown men at Berlin and Vienna—Unknown
-    Englishman at the Hague—Earl of Southampton—Unknown man,
-    aged 54, at Berlin—Unknown English lady at Vienna—Simon
-    George—Dr. John Chamber—Sir William and Lady Butts—Unknown
-    Englishman at Basel—Young English lady in the collection of
-    Count Lanckoronski—Lady Rich—Holbein’s self-portraits—A
-    newly-discovered one at Basel—Portraits, now lost, etched by
-    Hollar—The Duke of Buckingham’s Collection.
-
-Though there is no actual evidence in support of the statement of the
-older writers that Holbein, after he entered the royal service, had the
-use of a permanent studio in Whitehall Palace, granted to him by the
-King, there is every possibility that such was the case. “One of the
-earliest of the famous non-royal residents in Whitehall Palace,” says
-Dr. Edgar Sheppard, “was the artist Holbein. He had been presented to
-Henry VIII by Sir Thomas More, and the King assigned him a permanent
-suite of apartments in Whitehall, and commissioned him to paint the
-interior of the new Palace, for which work he received two hundred
-florins per annum.”[396] While the great wall-painting in the Privy
-Chamber was in progress, it would be necessary for him to have a room
-for his own use within the building, for the storage of the materials
-required for the work, and it is not impossible that he was permitted to
-retain the room as his own, perhaps one of those over the so-called
-“Holbein’s Gate,” for the short remainder of his life, more particularly
-as his practice was almost entirely confined to the court, so that a
-studio in Whitehall would best suit the convenience both of the painter
-and his sitters.[397] That he had a “permanent suite of apartments”
-there, as Dr. Sheppard states, is much less probable. This would
-indicate residence, whereas it is known that during his last years he
-occupied a house in the east of London.
-
-Footnote 396:
-
-  _The Old Royal Palace of Whitehall_, 1901, p. 266.
-
-Footnote 397:
-
-  See Appendix (M).
-
-It is doubtful, too, whether Holbein carried out any important
-decorative work in the Palace beyond the famous wall-painting already
-described.[398] According to a curious entry in Pepys’ _Diary_, under
-the date August 28, 1668, which is not easy to understand, the room
-known as the Matted Gallery had a painted ceiling of Holbein’s
-handiwork. The passage runs as follows: “With much difficulty, by
-candle-light, walked over the matted gallery, as it is now with the mats
-and boards all taken up, so that we walked over the rafters. But strange
-to see how hard matter the plaister of Paris is, that is there taken up,
-as hard as stone! And pity to see Holben’s work in the ceiling blotted
-on, and only whited over!” The exact sense of the concluding words is
-not very clear, but Pepys appears to mean that the ceiling had been
-formerly painted by Holbein, and that, having become damaged in course
-of time, it had recently been given a coat of whitewash. The ceiling was
-probably decorated with coloured plaster-work in relief, and though
-Holbein may have supplied the design, and may even have been responsible
-for the painting, it is much more likely that the plaster-work itself
-was done by some Italian, such as Nicolas Beilin of Modena, who had
-carried out similar undertakings at Fontainebleau.
-
-Footnote 398:
-
-  In 1576 Johann Fischart, quoted by Ganz, _Holbein_, p. xxxviii., in a
-  description of the Palace, speaks of several of the galleries as
-  decorated on both sides with fine emblematic histories, and actions
-  and stories in the style of Michelangelo and Holbein. Henry Peacham,
-  in his _Graphicè_ (1606), and again in _The Compleat Gentleman_
-  (1634), speaks of works by Holbein in Whitehall. He says: “He painted
-  the Chappell at White-Hall, and S. _James_, _Joseph of Arimathea_,
-  _Lazarus_ rising from the dead, &c., were his.” (See _The Compleat
-  Gentleman_, ed. G. S. Gordon, 1906, p. 128. Also Walpole, _Anecdotes_,
-  ed. Wornum, i. p. 82.) There is a drawing in the British Museum
-  representing Henry VIII seated at table under a lofty canopy, in a
-  large chamber, with a number of standing courtiers in attendance,
-  which appears to be a sixteenth-century copy of a preliminary study by
-  Holbein for a wall-decoration, possibly for one of the rooms in
-  Whitehall. It is inscribed “Holbein Inven^t.” Reproduced by Ganz,
-  _Holbein_, p. 183.
-
-[Sidenote: “DANCE OF DEATH” AT WHITEHALL]
-
-The legend that Holbein also painted a “Dance of Death,” composed of
-life-size figures, upon the walls of one of the rooms in Whitehall, is
-probably pure fiction, or, at least, there is much less to be said in
-its favour than for Pepys’ attribution of the ceiling in the Matted
-Gallery to the painter. The writer who first gave currency to the story
-was Francis Douce, in his “Dance of Death,” published in 1833. According
-to his statement, “very soon after the calamitous fire at Whitehall in
-1697,[399] which consumed nearly the whole of that palace, a person,
-calling himself T. Nieuhoff Piccard, probably belonging to the household
-of William III, and a man who appears to have been an amateur
-artist,”[400] made etchings after nineteen of the cuts in the Lyon
-“Dance of Death.” Impressions of these etchings, accompanied with
-manuscript dedications, are said to have been presented by this Piccard
-to his friends and patrons, and among others to a Mynheer Heymans, and
-to the “high, noble, and well-born Lord William Denting, Lord of Rhoon,
-Pendreght,” &c. In these addresses Piccard speaks of a “wall-painting”
-of the “Dance” by Holbein which he himself had seen in Whitehall. In the
-dedication to Heymans he says:
-
-Footnote 399:
-
-  Should be 1698.
-
-Footnote 400:
-
-  _Holbein’s Dance of Death_, ed. 1858, p. 124.
-
-    “Sir,—The costly palace of Whitehall, erected by Cardinal
-    Wolsey, and the residence of King Henry VIII, contains, among
-    other performances of art, a _Dance of Death_, painted by
-    Holbein in its galleries, which, through an unfortunate
-    conflagration, has been reduced to ashes.”
-
-In the dedication to “Lord William Benting” Piccard is more precise:
-
-    “Sir,—In the course of my constant love and pursuit of works of
-    art, it has been my good fortune to meet with that scarce little
-    work of Hans Holbein neatly engraved on wood, and which he
-    himself had painted as large as life in fresco on the walls of
-    Whitehall.”
-
-                  *       *       *       *       *
-
-As far as can be ascertained, there is not the slightest truth in this
-legend. Nothing is known as to the identity of Heymans, but Lord William
-Benting was evidently William Bentinck (1704-1774), of Rhoon and
-Pendrecht in Holland, and Terrington St. Clements, Norfolk, third son of
-Hans William Bentinck, first Earl of Portland, and a Count of the Holy
-Roman Empire. Douce, who gave undeserved authority to this story, made
-no attempt to trace the history of the manuscript “addresses” which
-accompanied the etchings, and though he saw them, does not say to whom
-they then belonged, or even in what language they were written. They may
-be safely set down as forgeries, as far as any wall-paintings of the
-“Dance of Death” by Holbein are concerned. Piccard, whoever he may have
-been, is the sole authority for the existence of these mythical works,
-which are not mentioned by Van Mander or Sandrart, or by any of the
-foreign travellers who visited this country in their descriptions of
-Whitehall, though the wall-painting of Henry VIII with his wife and
-parents in the same palace is more than once spoken of in such records
-in terms of high praise. Both Pepys and Evelyn are equally silent on the
-subject, though the latter mentions the “Dance of Death” woodcuts, and
-ascribes them to Holbein by name. “We have seen,” he says, “some few
-things cut in wood by the incomparable Hans Holbein the Dane, but they
-are rare and exceedingly difficult to come by; as his _Licentiousnesse
-of the Friers and Nuns_; _Erasmus_; _Moriae Encomium_; _the Trial and
-Crucifixion of Christ_; _The Daunce Macchabree_; the _Mortis Imago_,
-which he painted in great in the Church at Basil, and afterwards graved
-with no lesse art.”[401] What he says is by no means free from mistakes,
-but as, in speaking of a visit paid to Whitehall in 1656, he describes
-the condition of the large wall-painting of the two kings Henry VII and
-Henry VIII, and their consorts, it is not probable that he would have
-failed to mention any other important wall-paintings in the palace had
-they existed. Douce thought he had discovered a corroboration of
-Piccard’s story in an entry in Van der Doort’s catalogue of Charles I’s
-collection, which runs: “A little piece, where Death with a green
-garland about his head, stretching both his arms to apprehend a Pilate
-in the habit of one of the spiritual Prince-Electors of Germany. Copied
-by Isaac Oliver from Holbein”; but this, no doubt, was painted from the
-woodcut of the Elector in the Lyon “Dance of Death,” and not from a
-large wall-painting.
-
-Footnote 401:
-
-  Evelyn, _Sculptura_, ed. 1769, p. 69.
-
-As already stated, though Holbein may have had a workroom within the
-precincts of Whitehall, his permanent home in London was elsewhere. The
-public records show that in 1541 he was living in the parish of St.
-Andrew Undershaft, in Aldgate Ward. How long he had been there is not
-known, but possibly for the greater part of his second sojourn in
-England. This information is contained in a subsidy roll for the City of
-London, dated 24th October, 33 Hen. VIII (1541). Among the “straungers”
-taxed were:
-
-                    “Barnadyne      xxx. _s._
-                    Buttessey, xxx.
-                    _li._
-
-                     Hanns Holbene  iij. _li._”
-                    in fee, xxx.
-                    _li._
-
-Why Holbein was obliged to pay twice the amount charged to Buttessey on
-an equal assessment of £30 a year is explained by the fact that in these
-subsidies it was usual to tax “lands, fees, and annuities,” at double
-the rate of goods. “In the royal accounts,” says Sir Augustus W. Franks,
-“the payments to Holbein are sometimes noticed as wages, sometimes as an
-annuity; while other payments of a similar kind, although fees or
-annuities, are included under the general term “wages,” and evidently
-looked upon as synonymous terms for the salaries paid by the King to
-various members of his household. In any case, the salary of Holbein,
-the painter, rendered him liable to be rated, as a foreigner, at the
-high amount above-mentioned.”[402] There can be no doubt that this
-Holbein of the subsidy roll was the artist. The amount of his fee, £30,
-corresponds with the salary he received from the royal purse, while
-Holbein’s will gives his place of residence as the parish of St. Andrew
-Undershaft.
-
-Footnote 402:
-
-  _Archæologia_, vol. xxxix. p. 17.
-
-[Sidenote: HOLBEIN’S RESIDENCE IN LONDON]
-
-According to a story told by Walpole, Holbein once resided in a house on
-London Bridge. He says: “The father of Lord Treasurer Oxford passing
-over London Bridge, was caught in a shower, and stepping into a
-goldsmith’s shop for shelter, he found there a picture of Holbein (who
-had lived in that house) and his family. He offered the goldsmith
-100_l._ for it, who consented to let him have it, but desired first to
-show it to some persons. Immediately after happened the fire of London,
-and the picture was destroyed.”[403] This story is apparently a mere
-legend, and there is no evidence to support it; nor is it very probable
-that an important painting by Holbein would have remained in the same
-small house for more than one hundred and twenty years. Dallaway, in his
-notes to Walpole, includes in a supplementary list of works by Holbein
-in England a small picture of Holbein, his wife, four boys, and a girl,
-at Mereworth Castle, Kent, which he suggests may be either a repetition
-or the original picture of the London Bridge story; but in the first
-place, Holbein never had a family of four sons, and, secondly, the
-picture bears no traces of Holbein’s manner. He quotes Gilpin’s
-description of it: “As a whole, it has no effect; but the heads are
-excellent. They are not painted in the common flat style of Holbein, but
-with a round, firm, glowing pencil, and yet exact imitation of nature is
-preserved—the boys are very innocent, beautiful characters.” If some
-such “family” picture existed in London at that time, it is much more
-likely to have been a copy or a replica of the genuine family group in
-the Basel Gallery.
-
-Footnote 403:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 86, note.
-
-The favour with which Holbein was now regarded at court is shown by the
-frequency with which he received a year’s or half a year’s salary in
-advance, a mark of royal condescension which was most unusual. Thus
-under “September A^o xxxi” (1539) is the following entry: “Item paide by
-the Kingis highnesse commaundement certefied by my lorde privyseales
-lettres to Hans Holbenne, paynter, in the advauncement of his hole yeres
-wagis beforehande, aftre the rate of xxx _li._ by yere, which yeres
-advauncement is to be accompted from this present Michaelmas, and shall
-ende ultimo Septembris next commynge, the somme of xxx _li._”[404]
-Notwithstanding this payment in advance, it appears, as already pointed
-out,[405] from the four following quarterly entries in the accounts
-having reference to Holbein, from Michaelmas 1539 to Midsummer 1540,
-that he continued to receive his salary of £7, 10_s._ each quarter as
-usual.[406] If these entries are to be depended upon, he clearly
-received his money twice over, either by accident, owing to carelessness
-in the keeping of the King’s accounts, or of set purpose as a further
-reward for his services.
-
-Footnote 404:
-
-  _C.L.P._, vol. xiv. pt. ii. p. 313, _The King’s Payments_, f. 90 _b_;
-  and _Archæologia_, vol. xxxix. p. 9.
-
-Footnote 405:
-
-  See p. 180.
-
-Footnote 406:
-
-  The first of these was due to him, and not covered by the year’s
-  advance.
-
-[Sidenote: HIS WORK ABOUT THE COURT]
-
-In September 1540 he received an advance of half a year: “September, A^o
-xxxii—Item paide to Hans Holbyn, the Kingis paynter, in advauncement of
-his wagis for one half yere beforehande, the same half yere accompted
-and reconned fromme Michaelmas last paste, the somme of xv _li._” This
-time, however, he did not receive his salary twice over, for in the two
-following entries, at Michaelmas and Christmas, 1540, the accounts
-merely state: “Item, for Hans Holbyn, paynter, wages, nihil, quia prius
-per warrantum.” In the following March 1541 he again obtained a
-half-year’s advance: “March, A^o xxxii: Item paied to Hans Holben, the
-Kingis painter, in advauncement of his half yeres wages before hande,
-after the rate of xxx _li._ by yere, which half yere is accompted to
-beginne primo Aprilis A^o xxxij. domini Regis nunc, and shall ende
-ultimo Septembris then next ensuynge, the somme of xv _li._” The two
-remaining entries of which we have record, at Lady Day and Midsummer
-following, are as follows: “Item for Hans Holben, paynter, wages, nil,
-quia praemanibus”; and “Item for Hans Holbyn, paynter, nihil, quia
-prius.” The volume of accounts closes with the payments for this
-quarter, and no details of the royal expenditure during the next two
-years and a half exist, so that there is no record of the salary Holbein
-received for the remaining years of his life. In a later volume of
-Tuke’s accounts, as treasurer of the household, extending from October,
-35 Hen. VIII (1543) to November, 36 Hen. VIII (1544), the first
-quarterly payments are for Christmas 1543, and Holbein’s name does not
-occur in them, as he had then been dead for about two months. It is
-rather strange, however, that it does not appear among the Christmas
-payments with “Nihil quia mortuus” after it, as this was the usual
-procedure in case of death. This omission, however, may have been due to
-the fact that he had once again received his salary beforehand.
-
-The remaining years of Holbein’s life must have been busy ones, judging
-from the number of preliminary studies for portraits of the men and
-women of Henry’s court which exist in the Windsor Collection and in many
-of the great European museums. These drawings are all undated, and cover
-the whole period of his English career, but there are so many of them
-that his time must have been always fully occupied. It is strange,
-therefore, that so few of his finished portraits can be ascribed with
-any certainty to the year 1540. Although it was by no means his
-invariable custom to put the date on his paintings, yet this was his
-more usual practice, and there is no known picture by him which is
-inscribed 1540, though there are a few dated 1541 and 1542. Several
-portraits of the Howard family can be given with some certainty to the
-earlier year, but beyond this nothing has been so far discovered. It may
-be suggested, as some explanation of this, that Holbein paid another
-visit to Basel during the last quarter of 1540, as the two years’ leave
-of absence granted him by the Town Council came to an end in the middle
-of October. The Council, who had been paying his wife the promised
-yearly pension of forty gulden, expected him to make Basel his permanent
-residence on the completion of this further extension of leave. The
-terms of their agreement with him were fairly generous, and it is not to
-be supposed that the painter would risk losing his rights of citizenship
-and the stoppage of the pension to his wife through a total disregard of
-the Council’s wish. It seems possible, therefore, that he went over to
-Switzerland in order to make personal application for a further and
-longer leave of absence in England than the agreement of 1538 permitted.
-Unlike many of the foreign artists and artificers then resident in this
-country, he never became a naturalised British subject, and this, no
-doubt, was due to the fact that he was determined to end his days as a
-citizen of Basel, and regarded his residence here as merely a temporary
-one, and England as a profitable field which, as time passed, would
-become worked out. He could not, of course, foresee that he was to be
-suddenly cut down when a comparatively young man and still in the full
-maturity of his powers. At Michaelmas in the year in question he
-received half a year’s salary in advance, so that it was impossible for
-him to leave England permanently for some time to come.
-
-In the summer of 1540 Holbein lost another of his English patrons. Henry
-formally divorced Anne of Cleves on the 12th of July, and on the 28th of
-the same month Thomas Cromwell, then Earl of Essex, who had been a good
-friend to the painter, was beheaded for high treason, after a period of
-eight years during which his influence with both King and Parliament had
-been paramount. During the same month Henry privately married Catherine,
-daughter of Lord Edmund Howard, a cousin of Anne Boleyn, and niece of
-Thomas, third Duke of Norfolk. By this marriage the Howards, and through
-them the Catholic party, regained that ascendancy in the councils of the
-King which had received a severe check at the fall of Anne Boleyn; and
-at least three members of this family were painted by Holbein. The new
-Queen was publicly acknowledged on August 8 at Hampton Court Palace.
-
-[Sidenote: MINIATURES OF CATHERINE HOWARD]
-
-Although it was to be supposed that Henry would employ Holbein to paint
-the portrait of his new queen, until quite recently the only known
-likeness of her from his brush was the miniature portrait in the royal
-collection at Windsor Castle, and the replica of it belonging to the
-Duke of Buccleuch. In 1909, however, the discovery was made by Mr.
-Lionel Cust of a genuine and very beautiful portrait of this Queen. In
-the Windsor miniature (Pl. 31 (4)),[407] which shows her in a similar
-position to the one in the newly-discovered picture, she is represented
-nearly to the waist, turned to the left, her hands folded in front of
-her, the left over the right. Her hair and eyes are brown, and she wears
-a circular hood of the then fashionable French pattern, with a fall of
-black velvet. Her square-cut bodice is of dark cloth of gold, with
-sleeves of grey-green silk embroidered with gold, and white ruffles with
-black embroidery. Round her neck, over the white cambric filling of the
-dress, falls an elaborate necklace of pearls, rubies, and sapphires. The
-background, which is bright blue, has no inscription. It is painted on
-the back of a playing card, the eight of diamonds, and is 2⅓ inches in
-diameter. The hands, and the lower part of the arms, are badly painted,
-and appear to be a later addition.
-
-Footnote 407:
-
-  Woltmann, 271. Reproduced by Law, Pl. vii.; Knackfuss, fig. 132;
-  Williamson, _History of Portrait Miniatures_, Pl. ii. No. 2; Pollard,
-  _Henry VIII_, p. 245; Ganz, _Holbein_, p. 149 (4), and Cust,
-  _Burlington Magazine_, July 1910, p. 195.
-
-Nothing is known of its history, or as to the date of its acquisition,
-but it did not belong to the Crown in Tudor or Stuart days. Dr. Ganz
-describes it as badly over-painted, and possibly only a copy. Doubts
-have been thrown from time to time on its right to be called a portrait
-of Catherine Howard. Mr. Ernest Law considers the attribution to be
-“very problematical indeed,” and states that it “does not at all accord
-with the Holbein drawing inscribed as ‘Queen Katherine Howard.’”[408] In
-this he follows earlier writers. Nichols says that though the position
-and head-dress of the drawing agree with the miniature, “the features do
-not appear to correspond.”[409] It is difficult, however, to agree with
-them in this, for a careful comparison of the two makes it quite evident
-that they represent the same lady. The version belonging to the Duke of
-Buccleuch is almost identical with the Windsor miniature, but is a
-better work and slightly smaller, being only two inches in diameter. It
-was last publicly exhibited at the Burlington Fine Arts Club, in
-1909.[410] It was formerly in the collection of the Earl of Arundel, and
-when there was etched by Hollar in 1646. It was afterwards owned by
-Jonathan Richardson the younger (1694-1771), and subsequently by Horace
-Walpole. Walpole describes it as: “Catherine Howard, a miniature,
-damaged, it was Richardson’s, who bought it out of the Arundelian
-collection. It is engraved among the Illustrious Heads [of Houbraken];
-and by Hollar, who called it Mary, Queen of France, wife of Charles
-Brandon, Duke of Suffolk.”[411] In this he is wrong, for no name is
-attached to it in Hollar’s etching, and it was first identified as
-Catherine Howard by Mr. Cust. In his _Description of Strawberry Hill_,
-however, Walpole calls it merely “a lady painted by Holbein,” and says
-that it is “probably Mary Tudor, Queen of France, sister of Henry VIII,
-but among the Illustrious Heads called Catherine Howard.” According to
-Granger, it was Vertue who first named it Mary, Queen of France. The
-Duke of Buccleuch also possesses a small oil painting on panel, 5⅜ in. ×
-4½ in., which was likewise at the Burlington Fine Arts Club (Case C,
-24). It is inscribed, by a hand later than that of the painter of the
-portrait, “Catherine Howard Henry VIII.” According to Scharf, this is
-“apparently a French work, and, indeed, thoroughly so in personal
-characteristics.”[412] It is in the style of Clouet, and the compilers
-of the Burlington Fine Arts Club catalogue suggest that it may represent
-Anne de Pisseleu, Duchesse d’Estampes.
-
-Footnote 408:
-
-  Law, _Holbein’s Pictures_, &c., p. 24. This was before Mr. Cust’s
-  discovery of the larger portrait.
-
-Footnote 409:
-
-  _Archæologia_, vol. xl. p. 78.
-
-Footnote 410:
-
-  Case C, 4. Reproduced in _Burlington Fine Arts Club Exhibition
-  Catalogue_, Pl. xxxiii.; Ganz, _Holbein_, p. 148 (4); and Cust,
-  _Burlington Magazine_, July 1910, p. 195. Only a part of one hand is
-  shown.
-
-Footnote 411:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. pp. 94-5. Hollar’s etching
-  (Parthey, 1546) is reproduced by Ganz, _Holbein_, p. 198 (3); and by
-  Cust, _Burlington Magazine_, July 1910, p. 195.
-
-Footnote 412:
-
-  _Archæologia_, vol. xl. p. 87. Reproduced in _Burlington Fine Arts
-  Club Catalogue_, Pl. xxxiv.
-
-The Windsor drawing[413] bears no inscription, and the sitter is turned
-to the right, as in Hollar’s engraving, instead of to the left, but
-otherwise it shows the same type of features, smooth auburn hair, and
-French cap or hood, as in the miniature. The dress, however, in
-Holbein’s usual fashion, is merely indicated with a few lines, showing a
-plain bodice cut square, filled in with white cambric, with a
-diamond-shaped opening revealing neck and bosom. It agrees in the same
-way with the newly-discovered portrait, of which, though reversed, it is
-evidently one of the preliminary studies. The identity with Catherine
-Howard is further proved, as Mr. Lionel Cust points out, by the family
-resemblance, plainly visible, in certain of the features, such as the
-over-accentuated lower jaw, to the portraits of her uncle, the Duke of
-Norfolk, and of his son, the ill-fated Earl of Surrey.
-
-Footnote 413:
-
-  Woltmann, 329; Wornum, ii. 9; Holmes, i. 42. Reproduced in _Burlington
-  Magazine_, vol. xvii., July 1910, p. 195, together with the two
-  miniatures and Hollar’s etching.
-
-[Sidenote: PORTRAIT OF CATHERINE HOWARD]
-
-In 1898 the Trustees of the National Portrait Gallery acquired a
-portrait of Catherine Howard[414] at the sale of the Cholmondeley
-pictures at Condover Hall, Shropshire, which closely follows the Windsor
-drawing, although in the reverse position. The excellence of the
-painting of the hands, and of the details of the dress and jewels, led
-at first to the supposition that it might be a genuine work by Holbein
-which had undergone some damage and restoration, but closer examination
-proved that it was merely a careful contemporary school copy, or
-repetition of some lost original. It is inscribed “ETATIS SVÆ 21,” which
-corresponds with the known facts of Catherine Howard’s life. In the
-summer of 1909 the original picture of which it is a copy was submitted
-to Mr. Cust, who recognised it at once as not only a portrait of
-Catherine Howard, but as most possibly a genuine work of the great
-master, which proved to be the case on the removal of much dirty varnish
-and some repaints.[415] It came from a private collection in the west of
-England, where it had formed part of a series of historical portraits
-which had been in the possession of the same family for several
-generations, and had been regarded at one time as a portrait of Eleanor
-Brandon, Countess of Cumberland, and at another as Princess Mary Tudor.
-It is now in Canada, in the collection of Mr. James H. Dunn.
-
-Footnote 414:
-
-  No. 1119. Reproduced by Pollard, _Henry VIII_, p. 268; and in the
-  Illustrated Catalogue, National Portrait Gallery, vol. i. p. 25.
-
-Footnote 415:
-
-  See Cust, _Burlington Magazine_, vol. xvii., July 1910, pp. 193-9,
-  reproduced, frontispiece; and by Ganz, _Holbein_, p. 126.
-
-Henry’s fifth Queen is shown seated, at a little more than half length,
-turned to the left. The hands are in the same position as in the
-miniature, though the fingers are more closely interlaced. Her hair is
-auburn, parted in the middle, and the eyes are blue-grey. She wears,
-too, a costume of a similar fashion, though of different materials. The
-circular French hood, with its heavy band of gold ornament and black
-fall, appears to be the same, but the dress is of black satin, with a
-square black velvet yoke across the bosom, open at the neck and turned
-back to show the white lining. A band or piping of gold ornament
-elaborately pierced, with pairs of gold tags at intervals, runs along
-the outer seam of the sleeves from shoulder to wrist, and the white
-ruffles are embroidered all over with a floral design in black. The
-ornaments she wears are of exceptional interest, as they afford actual
-evidence that Holbein not only painted portraits of royal ladies, but
-also designed their jewellery. Round her neck is a small necklace, set
-with pearls and diamonds, less heavy and elaborate than the one
-represented in the miniatures, and of greater beauty and delicacy of
-design, to which a large pendant jewel is attached. At her breast is a
-brooch from which hangs a circular jewel or medallion of chased gold
-work, with a large oblong diamond in the centre, on which is represented
-the story of Lot’s wife and the flight from Sodom. This jewel was
-designed for Catherine by Holbein. It corresponds exactly, as Mr. Cust
-points out, with a most characteristic study, a small roundel placed
-within an octagon, among the wonderful series of Holbein’s original
-drawings for jewellery in the Print Room of the British Museum,[416] and
-thus gives particular interest to a portrait which in all ways forms a
-very important addition to the master’s work, both on account of the
-brilliance of its execution and of its value as an historical document.
-Suspended from a chain round her waist hangs a still larger circular
-jewel, only the upper part of which is seen. That portion of the subject
-which is visible represents two angels with hands raised in adoration on
-either side of a crowned and bearded figure, most possibly the Almighty.
-The background of the portrait is a plain one, of Holbein’s favourite
-blue, across which is inscribed, as in the National Portrait Gallery
-copy, “ETATIS SVÆ 21,” on either side of the head. It is on an oak panel
-29 inches high by 20 inches wide. It must have been painted between
-August 1540, the date of her marriage, and November 1541, when she was
-deprived of her dignity as Queen, and forbidden to wear jewels; most
-probably in the latter year, according to Mr. Cust, which would
-correspond with her accepted age at the time of her marriage. Its
-importance and its genuineness have been accepted by such leading
-authorities as Dr. Bode, Dr. Friedländer, Dr. Paul Ganz, and Sir Sidney
-Colvin.
-
-Footnote 416:
-
-  British Museum Catalogue, 35(E) Vol. ii. p. 339. Reproduced in
-  _Burlington Magazine_, vol. xvii., July 1910, p. 195. See p. 283 and
-  Pl. 50 (2).
-
-Catherine Howard’s reign as Queen of England was a short one. There is
-no need to describe her tragic fate in detail. Before the close of the
-year 1541 it was discovered that not only had she had two lovers, one of
-them her cousin Francis Dereham, before her marriage, but that she had
-also been unfaithful to the King almost from the beginning of her
-married life, her paramour being one of her gentlemen, Thomas Culpeper.
-The Queen and her accomplice, Lady Rochford, were confined in Syon
-House, pending a parliamentary inquiry. Dereham and Culpeper were tried
-at Guildhall in December, pleaded guilty, and were hanged at Tyburn
-twelve days afterwards; and in February 1542, Catherine and Lady
-Rochford were condemned to death, and were beheaded on the 13th of the
-month, on the same spot on which the Queen’s cousin, Anne Boleyn, had
-suffered the same penalty for the same crime.
-
-This fresh tragedy in his life greatly aged the King, as can be seen in
-the portraits of him painted about this period, usually attributed to
-Lucas Hornebolt. A month after the execution, Marillac wrote to Francis
-I, on March 17, 1542, that Henry was “already very stout and daily
-growing heavier, much resembling his maternal grandfather, King Edward,
-being about his age, in loving rest and fleeing trouble. He seems very
-old and grey since the mishap (_malheur_) of this last queen, and will
-not yet hear of taking another, although he is ordinarily in company of
-ladies, and his ministers beg and urge him to marry again.”[417]
-
-Footnote 417:
-
-  _C.L.P._, vol. xvii. 178.
-
-[Sidenote: PORTRAIT OF THOMAS HOWARD]
-
-The portrait of Thomas Howard, third Duke of Norfolk, uncle by marriage
-to Henry VIII, was painted at about the same time as that of Catherine
-Howard. The inscriptions on the fine original version by Holbein in
-Windsor Castle (Pl. 25),[418] and the excellent contemporary copy in
-Arundel Castle, both state that it was taken in his sixty-sixth year,
-and as he is said to have been born in 1473, this gives the date of the
-picture as 1539 or early in 1540. He is shown standing, at half-length,
-slightly turned to the left. He is wearing a doublet of dusky red silk,
-edged with brown fur, and a white collar embroidered with black silk.
-His outer robe of dark velvet has a deep collar and border of ermine,
-and on his head is a plain, flat black hat, without a badge, over a
-black skull-cap which covers the ears. In his left hand he holds the
-long white wand of his office of Lord High Treasurer, and in his right
-the shorter gold baton, tipped with black, which he carried as
-hereditary Earl Marshal of England. Across the shoulders hangs the
-magnificent and richly-jewelled collar of the Order of the Garter with
-the pendant George, which is painted with all Holbein’s wonderful
-mastery in the clear rendering of minute ornament. The face,
-clean-shaven, and of a brown complexion, displays remarkable subtlety in
-the delineation of a proud and cruel nature. The cold, unflinching eyes,
-the thin, compressed lips with their faint, ironic smile, and the bony
-hands clasping the staves, reveal the sitter’s true character as it has
-come down to us in the pages of history, pride of race, cruelty almost
-remorseless in its pursuit of power, and inflexibility of purpose both
-in personal aggrandisement and in the service of his royal master.
-
-Footnote 418:
-
-  Woltmann, 267. Reproduced by Law, Pl. vi.; Davies, p. 179; Knackfuss,
-  fig. 133; Pollard, _Henry VIII_, p. 188; Ganz, _Holbein_, p. 123.
-
-The background is green, and across the top of the panel runs the
-inscription: “THOMAS · DVKE · OFF · NORFOLK · MARSHALL · AND TRESVRER
-OFF · INGLONDE THE · LXVI YERE · OF · HIS · AGE.” It is now almost
-illegible, through the passage of time and over-painting, but can be
-deciphered by the aid of the exactly similar inscription on the Arundel
-picture. This, as already stated, gives the date of the portrait as
-about 1540. The inscription, however, is not contemporary, but was
-probably added some hundred years later, in the reign of Charles I, when
-the picture was in the collection of the Earl of Arundel. It was finely
-etched by Vorsterman when in the Earl’s possession, in 1630, though
-without the inscription, but beneath the plate is engraved: “Hans
-Holbein pinxit. Visitur in Ædibus Arondelianis Londini.” This does not
-necessarily prove that the inscription on the panel did not exist at
-that date, as Vorsterman may have omitted it as disfiguring. That it was
-certainly there fifteen years later is proved by a coloured drawing on
-vellum by Philip Fruytiers, the Antwerp painter, dated 1645, a copy of a
-study by Van Dyck representing a large group of Thomas Howard, Earl of
-Arundel, his wife, and family. On the wall in the background Van Dyck
-had inserted, and Fruytiers has copied, on the one side, this very
-portrait of the Duke of Norfolk by Holbein, in which the inscription
-across the top of it in gold letters can be plainly seen, and on the
-other side the portrait of his son, the Earl of Surrey, also evidently a
-work by Holbein, though the original painting is now lost, which is
-inscribed: “HENRY HOWARD ERLE OF SUHRY ANNO ÆTATIS SVÆ 25.” This
-water-colour drawing, which is signed “An. Vandyke inv. Ph. Fruytiers
-fecit 1645,” is in the collection of the Duke of Sutherland, and there
-is a small copy of it in oils on copper at Norfolk House, which also
-shows the inscription. It was engraved by Vertue in 1743. The original
-sketch or composition by Van Dyck has been lost.
-
-[Illustration:
-
-  VOL. II., PLATE 25
-  THOMAS HOWARD, DUKE OF NORFOLK
-  WINDSOR CASTLE
-]
-
-[Sidenote: PORTRAIT OF THOMAS HOWARD]
-
-It is supposed that the Windsor version is the one which was in the
-Arundel Collection, but its subsequent history is uncertain. That
-collection was divided in 1686, and the share which fell to the Duke of
-Norfolk may possibly have contained this portrait of his ancestor.[419]
-The Duke’s pictures were sold in 1692, and nothing further is to be
-heard of this portrait until it is mentioned by Walpole as being then
-(1762) in Leicester House, at that time the dower-house of the Dowager
-Princess of Wales, widow of Frederick, Prince of Wales.[420] “There can
-be no doubt,” says Mr. Ernest Law, “that the picture passed, on the
-death of the Princess in 1772, into the possession of the Crown with the
-rest of the collection which had been formed by Prince Frederick.”[421]
-It is not known from whom that Prince acquired it, but many of his
-pictures were purchased for him on the Continent by his agent, Bagnols,
-and it is not unlikely that Woltmann’s surmise is correct, and that it
-is to be identified with the portrait of the Duke which appeared in the
-catalogue of an anonymous sale of pictures at Amsterdam on April 23,
-1732, as “Een zeer konstig uitmuntent stuk door Hans Holbeen, zynde de
-Hartog van Nortfolk nooit zoo goet gezien,” which must have been a fine
-work, as it fetched the relatively high price of 1120 florins.[422] It
-is quite possible, therefore, that the portrait was one of those sold by
-Lord Stafford in Amsterdam in 1654, immediately after the death of the
-Countess of Arundel, and that it was never in the possession of the Duke
-of Norfolk, but remained in that town until 1732.
-
-Footnote 419:
-
-  The only portrait of the Duke mentioned in the Arundel inventory of
-  1655 has no artist’s name placed against it, but it comes next to the
-  portrait of the Earl of Surrey, which is given to Holbein. It is
-  entered as “Ritratto de Tomaso Howard, Ducha de Nordfolk.”
-
-Footnote 420:
-
-  Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 83.
-
-Footnote 421:
-
-  Law, _Holbein’s Pictures_, &c., p. 19.
-
-Footnote 422:
-
-  Woltmann, ii. pp. 57 and 156.
-
-The copy at Arundel Castle, about which still less is known, is so good
-that it is only when it is placed side by side with the Windsor version,
-as it was in the Tudor Exhibition in 1890, that the latter is seen to be
-by far the finer work of the two. The Arundel picture is slightly the
-smaller, and was last exhibited at the Burlington Fine Arts Club in 1909
-(No. 49). There is a second version of this portrait in the Norfolk
-collection, at Norfolk House, in which various alterations have been
-made in the position and the dress, and a more elaborate background has
-been added. It is a work of comparatively little merit, and appears to
-have been painted during the seventeenth century by some inferior
-artist.
-
-At the time he sat to Holbein the Duke was at the height of his power.
-He had been the bitter enemy of both Wolsey and Cromwell, and had
-assisted to bring about the downfall of both, and had arrested the
-latter with his own hands. After Cromwell’s execution he became the most
-powerful of Henry’s subjects, and reached his highest summit of
-greatness. His influence over the King, however, waned after the fall of
-his niece, Catherine Howard, when he was supplanted by his enemies, the
-Earl of Hertford and the Seymours. In 1546 he was attainted, together
-with his son, the Earl of Surrey, for high treason, and only escaped the
-latter’s fate by the death of the King on the day the warrant for his
-execution was made out. He remained in the Tower throughout the reign of
-Edward VI, but was released on the accession of Queen Mary in 1553, and
-his titles and estates were restored to him, but he only lived to enjoy
-them for a year.
-
-[Illustration:
-
-  VOL. II., PLATE 26
-  HENRY HOWARD, EARL OF SURREY
-  Wrongly inscribed “Thomas Howard”
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-[Sidenote: PORTRAITS OF HENRY HOWARD]
-
-That Holbein painted his son, Henry, Earl of Surrey, is proved by the
-small portrait on the wall in Fruytiers’ version of Van Dyck’s picture
-of the Arundel family. The inscription on this miniature copy gives his
-age as twenty-five; and as he was born about 1517, Holbein must have
-painted him about 1541. He is represented with reddish hair and beard,
-and brown eyes, the head slightly turned to the right, and wears a black
-cap with a feather, and a black mantle from the folds of which the right
-hand appears. There is a small drawing in the Windsor Collection wrongly
-inscribed “Tho. Howard E. of Surrey,”[423] which bears some likeness to
-the Earl in the Fruytiers drawing, and is supposed to represent Henry
-Howard. It is badly rubbed, and has suffered from retouching and certain
-coarse alterations, and has the slightly-wavering touch which marks the
-so-called “Melanchthon” in the same collection. It is apparently the
-original study for the portrait which was engraved by Hollar when it was
-in the Arundel Collection.[424] There are two other heads at Windsor
-also named Thomas Howard, Earl of Surrey, but the attribution cannot be
-correct, as Surrey’s son, Thomas, was a small boy of only six or seven
-at the time of Holbein’s death. Whether the drawings represent the poet
-himself is also doubtful. One of them, inscribed “Thomas Earl of Surry”
-(Pl. 26),[425] in which he is shown full-face, clean-shaven, with hair
-cut straight across the forehead and partly covering the ears, and
-wearing a black cap with scalloped edges and an ostrich feather, is one
-of the finest drawings in the whole collection, conspicuous for the
-delicacy of the modelling and the freedom and expressiveness of the
-draughtsmanship. The face is one of considerable charm, which is not to
-be seen in the third drawing,[426] inscribed “Tho. Earle of Surry,”
-perhaps a little later in date, in which the head is turned slightly to
-the left, and the hair entirely covered with the black skull-cap he
-wears beneath the feathered bonnet. The dress is only slightly
-indicated, and is rubbed, and a circular medallion suspended from a
-broad ribbon hangs on his breast. A portrait of his wife is also to be
-found among the Windsor heads,[427] full-face, wearing the angular
-English head-dress with black fall, and a round jewelled ornament
-hanging from a chain round her neck, and a second medallion on her
-breast. The dress which, like the ornaments, is badly rubbed, was of
-rose-coloured velvet, according to a note in Holbein’s handwriting. The
-portrait for which this drawing was the study, like that of her husband,
-cannot now be traced. The two full-length portraits of Henry Howard,
-dated 1546, at Arundel Castle and at Knole respectively, are usually
-ascribed to the Netherlandish painter Guillim or Gillam Stretes, on
-account of Strype’s statement, already quoted,[428] that in 1551 the
-Privy Council ordered a picture “of the late Earl of Surrey, attainted,”
-to be fetched away from “the said Guillim’s house.” The Duke of
-Norfolk’s version of the portrait[429] has a very elaborate
-architectural setting, coarsely painted in stone colour, and apparently
-of a somewhat later date than the rest of the picture, while the one
-belonging to Lord Sackville at Knole shows the figure only, and is
-looked upon by some authorities as the original. The attribution of
-these two pictures to Stretes is extremely doubtful. The Arundel
-portrait, in particular, suggests the hand of an Italian, and the name
-of Nicolas Beilin of Modena may be tentatively suggested. One of them
-was in the collection of Thomas Howard, Earl of Arundel, where it was
-attributed to Holbein. It is described in the inventory of 1655 as “il
-ritratto del Conte de Surry grande del naturale.”
-
-Footnote 423:
-
-  Woltmann, 312; Wornum, ii. 8; Holmes, ii. 19.
-
-Footnote 424:
-
-  Parthey, 1509. Reproduced by Ganz, _Holbein_, p. 197 (2). The portrait
-  itself is described in the Arundel inventory of 1655 as “Ritratto de
-  Henrico Howard, Conte de Surrey.”
-
-Footnote 425:
-
-  Woltmann, 314; Wornum, ii. 6; Holmes, i. 20. Reproduced by Davies, p.
-  180, and elsewhere.
-
-Footnote 426:
-
-  Woltmann, 313; Wornum, i. 35; Holmes, i. 21.
-
-Footnote 427:
-
-  Woltmann, 330; Wornum, ii. 24; Holmes, i. 22.
-
-Footnote 428:
-
-  See p. 168.
-
-Footnote 429:
-
-  Exhib. Burlington Fine Arts Club, 1909, No. 54. Reproduced Arundel
-  Club, 1907, No. 3; Pollard, _Henry VIII_, p. 284.
-
-Only three dated works of the year 1541 remain; the two fine portraits
-of men in the Berlin and Vienna Galleries, and the miniature of Charles
-Brandon, the younger son of the Duke of Suffolk. The Berlin panel,[430]
-(No. 586 C), is inscribed at the top, in gold, on either side of the
-cap, “ANNO 1541,” and lower down, in smaller letters, level with the
-sitter’s ears: “ETATIS : SVÆ : 37.” The coat of arms, enamelled in red
-and white, on the gold ring on his left hand, indicates that in all
-probability this young man was a member of the Dutch family of Vos van
-Steenwijk, though the writer has failed to trace the name, or any
-indication of a sojourn in or visit to England on the part of its
-bearer, in the Calendars of the English State Papers. It is a
-half-length portrait, considerably less than life-size, head and body
-turned to the right, but both eyes shown. The eyes are grey, and the
-finely painted beard and moustache are a reddish brown. In his clasped
-hands he holds a pair of brown gloves. He wears a black silk under-dress
-and a surcoat of black or very dark brown, with the collar turned over
-to show the lining of black watered silk, and his flat cap of the same
-colour has a turned-down brim. He is gazing to the spectator’s right
-with a far-away and slightly melancholy look in his eyes, which are
-wonderfully painted, as is the beautiful and expressive left hand. It
-comes from the Von Sybel, Elberfeld, Merlo of Cologne, and Suermondt
-collections, having been purchased from the last-named owner in 1874.
-
-Footnote 430:
-
-  Woltmann, 117. Reproduced by Knackfuss, fig. 134; Ganz, _Holbein_, p.
-  128.
-
-[Illustration:
-
-  VOL. II., PLATE 27
-  PORTRAIT OF AN UNKNOWN YOUNG MAN
-  1541
-  IMPERIAL GALLERY, VIENNA
-]
-
-[Sidenote: PORTRAIT OF A MAN WITH A FALCON.]
-
-The picture of an unknown man, aged twenty-eight, at Vienna[431] (No.
-1479) (Pl. 27), is still finer in expression, and, indeed, is one of the
-most brilliant portraits of Holbein’s later years. It is one of his
-customary half-length figures, less than life-size, seated at a table,
-the body turned to the right, and the face looking out at the spectator.
-His doublet is of purple-brown silk, and over it he wears the usual
-black cloak with a deep collar and lining of brown fur, and black cap
-with a brim. The collar of his white shirt is beautifully embroidered
-with black Spanish work and tied with black laces. His grey gloves are
-held in his left hand, and his right rests on the olive-green cloth of
-the table, the forefinger being thrust within the pages of a gilt-edged
-book, near which is placed an inkstand with a red cord. On one of his
-rings is an intaglio. The clean-shaven face, showing blue on chin and
-upper lip, is of a ruddy brown complexion, and the hair, which does not
-cover the ears, is almost concealed by the hat. The unknown sitter, who
-appears to be an Englishman, is comely in features, and the eyes have a
-far-seeing, visionary expression, which Holbein has rendered with
-extraordinary vividness and subtlety of drawing. The upper part of the
-background consists of a blue-grey wall, with wooden panelling, or the
-back of a long wooden seat, below, and the panel is inscribed on either
-side of the head: “ANNO · DNI · 1541 · ETATIS · SVÆ · 28.” It was in the
-collection of the Archduke Leopold William in the seventeenth century.
-There is an old copy of this picture in the Palermo Gallery (Woltmann,
-223).
-
-Footnote 431:
-
-  Woltmann, 254. Reproduced in the Vienna Catalogue, p. 343; Knackfuss,
-  fig. 136; Ganz, _Holbein_, p. 127.
-
-To the year 1542 belongs the small portrait of an unknown Englishman in
-the Hague Gallery (No. 277) (Pl. 28),[432] which, again, is brilliant in
-execution, the details painted with the minutest care, but with a touch
-both delicate and free from all hardness, and unusual richness of
-colour. The head is full-face, the body turned slightly to the left. His
-closely cropped hair is chestnut in colour, turning to red at the ends
-of his moustache and short pointed beard. It is almost the only portrait
-by Holbein in which the sitter is shown without a hat. He wears a dress
-of black velvet and watered silk with a pattern, slashed with red silk
-at the shoulder and wrist. On his left hand, which is gloved, stands his
-falcon, a large bell on its claw. His right hand, in which he holds the
-bird’s hood, is ungloved, with a gold ring set with a stone on the
-little finger. The light falls from the right, and the shadow on the
-left side of the face is more strongly marked than in most of Holbein’s
-portraits. The modelling is fine, the face full of strong character,
-and, as usual, the hands are most expressively painted, the whole
-presentment being most vivid and life-like. The background is a plain
-blue-grey, of much the same tone as that in the portrait of 1541 at
-Vienna. Across the panel is inscribed, on either side of the head, the
-date 1542, and lower down “ANNO · ETATIS · SVÆ · XXVIII.” Little is
-known about the history of this picture, except that it was at one time
-in the royal collections of England, and that it was taken to Holland by
-William III, and was included in the list of works of art reclaimed by
-Queen Anne after that King’s death.[433] Like the portrait of Cheseman,
-however, it remained abroad. It is inscribed on the back “The manner of
-Holbein,” and in old catalogues was absurdly described as a portrait of
-Sir Thomas More.
-
-Footnote 432:
-
-  Woltmann, 160. Reproduced by Mantz, p. 171; Ganz, _Holbein_, p. 129.
-
-Footnote 433:
-
-  No. 21. “A man’s head with a hawk by Holbein.”
-
-[Illustration:
-
-  VOL. II., PLATE 28
-  PORTRAIT OF AN UNKNOWN MAN WITH A FALCON
-  1542
-  ROYAL PICTURE GALLERY, MAURITSHUIS, THE HAGUE
-]
-
-[Sidenote: UNDATED PORTRAITS OF LAST YEARS]
-
-It is probable that during this year Holbein painted Sir William
-Fitzwilliam, created Earl of Southampton in 1538, who died at Newcastle
-in 1543. There is a fine drawing of the head in the Windsor
-Collection,[434] turned three-quarters to the right, wearing a black cap
-with a medallion, and ear-flaps, or a coif, tied under the chin; slight
-whiskers are indicated on the cheek-bones. It is a face of strong
-individuality, with a big nose, finely and boldly drawn, the dress only
-roughly indicated. There is a full-length portrait of the Earl, 6 ft. ×
-3 ft. 3 in., in the Fitzwilliam Museum, Cambridge (No. ii. 164),[435]
-which is described in the catalogue as probably a copy of the original
-picture by Holbein which, in 1793, was destroyed by fire at Cowdray
-House, the estate purchased by the Earl in 1528. He is represented
-standing to the right, and wearing a black cap tied under the chin as in
-the Windsor drawing, a long black cloak with fur collar reaching to the
-knees, dark hose and shoes, and the collar and jewel of the Garter round
-his neck. He grasps a gold-headed staff in both hands, and stands on a
-terrace with a low parapet and a pavement of black and red tiles,
-overlooking a distant landscape consisting of wooded country and a
-land-locked harbour or estuary of a river with ships. His coat of arms
-is in the top left-hand corner, and in the right an inscription giving
-his titles and offices, as Lord Privy Seal and Chancellor of the Duchy
-of Lancaster, and the date 1542. The supposition that this picture is a
-copy after a lost original by Holbein is probably correct; it is quite
-in his manner, though in workmanship it in no way reaches to his
-mastery, the landscape background in particular showing an indecisive
-touch quite unlike his firm handling. A copy of the head, evidently
-taken from this picture, a small panel, 13⅛ in. × 9¾ in., was lent to
-the Burlington Fine Arts Club Exhibition, 1909 (No. 34),[436] by the
-Duke of Devonshire, which is inscribed across the brown background, in
-an eighteenth-century hand, “SIR THOMAS MOORE.” The compilers of the
-Burlington Club catalogue do not accept the Cambridge portrait on which
-it is based as a copy after Holbein, but as an original work, and
-clearly by the same hand as the Earl of Surrey at Knole, the full-length
-of a young man in Hampton Court Palace, and the Sir Thomas Gresham in
-Mercers’ Hall, with which the name of Guillim Stretes has been
-connected, though on somewhat flimsy foundations.[437] The Windsor head,
-however, is in such close accord with the Fitzwilliam Museum picture
-that it seems reasonable to suppose that the latter was based on it, or,
-rather, upon some painting of Holbein’s for which it formed the
-preliminary study. There were two portraits of the Earl in the Arundel
-Collection, both attributed to Holbein.[438]
-
-Footnote 434:
-
-  Woltmann, 291; Wornum, i. 5; Holmes, i. 17. Reproduced in _Drawings of
-  Hans Holbein_ (Newnes), Pl. xl.
-
-Footnote 435:
-
-  Reproduced in F. R. Earp’s Catalogue of the collection, 1902, p. 96;
-  and in _Principal Pictures of the Fitzwilliam Museum_, Gowan & Grey,
-  Ltd., p. 85.
-
-Footnote 436:
-
-  Reproduced in the Catalogue, Pl. v.
-
-Footnote 437:
-
-  See _Burlington Catalogue_, p. 86. In one of his articles on the
-  Arundel Collection (see _Burlington Magazine_, vol. xxi., August 1912,
-  p. 257), Mr. Lionel Cust speaks of this head of the Earl, at Hardwick
-  Hall, as “perhaps by Holbein himself,” and states that, according to
-  Vertue, in the sale of the Earl of Oxford’s pictures, 1741, there was
-  sold “Lord Fitzwilliams,” a head by Holbein, for fifteen guineas.
-
-Footnote 438:
-
-  “Ritratto de ffitzwilliams Conte de Southampton,” and “Conte de
-  Southampton Fitzwilliams.”
-
-In 1542 John Leland’s “Naeniae” on the death of Sir Thomas Wyat was
-published, with the small circular woodcut of the poet after a drawing
-by Holbein, which has been already described;[439] but otherwise the
-only dated portrait of this year is the one of the young man with the
-falcon at the Hague, though there are several which must have been
-painted shortly before his death. Those of Dr. John Chamber and Sir
-William Butts and his wife must have been produced in 1542 or the
-earlier half of 1543, while others, such as the “Elderly Man” at Berlin,
-the small portrait of an English lady at Vienna, and the Simon George at
-Frankfurt, may be attributed with some certainty to the last seven or
-eight years of Holbein’s life. It is probable, too, that he painted at
-about this time another portrait of the Prince of Wales. No such
-painting now exists, but the full-faced head with a cap in the Windsor
-Collection[440] represents Edward as a boy of about five or six years of
-age, and certainly older than in the Hanover picture, while in the
-profile head with cap and feather in the same collection of
-drawings,[441] which forms the basis of numerous portraits in the
-National Portrait Gallery and elsewhere, the boy seems even older,
-though he was only six at the time of Holbein’s death.
-
-Footnote 439:
-
-  See p. 80.
-
-Footnote 440:
-
-  Woltmann, 327; Wornum, ii. 2; Holmes, not included. See above, p. 167.
-
-Footnote 441:
-
-  Woltmann, 328; Wornum, ii. 3; Holmes, ii. 1. See above, p. 167.
-
-The portrait of an Unknown Man, aged fifty-four, in the Berlin Gallery
-(No. 586 I) (Pl. 29 (1)),[442] is another work of great power in its
-suggestion of life-like portraiture, and of high technical excellence.
-He is shown to the waist, slightly turned to the right. The face is a
-dignified one, with a long nose, and a slight droop in the right eyelid,
-and a look of melancholy absorption about his dark grey eyes. The hair
-and long beard are black, the latter with numerous grey hairs finely
-indicated with all Holbein’s customary minute care. The hands are thrust
-out of sight within the sleeves. His doublet, of which only the lower
-part of the sleeves is visible, is of ruby-red silk or satin, over which
-is a black or dark-brown coat with bands of black velvet, and lined with
-a patterned watered silk. The black cap has gold tags. The plain
-background is a greyish-blue, and on either side of the head is
-inscribed in gold lettering, “ÆTATIS · SVÆ · 54.” On the back of the
-panel are the letters “W.E.P.L.C.,” apparently in a sixteenth-century
-hand, probably the mark of some early English collector. The same
-letters appear on the back of the portrait of Robert Cheseman at the
-Hague, and on the portrait of a young man by Joos van Cleve in Berlin
-(No. 633 A), which was formerly in the Marlborough Collection, where it
-was at one time attributed to Holbein. Nothing of the early history of
-the portrait under discussion is known. It belonged at one time to Sir
-J. E. Millais, and was lent by him to the Holbein Exhibition in Dresden
-in 1871, where it was acknowledged by the leading German critics to be a
-splendid example of the master’s later English period. It was purchased
-at the Millais sale, in 1897, for 3000 guineas for the Kaiser Friedrich
-Museum. There is a poor and lifeless copy of the head of this portrait
-in the collection of Mr. John G. Johnson, of Philadelphia.[443] The
-panel is a pastiche, for the copyist has attached the head of the
-Millais portrait to the body of the Unknown Young Man aged twenty-eight
-in the Vienna Gallery. In the copy of the head the hat is without the
-gold tags, the beard is slightly shorter, and the sitter appears to be
-somewhat younger. In that of the body the dress, hands, the rings,
-gloves, and book follow the Vienna picture closely, but the copyist has
-removed the two rings on the little finger of the right hand to the more
-usual ring-finger. Mr. C. Ricketts regards it as “almost certainly
-modern. In draughtsmanship it is without subtlety, the nostril is
-preposterous, the under lip like a muffin.”[444] Mr. F. J. Mather
-considers it to be old, and of fair quality.
-
-Footnote 442:
-
-  Woltmann, 211. Reproduced in the Berlin Catalogue, p. 178; Ganz,
-  _Holbein_, p. 142; and in colour in _Early German Painters_, folio vi.
-
-Footnote 443:
-
-  Reproduced in the _Burlington Magazine_, vol. ix., August 1906, p.
-  357; and Ganz, _Holbein_, p. 228. It has no inscription.
-
-Footnote 444:
-
-  _Burlington Magazine_, vol. ix., September 1906, p. 426.
-
-[Illustration:
-
-  VOL. II., PLATE 29A
-  PORTRAIT OF AN UNKNOWN ELDERLY MAN
-  KAISER FRIEDRICH MUSEUM, BERLIN
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 29B
-  PORTRAIT OF AN UNKNOWN ENGLISH LADY
-  IMPERIAL GALLERY, VIENNA
-]
-
-“It is pretty surely of Holbein’s century, and of better quality than
-the reproduction indicates.”[445]
-
-Footnote 445:
-
-  _Burlington Magazine_, vol. x., November 1906, p. 138.
-
-[Sidenote: PORTRAIT OF SIMON GEORGE]
-
-The portrait of an unknown English lady in the Imperial Gallery, Vienna
-(No. 1483) (Pl. 29 (2)),[446] is almost miniature in size, and is
-characterised by the most delicate brush-work and great charm and
-richness of colour. She is shown to the waist, full-face, the body
-turned slightly to the left, and her hands clasped in front of her. The
-dress is of dark brown or puce, with the yoke and central hanging part
-of the sleeves of black velvet. The sleeves from the elbow are of red
-velvet slashed with white at the wrists. She wears a French head-dress
-of white and gold, with black fall, closely resembling the one in the
-portrait of Catherine Howard. The hair is a dark reddish brown. At her
-breast is suspended a circular gold ornament upon which is represented
-figures sacrificing at an altar, possibly of Holbein’s designing. The
-background is a deep grey-blue, surrounded by a frame imitating
-stonework. It has no inscription.
-
-Footnote 446:
-
-  Woltmann, 253. Reproduced in Vienna Catalogue, p. 346; Knackfuss, fig.
-  138; Ganz, _Holbein_, p. 140; and in colour in _Early German
-  Painters_, folio iii.
-
-Another small work of much beauty and delicacy of workmanship, and charm
-of expression, is the portrait of Simon George, of Quocote, in Cornwall,
-in the Städel Institut in Frankfurt (No. 71),[447] a profile portrait to
-the left, showing the head and shoulders only, and the right hand, in
-which the sitter holds a carnation. He has dark, closely-cropped hair
-and pointed beard, with a black cap over the right ear, elaborately
-ornamented with a white feather, many gold tags, an oval medallion with
-a representation of Leda and the Swan, and a small bunch of enamelled
-pansies. His dress is a rich one, and the open collar of the shirt is
-covered with black embroidery of a floral pattern of conventional
-design. The background is of greenish blue, and some letters of a
-two-lined inscription, of later date than the painting, mutilated by the
-reduction of the panel, which appears to have been originally round, can
-still be traced, including the letters NOB and part of the painter’s
-signature, “IOHA : H.” It was acquired in 1870 from the
-Brentano-Birckenstock sale. The original study for the head is in the
-Windsor Collection,[448] and shows the same slight frown wrinkling the
-forehead as in the picture. The hairs of the moustache are very
-carefully drawn, but the beard only shows a few days’ growth. It is
-inscribed at the bottom, in cursive writing, “S. George of Cornwall.”
-
-Footnote 447:
-
-  Woltmann, 151. Reproduced by Knackfuss, fig. 137; Ganz, _Holbein_, p.
-  139; and in colour in _Early German Painters_, folio vi.
-
-Footnote 448:
-
-  Woltmann, 309; Wornum, i. 15; Holmes, i. 49. Reproduced in _Drawings
-  of Hans Holbein_, Pl. xviii.
-
-The portrait of Dr. John Chamber or Chambre in the Imperial Gallery,
-Vienna (No. 1480) (Pl. 30),[449] is one of Holbein’s most powerful
-portraits of old men, the deeply-lined, clean-shaven face being full of
-individuality. He is shown to the waist, turned three-quarters to the
-right, in a plain black doctor’s cap, which covers the hair and hides
-all but the lobe of the ears, and a black gown with brown fur collar;
-and he holds a pair of grey gloves in his hands. The background is a
-very dark blue, and is inscribed, on either side of the head, “ÆTATIS
-SVE 88.” The date of John Chamber’s birth has not been traced, but the
-portrait was probably painted in 1541 or 1542, when Holbein was engaged
-upon the big “Barber-Surgeons” picture, in which Chamber is introduced
-in much the same position as in the Vienna portrait. He died at an
-advanced age, well over ninety, in 1549. He was one of the King’s
-physicians, and his name was the first on the roll of six doctors who in
-1518 received letters patent from the Crown giving them the privilege of
-admitting other physicians to practise medicine in London, which was the
-original foundation of the Royal College of Physicians. Chamber was
-joint author with Dr. Butts and two others of a manuscript
-“Pharmacopœia” for the use of Henry VIII. As Court physician he attended
-Anne Boleyn at Greenwich Palace at the birth of the Princess Elizabeth,
-and it was he who reported to the Privy Council the critical condition
-of Jane Seymour when Edward VI was born. He married Joan Wardell in
-1545, when he was nearly ninety, and their son was christened in the
-following year, both he and his wife dying within a few weeks of one
-another in 1549. His career, however, was more remarkable for the many
-religious preferments he gained, than for his medical skill. Born in
-Northumberland, he became a priest in early life, and was a Fellow, and
-afterwards Warden, of Merton College, Oxford. In 1502 he went to Italy
-and graduated in physic in Padua. On his return to England he succeeded
-Linacre as the King’s chief physician. In 1522 he was Canon of Windsor,
-in 1536 Dean of the Collegiate Church of St. Stephen, and later on
-Archdeacon of Meath. A very excellent copy of this portrait is in the
-possession of Merton College, Oxford, and was included in the Oxford
-Exhibition of Historical Portraits in 1904 (No. 27). It is inscribed on
-the back: “Dr. Chamber, phisician of King Henry VIII, copied from Hanns
-Holbein’s original by H. Reinhart. The original, once belonging to the
-collection of King Charles I, was, together with several other pictures
-of the same master, after the execution of this Monarch, sold and became
-the property of Archduke Leopold, Stadtholder of the Low Countries, from
-whence by legacy it passed into the Gallery of the Emperors of Austria
-(Ob. 1549).” The original portrait, however, does not appear at any time
-to have been included in the collection of Charles I, but it formed part
-of the wonderful series of works by Holbein got together by Thomas
-Howard, Earl of Arundel. In the _Dictionary of National Biography_ the
-date of his birth is given as 1470, while the Oxford catalogue suggests
-the date 1469, but neither can be correct, or otherwise the date of the
-Vienna picture would be 1557 or 1558, fourteen years or so after
-Holbein’s death. If the age of the sitter, eighty-eight, as given on the
-panel, is correct, and it is accepted that the portrait was painted
-about 1542, Chamber must have been born about 1454. The Merton College
-copy was exhibited at the Royal Academy Winter Exhibition, 1901-2 (No.
-155), as a work of the school of Holbein. In 1894 the Royal College of
-Physicians became possessed of a miniature portrait of Chamber, painted
-on the back of the ten of clubs, and said to be by Isaac Oliver. This is
-a careful copy of the Vienna picture, and has a long Latin inscription,
-giving Chamber’s titles, and the date of his death, round the frame. The
-original, when in the Arundel Collection, was engraved by Hollar
-(Parthey, 1372), with the inscription “D. Chambers Anno Ætatis Svæ 88.
-Holbein pinxit.” In the Arundel inventory it is described as “Doctore
-John Chambers.” It is possibly one of the pictures which remained on the
-Continent after the death of the Countess of Arundel in 1654.
-
-Footnote 449:
-
-  Woltmann, 255. Reproduced in Vienna Catalogue, p. 344; Knackfuss, fig.
-  147; Ganz, _Holbein_, p. 131.
-
-[Illustration:
-
-  VOL. II., PLATE 30
-  DR. JOHN CHAMBER
-  IMPERIAL GALLERY, VIENNA
-]
-
-[Sidenote: PORTRAIT OF DR. JOHN CHAMBER]
-
-The portraits of Sir William and Lady Butts,[450] which have suffered,
-more particularly the former, from coarse repainting, are probably of
-about the same date as the Dr. Chamber, for Butts is also one of the
-prominent figures in the “Barber-Surgeons” group. The portrait of the
-husband has an inscription which has been repainted by an ignorant
-copyist, and now reads “ANNO ATATS SVE LIX.” Unfortunately, as in the
-case of Chamber, the year of Butts’ birth is not known, so that the
-exact date of the portrait cannot be proved. It is given in the National
-Portrait Gallery Catalogue as 1485 (?). His tombstone at Fulham bears
-only the date of his death, 1545. The portraits show the heads and
-shoulders only. Sir William is represented in profile to the right, in
-black cap and furred gown, and a heavy gold chain upon his shoulders.
-His face is clean-shaven, and his grey hair almost covers the ears. Lady
-Butts is painted almost full-face, but turned slightly to the left. She
-wears the angular English head-dress with black fall, a plain dress with
-fur-trimmed mantle, and a large enamelled rose at her breast. Above her
-head is inscribed “ANNO ÆTATIS SVE LVII.” Both portraits were in the
-National Portrait Exhibition, 1866, lent by Mr. W. H. Pole-Carew, and
-are now in the collection of Mrs. John Gardner, Fenway Court, Boston,
-U.S.A. They are about 18 in. × 14 in., and the green backgrounds and
-inscriptions of both pictures have been badly repainted. There is a good
-copy or replica of Sir William in the National Portrait Gallery[451]
-(No. 210), and copies of both husband and wife, apparently
-seventeenth-century work, in the collection of Mr. F. A.
-Newdegate-Newdigate, at Arbury, Warwickshire. There is no head of Butts
-among the Windsor drawings, but that collection contains a masterly one
-of his wife,[452] in which the lines of the face are very strongly
-marked. She was a daughter of John Bacon of Cambridgeshire. The portrait
-of their third son, Edmund Butts, of Thornham, Norfolk, who died at the
-age of thirty in 1549, is in the National Gallery (No. 1496), and is
-regarded as a work of that little-known English painter John Bettes.
-This portrait is dated 1545, and the age of the sitter is given as
-twenty-six, and on a card on the back is the inscription “_faict par
-Johan Bettes Anglois_.”[453]
-
-Footnote 450:
-
-  Woltmann, 204, 205. Reproduced by Ganz, _Holbein_, pp. 132-3; and in
-  Gowan, _Masterpieces of Holbein_, pp. 41, 42. The portrait of Lady
-  Butts engraved by Hollar, 1649.
-
-Footnote 451:
-
-  Reproduced in the illustrated edition of the National Portrait Gallery
-  Catalogue, vol. i. p. 21.
-
-Footnote 452:
-
-  Woltmann, 343; Wornum, ii. 36; Holmes, ii. 13. Reproduced by Davies,
-  p. 220, and elsewhere.
-
-Footnote 453:
-
-  For some account of Bettes, see pp. 308-9.
-
-In the exhibition held at the Burlington Fine Arts Club in 1909, Prince
-Frederick Duleep Singh lent a portrait (No. 30), also dated 1545, said
-to represent Edmund Butts, and attributed by the owner to Bettes. The
-armorial bearings on this picture indicate a member of the Butts family,
-but the person represented is certainly not the same as in the National
-Gallery portrait, nor do the two appear to be the work of the same
-painter.
-
-[Sidenote: PORTRAIT OF SIR WILLIAM BUTTS]
-
-Dr. Butts was in receipt of a salary of £100 a year from the King, and
-was the favourite physician about the Court. He was a native of Norfolk,
-and educated at Cambridge. Many prescriptions in his handwriting are
-preserved in the British Museum. He appears as one of the characters in
-Shakespeare’s _Henry VIII_ (Act v. sc. 2), and his name occurs in a
-number of contemporary letters. Thus, in 1537, the Earl of Shrewsbury
-wrote thanking Cromwell “for asking the King to licence Dr. Buttes to
-come to him”;[454] and on October 6, 1542, the Earl of Southampton wrote
-to Wriothesley from York, when upon the expedition against Scotland:
-“Recommend me to Butts, and thank him for his pills. I would not have
-foregone them at this time for all the good I have.”[455] In spite of
-the pills, however, the Earl died at Newcastle nine days later.
-
-Footnote 454:
-
-  _C.L.P._, vol. xii. pt. i. 328.
-
-Footnote 455:
-
-  _C.L.P._, vol. xvii. 912.
-
-A small half-length portrait of an Unknown Man in the Basel Collection
-(No. 327),[456] belongs to the later period of Holbein’s English
-residence. He is turned three-quarters to the left, and wears the
-customary dark fur-lined surcoat and black cap, and dark purple sleeves,
-and holds his gloves and a paper, upon which the inscription is now
-illegible, in his clasped hands. The beard, moustache, and hair are
-dark. This picture, which was purchased in Basel in 1862, has been more
-than once restored, so that Holbein’s handiwork has suffered
-considerably. Another small picture which is also now in a damaged state
-is the portrait of a young English lady in the collection of Count
-Lanckoronski in Vienna,[457] which was regarded by Woltmann as probably
-by Holbein, but when exhibited in the Dresden Exhibition of 1871 was
-declared by the critics to be a genuine work. It is similar in style to
-the small portrait of a Lady in the Vienna Gallery, and of about the
-same date. She is shown at half-length, turned a little to the
-spectator’s right, with clasped hands, and wearing a dark dress with red
-puffings and gold tags from shoulder to wrist, and a French hood with
-bands of gold ornaments and a black fall. Round her neck is a gold chain
-with a pendant with seven flat stones, a second gold chain, and a large
-brooch fastened at her breast with a cameo of a double head, a young
-man’s shown full-face, attached to one of a lady in profile. Across the
-plain green background, on either side of her head, is inscribed “ANNO
-ETATIS SVÆ XVII.” In appearance she is stolid and unattractive, but this
-may be partly due to the present state of the picture.
-
-Footnote 456:
-
-  Woltmann, 22. Reproduced by Ganz, _Holbein_, p. 141.
-
-Footnote 457:
-
-  Woltmann, 260. Reproduced by Ganz, _Holbein_, p. 144.
-
-There remains one other portrait of a lady of about this date—that of
-Lady Rich,[458] which until 1912 had been for many years in the
-possession of the Moseley family at Buildwas Park, Shropshire. The
-sitter is represented to the waist, slightly turned to the right, and
-wears the English diamond-shaped hood with black fall, and a black dress
-with a gold medallion decorated with the figures of a man and woman by a
-corpse, which, according to Wornum, are “exquisitely put in.”[459]
-According to the same writer, it is “a fine expressive portrait, with a
-thin rich carnation.” It is painted on wood, 17 in. by 13 in., and has
-suffered some retouching. The face is a most determined one, as can be
-seen from the fine preliminary drawing in the Windsor Castle
-Collection.[460] Lady Rich was the daughter and heiress of William Jenks
-or Gynkes, a rich London grocer, and she married, in 1535, Lord
-Chancellor Rich, of notorious memory, who helped to ruin many of the
-prominent men of his day, such as More and Fisher. In the seventeenth
-century the portrait became the property of the Rev. Herbert Croft,
-Bishop of Hereford, whose granddaughter, Elizabeth Croft, married Acton
-Moseley, of Staffordshire. In 1792 the portrait, with some other
-pictures, was bequeathed by Sir Archer Croft to his cousin, Mr. Walter
-Michael Moseley. The latter’s descendant, Captain H. R. Moseley, parted
-with the picture in 1912, and it is now in an American collection.[461]
-It was last exhibited at the National Portrait Exhibition at South
-Kensington in 1866 as a portrait of “Queen Katherine of Arragon.” There
-is also a drawing of her husband, Richard Rich,[462] at Windsor, and
-Holbein must almost certainly have painted his portrait, but all traces
-of it have been lost. A version of it was among the pictures destroyed
-by fire at Knepp Castle in 1904.
-
-Footnote 458:
-
-  Woltmann, 128.
-
-Footnote 459:
-
-  Wornum, p. 296.
-
-Footnote 460:
-
-  Woltmann, 319; Wornum, ii. 37; Holmes, ii. 10.
-
-Footnote 461:
-
-  For a fuller history of the picture, see an article in _The Morning
-  Post_, May 23rd, 1912.
-
-Footnote 462:
-
-  Woltmann, 318; Wornum, i. 8; Holmes, ii. 9.
-
-[Sidenote: HOLBEIN’S SELF-PORTRAITS]
-
-Among the very last works from Holbein’s hand must have been the various
-miniature portraits of himself, dated 1543, described in the next
-chapter.[463] The self-portrait in the Uffizi Gallery, Florence,[464]
-which is evidently founded on one of them, or on one of the small
-oil-paintings, now lost, has few pretensions, in the writer’s opinion,
-to be regarded as an original work, though it is, of course, possible
-that beneath the brush-work of some later and inferior painter there may
-be an original work by Holbein now practically obliterated. It is only
-right, however, to point out that Dr. Ganz considers it to be an
-original though damaged drawing, and other writers are in agreement with
-him. It is in coloured crayons on a gold ground, and the comparatively
-modern inscription with the date 1543 has been painted over an earlier
-one, which can be still traced below. Dr. Ganz suggests that it is
-probably one of the two portraits which Van Mander saw in Amsterdam in
-1604.
-
-Footnote 463:
-
-  See pp. 230-231. Also Vol. i. pp. 27-8.
-
-Footnote 464:
-
-  Woltmann, 150. Reproduced by Ganz, _Holbein_, p. 134, and elsewhere.
-
-Of far greater interest is the recently-discovered portrait, first
-published in 1912 by Dr. Ganz,[465] which he considers to be a genuine
-self-portrait by Holbein, hitherto unknown. The likeness both to the
-numerous miniatures and to the Uffizi portrait is so great that the
-attribution is most certainly the correct one. It is in all ways much
-more attractive than the last-named work, and has far greater vitality
-and a more subtle expression of character. It is a drawing of the head
-and shoulders only, turned slightly to the spectator’s right, and the
-painter is wearing a dark fur-lined cloak and black cap. Part of the
-left hand only is shown. It is a coloured-crayon drawing touched with
-water-colour, on white paper which has been covered with a
-flesh-coloured ground. The paper has a Zürich water-mark, and was only
-manufactured between 1536-1540, so that the date of the drawing can be
-fixed with some accuracy, and was very probably done in Basel during
-Holbein’s short visit home in the autumn of 1538. It has, unfortunately,
-suffered considerable damage, and here and there has been touched up
-with Indian-ink. On the top right-hand comer of the blue background is
-inscribed, in a later hand, “H. H. 15 ...” It was purchased in England
-in the summer of 1910, and is now in Basel in the collection of Dr.
-Rudolph Geigy-Schlumberger.[466]
-
-Footnote 465:
-
-  Reproduced by Ganz, _Holbein_, p. 138.
-
-Footnote 466:
-
-  See Ganz, _Holbein_, pp. xxxix. and 244. He suggests that this drawing
-  is perhaps the “ritratto d’homo aquazzo” of the Arundel inventory.
-
-Several portraits by Holbein, which so far have not been traced, were
-etched by Hollar when they were in the Arundel Collection, and these
-prints, in the absence of the originals, form invaluable records for the
-use of students. Some few of them, however, though Hollar has placed
-Holbein’s name on them, cannot have been painted by him, as, for
-instance, the portrait of Thomas Chaloner,[467] which is dated 1548. All
-the more important of them are reproduced by Dr. Ganz in his _Holbein_
-(1912),[468] and several have been already described in these pages.
-Among those remaining there is one of an unknown bearded man in a black
-cap,[469] and two of unnamed boys.[470] The second of these boys, whose
-head is turned three-quarters to the left, appears, from the details of
-the dress he is wearing, to be a Swiss. Holbein’s original silver-point
-study for the portrait from which the etching was taken is in the
-Louvre, and is dated 1520. The connection between the two was first
-pointed out by Dr. Ganz.[471] The circular portrait of Sir Anthony Denny
-is inscribed “ANNO 1541 ÆTATIS SVÆ 29.”[472] The original painting, a
-small roundel, descended, according to Mr. W. Barclay Squire, to the
-Howards of Greystoke Castle, and is now in the collection of Mr. J.
-Pierpont Morgan, junr. There is an old copy of it at Longford
-Castle.[473] The large print of an elderly, grey-bearded man, with fur
-coat, and cap with a feather,[474] is usually said to represent Charles
-Brandon, Duke of Suffolk, but though it bears considerable likeness to
-the authentic portraits of him, the attribution is doubtful. There are
-several portraits of English ladies among Hollar’s work. Of one, in
-which the sitter is turned to the right, and is wearing a round
-head-dress surmounted by a flat black cap with a large feather,[475]
-there is no study known, but for two others, which Hollar has reproduced
-as small roundels, the preliminary drawings are to be found in the
-Windsor Collection, one of them of an unknown lady, full-face, wearing
-the angular head-dress,[476] and the other the drawing inscribed “The
-Lady Mary after Queen.”[477] The profile portrait of a lady, which has
-been considered by some writers to represent Anne of Cleves,[478] does
-not appear to be after an original by Holbein, though Hollar has placed
-his name on it. It is possible, though not very probable, that some of
-these circular etchings were based on the drawings, and not on finished
-pictures.
-
-Footnote 467:
-
-  Parthey, 1371.
-
-Footnote 468:
-
-  pp. 196-200.
-
-Footnote 469:
-
-  Parthey, 1544.
-
-Footnote 470:
-
-  Parthey, 1551 and 1543.
-
-Footnote 471:
-
-  See _Holbein_, p. 250. The drawing reproduced by Ganz, _Hdz. von H. H.
-  dem Jüng._, Pl. 9; and by Mantz, p. 34.
-
-Footnote 472:
-
-  Parthey, 1387.
-
-Footnote 473:
-
-  Reproduced in _Magazine of Art_, May 1897, p. 42; and in the catalogue
-  of the collection of the Earl of Radnor, W. Barclay Squire, 1909, No.
-  144. It is 4 in. in diameter, and is given to Holbein in the
-  catalogue. Engraved by C. Picart, 1817.
-
-Footnote 474:
-
-  Parthey, 1554.
-
-Footnote 475:
-
-  Parthey, 1550.
-
-Footnote 476:
-
-  Parthey, 1549. Woltmann, 350; Wornum, ii. 38; Holmes, ii. 24.
-
-Footnote 477:
-
-  Parthey, 1465. For the drawing, see p. 258.
-
-Footnote 478:
-
-  Parthey, 1545. See p. 182, note 4.
-
-[Sidenote: DUKE OF BUCKINGHAM’S COLLECTION]
-
-Holbein’s practice during his last English period seems to have been
-devoted almost entirely to portraiture, so that an entry in an inventory
-of the Duke of Buckingham’s pictures at York House, made in 1635,[479]
-is of exceptional interest, as it shows that he did occasionally paint
-subjects other than portraits. It runs as follows: “Hans Holbin.—Jupiter
-and Jo in Water Coulers.” This picture, of which all traces are lost,
-was hanging in the Vaulted Room. The Duke possessed a number of other
-works by or attributed to Holbein, but unfortunately the entries in the
-inventory are so tantalisingly vague that it is impossible to gather
-much information about them, though two of them seem to have been
-portraits of Steelyard merchants. They included “Erasmus Rotterodamm
-after Holbin”; “A Dutchman Sealing a Letter” (possibly the John of
-Antwerp now at Windsor);[480] “A Rare piece, being a Dutchman”; “A
-Queen”; “An other Lady”; “A little picture in Linnen”; and “A little
-picture of Holbin himself,” which was probably one of the miniatures.
-With the exception of the last-named, all are described as by “Holbin”
-or “Hans Holbin.”
-
-Footnote 479:
-
-  See Randall Davies, _Burlington Magazine_, vol. x., March 1907, pp.
-  376-82. Also Walpole, _Anecdotes_, ed. Wornum, vol. i. p. 94.
-
-Footnote 480:
-
-  See pp. 9-14.
-
-[Sidenote: THE “DANCING PICTURE”]
-
-Another subject-picture by Holbein is mentioned by Evelyn in his
-_Diary_, but so vaguely that it is impossible to guess what it could
-have been. He says, under the date May 8, 1654: “I also call’d at Mr.
-Ducie’s, who has indeede a rare collection of the best masters, and one
-of the largest stories of H. Holbein.” This, however, may have been some
-picture similar to “The Battle of Spurs” at Hampton Court, attributed to
-Holbein in Evelyn’s day, and not a genuine work of the master. His
-judgment was not always infallible, as he speaks of the well-known
-“Dancing Picture,”[481] which he saw at the Duke of Norfolk’s at
-Weybridge (23rd August 1678) as “that incomparable painting of
-Holbein’s.”
-
-Footnote 481:
-
-  This picture was traditionally said to have been begun in France by
-  Janet (Clouet), and Vertue thought it might have been retouched by
-  Holbein, “as it was probably painted for his patron, the Duke of
-  Norfolk, from whom it descended immediately to the Earl of Arundel,
-  out of whose collection the father of the present possessor (Colonel
-  Sotheby) purchased it.” (See Walpole, _Anecdotes_, ed. Wornum, i. p.
-  95.) It was lent to the Tudor Exhibition, 1890, by Major-Gen. F. E.
-  Sotheby, No. 145. The only entry in the Arundel inventory which it is
-  just possible might refer to this picture is “Un quadretto con diverse
-  figure Jocatori, etc.,” which is given to Holbein.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXV
-                     HOLBEIN AS A MINIATURE PAINTER
-
-Early references to Holbein as a miniature painter—Receives instruction
-  from Lucas Hornebolt—Rareness of genuine miniatures by him—Sir Thomas
-  More—Lord Abergavenny—Lady Audley—Henry and Charles Brandon—Drawing in
-  the British Museum of a lady and children on a bench—Miniature of Mrs.
-  Robert Pemberton—Unknown youth in the Queen of Holland’s
-  Collection—Miniature paintings of Holbein himself—Thomas Cromwell—Anne
-  of Cleves—Jane Seymour—Edward VI—Livina Teerlinc—Miniatures of the
-  Holbein school—Miniature of an unknown man, possibly the painter Harry
-  Maynert, at Munich.
-
-
-The old tradition that Holbein did not practise miniature painting until
-after he had settled in England is probably true. Van Mander says that
-it was only at a late period, after he had entered the King’s service,
-that he, who knew how to adapt himself almost to everything, took up the
-art of miniature painting, in which he had before done nothing. At that
-time he met at the Court a very famous master in this art, named Master
-Lukas. “With Lukas he kept up mutual acquaintance and intercourse, and
-learned from him the art of miniature painting, which, since then, he
-pursued to such an extent, that in a short time he as far excelled Lukas
-in drawing, arrangement, understanding, and execution, as the sun
-surpasses the moon in brightness.”[482] Seventy years later Sandrart
-repeated this statement, which he evidently took from Van Mander’s book.
-The Master Lukas in question was undoubtedly Lucas Hornebolt, who was in
-the employment of the King throughout the whole period of Holbein’s
-residence in England. So far, the only pictures extant which have been
-attributed with some certainty to the studio of Lucas and Gerard
-Hornebolt are the portraits of Henry VIII, of the type of the Warwick
-Castle portrait, when that monarch was drawing towards the end of his
-life; but the sister, Susanna, wife of John Parker, Yeoman of the Robes,
-and one of the King’s bowmen, was well known in her day as an excellent
-miniaturist, while Guicciardini speaks of Lucas as not only a very great
-painter, but as exceptionally good in the art of illuminating, so that
-it is extremely probable that a number of the miniatures still in
-existence, representing Henry, his wives, and members of his Court,
-which though very excellent, have not the brilliance of execution and
-the unfailing insight into character which mark the few genuine
-miniatures by Holbein, were the work of the members of this family.
-Guicciardini published his book only twenty-four years after Holbein’s
-death, so that his account of the position they occupied at Henry’s
-court, and the estimation in which they were held in England, borne out
-as it is by the royal accounts, is evidently an accurate one.
-
-Footnote 482:
-
-  Quoted by Woltmann from Van Mander, i. p. 407; English translation, p.
-  370.
-
-Further confirmation of the fact that Holbein was famous for his skill
-in miniature painting during his residence in England is to be found in
-a manuscript “Treatise concerning the Arte of Limning,” which was
-written, at the request of Richard Haydock, by Nicholas Hilliard, the
-first and one of the finest of English native-born miniature painters,
-who was born in all probability in 1537, and so was a boy of six when
-Holbein died, and based his art on Holbein’s own practice. This
-treatise, which was first published in its entirety by Dr. Philip Norman
-in the first annual volume of the Walpole Society, 1911-12, from the
-original manuscript in the Edinburgh University Library, was probably
-written by Hilliard between 1598-1602. The manuscript, which is not in
-the miniaturist’s own hand, is dated 18th March 1624. In it Hilliard
-extols “King Henry the eight a Prince of exquisit jugment and Royall
-bounty, soe that of cuning stranger even the best resorted unto him, and
-removed from other courts to his. Amongst whom came the most excelent
-Painter and limner Master Haunce Holbean the greatest Master Truly in
-both thosse arts after the liffe that ever was, so Cuning in both
-together and the neatest; and therewithall a good inventor, soe compleat
-for all three, as I never heard of any better then hee. Yet had the King
-in wages for limning Divers others, but Holbean’s maner of limning I
-have ever imitated and howld it for the best, by Reason that of truth
-all the rare Siences especially the arts of Carving, Painting,
-Goudsmiths, Imbroderers, together with the most of all the liberall
-Siences came first unto us from the strangers, and generally they are
-the best and most in number. I heard Kinsard [Ronsard?] the great French
-poet on a time say, that the Ilands indeed seldome bring forth any
-Cunning man, but when they Doe it is in high perfection; so then I hope
-there maie come out of this ower land such a one, this being the
-greatest and most famous Iland of Europe.”[483]
-
-Footnote 483:
-
-  Quoted by Holmes, _Burlington Magazine_, vol. viii., January 1906, p.
-  229. See also _Walpole Society_, vol. i., 1912, pp. 18-19.
-
-[Sidenote: “MINIATURA, OR ART OF LIMNING”]
-
-Still further proof of Holbein’s fame as a limner or miniature painter
-is to be found in a manuscript written by Edward Norgate, called
-“Miniatura or the Art of Limning,” now among the Rawlinson MSS. in the
-Bodleian Library, dedicated to Henry Frederick, Earl of Arundel. Other
-versions of this treatise on the “Art of Limning” are in the British
-Museum (Harl. MSS., No. 6000); in the possession of the Royal Society,
-which came from the Arundel Collection; and elsewhere. Norgate based a
-considerable part of his treatise on the earlier one by Hilliard. “The
-incomparable H. Holbein,” he says, “who, in all his different and
-various methods of painting, either in oyle, distempre, lymning or
-crayon, was, it seems, so general an artist as never to imitate any man,
-nor ever was worthily imitated by any.”[484]
-
-Footnote 484:
-
-  Quoted by Dallaway in his notes to Walpole, _Anecdotes_, &c., ed.
-  Wornum, vol. i. pp. 111-2. For a full account of Hilliard’s treatise,
-  and the various versions of Norgate’s work, see Dr. Philip Norman in
-  the Walpole Society’s publication, mentioned above; also Mr. Martin
-  Hardie in vol. ii. of Dr. G. C. Williamson’s _History of Portrait
-  Miniatures_, 1904.
-
-Van Mander is, no doubt, correct in saying that Holbein received
-instruction in the art of miniature painting from Lucas Hornebolt, and
-that he had not practised it until he came to England; though Hornebolt
-had nothing to teach him but the practical use of a medium in which, as
-applied to portraiture, he had until then had very little experience.
-There is no evidence to show that he produced true miniatures while in
-Basel, though there is one attributed to him in the collection of the
-late Mr. J. Pierpont Morgan, a portrait of a Baseler, a certain Arnold
-Franz, described below, which affords possible proof that he did so.
-Such an isolated example as this, however, may have been painted during
-one of his later visits to Basel, or it may represent one of the members
-of the German colony in London. Several of his small circular oil
-paintings, almost the size of the true miniature, have been described in
-earlier chapters,[485] so that he was already skilled in working on a
-small scale, and within it of producing a life-like portrait, of the
-utmost delicacy and truth to nature, while his extraordinary skill and
-precision in rendering with most minute yet masterly touches of the
-brush all the details of the sitter’s costume, jewellery, and
-accessories, must have left him little to learn when he began to work in
-the new medium. It is evident that he soon set up a standard of
-excellence in this field which both his contemporaries and the
-miniaturists who came after him did their best to reach.
-
-Footnote 485:
-
-  See Vol. i. pp. 180, 184-5; Vol. ii. pp. 14, 20, 70-1.
-
-His miniatures are now of the greatest rarity, though there are many in
-various English collections which still wrongfully bear his name, given
-to them in less critical days, when every portrait, great and small,
-dating from Tudor times, was ascribed to him. In certain of these, very
-possibly Holbein’s original handiwork has been buried beneath repairs
-and repaints by later and less skilful hands. No doubt a number of
-others have been lost, for so delicate and small an object of art as a
-miniature is soon damaged or mislaid; though against this must be set
-the fact that many of them were kept in specially-made ivory boxes, and
-so would not easily suffer destruction. The number of them which, from
-the perfection of their execution, can be said with some approach to
-certainty to be from his brush, can be counted almost on the fingers of
-one’s hands. These include the portraits of Mrs. Pemberton; the two sons
-of the Duke of Suffolk, Henry and Charles Brandon; Lady Audley; Queen
-Catherine Howard; Sir Thomas More; the portrait of an unknown youth in
-the Queen of Holland’s collection; several of the painter himself, done
-in the last year of his life, and two or three others. After these come
-several which, though less perfect in draughtsmanship, have serious
-claims to be considered as his work, and after these, again, there are
-those fairly numerous examples which, though of good execution and of
-real interest and value, have no pretensions to rank as works of the
-great master. Some of these have been attributed tentatively to such
-painters as the Hornebolts, Livina Teerlinc, Stretes, or Bettes, though
-modern criticism has not succeeded as yet in disentangling the works of
-these little masters the one from the other, so that the various
-attributions are at present more or less mere guesswork.
-
-[Sidenote: MINIATURES OF SIR THOMAS MORE]
-
-The beautiful miniature of Sir Thomas More, rediscovered by Dr.
-Williamson when in the Godolphin-Quicke Collection, and first published
-by him in his _History of Portrait Miniatures_, which is in the late Mr.
-J. Pierpont Morgan’s collection, has been already described when
-speaking of the portraits of Sir Thomas.[486] A second miniature of
-More, in the collection of the Duke of Buccleuch at Montagu House, was
-first reproduced by Mr. Dudley Heath in _The Connoisseur_.”[487] This,
-though based, like the Pierpont Morgan miniature, on the Huth portrait,
-shows some differences from both. It is smaller than the other
-miniature, and the sitter appears to be some years older. The eyes are
-more downcast and the head slightly bent, while the scanty beard is
-whiter. In other respects the dress, consisting of black cap and furred
-gown, and collar of SS with the Tudor rose, is the same. Another
-interesting point about it is that it is painted, not in water-colours,
-but in oil on a gesso ground, upon a metal plaque which appears to be
-silver. It has, unfortunately, suffered to some extent in the course of
-time, and has been retouched here and there, but it is a fine example,
-very possibly by Holbein, showing, according to Mr. Heath, “that vivid
-realism, yet reserve of expression, that sensitive modulation of the
-tones and contours, that insistent yet flexible drawing of the features,
-which constitute the sign-manual of the great portrait painter.” Nothing
-seems to be known of the history of this miniature, which was exhibited
-at South Kensington in 1862 (No. 2061), in the Royal Academy Winter
-Exhibition in 1879 (Case L, 4), and at the Burlington Fine Arts Club in
-1909 (Case C, 17). These miniatures of More would seem to suggest that
-Holbein’s earlier biographers were wrong in stating that he did not
-begin to practise in this branch of art until after he had entered Henry
-VIII’s service. It has been generally supposed that when he returned to
-England a second time he saw little or nothing of the Chancellor, and if
-that is so, these miniatures must have been painted between 1526 and
-1528, when he was at work on the big group of his first English patron’s
-family. At that time, however, Holbein had no official connection with
-the court, and was possibly not yet on terms of intimacy with the
-Hornebolts, so that it seems more probable that any miniatures of More
-from his hand were done between 1532, the date of Holbein’s return to
-London, and 1534, when the ex-Chancellor was imprisoned in the Tower.
-Another possible solution is that they were painted after More’s death
-for friends or relations who desired a memorial of him, and were done
-from the oil painting or from the preliminary drawings still in the
-painter’s possession.
-
-Footnote 486:
-
-  See Vol. i. pp. 306-7.
-
-Footnote 487:
-
-  _The Connoisseur_, vol. xviii. No. 71, July 1907, frontispiece (in
-  colour.) Also reproduced in _Burlington Fine Arts Club Exhibition
-  Catalogue_, Pl. xxxiii.
-
-Another miniature from the Montagu House Collection was also reproduced
-for the first time by Mr. Dudley Heath in the same article,[488] and was
-lent by the Duke of Buccleuch to the Burlington Fine Arts Club
-Exhibition (Case C, 22). It represents George Nevill, third Lord
-Abergavenny, and, as already noted,[489] is founded on the fine drawing
-in the collection of the Earl of Pembroke, for so long considered to be
-a portrait of Thomas Cromwell. The face, which is that of an old man, is
-turned three-quarters to the spectator’s right, and is clean-shaven. His
-white hair is almost covered by the black cap, on which is a gold jewel
-with three pendant pearls. He wears a black fur-lined gown over a black
-doublet open at the throat, showing his white shirt. On the left-hand
-side of the bright-blue background is inscribed “G. Abergaveny.” It is
-painted, like nearly all miniatures of the period, on a playing card,
-and is 1¾ in. in diameter. It was purchased by its present owner, with
-some other miniatures, at the Earl of Westmorland’s sale at Apethorpe
-Hall, Northamptonshire, in 1892. It is in a perfect state of
-preservation, full of vitality, and excellent in modelling, and has
-considerable claims to be regarded as an original. The pale, high tones
-of the flesh colour are in marked contrast to the lower tones of the oil
-miniature of Sir Thomas More in the same collection.
-
-Footnote 488:
-
-  _The Connoisseur_, vol. xviii., July 1907, frontispiece (in colour).
-  Also reproduced in _Burlington Fine Arts Club Exhibition Catalogue_,
-  Pl. xxxiii.
-
-Footnote 489:
-
-  See p. 62.
-
-[Illustration:
-
-  VOL. II., PLATE 31
-  MINIATURES
-  1. HENRY BRANDON
-  2. CHARLES BRANDON
-  3. LADY AUDLEY
-  4. QUEEN CATHERINE HOWARD
-  WINDSOR CASTLE
-
-  5. PORTRAIT OF AN UNKNOWN YOUTH
-  QUEEN OF HOLLAND’S COLLECTION
-  6. THOMAS CROMWELL
-  THE LATE MR. J. PIERPONT MORGAN’S COLLECTION
-]
-
-[Sidenote: MINIATURE OF LADY AUDLEY]
-
-The two almost similar miniatures of Catherine Howard, at Windsor Castle
-(Pl. 31 (4)) and Montagu House, have been already described;[490] both
-are beautiful examples, and each one is almost certainly from Holbein’s
-own hand, though the former has suffered from restoration. In the royal
-collection at Windsor there are three other miniatures which also can be
-given to him without any hesitation, all three being masterpieces of the
-art of the limner; these are the portraits of Lady Audley and the two
-Brandon boys. The miniature of Lady Audley (Pl. 31 (3)),[491] is of
-extraordinary delicacy in handling and colour, and bears the stamp of
-Holbein in every minute and unerring touch. As Mr. Law says, “there was
-no other artist at the court of Henry VIII, or indeed in Northern
-Europe, who could have produced so exquisite a work of art.”[492] She is
-shown to the waist, turned to the right, with hands folded in front of
-her. Her richly-brocaded dress is of pale crimson, with under-sleeves of
-dark grey and white ruffles, and she wears a French hood trimmed with
-pearls, and a black fall over her fair hair. Her double necklace is of
-almost the same pattern as the one worn by Catherine Howard. There is no
-inscription on the plain, deep blue background. It is 2½ in. in
-diameter, and is painted on the back of the two of hearts. The identity
-of the sitter is placed beyond doubt by the fine drawing, inscribed “The
-Lady Audley,” in the Windsor Collection (Pl. 37 (1)),[493] in which the
-position and features of the sitter, the costume and ornaments, are
-almost exactly the same, while the colour of the dress in the miniature
-agrees with the note in Holbein’s handwriting on the drawing—“damast
-rot.” This drawing is one of the finest and most delicate among the
-heads of women in the Windsor Collection—a long, handsome face, with
-pointed chin and sharp nose, and very expressive eyes. Holbein has
-carefully indicated the details of the ornaments she is wearing. Her
-necklace is of elaborate workmanship, apparently a band of alternate
-links of enamel and pearls arranged as flowers, with a large pendant
-with inset facetted jewels and three hanging pearls. At her breast is a
-large circular ornament of a somewhat similar design. The oil painting
-for which the preliminary study was made, and from which the miniature
-was possibly taken, is now lost. Elizabeth, Lady Audley, was the eldest
-daughter of one who must have been in constant touch with Holbein—Sir
-Bryan Tuke, the Treasurer of the Chamber, whose portrait by him has been
-already described, and from whose hands he received his salary. She
-married John Touchet, ninth Lord Audley.
-
-Footnote 490:
-
-  See pp. 192-193.
-
-Footnote 491:
-
-  Woltmann, 270. Reproduced by Law, Pl. vii.; Williamson, _History of
-  Portrait Miniatures_, Pl. ii. fig. 3; Ganz, _Holbein_, p. 149 (3).
-  Painted at about the same time as the “Catherine Howard.”
-
-Footnote 492:
-
-  Law, _Holbein’s Portraits at Windsor Castle_, p. 25.
-
-Footnote 493:
-
-  Woltmann, 342; Wornum, ii. 31; Holmes, ii. 27. Reproduced by Davies,
-  p. 220; and elsewhere.
-
-The portraits of the two young sons of the Duke of Suffolk, Henry and
-Charles Brandon, are acknowledged on all sides to be among the very
-finest of Holbein’s miniatures. Dr. Woltmann, indeed, considered the one
-of the elder brother to be the best which ever came from his brush. It
-is, he says, “the most beautiful miniature painting by Holbein that is
-known to us, and exhibits more strikingly than any other his artistic
-style and his spirited and perfect mode of execution, true in spite of
-all its delicacy.”[494] This is certainly by no means too high praise,
-for both miniatures are delightful renderings of childhood, drawn with
-all Holbein’s keen perception, and faultless in their precision of line
-and delightfulness of colouring. The elder boy, Henry (Pl. 31 (1)),[495]
-aged five, is shown to the waist, full-face, leaning with his left arm
-on a table at his side, his head slightly bent in the same direction. He
-is wearing a black velvet dress with green under-sleeves, and a black
-hat with a white feather. His fair hair is cut straight across his
-forehead, and there is a rather sad look in his eyes. On the ledge of
-the table is inscribed, “ETATIS SVE 5 6 SEPDEM,” and below, on the
-table-leg, “ANNO” and the date, which has been variously read by
-different writers. The younger brother, Charles (Pl. 31 (2)),[496] aged
-three, is also seen to the waist and full-face. His dress is a bluish
-grey braided in red, and with black cuffs. His flat black cap has no
-feather; his hair, like his brother’s, is very fair, and his blue eyes
-look straight at the spectator. There is a strong likeness between the
-two. He holds in front of him a paper with the inscription “ANN 1541
-ETATIS SVÆ 3 10 MARCI.” Both miniatures are painted on a playing card, 2
-in. in diameter, and in each the background is the usual bright blue.
-Their pedigree in the royal collection can be traced back as far as
-Charles I, in whose catalogue they appear as: “Done by Hans Holbein.
-Given to the King by Sir H. Vane. No. 64. _Item._ Done upon the wrong
-light. Upon a round card, one of the Duke of Brandon’s children, being
-in a purple habit laced with red velvet lace, with both his hands before
-him. 2 inches.” “No. 65. _Item._ Another fellow piece of the same Duke
-of Brandon’s children, in a black cap and habit with green sleeves,
-leaning with his left arm upon the table, bending his breast towards his
-left shoulder, on the table written his age, and the year of our Lord,
-done upon the wrong light.” They appear again in James H’s catalogue,
-No. 646, as: “Two heads in one frame, in limning, being the sons of
-Charles Brandon, Duke of Suffolk. By Holbein.”
-
-Footnote 494:
-
-  Woltmann, English translation, p. 371.
-
-Footnote 495:
-
-  Woltmann, 268. Reproduced by Law, Pl. vii.; Knackfuss, fig. 124;
-  Williamson, Pl. ii. fig. 5; Ganz, _Holbein_, p. 149 (2).
-
-Footnote 496:
-
-  Woltmann, 269. Reproduced by Law, Pl. vii.; Knackfuss, fig. 135;
-  Williamson, Pl. ii. fig. 7; Ganz, _Holbein_, p. 149 (1).
-
-[Sidenote: HENRY AND CHARLES BRANDON]
-
-The boys were the sons of Charles Brandon, first Duke of Suffolk, who
-became brother-in-law of the King by his secret marriage in Paris on May
-13, 1515, with the young Queen Dowager of France, widow of Louis XII;
-and their mother, Suffolk’s fourth wife, was Catherine, only daughter
-and heiress of William, tenth Lord Willoughby de Eresby. The year date
-on the elder boy’s portrait has been usually read as 1535. It is so
-given by Wornum and Woltmann, and other writers have followed them, but
-if the portrait represents Henry Brandon, the date is quite impossible.
-Mary Tudor, the “French Queen,” the Duke of Suffolk’s third wife, died
-on June 25, 1533, and in September of the same year Brandon married
-Catherine Willoughby, the mother of these two boys. In Burke, on the
-other hand, it is stated that the marriage took place in 1535; but this
-appears to be incorrect. The _Dictionary of National Biography_ gives
-the date of the elder boy’s birth as September 18, 1535, which date is
-fixed by the _inquisitio post mortem_ held after his father’s death in
-1545; so that it is quite impossible that the lad could have been five
-years old in 1535. Mr. Ernest Law reads the date on the miniature as
-possibly 1539; to the writer, however, who has not had the privilege of
-examining the original, it appears, from careful examination of the
-excellent reproduction in Mr. Law’s book, to be either 1543 or 1545, the
-third figure being plainly a 4. Neither of these dates, however, can be
-correct, and it is quite possible that at some time the inscription,
-growing illegible, has been repainted, and that in so doing the restorer
-has made a mistake. The lettering on both miniatures lacks the precision
-of an original inscription by Holbein. It is generally assumed that the
-two dates, “6 Sep” and “10 Marci,” refer to the boys’ birthdays, and
-there is no difficulty with regard to the second boy, Charles, who was
-born in March 1538, two and a half years after his brother. The two
-miniatures have every appearance of having been painted at about the
-same time, and it is to be expected that the elder of the two would be
-painted first. The writer suggests, therefore, that the correct date of
-the portrait of Henry is September 1540, and that of Charles, March
-1541.
-
-The two boys were very carefully brought up in the Protestant faith by
-their mother. Martin Bucer, the German reformer, was appointed their
-tutor, and they were afterwards in the charge of Thomas Wilson, who
-became Secretary of State to Queen Elizabeth. At a later period Henry
-was sent to Sir John Cheke, and was educated with Prince Edward, and
-finally entered St. John’s College, Cambridge, where his brother
-afterwards followed him. While there the two boys contracted that
-scourge of the sixteenth century, the sweating sickness. On the occasion
-of the outbreak they were hastily removed for safety to the Bishop of
-Lincoln’s palace at Brickdon, in Huntingdonshire, but too late, for both
-developed the disease, and died together in one bed, on the same day,
-July 11, 1551, the younger within less than an hour of the elder. Their
-death at so early an age made an extraordinary impression at the time,
-and a pamphlet on the subject was published by their tutor, Dr. Walter
-Haddon. Peter Martyr said of Henry that, with the exception of Edward
-VI, he was the most promising youth of his day.
-
-[Illustration:
-
-  VOL. II., PLATE 32
-  STUDY FOR A FAMILY PORTRAIT GROUP
-  _Indian-ink wash drawing with brush outline_
-  BRITISH MUSEUM
-]
-
-[Sidenote: DRAWING OF A FAMILY GROUP]
-
-There is a very beautiful drawing of the boys’ mother in the Windsor
-Collection,[497] a head turned three-quarters to the left, wearing the
-English angular head-dress with a band of pearls, and a second
-ornamented band of which part of the pattern has been drawn in detail by
-Holbein. The collar is elaborately braided with black velvet, and a
-medallion is indicated at the breast. The brown eyes and the hair have
-been put in with water-colour. The portrait for which it was the
-original study has not been traced. There is a replica of this head in
-the British Museum (No. 10),[498] which was formerly in the Robinson and
-Malcolm collections. In this connection, too, a second drawing in the
-British Museum may be cited, which represents a woman and children
-sitting on a bench (No. 8) (Pl. 32).[499] It is in Indian-ink on paper,
-5¼ in. × 4¼ in., and comes from the Cosway and Utterson collections. It
-has been reproduced by the Vasari Society,[500] with a note by Mr.
-Campbell Dodgson, and by Dr. Paul Ganz.[501] Mr. Dodgson suggests that
-the scene represented is the interior of a church. An effect of warm
-sunshine is skilfully suggested by the light which falls from a window,
-not seen, on the right. The mother or nurse is seated in the centre of
-the group, on a high-backed bench with panelling of the Tudor “linen”
-pattern, a baby in long clothes held on her lap. On her right a boy with
-a flat cap and feather, and puffed sleeves, is seated, his left elbow
-resting on the arm of the bench. A little girl stands in front of her,
-looking up, and on the left a younger boy, dressed like his brother, is
-standing, the whole making a group of the greatest charm. It is
-described in the British Museum Catalogue as an admirable example of
-Holbein’s earlier Basel period, but it is evidently of later date, and
-the costumes are undoubtedly English. It has been recently suggested by
-Mr. Peartree that the woman is “Mother Jack,” nurse to Prince
-Edward.[502] In features and costume she bears considerable likeness to
-the unnamed drawing in the Windsor Collection,[503] which is supposed to
-be a portrait of that nurse. If this supposition be correct, the baby
-would be the Prince of Wales, and the date of the drawing about 1537;
-but this fails to account for the three other children. Dr. Ganz
-considers it to be a group of members of the Brandon family,[504] and as
-far as the two boys are concerned, this suggestion has something in its
-favour. The lad on the right is by no means unlike Henry Brandon. The
-position of the head and the left arm are exactly the same as in the
-miniature, and the dress has many points of resemblance. The second boy,
-too, has some likeness to Charles, though he does not wear the
-velvet-braided costume of the miniature. Again, however, there is a
-stumbling-block to this theory in the presence of the two younger
-children, for the Duke’s family by his fourth wife consisted of the two
-boys only. By his second marriage with Anne, daughter of Sir Anthony
-Browne, he had two daughters, Anne, afterwards Lady Powys, and Mary,
-afterwards Lady Monteagle, and by his third wife, the King’s sister, he
-had two other daughters, Frances, afterwards Countess of Dorset, and
-Eleanor, afterwards Countess of Cumberland, but these ladies were all
-too old for one of them to have been the little girl represented in the
-drawing. Owing, no doubt, to the wrong date on the miniature of Henry
-Brandon, Dr. Ganz ascribes this drawing to the year 1535, and sees signs
-in the elder boy’s face of approaching illness, although no such illness
-is recorded until the sudden one in 1551, when he was nearly sixteen.
-Both explanations are ingenious, but neither is entirely satisfactory.
-On the margin of the drawing, in a later hand, is written—“exaltate
-Cedrus. H. Holbein,” which, apparently, is a reference to Ecclesiasticus
-xxiv. 17, “Quasi cedrus exaltata sum in Libano.”
-
-Footnote 497:
-
-  Woltmann, 334; Wornum, ii. 21; Holmes, i. 26. Reproduced by Knackfuss,
-  fig. 140; and Ganz, _Hdz. von H. H. dem Jüng._, Pl. 34.
-
-Footnote 498:
-
-  Woltmann, 210.
-
-Footnote 499:
-
-  Woltmann, 189.
-
-Footnote 500:
-
-  1905-6, No. 18.
-
-Footnote 501:
-
-  _Hdz. von H. H. dem Jüng._, Pl. 35.
-
-Footnote 502:
-
-  Vasari Society, Pt. i. No. 18 (1905-6), note by Mr. Campbell Dodgson.
-
-Footnote 503:
-
-  Woltmann, 353; Wornum, ii. 14; Holmes, i. 10. Reproduced in _Drawings
-  by Hans Holbein_ (Newnes), Pl. xxvi.
-
-Footnote 504:
-
-  Ganz, _Hdz. von H. H. dem Jüng._, p. 56.
-
-The utmost perfection in miniature painting is to be found in the
-portrait of Mrs. Robert Pemberton (#Pl. 33 (1)pl-33#),[505] in the late
-Mr. J. Pierpont Morgan’s collection (No. iv.), which bears in every
-touch the unapproachable skill and rare individuality of the artist. It
-was formerly in the collection of Mr. C. Heywood Hawkins, and at his
-sale on May 15, 1904, realised £2750, afterwards passing into the
-possession of Mr. Morgan, by whose courtesy it is reproduced in this
-book. In the Hawkins Sale-Catalogue it was described as the portrait of
-Frances Howard, Duchess of Norfolk, but without authority, for there was
-no Duchess of Norfolk of that name in Holbein’s time. When exhibited by
-Mr. Hawkins at South Kensington in 1865, it was described in the
-catalogue as merely—“Portrait of a Lady, Anno Aetatis Suae 23. Her coat
-of arms is affixed to the case.” This coat, described by Sir Richard
-Holmes in the _Burlington Magazine_,[506] in a note accompanying a
-reproduction of the portrait, is dated MDLVI, and in style and painting
-is about a century later than the miniature. These arms, as Sir Richard
-first pointed out, are those of the Pemberton family. Further
-researches, undertaken by Dr. Williamson, and embodied in his catalogue
-of Mr. Pierpont Morgan’s Miniatures, prove, almost without doubt, that
-the lady represented was Mrs. Robert Pemberton. He says: “The arms of
-the wyverns’ heads which are quartered with those of Pemberton belong to
-the family of Jago di Lago, gentleman, of Newcastle-under-Lyme,
-Staffordshire; and Robert Pemberton, of Rushden, Northants, M.P. for
-Northampton in 1478, married Alice, daughter and co-heir of this Jago di
-Lago.... Major-General R. C. B. Pemberton, to whom I am indebted for
-these interesting references, is of opinion that the lady in the
-miniature is Margaret, daughter of Richard Throgmorton, of Higham Park,
-co. Northants, who was buried at Rushden, 27th October 1576. She married
-Robert Pemberton, of Pemberton, co. Lancs., and of Rushden, eldest son
-of William Pemberton, of the same places, and he died in September 1594.
-The arms would be those of this Robert Pemberton, whose grandfather
-certainly bore them.”[507]
-
-Footnote 505:
-
-  Reproduced in Mr. Morgan’s Catalogue, Pl. iv., No. 2, and in colour in
-  _édition de luxe_, No. 4; _Burlington Magazine_, vol. v., July 1904,
-  frontispiece; _Portrait Miniatures_ (_Studio_ Spring No.), 1910, Pl.
-  i.; _Burlington Fine Arts Club Exhibition Catalogue_, 1909, Pl.
-  xxxii.; Ganz, _Holbein_, p. 148 (3); _Connoisseur_, Dec. 1906.
-
-Footnote 506:
-
-  _Burlington Magazine_, vol. v., July 1904, p. 337.
-
-Footnote 507:
-
-  Williamson, Mr. J. Pierpont Morgan’s Catalogue, p. 9.
-
-[Illustration:
-
-  VOL. II., PLATE 33
-  MINIATURES
-
-  MRS. PEMBERTON
-  THE LATE MR. J. PIERPONT MORGAN’S COLLECTION
-
-  PORTRAIT OF HOLBEIN BY HIMSELF
-  WALLACE COLLECTION
-]
-
-[Sidenote: MINIATURE OF AN UNKNOWN YOUTH]
-
-In this very beautiful little masterpiece the lady is shown
-three-quarters face to the right, wearing a black velvet bodice and
-small white linen cape, and a lawn collar and cuffs, embroidered with a
-geometrical design in black. She has a red carnation fastened in her
-dress, and round her neck a thin black cord with gold filigree ends, and
-holds a single green leaf in her crossed hands. Her hair, which is
-parted in the centre, is almost concealed beneath her white linen cap.
-The background is, as usual, blue, and across it, in gold letters, runs
-the inscription, “ANNO ETATIS SVÆ 23.” It is painted on the back of a
-playing card, and is still in its original frame, decorated with white
-and black enamel and three pearls.
-
-The miniature in the Queen of Holland’s collection (Pl. 31 (5)) equals,
-if it does not surpass, in the brilliance and delicacy of its execution
-and in the subtlety of its characterisation, the portrait of Mrs.
-Pemberton; in some ways, indeed, it is the most perfect example of
-Holbein’s mastery of this branch of art which remains. Its discovery was
-due to Sir Richard Holmes, who, in 1903, first attributed it to Holbein,
-in a communication to the _Burlington Magazine_,[508] accompanied by a
-reproduction of the miniature. It forms one of a collection of some four
-hundred, of which about fifty are of English origin, in the royal
-collections of Holland at the Hague. It represents a youth of about
-fifteen or sixteen, who so far has not been identified. The head and
-shoulders only are shown, turned three-quarters to the spectator’s
-right, the eyes cast down. The hair is cut close, and the dress is a
-brown doublet trimmed with black, with a small open, falling collar with
-white strings attached. There is no inscription on the background. With
-the exception of slight discoloration of the collar through the
-oxidization of the pigment, this miniature is in faultless condition.
-“Its extraordinary power and beauty,” says Sir Richard, “were manifest
-at first sight, and a close examination has convinced me that it can be
-attributed only to Holbein, of whose work in this branch of portraiture
-I have long been a student, as well as of his crayon drawings. It has
-all the restraint of power so characteristic of him, and the exquisite
-delicacy of line combined with firmness and precision, which never
-united in the same degree in any master with whose work I am
-acquainted.”[509] The same writer suggested that it is possibly the
-portrait of a member of the family of one of the German merchants of the
-Steelyard. The facial characteristics, however, appear to be more
-English than German, and it most probably represents the son of some
-personage about Henry’s court. It was exhibited at the Exhibition of
-Miniatures in Rotterdam in 1910, and again at Brussels in 1912 (No.
-846). Another fine miniature in the Queen of Holland’s collection, the
-portrait of an unknown man in black (Brussels Exhibition, No. 847), was
-first pointed out by Dr. Williamson in his _History of Portrait
-Miniatures_ as very probably the work of Holbein; and since its
-exhibition at Brussels in 1912 the attribution has been accepted by some
-of the leading Dutch critics.[510]
-
-Footnote 508:
-
-  _Burlington Magazine_, vol. i., April 1903, p. 218, and frontispiece;
-  Ganz, _Holbein_, p. 147 (2).
-
-Footnote 509:
-
-  _Burlington Magazine_, vol. i., April 1903, p. 218.
-
-Footnote 510:
-
-  See _Hist. Portrait Miniatures_, vol. i. p. 11, and Pl. iii. 1.
-
-[Sidenote: HOLBEIN’S MINIATURES OF HIMSELF]
-
-A fine miniature portrait of the artist himself, painted in the last
-year of his life, is in the possession of the Duke of Buccleuch,[511]
-and was exhibited at the Royal Academy Winter Exhibition, 1879 (Case F,
-25), and at the Burlington Fine Arts Club in 1909 (Case C, 23). It is a
-bust portrait, turned three-quarters to the left, the head facing the
-spectator. He is represented in the act of painting, the left hand
-supporting the right, and is dressed in a plain black costume with white
-pleated collar and cuffs, and a round black skull-cap. He has dark hair
-and a closely-cut beard. Across the blue background is inscribed, “H.H.
-AN. 1543. ÆTATIS SVÆ 45.” It was formerly in the collection of Horace
-Walpole, and at the Strawberry Hill sale in 1842 was purchased by Mr. W.
-Blamire, and when the latter’s collection was disposed of in 1863 it
-passed into the possession of the Duke of Buccleuch. It is one of the
-best of several similar miniatures, and is very fine in execution, and
-has been usually ascribed to Holbein himself. The best of all is in the
-Wallace Collection (Case B, 93) (Pl. 33 (2)),[512] and appears to be
-from the painter’s own hand. A number of copies are to be found in
-various collections; one of them, in the Mayer van den Bergh Collection,
-Antwerp, is reproduced by Dr. Ganz.[513] Woltmann considered that the
-Montagu House portrait was “scarcely the original, but an old and
-contemporaneous copy,”[514] but it is too excellent in execution to be
-the work of a mere copyist. There is a second and larger version in the
-Buccleuch Collection, with the same date, 1543, also attributed to
-Holbein. The first-named example may possibly be the small round
-mentioned by Van Mander as being in Amsterdam in his day. Lucas
-Vorsterman’s circular engraving was evidently based on this miniature or
-the somewhat larger portrait now lost,[515] of which the exceedingly
-poor likeness of the painter in the Uffizi Gallery gives but a feeble
-echo. The print follows the miniature closely, but is reversed, so that
-Holbein is represented as painting with his left hand. Hollar’s
-engraving, dated 1647, in which the painter’s left hand is omitted, was
-taken, according to the inscription, from an original in the collection
-of the Earl of Arundel, though Wornum was of opinion that it was based
-upon Vorsterman’s version. Both are described in an earlier
-chapter.[516] The inscription across the background in Hollar’s
-print—“HH. Æ 45. AN^O 1543”—agrees with the second miniature in the
-Buccleuch Collection. Van Mander states that Holbein painted with his
-left hand, and in this Sandrart and Patin follow him, but that this was
-a legend is proved by the original miniature in which the artist has
-represented himself holding his brush. Vorsterman’s engraving, which
-appears to bear out Van Mander’s statement, through his failure to
-reverse his drawing on the wood block, if not the original source of the
-error, may have helped to spread it. Sir George Scharf, however,
-suggested another cause as the source of this tradition. “Most of the
-portraits of Henry VIII,” he says, “more especially those attributed to
-Holbein, have the light coming in from the spectator’s right, a
-circumstance which may have tended, in some degree, to establish the
-tradition that Holbein was left-handed. These are specified by Van der
-Dort as done upon the wrong light.”[517]
-
-Footnote 511:
-
-  Woltmann, 371 (9). Reproduced in _Burlington Fine Arts Club Exhibition
-  Catalogue_, Pl. xxxiii.; Williamson, _Hist. Portrait Miniatures_, Pl.
-  ii. 4.
-
-Footnote 512:
-
-  Reproduced by A. F. Pollard, _Henry VIII_, p. 125; Ganz, _Holbein_, p.
-  150 (2); Williamson, _Hist. Portrait Miniatures_, Pl. iii. 3.
-  According to the new edition of the Catalogue of the Wallace
-  Collection there is engraved on the back of the case, “Hans
-  Holbens—given to Me by Lord Bolingbroke, 1757.”
-
-Footnote 513:
-
-  _Holbein_, p. 227 (4).
-
-Footnote 514:
-
-  Woltmann, i. p. 477. English translation, p. 450.
-
-Footnote 515:
-
-  See Vol. i. pp. 27-8, and Vol. ii. p. 213.
-
-Footnote 516:
-
-  See Vol. i. pp. 27-8.
-
-Footnote 517:
-
-  _Old London_, 1867, p. 320.
-
-The discovery of another miniature by Holbein was made by Dr. G. C.
-Williamson in 1911,[518] and is one of exceptional interest, as it is an
-undoubted likeness of Thomas Cromwell, Earl of Essex, K.G. (Pl. 31 (6)).
-It came from a private source, and is now in the late Mr. Pierpont
-Morgan’s collection. It was fully described, and compared with other
-portraits of Cromwell, by Mr. Lionel Cust in the _Burlington
-Magazine_.[519] He is represented in a black cloak with fur collar,
-black cloth cap, and wearing the chain of the Garter with the pendant
-George. The background is blue. It is about two inches in diameter,
-painted on vellum or chicken-skin, pasted on card. “It is encased,” says
-Mr. Cust, “in an ivory box, carved on the back with a rose and other
-ornaments, similar to, though in no way so fine or so rich as, the ivory
-box which contains the miniature portrait of Anne of Cleves, lately
-bequeathed to the nation by Mr. George Salting, and now in the Victoria
-and Albert Museum. In the case, however, of Mr. Morgan’s portrait of
-Cromwell, the lower half of the box has been separated from the lid, cut
-down, and set in a gold frame, which is ornamented by a series of small
-deformed pearls. This gold framework is the work of a highly-efficient
-goldsmith, but hardly seems to date from the days of Henry VIII.” As
-Cromwell is shown wearing the Garter chain and badge, of which order he
-was made a knight in August 1537, the miniature was no doubt painted at
-some date between August and December in that year, to commemorate his
-election. In this connection it is of interest to note that in
-Cromwell’s accounts, preserved in the Record Office, there is an entry
-under 4th January 1538: “Hanns the painter, 40_s._”[520] This payment
-would suggest that, in all probability, Holbein presented him with this
-miniature as a New Year’s gift, and that in return he received the forty
-shillings from his old patron as an acknowledgment.[521] The miniature
-is thus some three or four years later in date than the portrait at
-Tyttenhanger, painted not later than the spring of 1534, when he was
-Master of the Jewel House.[522]
-
-Footnote 518:
-
-  Communicated by him to _The Times_, 25th May 1911.
-
-Footnote 519:
-
-  “A Newly-discovered Miniature of Thomas Cromwell,” vol. xx., October
-  1911, pp. 5, 6. The miniature reproduced p. 7 (1). Since the date of
-  this article Dr. Williamson has traced back the history of this
-  miniature to a member of the Cromwell family who settled and died near
-  Munich.
-
-Footnote 520:
-
-  _C.L.P._, vol. xiv., pt. ii., 782 (f. 117).
-
-Footnote 521:
-
-  See _Burlington Magazine_, vol. xx., December 1911, p. 175.
-
-Footnote 522:
-
-  See pp. 58-60.
-
-[Sidenote: MINIATURES OF HENRY VIII]
-
-Unfortunately this miniature has suffered severely during its past
-career, and has been so rubbed down that little of the details of the
-dress or ornaments can now be distinguished beyond the mere outlines.
-“The face,” says Mr. Cust, “is faded and also rubbed, but here the
-skilful drawing of the features reveals a master-hand which could be no
-other but Holbein’s. Very subtle, however, and recognizable are the
-distinctive features of Thomas Cromwell, the vulgar nose, with its
-sunken bridge, the cunning eyes with the puckered skin at their
-corners.”[523]
-
-Footnote 523:
-
-  _Burlington Magazine_, vol. xx., October 1911, p. 5.
-
-The scope of this book does not permit any detailed description of the
-very numerous miniatures of Henry VIII and the members of his family
-which are to be found in various collections in England, the more
-important of which have been publicly exhibited from time to time. In
-the royal collection in Windsor Castle there are four of the King
-himself, but none of them can be given to Holbein. Three of them appear
-to have been painted immediately before Holbein’s first visit to
-England, and the fourth shortly after his death. Two, in which Henry is
-beardless, and of youthful appearance, were in Charles I’s collection,
-and are entered in his catalogue as being among “the limned pictures
-which my Lord of Suffolk gave to the King.” One of them is inscribed, in
-two lines, “H.R. VIII. AN^O ETATIS XXXV^O,” which gives the date as
-1525-6; the other, which it resembles closely, has no date, but merely
-“REX HENRICUS. OCTAVVS.”[524] The third Windsor miniature is inscribed
-“H.R. VIII. AN^O XXXV.” In the spandrils four golden angels, on a bright
-red ground, are holding the letters H and K in golden cords, and linked
-with true-lovers’ knots. Sir George Scharf considered these initials to
-refer to the King’s last marriage, on July 12, 1543, with Catherine
-Parr, and the “XXXV^O” as referring, not to Henry’s age, but to his
-regnal year. “The face,” he says, “at first sight looks youthful, but it
-is fat, and, on careful inspection, has a worn and very artificial
-appearance, as if means had been employed to conceal age.”[525] Mr.
-Wornum, on the other hand, considered the numerals to refer to the
-King’s actual age, and not to his reign, and the initial K to Katherine
-of Aragon.[526] It is only possible to say of the earlier of these
-miniatures that they are not the work of Holbein. As to the real author
-of them, the name of one or other member of the Hornebolt family can
-only be tentatively given, without any real proof in support of it,
-beyond the fact that the Hornebolts were settled in this country before
-1526, the name appearing in the accounts of the expenses of the royal
-household in that year, and that there appears to have been no other
-foreign artist of like importance living in London at that date. Mr.
-Lionel Cust, in the Burlington Fine Arts Club Exhibition Catalogue,
-suggests the name of Jehan Perréal, or Jehan de Paris, as the possible
-author of some of the early portraits in miniature of the King, painted
-before Holbein’s arrival in England. Perréal was over here at the time
-of the marriage of Louis XII, whose official painter he was, with
-Princess Mary Tudor, for the purpose of designing the new Queen’s
-dresses. His visit, however, could have been but a short one, and does
-not account for miniatures of the year 1526.
-
-Footnote 524:
-
-  Both reproduced by Law, _Holbein’s Pictures at Windsor Castle_, Pl.
-  vii.
-
-Footnote 525:
-
-  “Remarks on Some Portraits from Windsor Castle, Hampton Court, and
-  Wilton House,” _Archæologia_, vol. xxxix., 1863, p. 252.
-
-Footnote 526:
-
-  Wornum, p. 281.
-
-The fourth miniature of the King at Windsor is in oils on oak, 2¾ in. in
-diameter, in which he is wearing a thin beard and whiskers. It is
-inscribed, “HENR. 8 REX. ANGL. ÆTA. S: 57.” Its date, therefore, must
-refer to the last year of the King’s reign, 1546, though there is a
-mistake in the age, as he never entered his fifty-seventh year.
-According to Charles I’s catalogue, it was “supposed to be done by
-Holben, and given to the King by my Lord Suffolk.” In type it
-corresponds very closely to the portrait of Henry in St. Bartholomew’s
-Hospital, London. There is yet another miniature of the King at Windsor,
-by Nicholas Hilliard, which appears to have been copied from some lost
-original by Holbein or by Hornebolt. It is one of the customary
-full-face versions, with beard, and is one of the four fine miniatures
-which were appended to an elaborate jewel which Hilliard executed in
-enamels and gold, possibly for Edward VI, representing the Battle of
-Bosworth Field, which was bought by Charles I from Laurence Hilliard,
-the painter’s son. The three other miniatures represent Henry VII, Jane
-Seymour, evidently copied from the well-known portrait by Holbein, and
-Edward VI, which recalls more than one of the portraits of the young
-King usually attributed to Guillim Stretes. The one of Henry VIII is
-inscribed in gold: “1536. ÆTATIS SVÆ 46.”
-
-[Sidenote: MINIATURES OF HENRY VIII]
-
-No less than five miniatures of the King were lent to the Burlington
-Fine Arts Club Exhibition by the Duke of Buccleuch, two of which are
-attributed to Holbein. One is a reduced copy of Holbein’s portrait of
-Henry belonging to Earl Spencer (Case C, 6). A second[527] is inscribed
-“H.R. VIII. AN^O XXXV,” and appears to be the original from which the
-Windsor miniature, described above, was copied (Case C, 7). It was
-formerly in the Magniac Collection. The catalogue suggests that it is
-possibly the work of an illuminator of the French school. A third (Case
-C, 25), with a very similar inscription, is evidently a second copy of
-the same miniature. The fourth (Case C, 8 (D)), forms one of a series of
-eight in an ebony frame, which were formerly in the collection of
-Charles I. It is a full-face, with grey beard, and, according to the
-royal catalogue, was “done by Hans Holbein, given to the King by my Lord
-Suffolk.”[528] The companion miniatures represent Henry VII, Elizabeth
-of York (“copied by Hoskins after an ancient ould coloured piece”),
-Katherine of Aragon, Anne Boleyn (also copied by John Hoskins “after an
-ould colured piece”), Queen Mary (“done by Ant. More”), Edward VI, and
-Queen Elizabeth (“done by Old Hilliard”). The “Henry VIII” is fine, and
-in the Burlington catalogue is attributed to Holbein, but it is more
-probably another copy from “an ould coloured piece” by the master. It
-has considerable resemblance to the fifth miniature from Montagu
-House[529] (Case C, 2), also ascribed to Holbein, but not by him.
-
-Footnote 527:
-
-  Reproduced in the _Burlington Fine Arts Club Catalogue_, Pl. xxxiii.
-
-Footnote 528:
-
-  Reproduced by Williamson, _Hist. Portrait Miniatures_, Pl. ii. 6.
-
-Footnote 529:
-
-  Reproduced in the _Burlington Fine Arts Club Catalogue_, Pl. xxxiii.
-
-The very fine miniature portrait of the King in the Pierpont Morgan
-Collection was included in the same exhibition (Case B, 1).[530] Old
-tradition says that this portrait was presented by the King himself to
-Anne of Cleves. Tradition in this case may be correct, though this Queen
-is the least likely of all to have been the recipient of such a gift.
-The correspondence with reference to the suggested marriages with the
-Duchess of Longueville, the Duchess of Milan, and Anne herself, shows
-that Henry always refused to send a portrait of himself while such
-negotiations were in progress. His anxiety was to see a portrait of the
-lady first, and, if possible, the lady herself, before making his final
-decision, and to send one of himself before such final decision had been
-made would have been too compromising. It is not likely, therefore, that
-he sent one to Anne in Düren, and as he took the strongest aversion to
-her directly he saw her, it is still less probable that she received a
-gift of so personal a nature after she arrived in England. Dr.
-Williamson, in his catalogue of Mr. Morgan’s miniatures, gives a very
-interesting account of the history of this fine little portrait,[531]
-and the companion one of Anne of Cleves, both at one time in the
-possession of the Barrett family, of Lee Priory, Kent, and later in that
-of the Meyricks, of Goodrich Court, to which reference has been made in
-an earlier chapter.[532] Some years before the death of General Meyrick,
-who had succeeded to the Goodrich Court Collection, the miniature of
-Henry VIII disappeared, and was supposed to have been stolen. It is said
-to have travelled as far as Vienna, but four years or so after General
-Meyrick’s death it reappeared in England, and was repurchased for the
-family, from whom, in 1906, it was acquired by Mr. Morgan.
-
-Footnote 530:
-
-  Woltmann, 157. Reproduced in Mr. Morgan’s Catalogue, Pl. ii., and in
-  colour in the _édition de luxe_, No. 2; _Burlington Fine Arts Club
-  Catalogue_, Pl. xxxii.; Ganz, _Holbein_, p. 227 (3).
-
-Footnote 531:
-
-  See Mr. Pierpont Morgan’s Catalogue, pp. 4-7.
-
-Footnote 532:
-
-  See pp. 181-182.
-
-It represents the head and shoulders only, full-face, with grey beard
-and moustache. Henry wears a black cap trimmed with jewels, loops of
-pearls, and a white feather, a brown fur coat over a grey doublet
-embroidered with black, a narrow white collar, and a gold chain round
-his neck. There is no inscription on the blue background. It is 1¼ in.
-in diameter, and is still preserved within its original turned ivory
-box, ornamented at top and bottom with the Tudor rose, and covered with
-a piece of rock crystal. There is some resemblance between it and the
-crayon drawing of the King at Munich, and, in the details of the
-costume, to the large cartoon at Chatsworth and the full-face portrait
-in Windsor Castle, which has been considered by some critics to be a
-copy of a lost picture by Holbein, and by others as an original portrait
-by some such court painter as Lucas Hornebolt. The differences in the
-costume are slight, and the dress is in its main features the same. Fine
-as this miniature is, it is difficult to ascribe it to Holbein himself;
-it is more probably only an excellent old copy of a lost original, or
-the work of some capable miniaturist adapted from one of Holbein’s
-paintings.
-
-The miniature of Anne of Cleves, which is slightly larger than the one
-of Henry VIII, and is enclosed within a similar turned ivory box
-delicately carved to represent a Tudor rose, has been already
-described.[533] It is of the finest workmanship, and may be given to
-Holbein with little hesitation. It was included in the Burlington Club
-Exhibition, 1909 (Case B, 4), and the catalogue states that in all
-probability it was painted in July 1539, at Düren. Holbein’s visit to
-that place was of longer duration than was usual when he was sent to
-take likenesses of the ladies who were candidates for Henry’s hand.[534]
-As a rule, he only remained just long enough to make a study in coloured
-crayons, but he stayed at Düren for a week or two, and so may have had
-time to paint both the large portrait and the miniature, though it must
-be remembered that he also painted or drew the lady’s sister, the
-Princess Amelia. It is much more probable that the miniature was taken
-from the larger portrait, or that both were done from some lost crayon
-study, than that the Louvre picture should have been painted from the
-miniature.
-
-Footnote 533:
-
-  See pp. 181-182.
-
-Footnote 534:
-
-  See p. 176.
-
-[Sidenote: MINIATURES OF JANE SEYMOUR]
-
-There are several miniatures of Queen Jane Seymour in existence, in most
-cases attributed to Holbein, all, with one exception, closely following
-the portrait of that Queen in the Vienna Gallery, upon which they are
-evidently based. Among the best are two which were in the Burlington
-Fine Arts Club Exhibition, lent by Mr. Vernon Watney and by the Duke of
-Buccleuch. The former (Case B, 2),[535] inscribed merely “A^ON XXV,” is
-said to have belonged originally to the Seymour family, and to have been
-given by Charles, Duke of Somerset, to his granddaughter, Elizabeth
-Wyndham, wife of the Right Hon. George Grenville, from whom it passed
-into the possession of the Duke of Buckingham. It was afterwards in the
-Sackville Bale and Lumsden Propert collections. Sir George Scharf
-considered this miniature to be a portrait of Anne Boleyn, and regarded
-the “XXV” as the King’s regnal date, and not as that of the lady’s
-age;[536] but the likeness to Jane Seymour is stronger, though not very
-marked. Mr. C. F. Bell points out[537] that the likeness of the sitter
-to Lady Hemingham or Heveningham (“Henegham”), as she is represented in
-the fine drawing at Windsor,[538] is much more pronounced, and he
-suggests that the miniature was painted from the portrait of that lady,
-taken from the drawing, which has now disappeared. Mr. Watney’s
-miniature, however, closely resembles the one belonging to the Duke of
-Buccleuch (Case C, 5),[539] though the latter has no inscription and the
-pendant jewel set with large pearls is absent. This last portrait
-belonged to Horace Walpole, and by him was regarded as representing
-Katherine of Aragon, and under that name it passed from the Strawberry
-Hill sale into the hands of Mr. Blamire, and afterwards into its present
-ownership. It appears to be, however, an undoubted portrait of Henry’s
-third queen. Another miniature of Jane Seymour was lent to the same
-exhibition by Mr. H. Dent-Brocklehurst (Case B, 6),[540] attributed like
-the others to Holbein, which was also formerly in the possession of
-Horace Walpole. The portrait of this queen is also among the four
-miniatures attached to the enamelled jewel, of Nicholas Hilliard’s
-workmanship, in the royal collection at Windsor, mentioned above. It is
-inscribed “ANŌ DNĪ 1536 ÆTATIS SVÆ 27,” which no doubt appeared on the
-original miniature by Holbein, now lost, from which all these others are
-also derived.
-
-Footnote 535:
-
-  Reproduced in the _Burlington Fine Arts Club Catalogue_, Pl. xxxii.;
-  Ganz, _Holbein_, p. 148 (1).
-
-Footnote 536:
-
-  _Archæologia_, vol. xl., 1866, p. 81.
-
-Footnote 537:
-
-  In a communication to Dr. Ganz. See _Holbein_, p. 245.
-
-Footnote 538:
-
-  Woltmann, 333; Wornum, ii. 25; Holmes, ii. 12.
-
-Footnote 539:
-
-  Reproduced in the _Burlington Fine Arts Club Catalogue_, Pl. xxxii.
-
-Footnote 540:
-
-  Reproduced in the _Burlington Fine Arts Club Catalogue_, Pl. xxxii.
-
-The miniatures of Catherine Howard have been already described.[541] It
-is doubtful whether Holbein painted Queen Catherine Parr, for the King
-did not marry her until July 12, 1543, only a month or two before the
-artist died. A miniature in the possession of Mr. H. Dent-Brocklehurst,
-lent by him to the Burlington Fine Arts Club Exhibition (Case B, 7), is
-said to represent this Queen and to be by Holbein, but both attributions
-are probably incorrect. It is inscribed “ANO XXXII,” and if this is to
-be read as the regnal year, it must have been painted between April 1540
-and April 1541, and, if it represents this Queen, more than two years
-before her marriage. She wears a scarlet, black, and white circular
-French hood with black fall, and cloth of gold dress. Sir George Scharf
-considered it to be a portrait of Catherine Howard.[542]
-
-Footnote 541:
-
-  See pp. 192-193.
-
-Footnote 542:
-
-  _Archæologia_, vol. xl., 1866, p. 84.
-
-Several miniatures of Edward VI exist—there are three in the Buccleuch
-Collection—though not one has been so far discovered from the hand of
-Holbein himself. Most of them represent the boy at a period after
-Holbein’s death, and the name of Guillim Stretes has been suggested as
-their author.[543] The beautiful little circular drawing of the Prince,
-at a very early age, in the Basel Gallery,[544] is apparently Holbein’s
-first study for a miniature which has now disappeared, and may have been
-the “portrait of the Prince’s Grace” which the artist presented to Henry
-VIII on New Year’s Day, 1539.[545]
-
-Footnote 543:
-
-  See pp. 168-189.
-
-Footnote 544:
-
-  Woltmann, 110 (82).
-
-Footnote 545:
-
-  See p. 164.
-
-[Sidenote: LIVINA TEERLINC]
-
-Certain of these miniatures, and others not described here, some of them
-apparently copies after Holbein, while others are original works, were
-no doubt produced by Susanna Hornebolt, Livina[546] Teerlinc, and
-Stretes, all three of whom were in turn much employed about the court,
-and enjoyed royal pay. It has been impossible, so far, to separate the
-works of these artists, or to find any starting-point in the shape of a
-signed miniature from which any judgment of their particular methods and
-style can be formed. What little is known of Susanna Hornebolt has been
-given in an early chapter. Livina Teerlinc, eldest daughter of the
-miniaturist, Simon Binnink of Bruges, married George Teerlinc of
-Blankenberghe, near Bruges, and after the death of her husband’s father,
-in 1545, they came to England.[547] She is mentioned by Vasari in a
-short passage as “Levina, daughter of the above-named Master Simon of
-Bruges, who was nobly married in England by Henry VIII, was held in
-great esteem by Queen Mary, and is now in much favour with Queen
-Elizabeth,” an account which Guicciardini copies and slightly
-elaborates.[548] Her name does not occur in the royal accounts, however,
-until Midsummer, 1547, under Edward VI, when, as “maistris Levyn Terling
-paintrix,” she received a quarter’s wages of £10. She held the same
-appointment under Mary and Elizabeth and at the same salary, £40 a year.
-On New Year’s Day, 1556, she presented Queen Mary with a small picture
-of the Trinity, and two years later her New Year’s gift to Queen
-Elizabeth was a portrait of her Majesty “finely painted upon a card,”
-for which she received in return a silver-gilt casting-bottle weighing
-2¾ oz. In 1561, on a like occasion, there was given to the same Queen,
-“By Mrs. Levina Terling, the Queenes personne and other personnages in a
-box fynely painted,” which so pleased Elizabeth that she retained it in
-her own keeping, and gave “Maistris Levyn Terling” in return a
-silver-gilt covered salt-cellar weighing 5½ oz.[549] George Teerlinc
-returned to Bruges, and died there before 25th August 1580; and Mr.
-Weale conjectures that his wife died before him, probably in England,
-but there is no documentary evidence of this. In any case, Vasari, and
-Guicciardini after him, were wrong in stating that while at the English
-court she was “nobly married.”
-
-Footnote 546:
-
-  Also spelt Levina.
-
-Footnote 547:
-
-  See Weale, _Burlington Magazine_, vol. viii., February 1906, p. 356.
-
-Footnote 548:
-
-  The latter says: “Levina, figliuola di maestro Simone di Bruggia già
-  mentionato, la quale nel miniare come il padre è tanto felice et
-  eccellente, che il prefato Henrice Re d’Inghilterra la volle con ogni
-  premio haver’ a ogni modo alla sua corte, ove fu poi maritata
-  nobilmente, fu molto amata dalla Regina Maria, et hora è amatissima
-  dalla Regina Elisabetta.”
-
-Footnote 549:
-
-  See J. Gough Nichols, _Archæologia_, xxxix. pp. 39-40.
-
-In the case of Livina, as with Susanna Hornebolt, it is impossible to
-point with certainty to any work as being indubitably from her hand. The
-two beautiful miniatures in the Salting Collection representing two
-little girls, sisters, aged five and four respectively, which were
-formerly in the collection of Mr. C. H. T. Hawkins, were attributed by
-both these owners to Livina Teerlinc, and were so described in the
-catalogue of the Burlington Fine Arts Club Exhibition (Case B, 5).[550]
-The richness of the costume indicates that they were the children of
-some important personage about the court. Each one is dated “ANO DNI
-1590,” and they are enclosed in a contemporary turned ivory case. Dr.
-Williamson states that at one time they had attached to them “a strip of
-parchment on which was recorded, in handwriting undoubtedly
-contemporary, that the two little portraits were ‘fynely’ painted by
-Lavina Teerlinc in 1590 at Greenwich.”[551] It is impossible however,
-that miniatures painted in 1590 can be her work if Mr. Weale’s
-conjecture[552] that she died before 1580 is correct; but Dr.
-Williamson, who has been good enough to re-examine his notes, made when
-the miniatures were in the Hawkins collection, is now of opinion that
-the date on the parchment is not 1590, but 1570. The third figure is
-indistinct, but appears to be 7. If this is so, the attribution of these
-charming little works to Livina is very probably a true one, and the
-artist may still have predeceased her husband, as Mr. Weale surmises.
-There is an interesting miniature in Earl Spencer’s collection, signed
-with an “L,” and dated 1526, a double portrait, said to represent Sir
-John Boling and his mother, though the couple appear to be man and wife,
-which has been ascribed by some writers to Lucas d’Heere, though the
-date, of course, makes such authorship impossible. Mr. J. J. Foster[553]
-states that when he examined it he thought he could discern a “T”
-following the “L,” and suggests that it was the work of Livina Teerlinc;
-but this is equally impossible, for, according to Mr. Weale’s
-researches, she and her husband did not reach England until about 1545,
-while in 1526 she must have been a mere child.
-
-Footnote 550:
-
-  Reproduced in _Burlington Fine Arts Club Catalogue_, Pl. xxxii.
-
-Footnote 551:
-
-  Williamson, _History of Portrait Miniatures_, vol. i., Addendum, p.
-  xx.
-
-Footnote 552:
-
-  _Burlington Magazine_, vol. viii., February 1906, p. 356, and vol.
-  ix., July 1906, p. 278.
-
-Footnote 553:
-
-  _British Miniature Painters_, 1898, p. 14 and Pl. v.
-
-[Sidenote: MINIATURE OF KRATZER]
-
-There are several very interesting miniatures in the Pierpont Morgan
-Collection which, although they cannot be given to Holbein himself, are
-certainly of his school and period. One of the finest represents a
-Baseler named Arnold Franz, a man with a brown beard and moustache,
-dressed in black.[554] It is in a richly-enamelled gold frame with
-pendant pearls, and the sitter’s age, “AET. 32,” enamelled on the front,
-and on the reverse, “Arnold Franz, Holbein Pinx.” It was procured at the
-sale of a collection in Basel, and was stated to have been in the
-possession of the descendants of the sitter ever since it was painted.
-There was also an unbroken family tradition that Holbein himself had
-painted it, and that Franz, said to have been a printer and a friend of
-Froben’s, was intimately acquainted with the artist. The Franz family,
-now extinct, are also said to have possessed for many years a letter
-from Holbein to his friend, in which the miniature is mentioned, but the
-document has been lost.[555] A second miniature in Mr. Morgan’s
-collection is a portrait of Niklaus Kratzer, and is evidently by the
-same hand as the one of Arnold Franz. It is not a reduced version of the
-Louvre picture, which was painted in 1528, but appears, in Dr.
-Williamson’s opinion, to have been painted some years earlier than that
-date, though, if that be the case, it is not very likely that Holbein
-was its author. The face is nearly in profile, to the left, and the
-astronomer is wearing the customary fur-lined black coat and black cap,
-and a gold chain round his neck. In his hand he holds a brass armillary
-sphere. A third miniature, in the same possession, which has
-considerable affinity in style to the two just mentioned, represents
-Charles Brandon, Duke of Suffolk. It was formerly in the possession of
-the royal house of Holland, and afterwards in the Propert and Tomkinson
-collections. Dr. Williamson suggests that some of the Holbeinesque
-miniatures, such as these, which exist in considerable numbers, may have
-been the work of Hans Mielich (1515-1572), of Munich, who painted
-portraits and miniatures of some merit, and was for a time court painter
-to the Duke Albrecht V of Bavaria. There is no record, however, of any
-visit paid by him to England. Others may be possibly the work of such
-painters as Thomas and John Bettes and Guillim Stretes, who are dealt
-with in a succeeding chapter.[556]
-
-Footnote 554:
-
-  Pierpont Morgan Catalogue, No. 3, and Pl. iii., No. 1, and colour
-  plate, _édition de luxe_, No. 3.
-
-Footnote 555:
-
-  Williamson, _History of Portrait Miniatures_, vol. i., Addendum, p.
-  xx.
-
-Footnote 556:
-
-  _Burlington Magazine_, vol. viii., February 1906, p. 356, and vol.
-  ix., July 1906, p. 278.
-
-There remains one other miniature to be noted, which until recently was
-regarded as the work of Hans Mielich, but is now, with apparent justice,
-given to Holbein. It is in the Bavarian National Museum, Munich, and
-represents a young man, turned slightly to the right, with a fair
-pointed beard and moustache, and wearing a black dress and cap. It is
-inscribed upon the blue background, on either side of the sitter’s head,
-“H.M. ÆTATIS SVÆ 27.”[557] It was once thought to be a portrait of
-Melanchthon, and afterwards, on account of the initials it bears, it was
-regarded as a portrait of Mielich by himself. Its attribution to Holbein
-was due to Dr. Hans Buchheit, the director of the National Museum, who
-published it in 1911 as a work of the painter’s later time. The initials
-upon it are undoubtedly those of the sitter, and not of the artist, and
-it has been suggested that it represents the painter, Harry Maynert, one
-of the witnesses to Holbein’s will.[558] Whether this is so or not, the
-miniature itself is a fine one, and, judging from a photograph alone,
-its attribution to Holbein by Dr. Buchheit must be accepted as the
-correct one.
-
-Footnote 557:
-
-  _British Miniature Painters_, 1898, p. 14 and Pl. v.
-
-Footnote 558:
-
-  Pierpont Morgan Catalogue, No. 3, and Pl. iii., No. 1, and colour
-  plate, _édition de luxe_, No. 3.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXVI
-                 THE WINDSOR DRAWINGS AND OTHER STUDIES
-
-The history of the book of drawings by Holbein in the royal
-  collection at Windsor Castle—Early references to it—Sir John
-  Cheke—The book’s various changes of ownership—Charles I exchanges
-  it with the Earl of Pembroke for a Raphael—Afterwards in the
-  Arundel Collection—Discovery of the drawings in Kensington Palace
-  by Queen Charlotte—John Chamberlaine’s publication of them from
-  engravings by Bartolozzi—Methods of their execution—Their present
-  condition—Description of the more important of them—And of similar
-  portrait-drawings at Berlin and Basel—Holbein and the Clouets—The
-  “Queen of Sheba” miniature painting at Windsor—The “Death of
-  Virginia” at Dresden—Drawing of a ship at Frankfurt—Drawings of
-  animals.
-
-
-IF, through some great misfortune, nothing remained of Holbein’s work
-but the wonderful series of drawings of the heads of the men and women
-of Henry VIII’s court, in the royal library at Windsor, this collection
-alone would still afford irresistible proof of his right to the title of
-one of the very greatest masters of portraiture. The history of these
-drawings can be traced with some exactness, though there are certain
-breaks in the continuity of the story. In whatever way they may have
-been preserved by Holbein during his lifetime, they were, shortly after
-his death, bound together in book form, and so remained until their
-rediscovery in the eighteenth century. Although they are not included in
-the elaborate inventory of the royal collection of works of art, dated
-24th April 1542, or in the second inventory taken five years later, in
-the first year of Edward VI’s reign, it may be conjectured that they
-came into the possession of the Crown on Holbein’s death in 1543, or
-very shortly afterwards. His death was so sudden, that they may have
-been left behind in his painting-room at Whitehall, unknown to his
-executors, and so remained in royal keeping, though this is not a very
-likely surmise. It is certain, in any case, that the book containing
-them was at one time in the possession of Edward VI. This is proved by
-an entry in the Lumley inventory of 1590, to which reference has been
-already made more than once. The entry is as follows: “A greate booke of
-Pictures doone by Haunce Holbyn of certeyne Lordes, Ladyes, gentlemen
-and gentlewomen in King Henry the 8: his tyme, their names subscribed by
-S^r John Cheke Secretary to King Edward the 6 w^{ch} book was King
-Edward the 6.”
-
-There is no reason to doubt the statement that the names on many of the
-drawings were supplied by Sir John Cheke, who, at one time professor of
-Greek at Cambridge, became one of the tutors of the young Prince before
-he ascended the throne, and died in 1557. He must thus have been
-intimately acquainted with a certain number of Holbein’s sitters, though
-not with all of them. This would account for the fact that although many
-of the names he has written on the drawings are the right ones, certain
-others are incorrect, while some fourteen of them are not named at all.
-He made mistakes, for instance, over some of the earlier drawings, such
-as several of the sitters in the More Family Group, with whom he was not
-likely to have been acquainted, and in some doubtful cases he probably
-indulged in guesswork. The late Sir Richard Holmes considered that he
-merely made a list of the drawings, which has not survived, and that
-from this list the names were inscribed on the sheets by some later
-hand.[559] There is an entry in the accounts of Sir Thomas Carwarden,
-Master of the Revels, preserved among the Loseley MSS., which very
-probably refers to this very book of drawings. The document is undated,
-but is considered to be of the reign of Edward VI. It is as follows:
-“Item for a peynted booke of Mr. Hanse Holby making, 6 _li._” It is, of
-course, quite possible that this “peynted booke” may have had nothing to
-do with the Windsor drawings, but there is no other known work of
-Holbein’s to which the description would so well apply. The supposition
-that it was the very book, and that it was purchased by Sir Thomas for
-Edward VI, fits in well with the fact, established by the Lumley
-inventory, that the youthful monarch at one time possessed it. If this
-be so, the suggestion that Henry VIII obtained it immediately after
-Holbein’s death is, of course, incorrect.
-
-Footnote 559:
-
-  Holmes in Introduction to Hanfstaengl’s _Portraits of Illustrious
-  Personages of the Court of Henry VIII._
-
-[Sidenote: HISTORY OF THE BOOK OF DRAWINGS]
-
-It would appear that the book came into the possession of Henry
-Fitz-Alan, Earl of Arundel, after the death of Edward VI, either by gift
-or purchase, and was preserved at Nonsuch, together with the various
-portraits by Holbein, already mentioned, some of which were certainly at
-one time in the royal possession; and on his death in 1580, passed to
-his son-in-law, Lord Lumley. The palace and estate of Nonsuch reverted
-to the Crown in 1591, by exchange for other property, but at what time
-the numerous pictures by Holbein left the possession of the Lumley
-family is not known. At Lord Lumley’s death in 1609 the greater number
-of his books passed into the hands of Henry, Prince of Wales, elder
-brother of Charles I, and it is very probable that the “greate booke of
-Pictures doone by Haunce Holbyn” accompanied them, and once again formed
-part of the royal collections.[560] It is usually stated, however, that
-Charles I obtained them through the good offices of M. de Liancourt, the
-French ambassador, this statement being based on a note in Abraham Van
-der Doort’s catalogue of that monarch’s pictures, which, if correct,
-indicates that at some time between the drawing up of the Lumley
-inventory (1590) and the list of King Charles’ pictures (1639), the book
-of drawings had been taken into France, and so cannot have belonged to
-Henry, Prince of Wales. It seems certain, nevertheless, that this
-supposed journey to France and back again never took place. Mr. Lionel
-Cust’s suggestion is evidently correct, and the mistake has arisen
-through a confusion between Holbein’s book of drawings and a very
-similar book of drawings by a French hand, representing illustrious
-personages of the French court, both of which were in the King’s
-collection, and are separately described in Van der Doort’s catalogue.
-It was the latter book, no doubt, which was procured through M. de
-Liancourt, some such volume as that now at Knowsley, or the collection
-formerly at Castle Howard, now at Chantilly,[561] or the numerous albums
-of a similar kind scattered about France. Holbein’s book of drawings, on
-the other hand, came to Charles I from his brother.
-
-Footnote 560:
-
-  See Cust, _Burlington Magazine_, vol. xviii., February 1911, p. 269.
-
-Footnote 561:
-
-  These were purchased by the fifth Earl of Carlisle in Flanders,
-  probably towards the close of the eighteenth century.
-
-The King, however, did not retain the volume for long, but exchanged it
-with the Earl of Pembroke for the beautiful little picture of “St.
-George slaying the Dragon,” by Raphael, which is now in the Hermitage
-Gallery, St. Petersburg. This latter is entered in Van der Doort’s
-catalogue as “A little St. George, which the King had in exchange of My
-Lord Chamberlain, Earl of Pembroke, for the book of Holbein’s drawings.”
-This picture was sold by the Commonwealth for £150, and after passing
-through the La Noue, De Sourdis, and Crozat collections, found a final
-resting-place in the Hermitage. In 1627, while still in the Earl of
-Pembroke’s possession, it was engraved by Lucas Vorsterman, so that the
-exchange with the King may have taken place in 1628 or thereabouts. Lord
-Pembroke, in his turn, did not keep the drawings, but almost at once
-passed them on to the great collector, Thomas Howard, Earl of Arundel,
-who, according to Sir Edward Walker, who wrote his life, had “more of
-that exquisite master, Hans Holbein, than are in the world besides.”
-Whether Lord Pembroke gave the drawings to him, or in his turn carried
-out a second exchange, is not known.
-
-Their presence in the Arundel Collection is proved by a contemporary
-reference in the manuscript among the Harleian MSS.[562] in the British
-Museum entitled, “An exact & Compendious Discours concerning the Art of
-Miniatura or Limning,” on the fly-leaf of which is written, in an
-eighteenth-century hand, “of Limning by Hilliard,” to which attention
-has been already called.[563] As the Holbein drawings were still in the
-possession of Charles I in 1627, the paragraph in the “discours” which
-speaks of them as in the Arundel Collection cannot have been penned by
-Nicholas Hilliard himself, who died in 1619. The compiler was almost
-certainly Edward Norgate, who held Holbein in the highest estimation.
-Speaking of the painting of shadows, he says:—
-
-Footnote 562:
-
-  No. 6000.
-
-Footnote 563:
-
-  See p. 219.
-
-    “The black must be deepened with ivory black, and if in working
-    in the heightenings and light-reflections, you will mingle with
-    your ordinary black a little lake and indigo, or rather a little
-    litmus instead of indigo, you will find your black to render a
-    rare and admirable reflection like to that of the well-dyed
-    satin, especially if your lights be strong and hard; the manner
-    whereof if you please to see inimitably expressed, you will find
-    abundantly for your content in the gallery of my most noble Lord
-    the Earl of Arundell, Earl Marshal of England, and done by the
-    incomparable pencil of that rare master, Hans Holbein, who in
-    all his different and various manners of painting, either in
-    oil, distemper, limning, or crayon, it seems was so general and
-    absolute an artist, as never to imitate any man, or ever was
-    worthily imitated by any.”[564]
-
-Footnote 564:
-
-  Quoted by Wornum, pp. 397-8. Also by Dallaway with slight differences
-  (see p. 219 above).
-
-[Sidenote: NORGATE’S REFERENCES]
-
-The reference to the Windsor drawings occurs in the chapter dealing with
-crayon-painting. “I shall not need,” the writer says, “to insist upon
-the particulars of this manner of working; it shall suffice, if you
-please, to view of a book of pictures by the life, by the incomparable
-Hans Holbein, servant to King Henry the Eighth. They are the pictures of
-most of the English lords and ladies then living, and were the patterns
-whereby that excellent painter made his pictures in oil by; they are all
-done in this latter manner of crayons I speak of, and though many of
-them be miserably spoiled by the injury of time, and the ignorance of
-some who formerly have had the keeping of the book, yet you will find in
-those ruinous remains an admirable hand, and a rare manner of working in
-few lines and no labour in expressing of the life and likeness, many
-times equal to his own, and ever excelling other men’s oil pictures. The
-book hath been long a wanderer; but is now happily fallen into the hands
-of my noble lord the Earl Marshal.”[565]
-
-Footnote 565:
-
-  Quoted by Wornum, p. 398. Dallaway, in his notes to Walpole, vol. i.
-  p. 84, quotes this passage with slight differences, and adds after
-  “Earl Marshal”—“a most eminent patron to all painters who understood
-  the arte; and who therefore preserved this book with his life, till
-  both were lost together”—which is not consistent with the words
-  preceding it.
-
-A second contemporary reference to the drawings occurs in the Bodleian
-Library manuscript, _Miniatura or the Art of Limning, etc._, also by
-Edward Norgate, to which reference has been already made.[566] Norgate,
-when dealing with crayon drawings, says: “A better way was used by
-Holbein, by priming a large paper with a carnation or complexion of
-flesh-colour, whereby he made pictures by the life, of many great lords
-and ladies of his time, with black and red chalke, with other flesh
-colours, made up hard and dry, like small pencil sticks. Of this kind
-was an excellent booke, while it remained in the hands of the most noble
-Earl of Arundel and Surrey. But I heare it has been a great traveller,
-and wherever now, he hath got his errata, or (which is as good) hath met
-with an index expurgatorius, and is made worse with mending.”[567] That
-the book was described as a “great traveller” is, no doubt, due to the
-fact that from 1642 until his death, four years later, the Earl was
-living on the Continent, and that he took all his works of art with him.
-“After her husband’s death,” says Mr. Cust,[568] “the Countess of
-Arundel continued to reside at various places on the Continent,
-accompanied by her collections, until her own death at Amsterdam in
-1654. Litigation then ensued between her sons as to the disposal of her
-property. A good part of the valuable Arundel Collection was disposed of
-in Holland by the Countess’s younger son, Lord Stafford, but a
-considerable part eventually returned to the family of the Duke of
-Norfolk in England.” There is every reason to suppose that among the
-latter the Holbein book was included.
-
-Footnote 566:
-
-  See p. 219. This manuscript is Norgate’s final version of the
-  “discours,” written some twenty years or so later than the British
-  Museum manuscript, which was his first compilation.
-
-Footnote 567:
-
-  Quoted by Dallaway, in his notes to Walpole’s _Anecdotes_, vol. i. p.
-  84; and by Wornum, p. 398.
-
-Footnote 568:
-
-  See Cust, _Burlington Magazine_, vol. xviii., February 1911, p. 269.
-
-[Sidenote: LATER HISTORY OF THE DRAWINGS]
-
-It should be noted that, according to Charles I’s catalogue, the number
-of drawings was only fifty-four. Van der Doort may have made a mistake
-in the entry, putting a 5 instead of an 8, otherwise it must be supposed
-that Lord Arundel already possessed some thirty of these “heads,” which
-he added to the book after Lord Pembroke had given it to him. The
-collection as it now exists does not contain the whole of the
-portrait-drawings of Holbein’s English period. The fine head of Lord
-Abergavenny at Wilton appears to have been kept back, or to have been
-accidentally retained, by Lord Pembroke when he parted with the
-remainder of the collection, and there are several others in continental
-museums and elsewhere, some of which are known to have once formed part
-of the Arundel Collection. At Basel there are Sir Nicholas Carew, an
-unknown English lady, and a second English lady and her husband; at
-Dresden the Count Moretta; at Munich the head of Henry VIII; at Berlin a
-fine head of an unknown Englishman; in the Salting Collection the
-magnificent study of a lady already described;[569] and the two heads in
-the Duke of Devonshire’s Collection at Chatsworth.[570] If, therefore,
-Van der Doort is correct in stating that there were only fifty-four
-drawings in the book when it was in his keeping, the one person in
-England most likely to have added so considerably to their number was
-the Earl of Arundel, who was unceasing in his search for original works
-from Holbein’s hand. There is no record to show at what time the book
-returned to the royal collections, though the tradition noted by
-Dallaway, in his edition of Walpole’s _Anecdotes_, that they were
-purchased for James II at the sale of the possessions of Henry, Duke of
-Norfolk, in 1686, is no doubt the correct one.[571] A list of the
-drawings was included in James II’s catalogue, which was published by
-Bathoe in 1758. After this the drawings themselves were laid aside and
-forgotten, and it was not until early in the reign of George II that
-they were rediscovered by Queen Caroline hidden away in a folio in an
-old bureau in Kensington Palace, together with a volume of equal
-importance containing the drawings of Leonardo da Vinci, which now form
-so valuable a part of the royal collection at Windsor. Queen Caroline
-had them framed and glazed, and for many years they decorated her own
-apartments, first at Richmond, and afterwards in Kensington Palace.
-Early in the succeeding reign they were removed to the Queen’s House,
-now Buckingham Palace, where they were taken from the frames and bound
-up in two volumes, forming a part of the large collection of drawings,
-similarly bound, got together by George III. The suggestion that they
-should be engraved originated with Dalton, the keeper of the King’s
-drawings, but the work was so badly done that it was abandoned in 1774
-after ten plates only had been issued. The engraver was George Vertue,
-who, according to Walpole, was the originator of the project. “It is a
-great pity,” he says, “that they have not been engraved; not only that
-such frail performances of so great a genius might be preserved, but
-that the resemblances of so many illustrious persons, nowhere else
-existing, might be saved from destruction. Vertue had undertaken this
-noble work; and after spending part of three years on it, broke off, I
-do not know why, after having traced off, on oil paper, but about five
-and thirty. These I bought at his sale; and they are so exactly taken as
-to be little inferior to the originals.”[572] This tracing was done by
-Vertue and Müntz when the drawings were hanging in Queen Caroline’s room
-at Kensington. There were thirty-four of them, and they were framed and
-hung in what Walpole called his Holbein Chamber at Strawberry Hill.
-Somewhat later the projected publication was taken up again more
-successfully, on the suggestion, according to Dallaway, of Horace
-Walpole, under the direction of John Chamberlaine, who succeeded Dalton
-as keeper of the drawings. The engravings were published between 1792
-and 1800 in fourteen numbers, containing eighty-two portraits, forming
-two large folio volumes, under the title of _Imitations of Original
-Drawings by Hans Holbein, in the Collection of His Majesty, for the
-Portraits of Illustrious Persons of the Court of Henry VIII, with
-Biographical Tracts_. The historical notices were written by Edmund
-Lodge, Lancaster Herald, and the plates, with the exception of eight,
-were engraved by F. Bartolozzi, R.A. F. C. Lewis was also engaged to
-take part in the work, but his plate of “Cecilia Heron” was in all ways
-so much finer than Bartolozzi’s efforts that Chamberlaine had the plate
-destroyed, fearing that if it were published side by side with the
-others, the latter would suffer so severely from the contrast that the
-success of the publication would be endangered. As transcripts of
-Holbein’s drawings, Bartolozzi’s engravings have very little artistic
-merit. Many of them, indeed, have small likeness to the originals, and
-all of them lack the strength and character and the searching truth of
-line which make the drawings themselves such masterpieces of art. In
-more recent years the drawings have been frequently photographed and
-published, the most important series being that issued by Mr. F.
-Hanfstaengl in two volumes, with an introduction and descriptive notes
-by the late Sir Richard Holmes, F.S.A. It should be added that under
-Queen Victoria the two volumes were broken up, and the drawings properly
-mounted and arranged. They are now kept in four portfolios.
-
-Footnote 569:
-
-  See Vol. i. p. 309.
-
-Footnote 570:
-
-  See Vol. i. pp. 336-7.
-
-Footnote 571:
-
-  Walpole, _Anecdotes_, ed. Wornum, vol. i. p. 84 _note_.
-
-Footnote 572:
-
-  _Ibid._, pp. 85-86.
-
-In Walpole’s day the collection consisted of eighty-nine sketches, but
-in more recent times two have been withdrawn, as the work of Jacob
-Binck. One of the two heads of Sir Thomas Wyat is only a good, careful
-copy of the other, in which the hair of the beard is drawn with great
-elaboration, from the hand of some follower or imitator of Holbein, and
-in one or two other cases the drawings are, perhaps, only copies of lost
-originals, or even original drawings by some other hand, such as the
-so-called “Melanchthon,” with its faltering line, which lacks much of
-Holbein’s customary strength and certitude.
-
-[Sidenote: THE METHOD OF THEIR EXECUTION]
-
-The drawings were executed in almost all cases in black and coloured
-chalks. During his first visit to England Holbein used, as a rule, white
-paper, the outlines being drawn in black and the features modelled in
-red chalk. The series of heads of members of Sir Thomas More’s family,
-and contemporary drawings such as the Warham and Guldeford, are done in
-this manner. Later on it was his custom to use a paper covered entirely
-with a ground of flesh or salmon colour, upon which the features were
-modelled in black chalk, and slight touches of red, after which the
-outlines were strengthened and the details of the hair, dress, and
-ornaments put in with pen or brush and Indian-ink. In some cases the
-whole face was completely modelled with the greatest delicacy, and as a
-rule the eyes, hair, and beard were drawn in with water-colour or
-coloured crayons in their natural hues. Upon a number of the drawings
-the colour and material of the costume worn by the sitter are indicated
-by notes in Holbein’s own handwriting, and in some of them details of
-the ornaments or embroideries have been drawn on the margin of the sheet
-with the brush with the sure and rapid hand of a master. In one
-instance—the portrait of John Godsalve—the drawing is entirely finished
-in water-colours, and the figure is shown against a blue background; and
-in one of the two heads of Sir Thomas More the holes with which it was
-pricked for tracing on the panel can still be seen. The earlier drawings
-are usually the largest, the one last-named being about 16 in. high by
-12 in. wide. The Warham is 17 in. by 12 in., the Guldeford 15 in. by 11
-in., and the Godsalve the same size. One of the largest of all is the
-Jane Seymour, which is 20½ in. by 11 in.
-
-[Sidenote: THE METHOD OF THEIR EXECUTION]
-
-“Some have been rubbed,” says Walpole, “and others traced over with a
-pen on the outlines by some unskilful hand.”[573] In a few instances, it
-is true, these strengthening touches appear to be by some other hand
-than Holbein’s, but in most of the drawings they are just as certainly
-his. The studies have suffered considerable damage during the passage of
-time. They are stained, and many of them badly rubbed, so that the more
-delicate modelling and colouring carried out in crayons has almost
-vanished. In consequence the brush-work, which has better withstood
-rough usage, at first sight appears to be a little hard, and in some
-instances even coarse, thus slightly marring that perfect harmony of
-effect which characterised the drawings when fresh from the artist’s
-hand. The finer details have been worn away, leaving certain lines more
-prominent than Holbein intended. A closer study, however, as Sir Richard
-Holmes points out, shows that it is to the wonderful strength and
-delicacy combined of these touches that the portraits owe the vivid and
-life-like quality which they so pre-eminently possess. “On some of the
-heads these touches occur only on the eyes, nostrils, and lips, where
-the marvellous accuracy of modelling, particularly in the corners of the
-mouth, is not to be excelled in the work of any other master.”[574] It
-must be remembered, too, that these studies were, in almost all cases,
-working drawings, done for transference or for copying on the panel, and
-are in that sense not finished works, some parts and details being
-emphasised more strongly than others. In certain of the drawings the
-beard and the hair have been put in with the brush with that careful and
-elaborate detail with which such features were usually carried out by
-Holbein in his finished portraits; for instance, in the long beard of
-Sir Thomas Wyat or the close-cut hair of Simon George. In other drawings
-the unshaven stubble on a man’s chin or upper lip is put in with a few
-masterly strokes. Here and there high lights have been indicated with a
-touch of white, as in the heads of Lord and Lady Vaux. It may be taken,
-then, that in the greater number of cases, the only hand which can be
-traced in these drawings is that of Holbein himself, dimmed here and
-there by the passing of the years, or rough or careless usage at some
-time or other during their earlier wanderings. Certain critics, however,
-consider that in many of them, some later hand has attempted to revivify
-the fading lines, with results quite contrary to those intended. Mr.
-Campbell Dodgson, speaking of the lovely head of an Englishwoman in the
-Salting Collection, describes it as being “entirely free from the
-retouching which disfigures many of the Windsor heads.”[575] Mr. Gerald
-Davies is also among those who consider that the drawings have been
-retouched by some other hand than Holbein’s. “I am quite persuaded,” he
-says, “that the strengthening of the outlines, either by chalk lines or
-in many cases by Indian-ink, is not due to the hand of Holbein himself.
-Among the drawings are a few which have never been so touched. The lines
-of these are of great delicacy and of the most expressive quality—an
-artistic dream which has almost faded from the paper. These are the
-select few which, having suffered most from rubbing, and having the
-faintest indications to guide the hand of the reinforcer, have been left
-in their ghostly beauty. Others have been revived by the application of
-a bolder chalk line of the proper colour in parts where the outline
-seemed most to need it. It has been done on the whole well, if such a
-thing can ever be said to have been well done at all. But these same
-lines will be found to be hard and wiry, and somewhat unfeeling as
-compared to the subtly sympathetic outline of the master himself. There
-remains yet the further manner of reinforcement by a strong outlining,
-often accompanied by a slight thickening in parts by means of a wash, in
-what appears to be Indian-ink. The ink has toned now, and has lost much
-of the offence of its once strong contrast with the rest of the delicate
-modelling. But remembering what that contrast would have been when the
-ink was fresh, I find it impossible to believe that it was added by the
-hand of Holbein.”[576] Mr. Davies suggests that this Indian-ink
-strengthening took place when the drawings came into the hands of
-Charles I, and that possibly Wenceslaus Hollar was employed for the
-purpose. It is difficult to follow him in this suggestion of Hollar’s
-retouching, nor can the writer agree with him in his opinion that a more
-or less wholesale retouching of the drawings has ever been undertaken by
-any hand than that of Holbein himself. A more credible suggestion is
-that of Mr. Lionel Cust, who says: “It is very probable that the
-drawings were refreshed by outlines very soon after Holbein’s death, if
-not by the painter himself. Since that date the most likely time for
-them to have suffered any alteration would have been after their
-rediscovery at Kensington, when they were for a time in the hands of
-George Vertue, an expert crayon-artist himself as well as
-engraver.”[577]
-
-Footnote 573:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 85 _note_.
-
-Footnote 574:
-
-  Holmes in Introduction to Hanfstaengl’s _Portraits of Illustrious
-  Personages_, &c.
-
-Footnote 575:
-
-  Vasari Society, Pt. ii. (1905-6), No. 31.
-
-Footnote 576:
-
-  Davies, _Holbein_, p. 122.
-
-Footnote 577:
-
-  _Burlington Magazine_, vol. xviii., February 1911, p. 270.
-
-Some part of the damage done to them may have been due to wear and tear
-in the artist’s own studio, for it is possible that he employed an
-assistant or two; though if that had been the case, it is strange that
-there is no record among the State papers of a licence granting him
-leave to employ journeymen, such as was necessary under the Act dealing
-with foreign residents. It is possible, too, though far from probable,
-that he may have had one or two pupils—though here again there is no
-record of them—who would copy his drawings, and might be entrusted
-occasionally with the tracing of the drawings upon the panel, or even in
-painting parts of the replicas of portraits which must sometimes have
-been ordered. It is evident that these drawings were made solely for the
-artist’s own purposes, both in order to avoid a too frequent attendance
-of his sitters at his studio, and also because it was the method of
-working which best suited him. They remained, therefore, in his own
-possession, and were never handed over to his patrons. The fashion of
-collecting portraits of celebrities which was in vogue in France
-throughout the sixteenth century was only imitated in a very minor
-degree in England. In France, as M. Dimier points out, “the result of
-this rage for portraits was that people were not content with the
-necessarily limited number of originals. The works of the masters of the
-time were copied and recopied a hundred times, often by unskilful and
-sometimes by absolutely clumsy hands. This was the case not only with
-the portraits of kings and queens, which have been multiplied thus in
-all ages, but with those of any one at court—a feature which is peculiar
-to the period under consideration. Not even the number of painted
-portraits and painted copies was enough; there was a demand for quicker
-and cheaper satisfaction. The original chalk-drawings were copied, in
-the same medium, an infinite number of times, far oftener, indeed, than
-the paintings; and these drawings were commonly bound into albums and
-preserved as family treasures. A vast number of these albums must have
-perished, but a vast number still exist.”[578] Nothing of this kind
-occurred on this side of the Channel. Holbein’s original drawings, after
-his death, were preserved in a volume in this fashion, but they formed
-an unique example. Though copies or duplicates of one or two of them
-exist, such as the John Fisher and the Duchess of Suffolk in the British
-Museum, the Guldeford, Fisher and Poyntz formerly in the Heseltine
-Collection, and the head called Sir Charles Wingfield in the collection
-of Sir John Leslie, Bart., recently published by Mr. Lionel Cust,[579]
-the collection as a whole was never copied in this way, as it would have
-been in France. It is doubtful if most of these duplicates, fine as they
-are, are actually from Holbein’s own hand.
-
-Footnote 578:
-
-  Dimier, _French Painting in the Sixteenth Century_, p. 29.
-
-Footnote 579:
-
-  _Burlington Magazine_, vol. xviii., February 1911, p. 271.
-
-[Sidenote: STUDIES FOR LOST PORTRAITS]
-
-It may be taken for granted that portraits were painted from nearly all
-these Windsor studies, more than eighty in number, though possibly a
-few, drawn during the last months of his life, were not carried out in
-this way. It is, therefore, a little extraordinary that less than thirty
-of such finished oil portraits have so far been traced, the remainder
-having disappeared; and of these latter only about one half are original
-paintings by Holbein, the remainder being copies of lost originals.
-Among the first-named we have Jane Seymour, Catherine Howard, the Prince
-of Wales, Sir Thomas More, Warham, Guldeford, Southwell, John Godsalve,
-Reskimer, Simon George, Lady Vaux, Lady Rich, Lady Butts, Lady Audley
-(miniature only), and one or two others; in the second class the More
-Family Group is the most important, there being no less than seven
-studies for this great work at Windsor, including the one of Sir Thomas
-himself.
-
-There still remain more than fifty drawings in England alone of which no
-paintings are known. It seems impossible that the whole of these
-pictures should have perished. Some of them, it is to be hoped, may yet
-be discovered, hidden away in some remote country house, perhaps
-obscured by dirt and disfigured by repaintings, so that hitherto they
-have remained unrecognised. It is not very likely that drawings of this
-size were made as preliminary studies for miniatures, or otherwise this
-might account for some of the missing portraits, as such small works
-would be much more easily lost than panel paintings. It is true that in
-a few instances, such as the portraits of Lady Audley and the Earl of
-Abergavenny, we have miniatures closely following the drawings, but no
-large portraits; but it does not follow that the latter were not
-painted.
-
-On the other hand, there are a considerable number of Holbein’s
-portraits—between thirty and forty—for which no preliminary studies
-remain, and these range over every period of his career. This, however,
-is not so extraordinary, for drawings disappear more easily than
-pictures. In some instances, too, their absence may be explained by the
-artist’s method of work. It was his occasional habit, more particularly
-in the earlier half of his career, to fasten down the preliminary study
-upon the panel, and use it as the ground-work of his painting, so that
-the drawing naturally was lost. The portrait of his wife and children at
-Basel has been carried out in this way, and the Anne of Cleves in the
-Louvre is painted on vellum or parchment, afterwards mounted on canvas.
-This, however, was not his more regular practice, which was to transfer
-the study to the panel by tracing or pricking. Not a single study exists
-for any one of the portraits of the German merchants of the Steelyard,
-or for such portraits as the Duchess of Milan, Jean de Dinteville and
-the Bishop of Lavaur, Kratzer, Thomas Godsalve, Sir Henry Wyat,
-Cromwell, Tuke, the Duke of Norfolk, Cheseman, Dr. Chamber, and the
-painted portraits of various unknown men at Berlin, Vienna, Basel, and
-elsewhere. For the portraits of Erasmus there is only a study for the
-hands, while there is no drawing for the Amerbach or Froben. On the
-other hand, among a number of fine drawings in continental museums there
-are, in addition to the two earlier and three later ones of the members
-of the Meyer family, only two—the Morette in Dresden and the Sir
-Nicholas Carew in Basel—of which the finished paintings still exist.
-
-There is no doubt that Holbein’s practice as a portrait painter during
-his second and longer residence in England was almost entirely confined
-to the court and to those who were in the King’s employment. The Windsor
-drawings, a number of which have been described in previous chapters of
-this book, make this sufficiently clear. Included among the heads which
-have not been described are John Russell, Earl of Bedford; Sir William
-Parr, afterwards Marquis of Northampton; Thomas Boleyn, Earl of
-Wiltshire and Ormonde; Edward Stanley, Earl of Derby; George Brooke,
-Lord Cobham; Thomas, Lord Vaux; Sir Thomas Parry; Sir William
-Sherrington; Sir Thomas Wentworth; Edward, Lord Clinton; Sir Thomas le
-Strange; Sir George Carew; Lord Chancellor Rich, and others; and among
-the ladies, Lady Parker, Lady Ratcliffe, Mary Zouch, Lady Rich, Lady
-Henegham, the Marchioness of Dorset, Lady Mewtas, Lady Monteagle, and
-Lady Borough.
-
-[Illustration:
-
-  VOL. II., PLATE 34A
-  UNKNOWN ENGLISHMAN
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 34B
-  WILLIAM PARR
-  Marquis of Northampton
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-[Sidenote: DESCRIPTIONS OF SOME OF THE HEADS]
-
-The study of William Parr, Marquis of Northampton (Pl. 34 (2)),[580] is
-one of the few in which the hands are shown. The head, with
-close-cropped hair and short, round beard, has suffered from rubbing,
-but remains a fine and strongly individualised study of character. The
-dress and jewellery are indicated with some elaboration, to which are
-added notes in Holbein’s handwriting, and detailed sketches of his hat
-ornaments and other jewellery are drawn in the margin. The medallion he
-wears appears to be of open-work with a figure of St. George, and one of
-the links of his chain is inscribed with the word “MORS.” In the Thomas
-Boleyn,[581] also, the right hand is shown, and the dress is drawn with
-much more detail than in most of the companion drawings, while the face
-is one of the most carefully elaborated in the whole series, the
-individual hairs of the beard and moustache being indicated with minute
-precision. Equally careful drawing of the hair is to be seen in the head
-of Lord Stanley,[582] with its expressive face and fine eyes. Another
-very powerful drawing is the full-face portrait of Lord Cobham,[583]
-with open doublet showing his bare chest, a head of most striking
-individuality. One of the most beautiful among the more finished studies
-is that of Lord Vaux (Pl. 35),[584] in which the hair, cut straight
-across the forehead, and the beard and moustache are put in with almost
-microscopic detail, as well as the design upon the white collar with its
-strings of black and white cord. There is a second study of Lord
-Vaux[585] in the collection. It is, of course, impossible to give even a
-short description of the whole of the drawings, but among the numerous
-studies of “unknown men” two in particular cannot be overlooked. The one
-is the head of a handsome young man with a long, sharp nose,[586] thin
-whiskers, and a small beard, the head turned slightly to the right, and
-both eyes shown (Pl. 34 (1)). He wears large ostrich feathers in his
-black hat, which has a medallion, the design not indicated, and gold
-tags. The dress, very roughly sketched in, is badly rubbed. The drawing
-is one of great beauty, very delicate and refined in its treatment and
-feeling. The second, to which reference has been already made, is the
-very striking likeness of a man with a flat, broad nose, bushy, curly
-beard, and hair falling over the ears, his eyes cast slightly downwards,
-one of the most powerful drawings in the Windsor Collection, which Miss
-Hervey suggests is possibly a study for a second portrait of Jean de
-Dinteville (Pl. 36# (1)).[587] Dr. Paul Ganz considers the sitter to be
-a man of pronounced southern French type, and probably a member of the
-French embassy which was in London in 1533.[588] It is just as probable,
-however, that this unknown nobleman was English, for the type, though
-unusual, is to be met with occasionally.
-
-Footnote 580:
-
-  Woltmann, 316; Wornum, ii. 5; Holmes, i. 15.
-
-Footnote 581:
-
-  Woltmann, 288; Wornum, i. 21; Holmes, i. 16.
-
-Footnote 582:
-
-  Woltmann, 310; Wornum, i. 16; Holmes, i. 18.
-
-Footnote 583:
-
-  Woltmann, 315; Wornum, i. 44; Holmes, i. 19.
-
-Footnote 584:
-
-  Woltmann, 320; Wornum, i. 26; Holmes, i. 23.
-
-Footnote 585:
-
-  Woltmann, 322; Wornum, i. 41; Holmes, i. 31.
-
-Footnote 586:
-
-  Woltmann, 346; Wornum, i. 25; Holmes, i. 51.
-
-Footnote 587:
-
-  Woltmann, 345; Wornum, i. 12; Holmes, i. 52. See p. 44.
-
-Footnote 588:
-
-  _Hdz. von H. H. dem Jüng._, p. 54.
-
-[Illustration:
-
-  VOL. II., PLATE 35
-  THOMAS, LORD VAUX
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 36A
-  UNKNOWN MAN
-  (said to be Jean de Dinteville)
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 36B
-  MARY ZOUCH
-  _Drawning in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 37A
-  LADY AUDLEY
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 37B
-  LADY MEWTAS
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 38
-  “THE LADY HENEGHAM”
-  (Possibly Margaret Roper)
-  _Drawing in black and coloured chalks_
-  WINDSOR CASTLE
-]
-
-Among the portraits of ladies it is unfortunate that several of the
-finest have suffered from bad rubbing. Such an one is the head of Mary,
-daughter of the Duke of Norfolk, and wife of the King’s natural son,
-Henry, Duke of Richmond, which has been already described.[589] The fine
-head of Lady Mewtas (Pl. 37# (2)),[590] the face a strong one, is very
-delicately modelled, and unspoilt by the presence of too forcible
-outlines. Her jewelled ornaments include a circular pendant with five
-dark table stones and three hanging pearls, suspended from a thin chain,
-with beads round the neck, a circular medallion at the breast with a
-figure subject now almost obliterated, and across the top of the bodice
-a band of pearls set in groups of five like flowers. The
-incorrectly-named “Lady Mary, after Queen,”[591] whom it certainly does
-not represent, is another fine drawing which has suffered considerable
-damage. It has been gone over with the tracing point for transference to
-panel, but no painting after it is now known to exist. The same is the
-case with the head of the Marchioness of Dorset,[592] the daughter of
-Charles Brandon and the King’s sister, Mary, which also shows
-indications of tracing. This is a good example of a drawing in which the
-fine modelling of the face has now almost disappeared, so that the
-darker lines stand out too insistently. There is most brilliant and
-subtle drawing of the eyes, nose, and mouth in the very expressive and
-beautiful head of the so-called Lady Henegham (Pl. 38),[593] wife of Sir
-Anthony Hemingham or Heveningham, of Ketteringham in Norfolk, which
-remains in very excellent condition. She wears a small pendant ornament
-with one hanging pearl at her neck, and on the breast an upright oval
-medallion with a figure within a Renaissance framework. It has been
-suggested that this fine head really represents Margaret Roper, and the
-features are not unlike those of several members of the More family; but
-against this attribution must be placed the fact that the drawing,
-unlike all the other studies for the family picture, is not on white
-paper. Among the best of the other heads of women are Lady Parker,[594]
-Lady Lister,[595] Lady Rich,[596] Lady Elyot,[597] Lady Audley, already
-described (Pl. 37 (1)), an unknown lady, wearing a white cap or bonnet
-covering the hair and ears and reaching to the chin[598]—a large drawing
-on white paper, something of the type of the More family, but rather
-more freely drawn—and Mary Zouch (Pl. 36 (2)).[599] The last-named is
-one of the most attractive of the whole series. The face, seen in full,
-is modelled with extreme delicacy and expression. She wears a French
-circular hood with bands of ornament over her smooth, yellow hair,
-parted in the middle and covering the ears. Her dress is of black
-velvet, as noted in Holbein’s handwriting, and the medallion at her
-breast, surrounded with a Renaissance framework, has an almost
-obliterated subject, apparently a female figure with flying draperies
-seated on a rock, possibly Perseus and Andromeda. This drawing is
-inscribed “M. Souch,” and Sir Richard Holmes, following Wornum, suggests
-that the drawing represents Joan, wife of Richard Zouch, son of Lord
-Zouch of Haringworth. It is, however, more probably Mary Zouch, a member
-of the same family, who was a maid of honour to Jane Seymour, and, after
-the Queen’s death, received an annuity of £10 on April 6th, 1542, in
-recognition of her services, which was to be continued until she “was
-married or otherwise provided for.”[600]
-
-Footnote 589:
-
-  Woltmann, 324; Wornum, ii. 17; Holmes, ii. 23. See pp. 110-111.
-
-Footnote 590:
-
-  Woltmann, 339; Wornum, ii. 20; Holmes, ii. 16.
-
-Footnote 591:
-
-  Woltmann, 331; Wornum, ii. 39; Holmes, ii. 15. Etched by Hollar
-  (Parthey, 1465); the etching reproduced by Ganz, _Holbein_, p. 199
-  (3).
-
-Footnote 592:
-
-  Woltmann, 332; Wornum, ii. 16; Holmes, ii. 14.
-
-Footnote 593:
-
-  Woltmann, 333; Wornum, ii. 25; Holmes, ii. 12.
-
-Footnote 594:
-
-  Woltmann, 338; Wornum, ii. 28; Holmes, i. 27.
-
-Footnote 595:
-
-  Woltmann, 336; Wornum, ii. 26; Holmes, i. 28.
-
-Footnote 596:
-
-  Woltmann, 319; Wornum, ii. 37; Holmes, ii. 10.
-
-Footnote 597:
-
-  Woltmann, 285; Wornum, ii. 19; Holmes, i. 39.
-
-Footnote 598:
-
-  Woltmann, 350; Wornum, ii. 13; Holmes, ii. 11.
-
-Footnote 599:
-
-  Woltmann, 344; Wornum, ii. 27; Holmes, i. 30.
-
-Footnote 600:
-
-  _C.L.P._, vol. xvii. 283 (28). (April 6, 1542.)
-
-[Sidenote: STUDIES IN BERLIN AND BASEL]
-
-The Berlin Print Room possesses a remarkably fine portrait-drawing of an
-unknown Englishman,[601] with deep blue eyes, straight brown hair, a
-scanty beard, and a thoughtful, expressive face, slightly turned to the
-left. He wears a small flat cap, unornamented, and the usual gown with
-heavy fur collar. Only slight touches of colour have been used on the
-eyes, hair, and lips, and the paper has been covered with a pale red
-wash.
-
-Footnote 601:
-
-  Woltmann, 120. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 36;
-  Davies, p. 224.
-
-Among the portrait-drawings in the Basel Gallery, some fourteen in all,
-most of which have been already described, the finest is perhaps that of
-an unknown young man in a large, broad-brimmed black hat,[602] which is
-certainly one of the most beautiful of his drawings now existing (Pl.
-39). The sitter, a handsome and dignified man, with a large, straight
-nose, and refined features—evidently a man of culture of the type of
-Bonifacius Amerbach—is turned to the left, the face seen almost in
-profile, though both eyes are shown. The lips of the mobile mouth are
-slightly parted, and the expressive eyes gaze into the distance, as
-though he were lost in thought. The brown, bushy hair, which covers the
-ears and falls over the forehead, is drawn with rapid, masterly touches,
-and the profile of the face stands out with great effect against the
-dark background formed by the underside of his large hat. The flesh
-tints are suggested with simple but subtle touches of the chalk. The
-dress is merely sketched in with a few lines, though the brown fur
-collar of his coat is sufficiently indicated just where it comes under
-the beardless chin. This superb drawing, in which the artist has seized
-upon and set down with unerring insight the finest traits of the
-sitter’s character, is in black and coloured chalks. The type of face,
-in the opinion of Woltmann and Dr. Ganz, is distinctly German. From its
-technique, which, on the one hand, has much in common with the later
-studies of the Meyer family made for the Darmstadt “Madonna,” and on the
-other with the drawings for the More Family Group, it may be surmised
-that this study was made in Basel shortly before Holbein left for his
-first visit to England. It has much in common, too, with the coloured
-drawing in Basel of Holbein himself, and it may be noted, as a small
-point, that the hat the unknown youth is wearing is similar to the one
-the artist wears, though rather larger, and is of a different fashion
-from the black head-gear worn by Holbein’s English sitters.
-
-Footnote 602:
-
-  Woltmann, 38. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 54, and
-  _Holbein_, p. xxxi.; Knackfuss, fig. 106.
-
-Among the other portraits of unknown personages at Basel are two heads
-of an Englishman and his wife,[603] and a third, still finer, of a lady
-wearing the angular English head-dress and black fall, who was evidently
-a member of the court circle.[604] This drawing, which is also in black
-and coloured chalks, must be placed among the best of Holbein’s studies
-of women. It has been conjectured that it represents Lady Carew, and
-also Lady Guldeford. The equally beautiful drawing of Sir Nicholas
-Carew[605] has been described already. All the drawings just mentioned
-form part of the Amerbach Collection, and it may be suggested, though
-the suggestion is not a very plausible one, that at least those of them
-which represent English people were taken to Basel by Holbein himself,
-on one or other of his visits home, and were left behind when he
-returned to England, together with the sketch-book, also in the Amerbach
-Collection, which is undoubtedly of the English period; or, on the other
-hand, they may have been sent over from London to his widow with his
-personal belongings by his executors after his death.
-
-Footnote 603:
-
-  Woltmann, 36, 37. The lady reproduced by Ganz, _Hdz. Schwz. Mstr._, i.
-  11. Already described. See Vol. i. p. 321, and Plate 82, Vol. i.
-
-Footnote 604:
-
-  Woltmann, 32. Reproduced by Davies, p. 224; Knackfuss, fig. 105.
-  Already described. See Vol. i. p. 321, and Plate 81 (2), Vol. i.
-
-Footnote 605:
-
-  Woltmann, 31. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 40; and in
-  _Holbein_, p. xxxiii.
-
-[Illustration:
-
-  VOL. II., PLATE 39
-  PORTRAIT OF AN UNKNOWN YOUNG MAN
-  _Drawing in black and coloured chalks_
-  BASEL GALLERY
-]
-
-[Sidenote: HOLBEIN AND THE CLOUETS]
-
-Altogether apart from their artistic merits, these drawings of Holbein’s
-are of the utmost historical value, both on account of their number,
-including as they do so many of the leading characters who played a part
-in the making of England in Tudor days, and also because of the
-perfection of their draughtsmanship and the corresponding life-likeness
-of their portraiture, so that they form true documents in every sense of
-the word. Holbein’s genius shows us Henry’s ministers and the lords and
-ladies who surrounded him, just as they were in life, without any
-attempt at flattery, but with every feature set down with unfaltering
-truth, and, above all, with a grasp of character which the portrait
-drawings of no other great master of his period show in the same degree.
-He has left behind, as a mine of wealth for the use of the student of
-history, in drawings alone, without taking into account his numerous
-painted portraits for which no drawings now exist, a series of more than
-one hundred representations of Tudor men and women. In only one other
-instance can we turn to a similar series of contemporary portraits—the
-chalk drawings of French men and women of the same century by the two
-Clouets, Jean and François, father and son. These, though of the utmost
-value as historical portraiture, and also of great beauty and even
-fascination as works of art, fall short of the greatness which stamps
-Holbein’s work of a like nature. The elder Clouet had not his mastery of
-drawing; his knowledge was more limited and his means more restricted.
-His drawings have “a stiffness and dryness which are very far from the
-flowing and supple handling of the Basle master.”[606] His son had
-considerably more science. “His drawing in reality is extremely
-profound, and as exactly calculated as any known. In tracing the human
-face and all the parts presented by the model, he has the ability of a
-specialist, whose long practice of an art that is deep rather than wide
-has enabled him to accumulate a mass of information and experience. He
-reaches perfection in the proportion of the features, in the exact
-placing of all the fine fugitive, mobile parts of the face, in the
-careful study of the extremely subtle relations from which the mass of
-form draws its solidity, and in skill in constructing the unity of
-impression of a face and of a type.”[607] He has little or nothing,
-however, of Holbein’s beauty of style. Holbein’s drawings are matchless
-in the delicacy of their modelling, every little depression or
-prominence in the contours of the face being indicated with an
-exactitude and a simplicity of means unrivalled in work of such nature;
-and also for the way in which this delicacy of touch in handling the
-crayon, and subtlety and precision of the strengthening lines with brush
-or pencil, are combined with the wonderful vigour and sense of life with
-which each individual drawing is filled. Added to their truthfulness in
-portraiture there is that remarkable insight into the true nature and
-feelings of the sitter which is one of the greatest qualities of
-Holbein’s art. It is owing to the knowledge and mastery which are the
-basis of these Portrait-Studies—studies usually made with rapidity, but
-in which nothing essential has been missed by the penetrating eye and
-unerring hand of the artist—that so perfect a result is obtained with
-means apparently so slight. Delicacy and strength meet in them in
-exquisite combination; the flexibility and refinement of his line are
-always kept well under control, and there is no over-elaboration of
-detail to the detriment of character. Each drawing bears upon it the
-stamp of a style, and of a great style, which was Holbein’s own
-individual possession, in which freedom and truth are tempered and
-perfected by self-restraint.
-
-Footnote 606:
-
-  Dimier, _French Painting in the Sixteenth Century_, p. 44.
-
-Footnote 607:
-
-  Dimier, p. 205.
-
-[Illustration:
-
-  VOL. II., PLATE 40
-  THE QUEEN OF SHEBA’S VISIT TO KING SOLOMON
-  _Silver-point drawing washed with colour_
-  WINDSOR CASTLE
-]
-
-[Sidenote: “THE QUEEN OF SHEBA”]
-
-To attempt even a list of Holbein’s more important drawings other than
-his portrait-studies would be quite beyond the scope of this book, in
-the course of which, however, many of them have been touched upon; but
-there still remain several which cannot be passed over in silence. Chief
-among them is the small drawing on parchment, highly finished like a
-miniature, in the Library, Windsor Castle, which represents the “Queen
-of Sheba’s visit to King Solomon” (Pl. 40).[608] It is a composition
-containing no less than thirty-four small figures, and so, after the
-wall-paintings in the Basel Town Hall and the “Triumphs” of the London
-Steelyard, is one of the most considerable arrangements of grouping ever
-attempted by him. King Solomon is seated on a throne on a high daïs
-approached by a number of steps within a large chamber, the roof of
-which is supported by slender columns of Renaissance architecture.
-Behind the throne is suspended a large curtain, and on the steps on
-either side are placed groups of the elders and long-bearded wise men of
-Solomon’s kingdom. In the centre the Queen mounts the steps, her hands
-outstretched as though in wonder and admiration of the great king. In
-the foreground a procession of her ten ladies, walking two and two,
-passes towards the left, and on the right are a group of her attendants
-bearing rich presents, some of them kneeling with uplifted baskets. The
-drawing is in silver-point, slightly washed with grey and brown, and
-touched here and there with water-colour; the fruits in one of the
-baskets are red and green, and some of the draperies and details are
-touched with dead gold. The background between the pillars is blue
-powdered with gold stars. The Renaissance architecture of the setting is
-purer and less florid in style than is the case with many of Holbein’s
-earlier studies for glass paintings. The figures of the women are
-gracefully conceived and grouped, and the heads of the men have
-character and expression. In its general arrangement the upper half of
-this miniature drawing recalls the “Rehoboam” wall-painting in the Basel
-Town Hall, though the setting is more richly treated; while in the
-general gracefulness of its design it is Italian in feeling, and has
-close affinity to the “Triumph of Riches” drawing for the decoration of
-the Steelyard. It was probably done at about the same date as the
-latter, perhaps as a present for the King, the subject having been
-chosen as conveying a subtle and flattering suggestion that Henry and
-Solomon were alike in their possession of great wisdom. It is finished
-with such minute care that it does not seem likely that it is merely the
-preparatory sketch for some larger picture or wall-painting. There is no
-record of any wall-decoration of this subject, either in the Steelyard
-or at Whitehall, though Holbein may have had some idea when at work upon
-it that it might serve for such a purpose afterwards if it met with the
-King’s approval; or, on the other hand, it may be a miniature copy from
-one of his frescoes in grisaille, which has disappeared, made by Holbein
-himself as a gift for his royal master. It was at one time in the
-Arundel Collection, and while there was engraved by Hollar. In the
-inventory of that collection it is entered as “Regina de Saba in
-miniatura chiaroscuro.” There is a picture in the Dresden Gallery
-representing the “Death of Virginia,” which appears to be an early copy
-of another of Holbein’s lost frescoes in grisaille, which has many
-points in common with the “Queen of Sheba” miniature painting, and is
-carried out in a similar scheme of colouring. Both were, no doubt, the
-work of his second English residence.[609]
-
-Footnote 608:
-
-  Woltmann, 272. Reproduced in Ganz, _Hdz. von H. H. dem Jüng._, Pl. 32,
-  and in _Holbein_, p. 182; Knackfuss, fig. 145.
-
-Footnote 609:
-
-  See Woltmann, ii. p. 124. Reproduced by Ganz, _Holbein_, p. 174.
-
-Another important drawing, of an earlier date, in the Städel Institut at
-Frankfurt, represents a transport ship about to put out to sea.[610] It
-is a three-masted vessel, with high poop, crowded with small figures,
-among them a troop of landsknechte, one of whom stands in the stern, a
-fine figure, holding aloft a banner which flaps in the wind. Others play
-drum and trumpets, some hold pikes, and one of them embraces a girl. The
-anchor has been hauled up, and most of the sailors are at work in the
-rigging unfurling the sails; but several of them are taking parting
-drinks from large jars, even at the masthead, and one of the number is
-already overcome with sea-sickness. Below, on the left, a boat with two
-rowers is pulling vigorously towards the ship, either to put on board a
-late comer or to fetch off those for the shore. The exact date of this
-drawing is uncertain. It is possible that Holbein saw some such vessel
-during his visit to Amerbach in the south of France, or that he made it
-a year or two later at Antwerp on his way to England for the first time.
-
-Footnote 610:
-
-  Woltmann, 152. Reproduced by Knackfuss, fig. 70. Water-colour has been
-  used for the faces, dresses, and other parts of the drawing.
-
-His skill in the representation of animals is shown in a number of
-drawings. There are some fine horses in the “Triumph of Riches” study,
-and also in the “Samuel and Saul” and the “Sapor and Valerian” drawings
-for the Basel Town Hall paintings, as well as in the woodcut of “The
-Ploughman” in the “Dance of Death” series and in others of his woodcut
-illustrations; the latter also showing good studies of sheep, dogs, and
-other animals. The early drawings of a lamb and a bat have been
-described on a previous page.[611]
-
-Footnote 611:
-
-  See Vol. i. p. 161.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                             CHAPTER XXVII
-             DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS
-
-Holbein as a practical designer for craftsmen in the different branches
-  of art workmanship—Architectural designs—The “Holbein Gate” at
-  Whitehall—The Porch at Wilton—Drawing of a royal chimney-piece in the
-  British Museum—Ceilings in St. James’s Palace and the Matted Gallery,
-  Whitehall—Sculptured capitals in the More Chapel, Chelsea Church—Glass
-  window in Shelton Church, Norfolk—Number of his designs for jewellers,
-  goldsmiths, and armourers—The Jane Seymour Cup—Other designs for cups
-  in the Basel Museum—Sir Anthony Denny’s clock—Sword and dagger hilts
-  and sheaths—Henry VIII’s love of jewellery—Pendants—Book
-  covers—Monograms—Panels of ornament—Designs for circular medallions or
-  _enseignes_ in the British Museum and at Chatsworth and Basel—The
-  leading English and foreign jewellers in London—Holbein’s probable
-  connection with some of them.
-
-
-Holbein was a master in all crafts, and Erasmus’ description of him in
-his letter to Peter Ægidius,[612] not as painter, or sculptor, but
-simply as a fine workman (_insignis artifex_), was a true one. His great
-technical powers in every department of decorative design, his practical
-knowledge of the various processes employed in the different branches of
-art workmanship for which he supplied the craftsmen with patterns and
-working drawings, show him to have been a real master of arts in every
-sense of the word.
-
-Footnote 612:
-
-  See Vol. i. p. 255.
-
-“The artistic quality he possessed in the highest degree,” says Mr. M.
-Digby Wyatt, “was, I consider, the intensity with which he realised
-‘form.’ Able master as he was of delineation, what gives the stamp of
-enduring truth to his work is the feeling of assurance his delineation
-conveys to the mind of the spectator, that what he has drawn from life
-was the _vera effigies_ of what he saw—that what he designed could never
-be executed with equal propriety in any other way than as his drawing
-defined it. There is never any uncertainty as to his intention or
-meaning—what he says was, was—what he says should be, should be. In this
-precise conception of pure form and power of conveying his own sense of
-it to others, he stood upon the same platform as the great men to whose
-universal genius I have already alluded—Albert Dürer and Leonardo da
-Vinci. The artist who possesses in a high degree any such power as that
-I have attempted to define, must of necessity have the requisite
-aptitude for success in either painting, architecture, or sculpture, or
-all three; since the power in question lies at the root of and is
-indispensable to the satisfactory practice of either or all. Architects
-will do well to look earnestly at such reliques as time has spared of
-the genius of Dürer, Da Vinci, and especially of Hans Holbein, since, so
-far as I know, they were the best makers of working drawings who ever
-lived. Of whatever they drew they gave every characteristic, and their
-slightest sketches never fail to mark essentials and to omit secondaries
-of form and expression.”[613]
-
-Footnote 613:
-
-  M. Digby Wyatt, “Foreign Artists employed in England,” &c.,
-  _Transactions of the Royal Institute of British Architects_, 1868, p.
-  229.
-
-Horace Walpole, speaking of the rise of Renaissance architecture in
-England—“Grecian art plaistered on Gothic,” he calls it—says that “the
-beginning of reformation in building seems owing to Holbein. His porch
-at Wilton, though purer than the works of his successors, is of this
-bastard sort; but the ornaments and proportions are graceful and well
-chosen. I have seen drawings of his, too, in the same kind. Where he
-acquired this taste is difficult to say; probably it was adopted from
-his acquaintance with his fellow-labourers at court.”[614] Though
-there is no doubt that Holbein would have been a fine architect had
-his inclination led him to practise that branch of art—the backgrounds
-of his designs for painted glass afford ample proof of his aptitude
-for design in the new architectural manner of the Italian
-Renaissance—Walpole’s assertion cannot be accepted as the truth. Henry
-VIII had at least two good Italian architects in his employment—first,
-Girolamo da Treviso, and afterwards John of Padua, as well as
-sculptors and modellers of architectural detail such as Benedetto da
-Rovezzano and Giovanni da Maiano, and it is the influence of such
-Italians as these that is to be most clearly discerned in the
-buildings which were erected in England at this period. Holbein
-produced a few designs of an architectural nature, but no building
-exists of which it can be said that he was the architect.
-
-Footnote 614:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. 128.
-
-[Sidenote: “HOLBEIN’S GATE” AT WHITEHALL]
-
-The gateway which, according to tradition, he designed, and hence known
-as “Holbein’s Gate,” was one of Henry VIII’s additions to Whitehall, and
-connected the tennis court, the cock-pit, and the bowling-green with the
-palace, besides providing the King with a gallery into the park, from
-which he could witness the sports which took place there on special
-occasions. It was built, according to Walcott, of stone mixed with small
-squares of flint, and tesselated, and was “very neatly set.” J. T.
-Smith, in his _Antiquities of Westminster_, describes it as being in the
-Tudor style of architecture, with battlements and four lofty towers, the
-whole enriched with _bustos_ on the north and south sides. Pennant, who
-had himself seen the gate, says: “To Holbein was owing the most
-beautiful gate at Whitehall, built with bricks of two colours, glazed
-and disposed in a tesselated fashion. The top, as well as an elegant
-tower on each side, were embattled. On each front were four busts, in
-baked clay, which resisted to the last every attack of the weather.” An
-excellent idea of its appearance is to be obtained from the engraving by
-G. Vertue (1725) in the “Vetusta Monumenta.”
-
-The gateway was pulled down in 1759 in order to widen Parliament Street.
-The materials were obtained by the Duke of Cumberland, Ranger of Windsor
-Park, with the intention of re-erecting the gate at the end of the Long
-Walk. In the end, however, they were worked up in several buildings the
-Duke built in the park. Two of the medallions were put in front of the
-park lodges, but most of them appear to have been stolen when the
-gateway was pulled down. Three of them eventually came into the
-possession of a coachbuilder named Wright, who, in 1769, employed John
-Flaxman, the sculptor, then a boy, to repair them. They were in
-terra-cotta, coloured and gilt, and the ornaments included the rose and
-crown and the King’s initials. Wright had them removed to Hatfield
-Priory, Essex, where they were still to be seen in 1803, in which year
-J. T. Smith went down there to copy them. They were larger than life,
-and were said to be representations of Henry VII, Henry VIII when
-sixteen, and Bishop Fisher. The two which decorated the front of the
-park lodges were afterwards removed to Hampton Court, where, says Allan
-Cunningham, “they are made to do duty as two of the Roman emperors
-described by Hentzner in his _Travels_.” It seems probable that they
-were the work of Giovanni da Maiano. In its design there is nothing to
-suggest that Holbein was the architect of this famous gateway, and it is
-much more probable that one of the Italians employed by the King was
-responsible for it; and the legend which connects Holbein with it may
-have arisen from the fact that he had rooms in Whitehall, possibly in
-the very gateway to which his name has been so long attached. It
-contained, says Dallaway, “several apartments, but the most remarkable
-was the ‘little study, called the New Library,’ in which Holbein was
-accustomed to employ himself in his art, and the courtiers to sit for
-their portraits.”[615]
-
-Footnote 615:
-
-  Dallaway, notes to Walpole’s _Anecdotes_, ed. Wornum, p. 133.
-
-[Sidenote: THE PORCH AT WILTON]
-
-Tradition has also long associated the name of Holbein with the Porch at
-Wilton, the seat of the Earl of Pembroke. This porch or loggia is of no
-great beauty, but it is free from any admixture of Gothic detail, and is
-a good example of the early adaptation in England of Renaissance
-architecture and ornamentation. It originally formed part of the house,
-but in the nineteenth century, when some alterations to the buildings
-were made, it was removed to the end of a walk in the gardens. The
-dissolution of the monastery of St. Edith, on the site of which the
-house stands, took place in 1539, and the abbey and its rich possessions
-were granted by the King to Sir William Herbert shortly afterwards. In
-the erection of his mansion the first Earl no doubt employed one of the
-architects then attached to Henry’s court, for there is little in the
-design of this small porch to support the tradition that the man he
-selected was Holbein, rather than one of the Italians whose business it
-was to invent and embellish such buildings. It is, indeed, simpler in
-design and less lavish in ornamental detail than those architectural
-backgrounds to his windows which Holbein produced when in Basel, based
-upon recollections of his visit to Italy. The size of the porch may be
-gauged by the entrance-way, which measures 8 feet in height. Round the
-three outer doorways runs an interlaced design cut in low relief, which
-still retains much of its original colour, the ground a rich red and the
-ornament yellow, from which the original gilding has worn away. In the
-corners a wreath of fruit and flowers encircles a small wyvern on a blue
-background. Above the capitals of the fluted pillars, and just below the
-projecting mouldings that divide the upper and lower portions of the
-porch, is a broad band filled with a pattern of intersecting circles,
-painted on a flat surface in light blue and yellow, lined and touched
-with darker blue and red. Probably the whole surface was originally
-painted and gilded. In the upper part the double pillars are repeated,
-but with rich acanthus capitals. On the three faces over the openings
-are panels with the Pembroke coat of arms, with a circular medallion on
-each side, containing heads of men and women in relief, those on the
-front being apparently busts of the Earl and his wife. The vigorous
-heraldic design supported by the Talbot dogs and wyverns forms a novel
-finish to the crown. The interior has a ribbed and vaulted ceiling, and
-brackets and other details in bold relief, including a number of figures
-on pedestals. It is, of course, possible that Holbein provided drawings
-for the building of this porch, but there is no real evidence of this,
-and the style of the design does not suggest his invention. It is much
-more likely to have been due to one of Henry’s Italians, such as Antonio
-Toto. “The character of the whole,” says Woltmann, “as is shown
-especially in the crowning, is far too feeble for us to think of Holbein
-as its architect; and, besides this, the costume of the half-length
-figures, introduced in several of the medallions, shows that the work
-was executed near the close of the sixteenth century.”[616] Wornum also
-calls attention to the lateness of the costumes, and says of the porch
-itself that it displays “neither taste nor knowledge of the style.” He
-adds: “As for the Whitehall Gate, it was a mongrel of Gothic and
-Renaissance quite unworthy of Holbein, and, I should imagine, an
-impossible design for him; it was similar in general character to the
-gate of St. James’s Palace, at the bottom of St. James’s Street.”[617]
-Waagen says that the medallions contain busts of Edward VI and the
-Pembroke family.[618]
-
-Footnote 616:
-
-  Woltmann, Eng. trans., p. 419.
-
-Footnote 617:
-
-  Wornum, pp. 359-60.
-
-Footnote 618:
-
-  For drawings of this porch and its various details, and a description
-  of it as it now is, see an article in the _Art Journal_, 1897, pp.
-  45-8, written and illustrated by Mr. G. Fidler.
-
-Among the architectural works by Holbein, which, if they were ever
-carried out, cannot now be traced, must be placed his very admirable
-design in the British Museum for a magnificent chimney-piece[619] for
-one of Henry VIII’s palaces, in all probability Bridewell. It is
-conceived in the finest Renaissance taste, and is covered with elaborate
-and beautiful ornamentation. It is in two stages, each flanked by a pair
-of fluted pillars carrying richly-decorated entablatures. The upper part
-is divided into six divisions, the three higher ones containing the
-royal arms and motto, and the king’s initials and badges, the portcullis
-and fleur-de-lis. The central panel of the lower range represents a
-battle of horsemen, and the two on either side contain circular
-medallions with figures of Charity and Justice, charming compositions,
-in which beauty of form is rendered with all that freedom and life-like
-accuracy which characterise everything Holbein produced, even his most
-hasty sketches. The lower part of the fireplace, over the open hearth,
-on which the logs are shown burning across two fire-dogs, is filled with
-a semicircular lunette, with a second scene of horsemen engaged in
-furious combat, in the centre of which is a wreathed medallion with
-figures of Esther and Ahasuerus. In the spandrels are smaller rounds
-with the heads of a lady and a helmeted warrior. On the bases of the
-pillars on either side are blank tablets for inscriptions, surrounded by
-scroll-work. This splendid fireplace was evidently intended to occupy an
-important position in one of the King’s buildings, as the frequent
-occurrence of his initials and the presence of the royal coat of arms
-and badges indicate. Peacham, in his _Compleat Gentleman_, when speaking
-of Holbein, says that he has seen “of his owne draught with a penne, a
-most curious chimney-peece K. _Henry_ had bespoke for his new built
-pallace at _Bridewell_,” and there is no doubt that this is the drawing
-to which he referred. It is in pen and ink, with Indian-ink wash and
-slight colour, 21¼ in. × 16¾ in., and was formerly in the Arundel,[620]
-Richardson, and Walpole collections. It is possible that Holbein made
-similar designs for Nonsuch Palace. In this drawing Mr. Digby Wyatt
-thought he saw the same designer as the one who produced the beautiful
-woodwork of King’s College Chapel, Cambridge. This important work, he
-says, “I cannot hesitate to believe must have been executed from his
-designs.... In its way it is a model of Renaissance wood-carving,
-revealing in every arabesque, and especially in the ornaments of the
-lunettes, the peculiarities of classical form as they were first, if I
-may use the expression, _translated_ from the Italian into German by
-Albert Dürer, Altdorfer, Peter Vischer, and others, including
-Holbein.”[621] The ceiling of the chapel of St. James’s Palace has also
-been attributed to Holbein, though without any evidence but that of
-style. This ceiling, says Wornum, “is a curious work, a panelled
-Renaissance design, and tastefully coloured. It was repaired in 1836 by
-Sir R. Smirke; the general ground is blue; the panellings are defined by
-ribs of wood gilt; there are also ornaments in foliage, painted green;
-and there are many coats of arms emblazoned in their proper colours. A
-small running open ornament, cast in lead, enriches the under sides of
-the ribs. The date 1540 occurs in several places, and various short
-inscriptions are scattered about, as—Henricus Rex 8—H and A, for Henry
-and Anne of Cleves, with a lover’s knot between them.”[622] His work in
-connection with the internal decoration of Whitehall, including the
-great fresco in the Privy Chamber and the ceiling in the Matted Gallery,
-mentioned by Pepys, has been already described.[623]
-
-Footnote 619:
-
-  British Museum Catalogue, 16 (vol. i. p. 330). Woltmann, 197.
-  Reproduced by His, Pls. 48-50; Davies, p. 224. The work was probably
-  carried out by Nicolas Bellin, “maker of his Majesty’s chimneys.”
-
-Footnote 620:
-
-  Countess of Arundel’s inventory—“Disegno per Ornamento d’un Camino.”
-
-Footnote 621:
-
-  M. Digby Wyatt, _Transactions Royal Institute of British Architects_,
-  1868, p. 233.
-
-Footnote 622:
-
-  Wornum, p. 309, note. A view of the ceiling is given in Richardson’s
-  _Architectural Remains of the Reigns of Elizabeth and James I_, 1838,
-  Pl. 12.
-
-Footnote 623:
-
-  See pp. 93-98 and 185-188.
-
-[Sidenote: MORE CHAPEL IN CHELSEA CHURCH]
-
-One more work of an architectural nature, attributed to Holbein by Mr.
-F. M. Nichols in his paper, to which reference has been already made,
-read before the Society of Antiquaries in March 1898, must be noted. In
-the design of the two capitals[624] supporting the arch which divides
-the chancel of old Chelsea Church from the More Chapel he “recognised at
-once the characteristic invention of Holbein.” Each capital is “founded
-upon the suggestion of a classical capital of the composite order. But
-the antique model is treated with a freedom which would scarcely have
-commended itself to the taste of an Italian artist.” They are capitals
-of half columns, there being only a single arch between the chapel and
-the chancel, and each capital, like the pillars, has five sides, as the
-columns, if completed, would be octagonal. In the eastern capital the
-volutes terminate in a projecting human head, and in each hollow of the
-abacus above is inserted the winged head of a cherub. The acanthus-leaf
-design which covers the lower part has various objects introduced among
-the foliage, such as a shield with More’s arms and his crest of a Moor’s
-head, a sword crossed with a sceptre, a mace, and two ornamented
-tablets, one of which bears the date 1528 in Arabic numerals. The
-western capital is of a somewhat similar design. Human heads take the
-place of those of the cherubs, and the five sides below display various
-religious emblems and ornaments, such as crossed candlesticks, a bundle
-of tapers, a pail of holy water with sprinkling-brush, a clasped
-prayer-book or missal, and a blank shield. These objects clearly have
-reference to the religious ceremonies in which More was accustomed to
-take part in the chapel, while the ornaments on the other capital may
-have reference to his secular employments. The Holbeinesque character of
-the designs, combined with the locality of Chelsea, the association with
-Sir Thomas, and the date 1528, during the earlier part of which year
-Holbein was still in England, are sufficient, in Mr. Nichols’ opinion,
-to prove that Holbein was the designer. Mr. Beaver, in his _Memorials of
-Chelsea_, in discussing the authorship of these capitals, rejects their
-attribution to Holbein on the ground that they have an Italian
-character, and may be more probably ascribed to one of the Italian
-artists then employed in this country; and most architects who have made
-a close study of this period are in agreement with him. “But,” says Mr.
-Nichols, “there are abundant examples in Holbein’s work of his fondness
-for architectural details of a Renaissance type.... An Italian architect
-would scarcely have dealt so freely with the just proportions of the
-classic capital upon which his design was founded. And I am inclined to
-think that there was only one artist in England at that time who
-combined the fertility of invention and the graceful mastery of detail
-shown in these capitals with the boldness and freedom with which the
-classic model is treated.”[625] Mr. Reginald Blomfield is of opinion
-that these carvings are of French origin. He says: “The names of French
-artists or workmen scarcely ever occur in the State Papers, and there
-are few instances of Renaissance work in England which can be attributed
-to them. The capitals to the arch between the More chantry and the
-chancel of old Chelsea Church are an unusual instance. They closely
-resemble French work of the early sixteenth century such as is found
-along the banks of the Seine between Paris and Rouen. The monument in
-the Oxenbrigge Chapel in Brede Church, Sussex, dated 1537, is another
-rare example. It is of Caen stone, admirably carved, and was probably
-made in France and shipped to the port of Rye, some nine miles distant
-from Brede.”[626]
-
-Footnote 624:
-
-  Reproduced from photographs in Mr. Nichols’ paper, _Proceedings Soc.
-  of Antiq._, second series, vol. xvii. No. 1 (March 1898), pp. 132-45.
-
-Footnote 625:
-
-  See Nichols, _Proceedings Soc. of Antiq._, second series, vol. xvii.
-  No. 1, p. 143.
-
-Footnote 626:
-
-  Blomfield, _History of Renaissance Art in England_, 1897, i. 18. In a
-  letter to the present writer, in 1901, Mr. Blomfield, after his
-  attention had been called to Mr. Nichols’ paper, states that he
-  adheres to his opinion that the Chelsea capitals are of French origin.
-
-In the same paper Mr. Nichols also draws attention to a two-light
-stained-glass window in the south chapel of the village church of
-Shelton in Norfolk, which contains figures of Sir John Shelton and his
-wife, Ann, daughter of Sir William Boleyn and aunt to Henry VIII’s
-second queen, a lady well known about the court, who at one time had
-charge of the Princesses Mary and Elizabeth. The work, in Mr. Nichols’
-opinion, is evidently of foreign origin, being totally different from
-the English glass of the same period within a few feet of it, and the
-faces and figures being executed more in the manner of a picture than of
-stained glass. The foreign origin of the work is shown, among other
-indications, by the peculiar treatment of the heraldry, which has a
-decidedly German character. Both figures are represented kneeling, Sir
-John in a crimson robe lined with fur, and his dame in a contemporary
-dress of crimson, with the English angular head-dress. The heads appear
-to have been carefully drawn from good portrait-studies supplied to the
-glazier. Calculating from the known age and date of Sir John Shelton’s
-death and his appearance in the window, Mr. Nichols holds that these
-portrait-studies must have been made about 1527, and he is of opinion
-that Holbein’s was the hand which supplied some foreign glazier with the
-designs for them. Neither of the heads, however, is to be found among
-the Windsor series.
-
-[Sidenote: HOLBEIN’S DESIGNS FOR JEWELLERS]
-
-It is when we turn to Holbein’s work for jewellers and silversmiths that
-the extraordinary fertility and happiness of his invention and the
-beauty of his design are seen to the greatest advantage. Some hundreds
-of his working drawings in this branch of art still exist, the greater
-number of which are in the British Museum and at Basel, those in the
-latter collection being for the most part contained in a sketch-book of
-his later English period; indeed, most of the drawings which have
-survived were produced in England, though he must have carried out a
-considerable body of work of the same nature while in Basel. When he
-came to London he was already a master of decorative design as applied
-to most of the handicrafts, and his influence soon made itself felt
-among a number of the craftsmen employed by Henry and his court. His
-wonderful skill in the production of fine Renaissance ornamentation of
-the purest taste, combined with a happy use of the human figure, set a
-fashion in jewellery and personal ornament, and inspired those who
-carried out his designs to a greater beauty and delicacy of workmanship.
-The impetus he gave was in the direction of fresh models of beautiful
-form in place of the mannerisms of Gothic art into which the decorative
-crafts had sunk in this country at the period of his first arrival in
-England. Even at so early an age he already possessed, in addition to
-his skill in painting and drawing and book illustration, a thorough
-knowledge of the rules of composition and design according to the best
-Italian traditions, and was well versed in the use of the forms and
-proportions of classical architecture and ornament, in addition to
-possessing practical skill in the true application of design to the
-various art crafts and industries.
-
-[Illustration:
-
-  VOL. II., PLATE 41
-  QUEEN JANE SEYMOUR’S CUP
-  _Pen-and-ink drawing_
-  BRITISH MUSEUM
-]
-
-[Sidenote: DESIGNS FOR CUPS AND GOBLETS]
-
-Holbein’s most elaborate design for goldsmiths’ work which has survived
-is the one known as the Jane Seymour Cup, which was evidently made to
-the order of the King at about the time of his marriage with that lady
-in 1536. Two drawings for this exist in pen and ink, the more
-highly-finished one, which is washed with colour and gold, being in the
-Bodleian Library, Oxford,[627] and the other in the British Museum,[628]
-the latter (Pl. 41), which is 17¾ in. × 9½ in., showing slight
-modifications. The cup is a covered one, of a very beautiful shape, the
-lines of which are not disguised or confused by the lavish ornamentation
-with which it is covered. The body is set with four circular medallions
-containing busts of “antique heads” in high relief, the one facing the
-spectator being a woman with bared breast. Above them is a deep band of
-exceptionally beautiful interlacing ornament of floriated design; and
-below a smaller band with the initials of Henry and his Queen, entwined
-with true-lovers’ knots, alternating with square-cut precious stones set
-as flowers, and similar bands of precious stones at the base, and round
-the rim of the cover. The stem is decorated with hanging pearls and
-dolphins, cupids’ heads, and wreaths, and a narrow band containing the
-motto of the Queen, “Bound to Obey and Serve,” which is repeated on the
-cover. The latter is of very light and graceful design, with two
-grotesque figures terminating in fish-tails blowing foliated trumpets,
-and above them two cupids supporting a shield surmounted by the royal
-crown. When carried out in gold the general effect must have been one of
-extraordinary richness and beauty. That it was so completed is proved by
-the fact that the cup itself was still in the royal collection at the
-accession of Charles I in 1625. In an inventory of that date it is thus
-described: “Item a faire standing Cupp of Goulde, garnished about the
-cover with eleaven Dyamonds, and two poynted Dyamonds about the Cupp,
-seaventeene Table Dyamonds and one Pearle Pendent uppon the Cupp, with
-theis words BOVND TO OBEY AND SERVE, and H and I knitt together; in the
-Topp of the Cover the Queenes Armes, an Queene Janes Armes houlden by
-twoe Boyes under a Crowne Imperiall, weighing Threescore and five ounces
-and a halfe.” No further traces of this masterpiece of the goldsmith’s
-art exist. In spite of its beauty, it was most probably melted down,
-like much of the royal plate, to meet the demands of an impoverished
-exchequer. It is, indeed, a matter of the keenest regret that, in spite
-of the hundreds of designs with which Holbein furnished the London
-goldsmiths or the Basel armourers, not a single example of work so
-carried out remains, and his achievements in this branch of art can only
-be judged from his working drawings.
-
-Footnote 627:
-
-  Woltmann, 222. Reproduced by His, Pl. xlv.
-
-Footnote 628:
-
-  Brit. Mus. Catg., 18. Reproduced by Davies, p. 204; Ganz, _Hdz. von H.
-  H. dem Jüng._, Pl. 47.
-
-[Illustration:
-
-  VOL. II., PLATE 42
-  HANS OF ANTWERP’S CUP
-  _Pen and wash drawing_
-  BASEL GALLERY
-]
-
-His designs for cups with covers, goblets, tankards, and other table
-vessels, which from the richness of their ornament were evidently
-intended for ceremonious occasions, are numerous. Some of them are only
-known through Hollar’s etchings, while the drawings for the remainder
-are for the most part in the Basel Gallery. The most interesting of them
-is the standing cup and cover in the Basel sketch-book, which Holbein
-designed for his friend Hans von Antwerp (Pl. 42),[629] which may have
-been intended by the latter as an addition to the collection of plate in
-the guild-hall of the Steelyard merchants. The left-hand half has been
-drawn with the pen, from which the other half has been transferred by
-damping and pressure. The broad, flat body has a deep band of ornament
-containing nude figures blowing trumpets amid foliage, and a somewhat
-similar band round the base, and on the crest of the cover is the nude
-figure of Truth holding a book and a lighted torch. By the side is an
-alternative design for this figure. Round the rim of the cover is
-inscribed HANS VON ANT[WERPEN]. Another cup and cover, or table
-ornament, with a wide stand, of which only the left side is shown,
-though much more hasty in execution, is a more highly elaborated piece
-of decoration, in which small nude standing figures are combined with
-leafage and festoons.[630] On the side of the sheet are a number of
-alternative sketches for various details. There is no need to describe
-at length the other designs for covered cups in the Basel Gallery, one
-of which is surmounted by the nude figure of a woman with right arm
-extended and the left hand resting on a shield;[631] while a second
-design has a figure of Justice, and on the base a medallion with the
-bust of a lady in sixteenth-century costume.[632] Several studies for
-tankards are to be found among Hollar’s etchings. These etchings
-indicate the existence at one time of a third sketch-book or set of
-designs, which, at the time when Hollar worked from it, was in the
-possession of the Earl of Arundel, but has since disappeared.
-
-Footnote 629:
-
-  Woltmann, 110 (104). Reproduced by His, Pl. xxvii. 1. See Vol. ii. p.
-  11.
-
-Footnote 630:
-
-  Woltmann, 110 (99). Reproduced by His, Pl. xxxi. 2.
-
-Footnote 631:
-
-  Woltmann, 109. Reproduced by His, Pl. xxvi. 2.
-
-Footnote 632:
-
-  Woltmann, 110 (100). Reproduced by His, Pl. xxvi. 3; Ganz, _Hdz.
-  Schwz. Mstr._, i. 12.
-
-[Illustration:
-
-  VOL. II., PLATE 43
-  SIR ANTHONY DENNY’S CLOCK
-  _Indian ink wash and pen drawing_
-  BRITISH MUSEUM
-]
-
-One of the most important of Holbein’s designs in the British Museum is
-the large drawing in pen and ink and Indian-ink wash, of an astronomical
-clock, which was formerly in the Mariette and Horace Walpole collections
-(Pl. 43).[633] This clock, the design for which must have been one of
-Holbein’s last undertakings, was presented to Henry VIII by Sir Anthony
-Denny on New Year’s Day, 1544, shortly after the painter’s death. It
-consists of an hour-glass enclosed within a case, the doors of which
-stand open in the drawing, with a terminal figure of a satyr in the
-centre, which recalls the very similar figure in the full-length woodcut
-portrait of Erasmus. The hour-glass rests on a pedestal with legs,
-supported at the corners with other terminal figures of satyrs, and
-having a circular space in the centre left blank in the drawing. On the
-decorated crown of the case stand two nude boys—for which there is an
-alternative design in the British Museum on one of the leaves of the
-Sloane sketch-book[634]—each pointing to a sundial of metal curved
-outwards in an arc, for which their fingers serve as gnomon. On their
-heads rests a mechanical clock with a sun-face in the centre of the dial
-with fiery locks, one of which forms the pointer, the whole surmounted
-by a crown. On the left side of the sheet is a compass, probably
-intended to fit inside the clock-case. The drawing is inscribed, in Sir
-Anthony Denny’s own handwriting: “Strena facta pro anthony deny
-camerario regio quod in initio novi anni 1544 regi dedit.” He was then
-King’s Chamberlain, and was knighted in the September of the year in
-which he made his royal master this handsome gift. Other notes occur on
-the drawing, here and there illegible, made evidently for the guidance
-of the craftsman who carried out Holbein’s design, which is simpler,
-though no less characteristic in style, than his drawing for Queen Jane
-Seymour’s gold cup.
-
-Footnote 633:
-
-  Brit. Mus. Catg., 17. Woltmann, 193. Reproduced by His, Pl. xlvii.;
-  Ganz, _Hdz. von H. H. dem Jüng._, Pl. 48.
-
-Footnote 634:
-
-  Brit. Mus. Catg., 22 (_a_); Woltmann, 194. Reproduced by His, Pl.
-  xlvi.
-
-[Sidenote: DESIGNS FOR SHEATHS AND HILTS]
-
-His designs for sword and dagger hilts, sheaths, and various ornaments
-for sword-belts and weapons are numerous, and again display his
-extraordinary fertility of invention and his power of combining the
-human figure with conventional floral and grotesque Renaissance ornament
-into a decorative whole of the utmost elegance and beauty. One of the
-finest, and most elaborate, is the large pen-and-wash drawing, 17⅞ in. ×
-4⅝ in., in the British Museum, which was purchased in 1874 from the Earl
-of Wicklow’s collection (Pl. 44).[635] The handle has spiral bands set
-with stones, and numerous pearls are also set in the sheath, the hilt,
-and the guard. These gems are held or supported by a number of nude
-figures of women, old men, satyrs, and children amid foliage, each one
-full of individual character, and drawn as only Holbein could draw them.
-It was evidently intended for execution in chiselled gold or silver, and
-produces an effect of great splendour. Only the right half of the sheath
-is drawn, as the design was to be repeated on the other side. There is
-an alternative design for parts of the hilt in the Basel Gallery.[636]
-In the latter collection there is also a study for the sheath of a short
-sword or cutlass in which a somewhat similar arrangement has been
-carried out.[637] It is an offset taken by Holbein from a pen-and-ink
-drawing. Another of the Basel designs is for a powder-flask, possibly to
-be executed in bone or ivory, in which naked cupids are intermingled
-with the foliage.[638]
-
-Footnote 635:
-
-  Brit. Mus. Catg., 19. Reproduced by His, Pl. xxix.; Davies, p. 206.
-
-Footnote 636:
-
-  Woltmann, 110 (97). Reproduced by His, Pl. xxx. 3.
-
-Footnote 637:
-
-  Woltmann, 110 (28). Reproduced by His, Pl. xxxi. 1.
-
-Footnote 638:
-
-  Reproduced by His, xxxi. 3.
-
-There is a splendid design for a dagger sheath in the Bernburg Ducal
-Library, which is divided into four compartments, the three upper ones
-containing figures in settings of Renaissance architecture.[639] In the
-uppermost is a group representing the Judgment of Paris. The youth, in
-sixteenth-century costume, reclines with his back against a pillar with
-Mercury bending over him and offering him the apple, the three goddesses
-standing in front of him, and Cupid aiming at him with a bow and arrow.
-The next division shows the deaths of Pyramus, a cleverly foreshortened
-figure beneath a fountain, and Thisbe, who is stabbing herself by his
-body. Below is Venus within a scalloped niche, with the long ass’s ears
-of a jester, and a blindfolded cupid at her feet. The lowest compartment
-contains scroll-work, the whole terminating in a cherub’s head within
-volutes, with the initial H. at the bottom. There is a slighter
-preliminary pen study for this sheath in the Basel Gallery, which shows
-a number of differences (Pl. 45 (3)).[640] Another dagger sheath at
-Basel is of particular interest because it is dated 1529,[641] and so
-must have been drawn in Basel after Holbein’s return from his first
-visit to England (Pl. 45 (1)). The design consists entirely of
-conventional foliage, seen against a black background, as though to be
-executed in chiselled open-work over some black material such as velvet,
-or to be filled in with niello. There are other sheaths in which the
-subject stands out against a plain black background, one, in Berlin,
-with a Dance of Death,[642] of which there is a repetition at Basel (Pl.
-46 (1)),[643] which appears to be an impression taken from the Berlin
-drawing, strengthened and finished with Indian-ink, by some other hand
-than Holbein’s; and another in the British Museum, with a Triumph of
-Bellona,[644] of which only the sheath is by him. The hilt is obviously
-the work of some other designer, in all probability, according to the
-British Museum catalogue, Peter Flötner of Nuremberg. It was formerly in
-the Beckford Collection, and consists of two pieces of paper joined
-together, the hilt on one and the sheath on the other. Another sheath in
-the Basel Gallery is decorated with a Roman Triumph (Pl. 46 (2)),[645]
-slightly drawn, in the manner of Mantegna, recalling the frieze in the
-1517 portrait of Benedikt von Hertenstein; and a second of a like
-quality, representing Joshua’s Passage of the Jordan (Pl. 46 (3)).[646]
-Other designs for the knobs and cross-pieces of dagger hilts will be
-found in the British Museum (Pl. 47).
-
-Footnote 639:
-
-  Woltmann, 124. Reproduced by Woltmann, i. p. 434.
-
-Footnote 640:
-
-  Woltmann, 60. Reproduced by His, Pl. xxiii. 3; Ganz, _Hdz. von H. H.
-  dem Jüng._, Pl. 40.
-
-Footnote 641:
-
-  Woltmann, 56. Reproduced by His, Pl. xxiii. 2; Knackfuss, fig. 108.
-
-Footnote 642:
-
-  Woltmann, 123 (Bauakademie-Beuth-Schinkel Museum).
-
-Footnote 643:
-
-  Woltmann, 57. Reproduced by His, Pl. xxi. 3; Knackfuss, fig. 109.
-
-Footnote 644:
-
-  Brit. Mus. Catg., 39. Woltmann, 196. Reproduced by Davies, p. 206.
-
-Footnote 645:
-
-  Woltmann, 58. Reproduced by His, Pl. xxi. 1; Ganz, _Hdz. Schwz.
-  Mstr._, i. 41 (_a_).
-
-Footnote 646:
-
-  Woltmann, 59. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 41 (_b_).
-
-[Illustration:
-
-  VOL. II., PLATE 44
-  DESIGN FOR DAGGER HILT AND SHEATH
-  _Pen-and-ink and Indian-ink wash drawing_
-  BRITISH MUSEUM
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 45
-  DAGGER SHEATH WITH FOLIATED ORNAMENT
-  Dated 1529
-
-  UPRIGHT BAND OF ORNAMENT
-  Piper and Bears
-
-  DAGGER SHEATH WITH THE JUDGMENT OF PARIS
-  BASEL GALLERY
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 46
-  1. DAGGER SHEATH WITH A DANCE OF DEATH
-  2. DAGGER SHEATH WITH A ROMAN TRIUMPH
-  3. DAGGER SHEATH WITH JOSHUA’S PASSAGE OF THE JORDAN
-  BASEL GALLERY
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 47
-  DESIGNS FOR DAGGER HILTS
-  1. B.M. 20 (_b_)      3. B.M. 20 (_a_)
-  2. B.M. 20 (_c_)
-  4. B.M. 20 (_e_)      5. B.M. 20 (_d_)
-  BRITISH MUSEUM
-]
-
-[Sidenote: DESIGNS FOR PENDANTS AND JEWELS]
-
-The sketch-book bequeathed to the British Museum by Sir Hans Sloane in
-1753 contains nearly two hundred drawings, almost all of them designs
-for jewellery and other small objects for personal use or adornment,
-such as belt tassels and buckles, book covers with rings for attachment
-to girdles, seals, portable sundials, pendants and brooches. Henry VIII
-was lavish in his use of jewellery, and the fashion he set was slavishly
-followed by his courtiers. Dresses were loaded with gems and elaborate
-specimens of the goldsmith’s art, and this delight in finery was carried
-to such an extent that it was a topic for jest and sarcasm among
-foreigners. More than one contemporary account gives details of the
-King’s costume and the many jewels which adorned it, and the long
-inventories of his clothes and personal ornaments which still exist
-prove that continental visitors to his court did not exaggerate in the
-descriptions of his person which they sent home. French and Italian
-jewellers paid frequent visits to London, and sold him many gems and
-beautiful specimens of gold and silver work and other art objects, while
-he regularly employed a large number of English and resident foreign
-jewellers. Their services were most in demand about New Year’s Day, when
-gifts were showered upon his Majesty, and he in return made many
-presents, often of great value. There is no doubt that some of these
-gifts were designed by Holbein, and that he served as designer to
-several of the leading London goldsmiths. The British Museum Collection
-contains many designs for pendants and for jewels which were suspended
-round the neck by a ribbon or chain, this attachment being shown in a
-number of the studies (Pl. 48). In most of them table diamonds and other
-flat stones, together with pearls, are arranged in geometric patterns,
-the interstices being filled with strap, scroll, or ribbon-work, or some
-conventional floral design. Occasionally at the top of the jewel there
-is a small grotesque or nude figure (Pl. 49). Many of the designs have a
-black ground indicating niello or champlevé enamel. In some instances,
-however, the blackening may have been done merely to indicate the design
-more clearly to the craftsman who was to carry it out. Some of them are
-coloured and are often touched with gold, so that it is possible to tell
-the jewels and materials it was intended to use. Several pendants are in
-the shape of a cross, and others heart-shaped; one of the latter is of
-gold, with three pendant pearls, and two doves billing on a green bough
-in enamel, with the motto, TVRTVRVM CONCORDIA (Pl. 48 (3)).[647] Another
-shows the bust of a woman in Tudor dress holding between her hands a
-large table-cut stone, across which is written, apparently in another
-hand, “Well Laydi Well” (Pl. 49 (9)).[648] Several pendants are in the
-form of monograms, a very fine one consisting of the letters R. and E.
-in gold, with two rubies, an emerald, and a garnet at the four corners,
-hung by a ribbon above and with three pearls below (Pl. 48 (7));[649]
-many of the designs, in fact, show one or more pearls suspended in this
-fashion. A jewel very similar to the last-named, formed of the sacred
-monogram, is worn by Jane Seymour in her portrait at Vienna. Another
-pendant monogram, with the initials H and I and an emerald in the centre
-(Pl. 48 (6)), was evidently designed for the King and his third
-Queen.[650] Several of them have mottoes, such as QVAM ACCIPERE DARE
-MVLTO BEATIVS (Pl. 49 (7)),[651] or PRVDENTEMENT ET PAR COMPAS
-INCONTINENT VIENDRAS,[652] the latter on a round device of two horns of
-plenty, two dolphins and a pair of compasses with serpents writhing
-round them (Pl. 50 (8)). Among the brooches there is one consisting of
-three diamonds enwreathed by a scroll, on which is inscribed, MI LADI
-PRINSIS, and the same motto occurs on a second.[653]
-
-Footnote 647:
-
-  Brit. Mus. Catg., 27 (_b_). Woltmann, 199 (30). Reproduced by His, Pl.
-  xliii.
-
-Footnote 648:
-
-  Brit. Mus. Catg., 28 (_a_). Reproduced by His, Pl. xli.
-
-Footnote 649:
-
-  Brit. Mus. Catg., 27 (_e_). Reproduced by His, Pl. xliii.
-
-Footnote 650:
-
-  Brit. Mus. Catg., 27 (_f_). Reproduced by His, Pl. xliii.
-
-Footnote 651:
-
-  Brit. Mus. Catg., 28 (_f_). Reproduced by His, Pl. xli.
-
-Footnote 652:
-
-  Brit. Mus. Catg., 29 (_i_). Reproduced by His, Pl. xl.
-
-Footnote 653:
-
-  Brit. Mus. Catg., 30 (_a_ and _b_). Reproduced by His, Pl. xxxiv.
-
-[Sidenote: DESIGNS FOR MEDALLIONS]
-
-There are two designs for book bindings with rings for suspension, no
-doubt covers for a prayer book. They are decorated with metal and enamel
-in arabesque patterns, and one of them has the initials T.W. in the
-centre, which are repeated in the corners, T.W. above and W.T.
-below.[654] On the second the same initials are combined with an I,[655]
-and in both cases it is probable that they were intended for Sir Thomas
-Wyat. Two very similar designs appear to be for a jewelcase, or perhaps
-a portable reliquary.[656] There is also an interesting drawing of a
-seal with the coat of arms of Charles Brandon, Duke of Suffolk, within
-the garter and its motto, and around the whole a circular band inscribed
-CAROLVS DVX SVFFYCIE PRO HONORE SVO RICHEMOND (Pl. 50 (4)).[657] Among
-the remaining studies are various devices, coats of arms, including
-Holbein’s own (Pl. 50 (6)), book clasps, bracelets, chains (Pl. 51 (3,
-4, and 5)), collars, rings, a number of monograms (Pl. 48 (1)), some of
-them containing as many as eleven letters, probably concealing a
-complete name or the initials of the words of some device, grotesque
-figures, winged warriors, nude women, and satyrs—the latter in some
-cases certainly intended for the foot of a vase, box, or salt-cellar, or
-some such table ware—together with a variety of ornaments for which the
-exact purpose is not indicated. These last are largely fragments of
-circular borders or segments of discs, decorated with arabesques on
-enamel (Pl. 52). In some of these designs for enamel the pattern is in
-white on a ground of blue and red or blue and black.
-
-Footnote 654:
-
-  Brit. Mus. Catg., 31 (_b_). Woltmann, 191. Reproduced by His, Pl.
-  xliv.; Davies, p. 226.
-
-Footnote 655:
-
-  Brit. Mus. Catg., 31 (_a_). Woltmann, 191. Reproduced by His, Pl.
-  xliv.; Davies, p. 226.
-
-Footnote 656:
-
-  Brit. Mus. Catg., 31 (_c_ and _d_). Reproduced by His, Pl. xliv.;
-  Davies, p. 226.
-
-Footnote 657:
-
-  Brit. Mus. Catg., 29 (_a_); Woltmann, 199 (44). Reproduced by His, Pl.
-  xl.
-
-Among the designs at Basel is a very charming and humorous upright band
-or panel, for goldsmith’s work (#Pl. 45 (2):pl-45),[658] in which eight
-bears are shown climbing among the leaves of a vine accompanied by a
-little man with a high peaked cap blowing a trumpet and beating a drum,
-a design no doubt suggested to Holbein by the sight of some travelling
-showman with a troupe of performing animals. Two other bands of ornament
-in the Basel Gallery, in which the design is arranged horizontally,
-represent in one case a humorous frieze with nude children,[659] and in
-the other similar children with dogs hunting a hare, chasing one
-another, and blowing horns (Pl. 51 (1 and 2))[660] The latter is a
-carefully-finished drawing, in which the small figures are arranged with
-great decorative effect among curved Renaissance ornamentation of
-conventional floriated design. In the same collection there are several
-elaborately decorated mirror-frames.
-
-Footnote 658:
-
-  Woltmann, 54. Reproduced by His, Pl. xxii. 2; Knackfuss, fig. 111.
-
-Footnote 659:
-
-  Woltmann, 61.
-
-Footnote 660:
-
-  Woltmann, 55. Reproduced by His, Pl. xxv. 4; Knackfuss, fig. 110.
-
-[Illustration:
-
-  VOL II., PLATE 48
-  DESIGNS FOR PENDANTS AND ORNAMENTS
-  1. B.M. 33 (_f_)      2. B.M. 33 (_g_)
-  3. B.M. 27 (_b_)      4. B.M. 27 (_d_)      5. B.M. 27 (_c_)
-  6. B.M. 27 (_f_)      7. B.M. 27 (_e_)      8. B.M. 27 (_a_)
-  BRITISH MUSEUM
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 49
-  DESIGNS FOR PENDANTS
-  1. B.M. 28 (_m_)      2. B.M. 28 (_g_)      3. B.M. 28 (_e_)
-  4. B.M. 28 (_k_)      5. B.M. 28 (_l_)      6. B.M. 28 (_i_)
-  7. B.M. 28 (_f_)      8. B.M. 28 (_d_)      9. B.M. 28 (_a_)
-  BRITISH MUSEUM
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 50
-  DESIGNS FOR MEDALLIONS OR ENSEIGNES
-  1. B.M. 35 (_d_)      2. B.M. 35 (_e_)      3. B.M. 35 (_c_)
-  4. B.M. 29 (_a_)      5. B.M. 29 (_l_)      6. B.M. 29 (_e_)
-  7. B.M. 29 (_b_)      8. B.M. 29 (_i_)      9. B.M. 29 (_g_)
-  BRITISH MUSEUM
-]
-
-There remains one particular form of personal ornament for which
-Holbein’s services as designer were in constant demand. This was the
-circular medallion or _enseigne_ worn on the hat, and also, in the case
-of ladies, as a pendant at the end of a chain or ribbon, or in the shape
-of a brooch fastened to the front of the dress. They usually bore some
-figure-subject, the earlier examples being, as a rule, religious, with
-figures or emblems of saints or scenes from the Scriptures. In course of
-time subjects taken from classical story or mediæval legend were used,
-and designs of a fanciful and allegorical nature. They became highly
-popular forms of personal adornment, and French and Italian jewellers
-brought numbers of them over to London. “Every one, from the highest
-rank downwards,” says Mr. H. Clifford Smith, “had his personal _devise_
-or _impresa_, or more often a series of them. It was worn as an
-emblem—an ingenious expression of some conceit of the wearer, the
-outcome of his peculiar frame of mind. It usually contained some obscure
-meaning, the sense of which, half hidden and half revealed, was intended
-to afford some play for the ingenuity of the observer. The love of the
-time for expressing things by riddles led to the publication of sets of
-emblems, like those of Alciatus, which had imitations in all directions.
-Every one, in fact, tried his hand at these ‘toys of the
-imagination.’”[661]
-
-Footnote 661:
-
-  H. Clifford Smith, _Jewellery_, The Connoisseur’s Library, 1908, p.
-  223.
-
-[Illustration:
-
-  VOL. II., PLATE 51
-  1. BAND OF ORNAMENT Children at Play
-  2. BAND OF ORNAMENT Children and Dogs hunting a Hare
-  BASEL GALLERY
-
-  3. DESIGN FOR A COLLAR WITH NYMPHS AND SATYRS (35^{_h_})
-  4. DESIGN FOR A CHAIN (35^{_f_})
-  5. DESIGN FOR A BRACELET OR COLLAR WITH DIAMONDS AND PEARLS (35^{_a_})
-  BRITISH MUSEUM
-]
-
-                  *       *       *       *       *
-
-[Illustration:
-
-  VOL. II., PLATE 52 DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS
-  BRITISH MUSEUM
-]
-
-That these hat-badges and brooches were worn by almost every one at
-Henry’s court is shown by their representation in many of Holbein’s
-pictures and in a large number of the Windsor drawings. In the latter,
-unfortunately, the subjects are so slightly indicated that it is
-impossible in most cases to make them out. They are to be found almost
-invariably in the portraits of courtiers, the learned doctors and the
-more soberly-attired German merchants not using them. Those worn by the
-more wealthy were generally of gold, with the design in repoussé work,
-frequently enamelled in colours, and often with precious stones set in
-them. They were, as a rule, surrounded by a border or framework of
-similar workmanship, sometimes set with jewels. Some of them were
-fastened with a pin, like a brooch, others had loops or small holes
-round the edges so that they could be sewn to the hat. Henry VIII
-possessed a large collection of these ornaments. In a list dated 1526
-there is mentioned, among many others, a crimson velvet bonnet, double
-turfed, with a brooch of St. Michael set with diamonds, and a white rose
-on one side and a red rose on the other; and another of a buttoned cap
-of black velvet with a diamond and a brooch of Paris work of St. James.
-Other hats had brooches representing “three men and a pearl in the back
-of one of them”; a lady leading a brace of greyhounds; Venus and Cupids;
-a lady holding a heart in her hand; another lady holding a crown;
-another with a cameo head and a hanging pearl; “a man standing on a
-faggot of fire”; “a handful of feathers”; “a gentleman in a lady’s lap”;
-and St. George, Hercules, and so on.[662] In another list, two years
-later in date, there is mentioned “a brooch with a gentlewoman luting,
-with a scripture over it.”[663] Occasionally these _enseignes_ are
-described as “valentines of goldsmith’s work.” Most of the King’s hats
-were also lavishly decorated with gold aglets.
-
-Footnote 662:
-
-  _C.L.P._, vol. iv. pt. i. 1907.
-
-Footnote 663:
-
-  _C.L.P._, vol. iv. pt. ii. 5114. See vol. i. p. 357.
-
-[Sidenote: DESIGNS FOR MEDALLIONS]
-
-None of the jewels included in these earlier lists can have been
-designed by Holbein; but after he became attached to the court he
-appears to have been constantly employed in this way, and it became, no
-doubt, the fashion to wear an _enseigne_ or medallion of his devising.
-Among his drawings, in the British Museum, at Basel, and at Chatsworth,
-there are a number of small circular designs with figure-subjects which
-were evidently intended for such purposes. Unfortunately, only in one
-single case has a design been found among his sketches which corresponds
-with the gold-and-enamel badge worn by the sitter in one of his finished
-pictures—the beautiful little drawing of “Lot and his Daughters” in the
-British Museum (Pl. 50 (2)), which, as recently pointed out by Mr.
-Lionel Cust, was the design for the medallion shown in the portrait of
-Catherine Howard.[664] Very possibly some of the other _enseignes_ or
-pendant roundels represented in his portraits were of his own devising,
-but they are painted on so small a scale that the subjects upon them are
-difficult to decipher.
-
-Footnote 664:
-
-  See pp. 195-196.
-
-The medallion of “Lot and his Daughters” forms one of a numerous series
-of roundels, usually about 2½ in. in diameter, with subjects taken from
-the Old Testament, the greater number of which are in the Basel
-sketch-book. Among the latter are three different studies on one sheet
-for the subject of Hagar and Ishmael in the Wilderness,[665] and a
-fourth with Sarah giving Hagar to her husband;[666] the Sacrifice of
-Cain and Abel;[667] Jacob embracing Rachel;[668] Jacob causing the stone
-to be removed from the well for Rachel,[669] a very beautiful little
-drawing with an interesting group of buildings in the background; David
-and the Woman of Tekoah kneeling before him;[670] the Sacrifice of
-Elijah, in which a jewel is inset to depict the fire on the altar;[671]
-and Moses and the destruction of Korah and his company.[672] This last
-is set within an open-work border with mermaids and cupids amid
-scroll-work. Several other subjects from the Old Testament, such as
-Judah and Tamar, and David playing before Saul, are to be found among
-the engravings made by Wenceslaus Hollar from drawings by Holbein, now
-lost, when in the Arundel Collection. Among the subjects from the New
-Testament at Basel are the Baptism of Christ,[673] the Last
-Judgment,[674] and the Repentant Magdalen.[675] Two designs of the
-Archangel Michael slaying the Dragon are for the badge accompanying a
-chain of the order of St. Michael, and may have been drawn from the
-badge belonging to Dinteville.[676] Another represents the kneeling
-figures of a young couple in English dress holding a cup with a heart
-over it, evidently for “a valentine of goldsmith’s work.”[677] Among the
-unknown subjects is one in which a nude man is standing upon a prostrate
-knight, who with one hand shatters Cupid’s bow and with the other breaks
-the fallen man’s sword;[678] one which repeats one of the subjects of
-the Basel Town Hall wall-paintings—the blinding of Zaleucus;[679] and
-others representing Juno and Callisto, Pomona, Leucothea on a dolphin,
-and two Centaurs.[680]
-
-Footnote 665:
-
-  Woltmann, 110 (37-43). Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 5.
-
-Footnote 666:
-
-  Woltmann, 110 (67). Reproduced by Ganz, _Hdz. von H. H. dem Jüng._,
-  Pl. 45.
-
-Footnote 667:
-
-  Woltmann, 110 (71).
-
-Footnote 668:
-
-  Woltmann, 110 (68).
-
-Footnote 669:
-
-  Woltmann, 110 (76). Reproduced by Ganz, _Hdz. von H. H. dem Jüng._,
-  Pl. 45.
-
-Footnote 670:
-
-  Woltmann, 110 (70).
-
-Footnote 671:
-
-  Woltmann, 110 (63, 65).
-
-Footnote 672:
-
-  Woltmann, 110 (77). Reproduced by Ganz, _Hdz. von H. H. dem Jüng._,
-  Pl. 42.
-
-Footnote 673:
-
-  Woltmann, 110 (73).
-
-Footnote 674:
-
-  Woltmann, 110 (75).
-
-Footnote 675:
-
-  Woltmann, 110 (55, 56).
-
-Footnote 676:
-
-  Woltmann, 110 (64).
-
-Footnote 677:
-
-  Woltmann, 110 (88).
-
-Footnote 678:
-
-  Woltmann, 110 (62).
-
-Footnote 679:
-
-  Woltmann, 110 (61).
-
-Footnote 680:
-
-  Woltmann, 110 (53, 74, 81, 83).
-
-The subjects of similar medallions in the British Museum include one of
-the Annunciation,[681] with the legend “ORIGO MVNDI MELIORIS” round it,
-with a border of daisies in yellow and green enamel; one of the
-Trinity,[682] with the legend “TRINITATIS GLORIA SATIABIMVR” (Pl. 50
-(5)), and a border of roses in enamel, both of which are in pen and ink
-washed with water-colours; and a third with a standing figure of St.
-John the Baptist (Pl. 50 (3)).[683] Yet another depicts Time extracting
-Truth from the Rock (Pl. 50 (1),[684] also with a Latin quotation round
-the edge, and a second, with the motto, “PRVDENTEMENT ET PAR COMPAS
-INCONTINENT VIENDRAS,” already described.[685] Further designs for
-_enseignes_ contain such subjects as a sleeping boy lying under a
-fountain, which jets its water upon him (Pl. 50 (9));[686] and a woman
-in flames, with her father and mother lamenting over her, which is said
-by Woltmann to represent Dido on the funeral pyre.[687] Among other
-roundels, two contain Holbein’s own coat of arms (Pl. 50 (6)),[688] and
-two others a device with a hand issuing from a cloud and resting on a
-book which lies on a rock, and the Italian motto, “SERVAR’ VOGLIO QVEL
-CHE HO GVIRATO” (Pl. 50 (7)).[689]
-
-Footnote 681:
-
-  Brit. Mus. Catg., 29 (_k_). Woltmann, 199 (19). Reproduced by His, Pl.
-  xl.
-
-Footnote 682:
-
-  Brit. Mus. Catg., 29 (_l_). Woltmann, 199 (13). Reproduced by His, Pl.
-  xl.
-
-Footnote 683:
-
-  Brit. Mus. Catg., 35 (_c_).
-
-Footnote 684:
-
-  Brit. Mus. Catg., 35 (_d_).
-
-Footnote 685:
-
-  Brit. Mus. Catg., 29 (_i_). Reproduced by His, Pl. xl.
-
-Footnote 686:
-
-  Brit. Mus. Catg., 29 (_g_). Reproduced by His, Pl. xl.
-
-Footnote 687:
-
-  Brit. Mus. Catg., 29 (_h_). Woltmann, 199 (15). Reproduced by His, Pl.
-  xl.
-
-Footnote 688:
-
-  Brit. Mus. Catg., 29 (_e_, _f_). Woltmann, 199 (42). Reproduced by
-  His, Pl. xl.
-
-Footnote 689:
-
-  Brit. Mus. Catg., 29 (_b_, _c_). Woltmann, 199 (22). Reproduced by
-  His, Pl. xl.
-
-At Chatsworth there is a sheet of drawings containing six _enseignes_
-and one larger design which appears to be for some kind of a
-sheath.[690] They are among the very finest examples of Holbein’s work
-in this field, drawn with the greatest delicacy, and admirable in
-composition. They represent (1) Hagar and Ishmael (Pl. 53 (2)), a
-variant of the Basel design, in which the angel is flying towards Hagar,
-who is seated under a tree, with the naked infant asleep under a bush,
-and on a scroll the names “Hagar” and “Ismael”; (2) The Last Judgment
-(Pl. 53 (3)), with Christ seated on clouds, and men and women kneeling
-below, with figures struggling out of graves, and on one side the
-yawning mouth of a dragon representing hell; (3) Icarus falling into the
-sea (Pl. 53 (1)), his wings melted by the sun, and Phœbus driving his
-chariot drawn by four winged horses through the sky; (4) Diana and
-Actæon (Pl. 53 (5)), with four nude women standing in water on the left,
-and Actæon on the bank already turning into a stag, with his dogs
-attacking him, and others rushing through the wood in the background;
-(5) three beehives on a wooden stand under a roof of rushes (Pl. 53
-(6)), with Cupid, blindfolded, his bow on the ground, holding up his
-hands as though stung by the bees which are flying round him, and below
-a shield for a coat of arms, coloured blue, and the motto, “NOCET EMPTA
-DOLORE VOLUPTA,” on a ribbon scroll, the whole surrounded by a band of
-conventional scroll pattern; (6) a man in sixteenth-century costume,
-with folded arms, asleep on the grass, under an oak tree on a rocky
-piece of ground (Pl. 53 (7)). On the right is a large clock with hanging
-weights, the hands pointing to twelve o’clock, and the figure of a small
-child pulling the rope of the hammer which strikes the bell. Round the
-trunk of the tree is a scroll with the legend “ASPETTO LA HORA” (I await
-the hour). This is possibly the design for a watch-back. These
-medallions are in pen and bistre, with touches of red in some of the
-figures, and green here and there in trees or grass. The remaining
-design seems to be for a short, broad sheath, but not, apparently, for a
-weapon (Pl. 53 (4)). It represents the Rape of Helen, who stands on the
-seashore, seized by the arms by two men, one wearing a helmet. A boat
-containing figures—some of them waving their hands—is coming towards
-them over the water. There are some buildings on the left, and at the
-bottom, in the foreground, two nude figures with long spades digging in
-the sand. The leg of one of these two figures projects beyond the
-boundary-line of the sheath, showing that the design was not intended
-for a flat ornament, but was to be continued on both sides of the
-object.[691]
-
-Footnote 690:
-
-  Woltmann, 131-7. All reproduced by S. Arthur Strong, in his _Drawings
-  by Old Masters at Chatsworth_, and in _Critical Studies and
-  Fragments_, Pl. xviii. p. 132; and in _Burlington Magazine_, vol. i.
-  No. iii., May 1903, frontispiece.
-
-Footnote 691:
-
-  In the _Burlington Magazine_ (vol. i. No. iii., May 1903, p. 354) some
-  doubt is thrown upon the correctness of the attribution of the
-  Chatsworth roundels to Holbein, but in every touch his handiwork is
-  unmistakable.
-
-[Illustration:
-
-  VOL. II., PLATE 53
-  DESIGNS FOR MEDALLIONS, ETC.
-  1. ICARUS       2. HAGAR AND ISHMAEL
-  3. THE LAST JUDGMENT       4. THE RAPE OF HELEN
-  5. DIANA AND ACTÆON       6. CUPID AND BEES
-  7. “I AWAIT THE HOUR”
-  Duke of Devonshire’s Collection
-  CHATSWORTH
-]
-
-The wide range of subject shown in these badges affords remarkable proof
-of the fertility of Holbein’s invention. The great number of them, too,
-indicates that he must have found regular and lucrative employment in
-work for the London jewellers and goldsmiths. Possibly those which
-remain formed only a small part of his total output. It has been
-suggested, indeed, that none of the studies which have survived were
-actually carried out as ornaments, but were rather designs either
-rejected by the goldsmith or the patron for whom Holbein was working, or
-were merely drawn by the artist as part of his stock-in-trade, from
-which clients could make their selection.[692] This supposition is based
-on the fact that the drawings have always been carefully preserved in
-the original sketch-books, and bear no traces of having undergone the
-rough usage of a goldsmith’s workshop. It does not seem at all probable,
-however, that this was the case; it is, indeed, absurd to suppose that
-these designs, several hundreds in number, and many of them of the
-greatest beauty, could have been rejected as not good enough by those
-for whom they were prepared. It has been seen that the design for the
-medallion with the subject of Lot and his Daughters was actually carried
-out for the adornment of Catherine Howard, to say nothing of those
-larger drawings for the Jane Seymour Cup and the Denny astronomical
-clock, which, in any case, cannot have been rejected designs. A much
-simpler explanation is that Holbein kept his original designs by him for
-future reference, and made other versions or copies, possibly sometimes
-more elaborate in detail, for the use of the craftsmen who carried them
-out.
-
-Footnote 692:
-
-  See R. E. D. Sketchley, “Holbein as Goldsmith’s Designer,” in _Art
-  Journal_, June 1910, p. 175.
-
-With the exception of the cup designed for Hans of Antwerp, which shows
-that the two men worked together, it is impossible to connect Holbein’s
-name directly with that of any one of the many goldsmiths who served the
-court; but it is probable that he was employed by at least several of
-them, and almost certainly by Cornelis Hayes. There were an
-extraordinary number of such craftsmen, both native and foreign, in
-London at that period, and many others, more particularly Frenchmen and
-Italians, who paid periodical visits to England in order to sell works
-of art and jewels to the King and the nobility.
-
-[Sidenote: THE KING’S JEWELLERS]
-
-The leading London jeweller of the earlier part of Henry’s reign was
-Robert Amadas, of Lombard Street, an alderman, who in 1526 was appointed
-Master of the Jewel House, a post which he held until his death in 1532,
-when he was succeeded by Thomas Cromwell. Other leading goldsmiths were
-Alderman Sir John Mundy, appointed justice to the merchants of the
-Steelyard in 1525,[693] Alderman Robert Fenrother, Gerard Hughes, Robert
-Lord, Nicholas and Henry Wooley, Thomas Trappes, William Holland, John
-Twiselton, John van Utricke, and Henry Holtesweller. Large sums were
-spent in New Year’s gifts, the King both giving and receiving many very
-valuable presents. Thus in 1520 £1208, 17_s._ 6_d._ was paid to Amadas,
-Twiselton, and Holland for supplying such gifts, and in 1521 no less
-than £1679, 15_s._ 10_d._, while smaller sums were received by other
-goldsmiths.[694] There was also constant demand for gold and silver
-plate for presentation to foreign ambassadors and envoys, and for
-christening presents for the children of the King’s favourites. Amadas
-supplied many of these, as well as seals, jewels, spangles and other
-ornaments for the jackets of the King’s Guards, silver bells, bosses,
-and nails for his Majesty’s use, and many other articles which need not
-be specified. Amadas was dead before Holbein became attached to the
-court, and it is not at all likely that the latter designed for him. He
-must, however, have been well acquainted with the Dutchman, Cornelis
-Hayes, or Heyes, who became a naturalised Englishman in January
-1523,[695] and was afterwards one of the most regularly employed of the
-goldsmiths specially appointed to the King’s service. He received
-licence to keep six alien apprentices and twelve journeymen,
-notwithstanding the statute of 14 & 15 Hen. VIII.[696] He supplied many
-jewels for Anne Boleyn, including “a diamond in a brooch of our Lady of
-Boulogne,” and was employed, after Wolsey’s downfall, to remove the coat
-of arms from the Cardinal’s plate and place thereon the royal arms
-instead. He was also frequently occupied in repairing and altering the
-royal jewels and badges. His possible co-operation with Holbein, in
-1534, in connection with the making of a silver cradle and figures of
-Adam and Eve has been already mentioned,[697] and also that the piece of
-plate given to Holbein by the King in return for the portrait of Prince
-Edward was made by Hayes.[698] Holbein and Hayes had a common friend in
-Bourbon, the French poet, who stayed with the goldsmith when in London.
-
-Footnote 693:
-
-  _C.L.P._, vol. iv. pt. i. 1298.
-
-Footnote 694:
-
-  _C.L.P._, vol. iii. pt. ii. pp. 1539, 1544 (King’s Book of Payments).
-
-Footnote 695:
-
-  _C.L.P._, vol. iii. pt. ii. 2807 (28).
-
-Footnote 696:
-
-  In May 1531. _C.L.P._, vol. v. 278 (8).
-
-Footnote 697:
-
-  See pp. 92-93.
-
-Footnote 698:
-
-  See p. 164.
-
-[Illustration:
-
-  VOL. II., PLATE 54
-  HENRY VIII GRANTING A CHARTER TO THE BARBER-SURGEONS’ COMPANY
-  BARBER-SURGEONS’ HALL, LONDON
-]
-
-Another goldsmith of importance was the Welshman Morgan Wolf, Fenwolf,
-or Phillip, one of the sewers of the chamber, and keeper of the castle
-and lordship of Abergavenny. Both he and the Englishman John Freeman
-supplied many New Year’s gifts and other goldsmith’s work to Henry. The
-latter was a protégé of Cromwell’s, who found him much employment in
-connection with the dissolution of the monasteries, and granted him a
-number of fat appointments. Morgan Wolf engraved the Great Seal of
-England in 1543.[699] Among the foreign jewellers who came frequently to
-England, and some of whom eventually settled here, were Alart Plumier,
-or Plymmer, as he is called in the royal accounts, of Paris, who had
-frequent dealings with the King; Jehan Lange, of the same city, who came
-over as the representative of several Parisian houses; Hubert
-Morett,[700] Christopher Herrault, Peter Romaynes, Guillim Ottener, John
-Crispin, Latronet, and Martin Garrard, the latter obtaining a patent of
-denization in 1535. To prolong the list of names would be only tedious,
-for it is impossible to connect Holbein’s name definitely with any one
-of them, though there is every probability that Cornelis Hayes and John
-of Antwerp both worked in conjunction with him.
-
-Footnote 699:
-
-  _C.L.P._, vol. xviii. pt. i. 463 (f. 87).
-
-Footnote 700:
-
-  See p. 68.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                             CHAPTER XXVIII
-          THE BARBER-SURGEONS PICTURE AND THE PAINTER’S DEATH
-
-Holbein’s last important work, the Barber-Surgeons picture, left
-  unfinished by him—Description of it—Copy of it made for James I—Pepys’
-  attempt to purchase the original—Holbein’s death from the plague in
-  the autumn of 1543—Discovery of his will—His executor, John of
-  Antwerp, and his witnesses, Anthony Snecher, Olryck Obinger, and Harry
-  Maynert—Old mistake in the date of his death—History of Holbein’s
-  family—Englishmen named Holbein—His imitators—Painters who were
-  working in England at the time of his death and shortly
-  afterwards—Johannes Corvus and Gerlach Fliccius—Guillim Stretes—Hans
-  Eworthe—Thomas and John Bettes—Nicholas Lyzarde—Amberger—Copies of
-  Holbein’s pictures in English collections.
-
-
-The last important work upon which Holbein was engaged, a work left
-unfinished owing to his sudden death, was the large picture still
-hanging in the old hall of the Barber-Surgeons’ Company in Monkwell
-Street, London (Pl. 54).[701] It was painted to commemorate the
-unification of the Company of Barbers and the Guild of Surgeons by Act
-of Parliament in the thirty-second year of Henry’s reign (1540-41), and
-must have been begun shortly after the passing of the Act. At an earlier
-period the barbers and the surgeons of London had formed a single
-company, but in course of time had become separated; and upon their
-second coming together Holbein was called in to furnish a permanent
-record of the event. During the progress of the work he painted separate
-portraits of at least two of the sitters in the big picture—Dr. John
-Chamber and Sir William Butts—just as he had painted individual
-likenesses of Sir Thomas and Lady More when engaged upon the big group
-of the Chancellor’s family.
-
-Footnote 701:
-
-  Woltmann, 202. Reproduced by A. F. Pollard, _Henry VIII_, p. 270;
-  Ganz, _Holbein_, p. 130.
-
-The truth of Van Mander’s statement that Holbein left this large picture
-unfinished is apparent after even a cursory examination of it. That
-writer, who regarded it as an “unusually splendid work,” says:
-
-“According to the feeling of some, Holbein is said not to have completed
-the piece himself, but that the deficient parts were painted by some one
-else. Nevertheless, if this be the truth, it must lead to the conclusion
-that the completer of the work must have understood how to follow
-Holbein’s manner so judiciously that no painter or artist can from good
-reasons decide that various hands have been engaged in it.”[702]
-
-Footnote 702:
-
-  Quoted by Woltmann, i. p. 474. Eng. trans., p. 444.
-
-The latter part of Van Mander’s statement, however, is far from correct,
-for the hand of a very inferior craftsman is plainly enough to be
-discerned over a greater part of the picture. The general arrangement of
-the kneeling figures in the front rank, and the position assigned to the
-King, were evidently Holbein’s, who had probably finished the heads, and
-even the robes, of several of the leading members of the Guild, while
-the heads of others had possibly been traced on the panel from his own
-preliminary studies before death cut short his labours. For the rest,
-the picture appears to have suffered from more than one later attempt to
-finish it.
-
-[Sidenote: DESCRIPTION OF THE PICTURE]
-
-The composition consists of nineteen figures. Henry VIII is shown
-full-length on his throne, which is not placed in the centre of the
-picture, but somewhat to the spectator’s left. He is crowned and dressed
-in his full robes of state, holding the sword in his right and the
-charter in his left hand. He is represented as far larger in size than
-the other figures kneeling in front of him, something in the manner of
-earlier days, when the importance of the principal person in a painting
-was brought home to the spectator by the simple plan of depicting him
-much bigger than those who surrounded him. This is a trick to which such
-a master as Holbein would never have descended; indeed, the figure of
-the King, who stares straight out of the picture with a dull, wooden
-countenance, without evincing the slightest interest in the ceremony in
-which he is the chief performer, cannot even have been sketched in by
-Holbein, and is a stiff and clumsy performance at the best. The head has
-evidently been copied from one of the numerous likenesses of Henry of
-the type of the Warwick portrait, without any attempt to alter the
-position of the face or to connect it with the presentation which is
-taking place. The position of the head may have been indicated by
-Holbein on the panel, and Woltmann is probably right in his conjecture
-that it was his intention to represent him standing on the steps of the
-throne, and not seated, which would account for the height of the face
-as it now is above the surrounding figures.[703] On the King’s right
-hand only three members of the Guild are kneeling—Chamber in the front,
-with Butts next, and T. Alsop behind him. The three may have been thus
-placed in the position of honour as the King’s personal physicians. All
-three wear a furred gown and a doctor’s cap. The head of Chamber is
-excellent, and appears to be wholly Holbein’s work, with little or no
-retouching; that of Butts has suffered more severely from incompetent
-hands, while the Alsop is much weaker. It is in this part of the
-picture, and in one or two of the heads on the opposite side, that
-Holbein carried his work almost entirely to completion. Eight men kneel
-in the front row on the King’s left, headed by T. Vicary, who receives
-the charter from the royal hand, five of them with beards, and some of
-them with skull-caps, and wearing more elaborate costumes and gowns than
-those opposite to them. The second figure, T. Aylif, the Warden, is one
-of the most effective, the head, though here again retouching is very
-evident, being perhaps the best of all. The heads of Harman and Monforde
-are noteworthy among the remainder of the figures, the greater number of
-which have been so badly repainted that no touch of Holbein’s hand is
-now visible; though it is possible that in some cases he was responsible
-for the outline. According to Dr. Woltmann, traces of the pinholes by
-means of which the transference of Holbein’s original sketches of the
-heads to the panel was made, can still be seen in several instances.
-Behind the eight kneeling members of the Company on the spectator’s
-right there appears an upper row of seven figures, which must have been
-added at a considerably later date than that of the finishing process
-given to the picture at some time shortly after Holbein’s death. These
-later figures are so badly placed that they entirely spoil the
-composition, and are quite devoid of artistic merit, being the work of a
-still weaker hand than that of the unknown “finisher.” They evidently
-formed no part of the original arrangement, but represent later members
-of the company who wished their portraits to be included. The panel is
-further marred by the fact that over each sitter, with the exception of
-five in the last-named row, his name is inscribed in large letters.
-Another late addition, which also helps to spoil the general effect, is
-a large white tablet on the wall on the right, which contains a long
-Latin inscription in prose and verse in praise of the King. Originally
-this space was occupied by a window, through which could be seen the old
-tower of the church of St. Bride’s, showing that the ceremony was
-represented as taking place in the palace of Bridewell. Behind the King
-hangs a large gold-embroidered curtain, and on either side of it the
-space is roughly filled in with flowers and fruit representing tapestry.
-According to Dr. Ganz,[704] it is the same chamber, with the same
-hangings, probably the throne-room in Whitehall, as in the large picture
-of the family of Henry VIII at Hampton Court (No. 340 (510)),[705] which
-has been attributed by some writers to Guillim Stretes; and again, in a
-portrait of Queen Elizabeth in the possession of the Earl of
-Buckinghamshire. It is possible that the King may have sat for the
-picture at Whitehall, and that Holbein made use of the surroundings at
-his hand, but the view from the window in the copy of the
-Barber-Surgeons painting, mentioned below, seems to indicate that the
-room represented was in Bridewell. There is no resemblance between the
-patterns of the carpets in the two pictures. It is painted on a panel
-made up of a number of thick, vertical oak boards, and is 10 ft. 3 in.
-wide by 6 ft. high. In Woltmann’s opinion, “the picture is nothing but a
-ruin, in which we have to search with difficulty for the traces of
-Holbein.”[706]
-
-Footnote 703:
-
-  Woltmann, i. p. 475.
-
-Footnote 704:
-
-  See _Holbein_, p. 243.
-
-Footnote 705:
-
-  The central part of this picture, showing Henry VIII enthroned, with
-  Edward VI and Queen Catherine Parr on either side of him, is
-  reproduced by Mr. Ernest Law in _The Royal Gallery of Hampton Court_,
-  p. 130.
-
-Footnote 706:
-
-  Woltmann, Eng. trans., p. 446.
-
-This opinion, and an almost similar one given by Wornum, were regarded
-by the late Sir Charles Robinson as far too scathing.[707] He considered
-that Holbein’s hand had worked more or less over every part of the great
-panel—very elaborately and minutely in some parts and very slightly in
-others; but that nowhere had the finishing touches and work required to
-give final truth and perfection of representation been bestowed. He
-thought that an interval of some twenty or thirty years must have
-elapsed before the Barber-Surgeons, in an inauspicious moment,
-determined on the completion of their picture, the superadded work
-seeming to be that of a somewhat advanced Elizabethan period. It must
-always be a matter of deep regret that they did not leave it in the
-state in which it came to them from Holbein’s studio, for it would have
-been of infinitely greater value than it is now. Finished by him it
-could not have been less than a masterpiece; but even in its incomplete
-state it would have been of equal interest as forming an invaluable
-example of his technique and methods of working.
-
-Footnote 707:
-
-  In a letter to _The Times_, 28th August 1895.
-
-[Sidenote: COPY MADE FOR JAMES I]
-
-On the 13th of January 1618 James I wrote from Newmarket to the Company
-asking that the picture should be lent to him, as he was anxious to have
-a copy made of it, and promising that this should be done expeditiously,
-and the original redelivered safely. “We are informed,” he said, “there
-is a table of Painting in your Hall whereon is the Picture of our
-Predecessor of famous memorie K. Henry the 8th., together w^h diverse of
-y^r Companie, w^h being both like him and well done Wee are desirous to
-have copyd.”[708] Holbein’s name is not mentioned in this letter. The
-copy then made is in all probability the one now in the possession of
-the Royal College of Surgeons,[709] which is smaller than the original,
-and an indifferent version of it, on paper attached to canvas. The
-figure of Alsop, on the extreme right of the King, is omitted, and in
-place of the tablet with the inscription, the window with a view of the
-church tower is shown, proving that even if it is not the copy ordered
-by James I, it is at least a very early version of the original. It was
-at one time in the collection of Desenfans, and at his sale in 1786 was
-purchased by the Surgeons’ Company for fifty guineas. It has been
-incorrectly described as the original cartoon for the picture, and it
-has also been said, but this again is wrong, that it belonged at one
-time to the Barber-Surgeons’ Company, and that when the two branches of
-the Guild were finally separated in 1745, the College retained the copy
-or cartoon and the Company kept the picture.[710]
-
-Footnote 708:
-
-  The original letter is in the possession of the Company.
-
-Footnote 709:
-
-  The College also possesses a second copy of the picture.
-
-Footnote 710:
-
-  In 1789 this copy was cleaned and put in order by a man named Lloyd,
-  who asked £400 for his labours, but eventually took fifty guineas.
-
-The next reference to the picture occurs in Pepys’ _Diary_, under the
-date August 29, 1668. The entry runs: “At noon, comes by appointment
-Harris to dine with me; and after dinner, he and I to Chirurgeons’ Hall,
-where they are building it new, very fine; and there to see their
-theatre, which stood all the fire, and, which was our business, their
-great picture of Holbein’s, thinking to have bought it, by the help of
-Mr. Pierce, for a little money. I did think to give 200_l._ for it, it
-being said to be worth 1000_l._; but it is so spoiled that I have no
-mind to it, and is not a pleasant though a good picture.” The fire of
-which Pepys speaks was the great fire of 1666, and the damage to which
-he refers may have been caused to some extent by the smoke, though it is
-more probable that the injury he noted was merely that caused by time
-and restoration. Wornum suggests that it underwent restoration shortly
-after the Great Fire, and that the tablet with the inscription was then
-introduced in place of the original window.[711] The entry in the
-_Diary_ further shows how high a value the Company placed on the picture
-even in those days, and also that they were prepared to sell it at their
-own price.[712]
-
-Footnote 711:
-
-  Wornum, p. 352, who quotes the whole of the Latin inscription.
-
-Footnote 712:
-
-  See Appendix (M).
-
-In 1734 the Company commissioned Bernard Baron to engrave the picture
-for the sum of 150 guineas. The plate, which is a large one, and a
-fairly accurate transcript of the original, except that it is reversed,
-was published in 1736. It was dedicated to the Earl of Burlington, with
-a Latin inscription. In 1856 it was engraved on wood for the
-_Illustrated London News_ by Henry Linton.[713] In 1895 the Company were
-again anxious to sell it, and an effort was made to purchase it for the
-nation, but unfortunately the scheme fell through, possibly because the
-extravagant price of £15,000 was asked for it.
-
-Footnote 713:
-
-  Reproduced in Mantz, p. 172.
-
-While still engaged upon this important work, Holbein’s life was cut
-short by the plague, which raged so severely in London in the summer and
-autumn of 1543 that hundreds of people died each week from it. According
-to Hall, “Thys yeare was in London a great death of the Pestilence, and
-therefore Mighelmas Tearme was adjourned to Saynt Albons”; and Stow
-repeats this statement almost word for word.[714] Holbein succumbed to
-it on some date between the 7th of October and 29th of November. This
-was proved by the discovery of his will in February 1861, by Mr. W. H.
-Black, F.S.A., who found it in one of the Registers of the Commissary of
-London, at that time preserved in the Record Room at St. Paul’s
-Cathedral. It is included in the book called “Beverly,” on folios 116
-and 121, that volume covering the period from 1539 to 1548. It runs as
-follows:
-
-Footnote 714:
-
-  Hall, _The Union of the Two Noble and Illustrate Families of Lancastre
-  and Yorke_, 1548, p. 257. Stow, _The Annales_, &c., 1615, p. 585.
-
-[Sidenote: HOLBEIN’S WILL]
-
-    “_Holbeine._—In the name of God the father, sonne, and holy
-    gohooste, I, Johñ Holbeine, servaunte to the Kynges Magestye,
-    make this my Testamente and last will, to wyt, that all my
-    goodes shalbe sold and also my horse, and I will that my debtes
-    be payd, to wete, fyrst to Mr. Anthony, the Kynges servaunte, of
-    Grenwiche, y^e of [_sic_] summe of ten poundes thurtene
-    shyllynges and sewyne pence sterlinge. And more over I will that
-    he shalbe contented for all other thynges betwene hym and me.
-    Item, I do owe unto Mr. John of Anwarpe, goldsmythe, sexe
-    poundes sterling, wiche I will also shalbe payd unto hym with
-    the fyrste. Item, I bequeythe for the kynpyng [keeping] of my
-    two Chylder wich be at nurse, for every monethe sewyn shyllynges
-    and sex pence sterlynge. In wytnes, I have sealed and sealed
-    [_sic_] this my testament the vijth day of Octaber, in the yere
-    of o^r Lorde God M^lvCxliij. Wytnes, Anthoney Snecher, armerer,
-    Mr. Johñ of Anwarpe, goldsmythe before said, Olrycke Obynger,
-    merchaunte, and Harry Maynert, paynter.”
-
-To this the following official act was appended on the 29th November:
-
-    “XXIX^o die mensis Novembris anno Domini predict. Johannes
-    Anwarpe executor nominat, in testamento sive ultima voluntate
-    Johannis alias Hans Holbein nuper parochie sancti Andree
-    Vndershafte defuncti comparuit coram Magistro Johanne Croke,
-    &c., Commissario generali, ac renunciavit omni executioni hujus
-    modi testamenti, quam renunciationem dominus admisit, deinde
-    commisit administracionem bonorum dicti defuncti prenominato
-    Johanni Anwarpe in forma juris jurato et per ipsum admissa
-    pariter et acceptata. Salvo jure cujuscumque. Dat. etc.”
-
-    [On the 29th November in the aforesaid year of our Lord, John
-    Anwarpe, appointed executor in the testament or last will of
-    John _alias_ Hans Holbein, recently deceased in the parish of
-    St. Andrew Undershaft, appeared before Master John Croke,
-    Commissary-General, and renounced the execution of the said
-    will, which renunciation was allowed, and the administration of
-    the property left was consigned to the before-mentioned John
-    Anwarpe as sworn in, which was admitted and accepted by him. The
-    right of each intact.
-
-This is followed on folio 121 of the book by the entry:
-
-    “_Holbene._—XXIX^{no} die mensis predicti commissa fuit
-    administracio bonorum Johannis alias Hans Holbeñ parochie sancti
-    Andrei Undershaft nuper abintestato defuncti Johanni Anwarpe in
-    forma juris jurato, ac per ipsum admissa pariter et acceptata.
-    Salvo jure cujuscumque. Dicto die, mens, &c.”
-
-    [_Holbene._—The 29th of the aforesaid month the administration
-    of the property of John _alias_ Hans Holben, recently deceased
-    _ab_ _intestato_ in the parish of St. Andrew Undershaft, was
-    consigned to John Anwarpe as sworn in, and was admitted and
-    accepted by him. The right of each intact. Said day of month,
-    &c.][715]
-
-Footnote 715:
-
-  See Sir A. W. Franks, _Archæologia_, vol. xxxix., p. 2, and W. H.
-  Black, same vol., p. 275.
-
-According to these entries, John of Antwerp was Holbein’s executor,
-although he is not so mentioned in the will, and on the 29th November he
-renounced all execution of it, and took out letters of administration
-only. The will itself appears to have been drawn up carelessly and in
-haste; probably Holbein was already sickening when he made it, so that
-it had to be done in a hurry, or he may have been merely alarmed, owing
-to the number of people daily dying around him, including, as Mr. Lionel
-Cust points out,[716] some members of John of Antwerp’s own household,
-in whose dwelling, he suggests, Holbein may himself have contracted the
-disease. The meaning of the two official acts is not easy to follow, but
-the explanation given by Sir Augustus W. Franks, F.S.A., procured from a
-legal source, is no doubt the correct one. “Though the two official acts
-which follow the copy of the Will may at first appear inconsistent both
-with the Will and also with each other; yet, if we suppose that John
-Anwarpe was considered to have been appointed executor by implication
-(which the law allowed), much of the seeming inconsistency will
-disappear. The object of the renunciation may have been either to
-obviate some doubt which existed as to whether John Anwarpe was so made
-executor (for the language is hardly strong enough), or to avoid certain
-liabilities that would have affected him as executor, but not as
-administrator. Formerly a person was said to have died intestate, not
-only when he left no Will, but also when he left a Will and appointed no
-executor, or appointed executors and they all renounced. In this
-administration act the testator is accordingly said to have died
-intestate. The great difficulty in these official acts is how John
-Anwarpe could have been executor and Mr. Anthony not. The second of the
-two is almost a repetition of the first, and both are dated on the same
-day.”[717]
-
-Footnote 716:
-
-  _Burlington Magazine_, vol. viii., February 1906, p. 360. See also p.
-  13.
-
-Footnote 717:
-
-  _Archæologia_, vol. xxxix. p. 15.
-
-[Sidenote: HOLBEIN’S WILL]
-
-The will is of great interest, not only as proving the date of Holbein’s
-death within a week or two, but also as affording some information as to
-his worldly position and his personal friends. Although his practice in
-London was a large one, he died somewhat heavily in debt, and the
-inference is that he had not saved money. What his personal possessions
-consisted of, the document, so hastily drawn, does not say, but, unlike
-a number of his fellow-artists, he does not seem to have owned any
-property in London. It does not necessarily follow, however, that he was
-extravagant in his habits, though he kept a horse and owed money. It has
-been assumed that the frequent payment of his salary in advance was due
-to improvidence; but there is nothing beyond the terms of his will to
-support this, or to show that he spent all his income on himself, and
-that he failed to send money regularly to Basel in support of his wife
-and family. The reference to his two children at nurse indicates some
-irregular connection in England, which may have been one of the reasons
-which made him disinclined to return permanently to Basel in accordance
-with the wish of his fellow-townsmen. Considering the laxity of morals
-at that period, the fact that he had a second family in London is not
-very surprising. It has been suggested that the mother of these children
-died of the plague shortly before the artist, and that his will was made
-through anxiety to provide for them should he in turn be taken with the
-rapid and usually fatal disease, to which most victims succumbed within
-three days. The amount bequeathed for these children’s maintenance,
-about three half-pence a day each, does not seem much, but when the
-relative value of money at that time is taken into consideration, it was
-no doubt enough for their simple needs. What eventually became of them
-is not known.
-
-With regard to the four witnesses to the will, all of whom were, no
-doubt, personal friends of the painter, nothing is known with any
-certainty except as regards John of Antwerp. The Mr. Anthony of
-Greenwich, one of the King’s servants, to whom Holbein owed the
-considerable amount of £10, 13_s._ 7_d._, is evidently the same
-individual who witnessed the will as Anthony Snecher, armourer, although
-the words “before said” do not occur against his name as witness as they
-do in the case of John of Antwerp. Both Mr. Black and Sir A. Franks,
-however, appear to have regarded them as two distinct persons.[718] The
-former suggested that “Mr. Anthony” was Anthony Anthony, one of the
-officers of the Ordnance Department, who had some skill as an
-illuminator, if the embellishments of certain rolls dealing with the
-navy and signed by him were from his hand, as is probable. The latter
-thought that Anthony Snecher was possibly one of the body of German
-armourers in the regular employment of the King at Greenwich, of whom
-Erasmus Kirkheimer was the chief, and that Holbein may have supplied him
-with designs for the ornamentation of weapons. Mr. J. Gough Nichols
-suggested that Mr. Anthony may have been Anthony Toto, the painter, with
-whom Holbein must have been acquainted, and with whom he may have worked
-in conjunction with other foreign artists upon the decoration of Nonsuch
-Palace.
-
-Footnote 718:
-
-  See _Archæologia_, vol. xxxix. pp. 13-14, and 274.
-
-Of Olryck Obinger, the merchant, nothing is known, but from his name he
-must have been a Swiss or German, possibly a merchant of the Steelyard,
-though there is no reference to him in the State Papers, which contain
-the names of a large number of the members of that body. From his name,
-too, Harry Maynert, the painter, also appears to have been a German or a
-Fleming. He remains an indefinite figure at present.[719] Mr. Black
-suggested that he might be a relation of the John Maynard who was one of
-the painters employed on the tomb of Henry VII. A relationship is also
-possible with the Katherine Maynors, of Antwerp, a painter, who obtained
-letters of denization in England in 1540, at which time she was a widow.
-
-Footnote 719:
-
-  The fine miniature by Holbein at Munich, bearing the initials H. M.,
-  which Dr. Ganz suggests may be a portrait of Harry Maynert, is
-  described on pp. 241-2.
-
-[Sidenote: THE PLACE OF HIS BURIAL]
-
-The discovery of the will put an end to the tradition which had existed
-from the beginning of the seventeenth century that Holbein died in 1554.
-This mistake is to be traced back to the publication of Carel van
-Mander’s _Het Schilder Boeck_, published in 1604, two years before the
-writer’s death. In his account of Holbein he concludes by saying: “Soo
-is Holbeen in groote benoutheydt te Londen ghestorven van de Pest A^o
-1554, oudt 56 Jaren.” [Thus did Holbein die in London, of the plague, in
-great distress, in the year 1554, fifty-six years old. Succeeding
-writers copied from Van Mander. Joachim von Sandrart repeated the
-statement in his _Teutsche Akademie_—“Wurde er 1554 im 56 Jahre seines
-Alters von der damals in Londen wütenden Pest hingerafft”—and later
-biographers continued the error, which led to great confusion, as it
-added eleven years to the painter’s life, and caused almost all Tudor
-portraits bearing dates between 1544 and 1554 to be attributed to him.
-Wornum suggests that the letter from the Burgomaster of Basel to Jacob
-David, the Parisian goldsmith, with reference to Philip Holbein, which
-is dated 1545 and speaks of Holbein, the father, as then deceased, may
-have been shown to Van Mander or copied for him, and that in
-transcribing it, or even in the printing of his book, the last two
-figures of the date were accidentally transferred, so that 45 was turned
-into 54.[720] Such mistakes are not of uncommon occurrence, and this
-solution may be the true one. There was no plague raging in London in
-1554, while in 1543 there was an unusually severe visitation. Otherwise
-Van Mander’s account of the painter’s death is substantially correct.
-The place of his burial remains uncertain, but according to tradition,
-as voiced by Strype, he was interred in the church of St. Catherine
-Cree. Strype, in his additions to Stow’s _Survey of the Cities of London
-and Westminster_,[721] says: I have been told that _Hans Holben_, the
-great and inimitable painter in King Henry VIII’s Time, was buried in
-this Church; and that the Earl of _Arundel_, the great Patron of
-Learning and Arts, would have set up a Monument to his Memory here, had
-he but known whereabouts the Corps lay.”
-
-Footnote 720:
-
-  Wornum, p. 23.
-
-Footnote 721:
-
-  1720, Book II. p. 64.
-
-The same story was told by Sandrart, without mentioning the church. He
-supposed that the Earl’s difficulty arose from the fact that so many
-people were dying daily, and had to be buried in such haste, that
-Holbein probably shared a common grave with others, and that no record
-would be kept. There can be little doubt that he would be buried in or
-near the parish in which he was residing. The church of St. Catherine
-Cree, though in the next parish, is not many hundred yards distant from
-the Church of St. Andrew Undershaft, and it is probable that Holbein was
-interred in one or the other of them, possibly the latter, confusion as
-to the exact locality having arisen at a later date owing to the close
-proximity of the two churches. Unfortunately no registers of the time
-are available. St. Andrew Undershaft escaped the Great Fire, but its
-register from 1538 to 1579 has disappeared, while that of St. Catherine
-Cree begins only in 1663.
-
-Holbein’s wife and family are not mentioned in his will, and what little
-is known of their further history is largely due to the researches of
-Dr. His-Heusler in the Basel archives. His wife survived him for six
-years, dying early in 1549, after a somewhat lengthy illness, as on the
-9th of July in the preceding year she appointed, for this reason, a
-deputy to manage her affairs. It is to be gathered that she was left by
-Holbein in a fairly comfortable position, what with the annual pension
-allowed her by the civic authorities, the two houses which her husband
-had purchased fifteen years earlier, and the legacy from his uncle
-Sigmund, which the painter does not appear to have touched. Nor does it
-follow, because she was not mentioned in the will, that he had failed to
-send to her at least a part of his English earnings. An inventory taken
-on the 8th of March 1549, shortly after her death, shows that she was
-fairly well provided with worldly goods. In addition to furniture, an
-ample supply of linen, and the more ordinary household utensils, she
-possessed two silver-gilt covered cups, six silver goblets, a dozen
-silver-plated spoons, and a valise with a portion of her deceased
-husband’s wardrobe, including a black cap, a Spanish cape trimmed with
-velvet, a doublet of smoke-coloured Florentine taffeta, and others of
-black satin, crimson silk, and black damask. These garments must have
-been left behind by Holbein when he visited Basel in 1538, rather than
-forwarded after his death by his executor, who, according to the terms
-of the will, was obliged to sell everything. His stepson, Franz Schmid,
-who carried on his father’s tanning business, died before his mother,
-leaving two children.
-
-[Sidenote: HOLBEIN’S DESCENDANTS]
-
-Some years after 1545, Holbein’s eldest son, Philip, having completed
-his apprenticeship to Jacob David in Paris, from whose service he only
-obtained release after the Basel Town Council had come to his
-assistance, worked for a time as a goldsmith in Lisbon, and finally
-settled in Augsburg, where he founded a diamond-cutting business. He in
-turn had a son named Philip, who, in 1611, petitioned the Emperor
-Matthias for a confirmation and augmentation of “his old and noble coat
-of arms.” In this document, in which he describes himself as Imperial
-court jeweller and a citizen of Augsburg, he speaks of his grandfather
-Johann, as “the painter at that time celebrated throughout Europe,” and
-asserts that the Holbeins were descended from a noble family of the
-“city of Uri.” This last statement, however, was largely imaginary, and
-had its sole foundation in the fact that the Holbein arms[722] were the
-same as those of the canton of Uri, with the exception that the latter
-lacked the star between the bull’s horns. This Philip Holbein, who,
-according to Von Mechel, had been living in Vienna since 1600, had his
-petition granted on the 1st October in the following year, 1612. In 1756
-one of his descendants, Johann Georg Holbein, who was connected with the
-Court of Chancery, obtained a confirmation of the noble rank granted to
-his family in 1612, with the surname of Holbeinsberg, and in 1787 was
-raised to the rank of a Knight of the Empire, with the title of a noble
-of Holbeinsberg.
-
-Footnote 722:
-
-  See Vol. i. p. 83.
-
-Holbein’s elder daughter, Katherine, married in 1545 a butcher named
-Jacob Gyssler, a widower with a grown-up daughter. Among the papers of
-Ludwig Iselin there is a list of all the deaths which occurred in Basel
-between 1588 and 1612, from which we learn that she died on February 8,
-1590. She is described as Katharina Holbeinin, daughter of the deceased
-Hans Holbein, the distinguished painter, wife of a butcher. The second
-daughter, Küngolt, or Kunigunde, after the death of her mother, married
-a miller named Andreas Syff. They had a numerous family, and one of
-their granddaughters married Friedrich Merian, brother of the well-known
-engraver, Matthaüs Merian. Küngolt, according to Iselin’s list, died
-seven months after her sister, on September 15, 1590. She is described
-in the same terms, as the daughter of the celebrated artist. In this
-list there also occurs the name of a third lady of the Holbein family,
-who died on the 17th September 1594, but she is merely described as
-“Felicitas Holbein, wife of Conrad Volmar, died of the plague,” and it
-is not certain that she was one of the painter’s daughters. Nothing is
-known of the younger son, Jacob Holbein, except that he also became a
-goldsmith, and that he came to England and died in London in the summer
-of 1552. In 1549, at the time of his mother’s death, he was still a
-minor, and the document in the Basel archives dealing with the division
-of his property after his death is dated June 27, 1552. No other record
-of his presence in London has been so far traced.
-
-The name occurs in England both before and after Hans Holbein’s
-residence here, but in every case the bearers of it were almost
-certainly Englishmen. Walpole mentions a Holbein, on the authority of an
-entry in a register at Wells,[723] as living in the reign of Henry VII,
-and conjectures him to have been a foreigner, and even a relation of
-Hans, and the possible author of some early paintings, including a
-portrait of Henry VII. In this, however, he was wrong. His Holbein was
-evidently an English country gentleman, and probably some relative of a
-certain Johannes Holbyn of North Stoke, close to Bath, who died in 1548,
-and left a sum of money to the Cathedral of Wells. The wills of two
-other well-to-do persons of this name occur in the registry of the
-Archidiaconal Court of Canterbury—that of John Holbein of Folkestone,
-dated August 21, 1534, who bequeathed forty-six shillings and eightpence
-for a new covered font for the parish church, and of his widow, who died
-shortly after him, which is dated November 25, 1534, and was proved in
-the following January. These people were all English, and had no
-connection with the painter.[724]
-
-Footnote 723:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 49.
-
-Footnote 724:
-
-  See Sir A. W. Franks, _Archæologia_, vol. xxxix. p. 16; W. H. Hart,
-  _Proceedings Soc. of Antiq._, 16th April 1863; and Wornum, p. 372.
-
-Holbein founded no school of painting either in England or Switzerland,
-and there is no evidence to show that he had any pupils. It is probable
-that he employed assistants when engaged upon such wall-paintings as
-those he carried out in Whitehall, but whoever they may have been, their
-engagement was only a temporary one. As already noted, there is no
-record, as there is in the case of several other foreign artists then
-resident in this country, of a royal warrant according him the privilege
-of employing in regular service a number of alien assistants or servants
-in spite of the Act which made such a proceeding illegal. No pupil of
-his is mentioned by any of his early biographers, and it seems almost
-certain that no one directly studied under him. If there had been such a
-painter, some record of him is almost certain to have survived. There
-are a number of portraits, as a rule of no very great artistic merit, in
-various private collections in England, which were evidently painted
-indirectly under his influence. Such examples are to be expected, for it
-was impossible for so great a master to be at work in London for so many
-years without a certain number of imitators springing up, who attempted
-to work in his methods and to copy his style. It is hardly possible now
-that even the names of these third-rate imitators and ineffectual rivals
-will be unearthed.
-
-[Sidenote: GUILLIM STRETES]
-
-As already stated, prior to the discovery of his will almost all
-paintings bearing dates between 1543 and 1554 were ascribed to him; even
-to-day, in some instances, the owners, in spite of the impossibility,
-still adhere to the great name, as the catalogues of most of the
-exhibitions held within recent years dealing with the Tudor period
-afford proof. The authorship of these pictures must be sought for
-elsewhere, though in many cases the task is one of extreme difficulty.
-Several painters of considerable talent were at work at the English
-court during the years immediately following Holbein’s death, and in
-some instances signed and authenticated works by them exist which enable
-comparisons to be made and certain unsigned works from their hands to be
-identified with some confidence. Such men as these were Johannes Corvus
-and Gerlach Fliccius; but in other cases, such as that of Guillim
-Stretes, only the names and a few scanty records remain, and it is
-impossible to point to any picture which can be said with absolute
-certainty to have been produced by them. Lucas Hornebolt died in 1544,
-about six months later than Holbein, and in the same year Girolamo da
-Treviso was killed by a cannon-ball at the siege of Boulogne. Several of
-the leading Italian artists, however, continued to serve the court
-during the remainder of Henry VIII’s life and throughout the succeeding
-reign, such as Antonio Toto, the sergeant-painter, his colleague,
-Bartolommeo Penni, and Nicolas Bellin of Modena, though no signed or
-authenticated picture by any one of them has survived.
-
-One of the most important of Holbein’s immediate successors was the
-Dutch painter, Guillim or Gillam Stretes, though so far no mention of
-him has been found prior to the accession of Edward VI. Strype’s extract
-from the records of the Privy Council, having reference to a payment of
-fifty marks made to him for two pictures of the young King and one of
-the Earl of Surrey, has been already quoted,[725] as well as the fact
-that in 1553 he was receiving, as King’s painter, an annuity of £62,
-10_s._, more than double Holbein’s salary, showing that he was a person
-of importance among the painters of Edward’s reign. Reference has also
-been made to the attribution to Stretes of the full-length portrait of
-Henry Howard, Earl of Surrey, in the collection of the Duke of Norfolk
-at Arundel Castle,[726] and of the duplicate version, without the
-painted framework, at Knole.[727] The attribution of these two works to
-Stretes is based entirely on the Privy Council order. Dr. Waagen[728]
-stated that the Arundel Castle portrait was inscribed “William Strote,”
-but no one else has succeeded in discovering this signature, and very
-possibly the name he quotes was seen by him on some old label then
-attached to the frame and since removed. These two portraits, as already
-noted, have been grouped with several other full-lengths, including the
-young man in red at Hampton Court Palace (No. 345 (315)), wrongly
-described as a portrait of the Earl of Surrey,[729] that of Sir Thomas
-Gresham, dated 1544, in Mercers’ Hall, the beautiful portrait of William
-West, Lord Delawarr,[730] belonging to Lieut.-Col. G. L. Holford,
-C.I.E., C.V.O., and the one of the Earl of Southampton, 1542, in the
-Fitzwilliam Museum.[731] These portraits display somewhat close
-affinities, though it is not possible to allow that all are by the same
-hand. The portrait of William West is a work of great power and
-character, and has been attributed to Holbein himself, but the style of
-the painting does not accord with his. All these works are of
-considerably earlier date than that of the Privy Council order, which is
-the earliest reference so far discovered touching this painter, and it
-is extremely doubtful whether he had anything to do with them. One is on
-safer ground in attributing to him some of the portraits of King Edward,
-which exist in considerable numbers, two of which he certainly painted,
-and very possibly others. These portraits of the young King, and
-Stretes’ probable connection with them, have been dealt with in an
-earlier chapter.[732] One other picture Stretes is known to have
-painted, for it is recorded that on New Year’s Day, 1556, he presented
-Queen Mary with “a table of her Majesty’s Marriage.”[733] This picture,
-which must have been one of particular interest, has completely
-disappeared. Dr. Williamson records a signed miniature by him of Edward
-VI, almost full-face, wearing a jewelled cap, in Earl Beauchamp’s
-collection at Madresfield Court,[734] and he also attributes to the same
-painter a second miniature of the young King, as a little boy, in the
-Rijks Museum, Amsterdam.[735]
-
-Footnote 725:
-
-  See pp. 168-170.
-
-Footnote 726:
-
-  Exhib. Burl. Fine Arts Club, 1909, No. 54. Reproduced Arundel Club,
-  1907, No. 3; Pollard, _Henry VIII_, p. 284.
-
-Footnote 727:
-
-  See p. 201.
-
-Footnote 728:
-
-  Waagen, _Treasures of Art in Great Britain_, vol. iii. p. 30.
-
-Footnote 729:
-
-  Reproduced by Law, _Royal Gallery of Hampton Court_, p. 136.
-
-Footnote 730:
-
-  Exhibited Royal Academy Winter Exhibitions, 1870, No. 23; 1880, No.
-  167; 1908, No. 2; Burl. Fine Arts Club, 1909, No. 51. Reproduced
-  Arundel Club, 1908, No. 10; and Burl. Fine Arts Club Catalogue, Pl.
-  xvii.
-
-Footnote 731:
-
-  See pp. 204-205.
-
-Footnote 732:
-
-  See pp. 168-170.
-
-Footnote 733:
-
-  _Queen Elizabeth’s Progresses_, vol. i. p. xxxv., and Nichols’
-  _Illustrations of Ancient Times_, p. 14.
-
-Footnote 734:
-
-  Williamson, _History of Portrait Miniatures_, 1904, vol. i. p. 12.
-  Reproduced, Pl. v. fig. 3.
-
-Footnote 735:
-
-  _Ibid._, Pl. xlvii. fig. 6.
-
-[Sidenote: GERLACH FLICCIUS]
-
-Of Johannes Corvus, the Fleming, and his portraits of Richard Foxe,
-Bishop of Winchester, and of Mary Tudor, sister of Henry VIII, the one
-undated, and the other of the year 1532, some account has been already
-given.[736] Little is known of this painter, or of Gerlach Fliccius or
-Flicke, who, like Holbein, was German, and appears to have settled in
-London towards the end of Henry VIII’s reign, where he died in 1558.
-Recent researches by Miss Mary Hervey[737] have, however, added
-considerably to our knowledge of this painter and his work. His will,
-recently discovered, which is dated 24th January 1558, and was proved by
-his widow on the 11th February following, shows that he was living in
-the parish of St. Giles without Cripplegate, and that he possessed lands
-and goods in Osnabrüch, of which place he was no doubt a native. In this
-document he calls himself “Drawer,” and gives his name as Garlick
-Flicke, and it was under the name of Garlick that he was generally known
-in this country. The Lumley inventory includes three portraits by him—a
-full-length, described as “The Statuary of Thomas first Lo: Darcy of
-Chiche, created by King Edw. 6. L^d Chamberlayne to the said K. Edw.:
-drawn by Garlicke,” and two small ones of “Queen Marye, drawne by
-Garlicke,” and “Thomas, the third Duke of Northfolke, drawne by
-Garlicke.” Unfortunately these three portraits have disappeared—the
-full-length of Lord Darcy in quite modern times. Until 1854 it was
-hanging in Irnham Hall, Lincolnshire, but in that year the house and its
-contents were sold, and the present whereabouts of the picture has so
-far not been traced. Miss Hervey gives a list of eight portraits which
-can be attributed with more or less certainty to Fliccius. In addition
-to the three from the Lumley Collection, there are three others in the
-collection of the Marquis of Lothian at Newbattle Abbey, Dalkeith, the
-portrait of Archbishop Cranmer in the National Portrait Gallery, and the
-small double portrait of the painter himself and his friend, Richard
-Strangeways. The three at Newbattle Abbey[738] are of great interest,
-though it is impossible to describe them in detail here. The finest,
-which is dated 1547, and is signed “Gerlacius Fliccūs Germanūs
-faciebat,” represents an unknown man of the age of forty, whom Miss
-Hervey tentatively suggests to be William, Lord Grey of Wilton, clad in
-a slit buff jerkin and a black velvet surcoat trimmed with fur. It is a
-portrait of considerable power, and though it has suffered from
-repainting still appears to have been the work of a man of more than
-ordinary artistic talents. The second portrait at Newbattle—of Sir Peter
-Carew—has many points in common with it, and was probably painted at
-about the same time. The portrait of Archbishop Cranmer in the National
-Portrait Gallery is stiffer in style than these, and suggests a more
-obvious attempt to follow the manner of Holbein, but though very
-carefully painted and with every appearance of truth of portraiture,
-lacks the vitality which stamps everything from the hand of the master.
-It is signed “Gerbicus Flicciis Germanus faciebat,” and though undated
-was, according to the sitter’s age, painted in 1545. The curious double
-portrait, on a small oak panel, of Flicke and his friend Strangeways or
-Strangwish, the gentleman privateer, known as the “Red Rover,” was
-painted in prison in 1554. The artist seems to have been mixed up in
-Wyat’s rebellion, and as a result he and his friend were imprisoned, but
-afterwards released. Over each head is painted a verse, that above
-Flicke’s in Latin, which, translated, runs: “Such in appearance was
-Gerlach Fliccius, what time he was a painter in the City of London. This
-portrait he painted from a mirror for his dear friends, that they might
-be able to remember him after his death.” The lines over Strangeways are
-in English:
-
-             “Strangwish thus strangely depicted is,
-              One prisoner for thother hath done this;
-              Gerlin hath garnisht for his delight,
-              This woorck whiche you se before youre sight.”
-
-Footnote 736:
-
-  See Vol. i. p. 269.
-
-Footnote 737:
-
-  See _Burlington Magazine_, vol. xvii., May 1910, pp. 71-9, and June
-  1910, pp. 147-8, from which most of the following facts have been
-  taken; and J. G. Nichols, _Archæologia_, xxxix. pp. 40-41.
-
-Footnote 738:
-
-  All reproduced by Miss Hervey in _Burlington Magazine_, as quoted.
-
-The background is blue. The present ownership of this picture is
-unknown. The remaining picture, at Newbattle Abbey, is a small portrait
-of Jacques de Savoie, duc de Nemours, showing the head and shoulders
-only of a young man with fair hair and a very slight beard and
-moustache, in French dress, and wearing the Order of St. Michael. It
-betrays the influence of the French school, and is in style of marked
-difference to his other known works. It was identified in 1909 by M.
-Dimier, who discovered three crayon drawings taken from it, all of them
-bearing the title given above. The original picture is signed “G.
-Fliccus ft.,” and on the back is an old label with “Origl. Fliccus ft.”
-Miss Hervey suggests that it was painted on the Continent about
-1555.[739]
-
-Footnote 739:
-
-  Reproduced by Miss Hervey, _Burlington Magazine_, vol. xvii., June
-  1910, p. 148, together with one of the French drawings.
-
-[Sidenote: HANS EWORTHE OR EEUWOUTS]
-
-Recent researches on the part of Mr. Lionel Cust have established the
-identity of another foreign painter of considerable skill, who was at
-work in England some years after Holbein’s death, but who hitherto has
-been known only under the initials H. E.[740] This monogram occurs on a
-number of pictures of important personages bearing dates from 1550 to
-1568, the earliest of them being on a portrait at Longford Castle,
-formerly known as Sir Anthony Denny, but now recognised as Sir Thomas
-Wyndham. These portraits have usually been given to Lucas d’Heere,[741]
-of Ghent, although all that is known of that painter’s life, including
-the fact that he did not come to England before 1568, made the
-attribution of any one of them to him one of great difficulty. Mr. Cust,
-by means of certain entries in the Lumley inventory, has proved that the
-real author of them was a certain Jan Eeuwouts, of Antwerp, whose name
-became anglicised into Haunce or Hans Eworthe. Three of the Lumley
-portraits are described as the work of Eworthe—“Mr. Edw. Shelley slayne
-at Mustleborough fielde, drawen by Haunce Eworthe”; “Haward a Dutch
-Juello^r, drawne for a Maisters prize by his brother, Haunce Eworthe”;
-and “Mary Duches of Northfolke, daughter to the last Earle of Arundell
-Fitzallan, doone by Haunce Eworthe,” the last one being in all
-probability the portrait now at Arundel Castle, which is signed H. E. in
-monogram. Several other portraits in the Lumley inventory, though no
-painter’s name is given, still exist, and bear this monogram, such as
-the small double portrait of Lord Darnley and his brother, Charles
-Stewart, at Windsor Castle; Lord Maltravers at Arundel Castle; Sir John
-Lutterel, dated 1550, at Dunster Castle; and Sir Thomas Wyndham, also
-dated 1550, at Longford Castle.[742] These portraits prove that Eworthe
-was much employed by Lord Lumley or his father-in-law, the last Earl of
-Arundel, at Nonsuch Palace. Mr. Cust has traced him as a resident alien
-in London in 1552 in the parish of St. Saviour’s, Southwark. He is
-described in the return as “John Ewottes, paynter,” and assessed at the
-high rate of eight guineas, and he employed a servant named John
-Mychell, who was assessed at eightpence. As “Jan Eeuwouts, schilder,” he
-was admitted a free master of the Guild of St. Luke in Antwerp in 1540.
-It is thus possible that he was a native of that city.[743]
-
-Footnote 740:
-
-  See _Burlington Magazine_, vol. xiv., pp. 366-8.
-
-Footnote 741:
-
-  For an account of d’Heere’s work in England, see Lionel Cust in _Dict.
-  of National Biography_, 1888, vol. xiv., in the _Magazine of Art_,
-  1891, and in the _Proceedings of the Huguenot Society of London_, vol.
-  vii. No. 1, 1903.
-
-Footnote 742:
-
-  Reproduced in the Catalogue of the Earl of Radnor’s Pictures, 1909,
-  No. 165.
-
-Footnote 743:
-
-  For further details concerning Hans Eworthe, see Mr. Cust’s paper,
-  already quoted, in the _Burlington Magazine_, and Mr. W. Barclay
-  Squire’s notes to the portrait of Sir Thomas Wyndham in the Earl of
-  Radnor’s Catalogue. The latter describes all the portraits which so
-  far can be attributed to Eworthe with any degree of certainty.
-
-The present writer ventures to suggest that Eworthe was also the author
-of a picture included in the inventory of the Duke of Buckingham’s
-pictures at York House in 1635. The entry is as follows: “Hans Evolls—A
-little head of Queen Mary.”[744] The spelling of most of the names in
-this inventory is largely phonetic, and evidently the work of some
-person with little knowledge of such matters, so that he may easily have
-turned Eworthe into Evolls.[745] The following statement of Walpole’s
-also suggests a possible connection with Eworthe: “Another picture of
-Edward VI was in the collection of Charles I, painted by Hans Hueet, of
-whom nothing else is known. It was sold for 20_l._ in the civil
-war.”[746]
-
-Footnote 744:
-
-  See _Burlington Magazine_, vol. x., March 1907, p. 382.
-
-Footnote 745:
-
-  Or the double _l_ may be merely a mistake of the compiler of the
-  catalogue for a double _t_.
-
-Footnote 746:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 136.
-
-[Sidenote: THOMAS AND JOHN BETTES]
-
-It is impossible to mention more than the names of certain better-known
-foreigners who practised in England under Mary and Elizabeth, such as
-Mor, who came over in 1553, Joos van Cleve, who did so in 1554, and
-Lucas d’Heere. Of the few known native painters working in London in the
-years immediately following Holbein’s death the records are so scanty
-that little remains but their names, but, taking them as a body, they
-must have been men of very modest talent, and in portraiture, when they
-essayed it, merely feeble imitators either of Holbein or one of the
-other leading foreigners at Henry’s court. Among them were John Shute,
-painter and architect, and John Bettes, both of whom are described as
-miniature painters by Richard Haydock in his translation of _Lomazzo on
-Painting_ (1598), and, apparently, as contemporaries of Nicholas
-Hilliard. “Limnings,” he says, “much used in former times in
-church-books, as also in drawing by the life in small models, of late
-years by some of our countrymen, as _Shoote_, _Betts_, &c., but brought
-to the rare perfection we now see by the most ingenious, painful, and
-skilful master, Nicholas Hilliard.”[747] Meres, in _Palladis Tamia, Wits
-Treasury_, the second part of his _Wits Commonwealth_, also published in
-1598, in giving a list of the leading painters in England at that time,
-mentions “Thomas and John Bettes.” From these two entries it seems clear
-that Bettes was an Elizabethan miniature painter, and Vertue, who was of
-opinion that he learned from Hilliard, mentions a miniature by him of
-Holbein’s sitter, Sir John Godsalve, in which he was represented with
-his spear and shield, with the inscription “Captum in castris ad
-Boloniam 1540.”[748] There is, however, in the National Gallery a small
-portrait of Edmund Butts (No. 1496), a son of Sir William Butts, another
-of Holbein’s sitters, to which reference has been already made,[749]
-which is attributed to John Bettes, and bears the date 1545. If this
-attribution, based on a French inscription on the back of the panel, be
-correct, the date indicates that the painter was at work at a
-considerably earlier period than is to be inferred from the only two
-almost contemporary references to him, quoted above, which have been so
-far discovered, and that he may even have been personally acquainted
-with Holbein. The portrait in the National Gallery is a work of
-considerable merit, and possesses certain Holbeinesque characteristics.
-In any case, the date upon it makes it impossible, if painted by Bettes,
-that he could have been Hilliard’s pupil, as Vertue asserted. Little or
-nothing is known of his work, though, according to Dr. Williamson, there
-is a fine miniature of an unknown man by him in the Montagu House
-Collection, signed “J. B. 1580”;[750] and a second, of a somewhat
-earlier date, a portrait of Gaspard de Coligny, Admiral of France,
-apparently unsigned, in Lord Beauchamp’s possession at Madresfield
-Court.[751] Dr. Williamson also notes a quaint miniature of Edward VI as
-a baby in the Rijks Museum, Amsterdam, which in an old inventory of the
-Dutch royal possessions is attributed to Bettes.[752] Fox, in his
-_Ecclesiastical History_, states that John Bettes drew the vignettes for
-Hall’s _Chronicle_. Still less is known of Thomas Bettes, but there was
-a miniature in the Propert Collection of John Digby, Earl of Bristol,
-which was given to him.
-
-Footnote 747:
-
-  Quoted by Walpole, _Anecdotes_, ed. Wornum, i. p. 172.
-
-Footnote 748:
-
-  Walpole, _Anecdotes_, ed. Wornum, i. p. 138.
-
-Footnote 749:
-
-  See p. 210.
-
-Footnote 750:
-
-  Williamson, _History of Portrait Miniatures_, 1904, vol. i. p. 13;
-  reproduced Pl. iv. fig. 2.
-
-Footnote 751:
-
-  _Ibid._, Pl. iv. fig. 1.
-
-Footnote 752:
-
-  _Ibid._, Pl. xlvii. fig. 4.
-
-Another painter, of whom little is known but his name, was Nicholas
-Lyzarde, who is generally considered to have been an Englishman, though
-Mr. Digby Wyatt speaks of him as Nicolo Lizardi.[753] He was employed
-about the Court during the last years of Henry VIII’s reign. Thus, in
-1543-4 he was at the head of a band of painters engaged on work in
-connection with some revels at Hampton Court, for which he received
-higher wages than the others—“Wages to painters: Nich^s Lezard 18_^d_
-per diem”; and in 1544-5 he supplied various materials and properties
-for some other masque—“Paste work and painting, Nicholas Lizarde,
-painter, for gyldinge under garments for women, of white and blue
-sarcenet, with party gold and silver, 4 _li._; 8 pastes for women,
-20_d._; 8 long heads for women, made of past gilded, with party gold and
-silver, 43_s._ 4_d._” &c. He was afterwards in the regular employment of
-the Court throughout the reigns of Edward VI, Mary, and Elizabeth, being
-serjeant-painter to the last-named Queen, with a pension or salary of
-£10 a year. Nothing of his work remains that can be identified, but that
-he painted “subject” pictures is to be gathered from a New Year’s gift
-he presented to Queen Mary in 1556 of a “table painted with the Maundy,”
-while in 1558 his gift to Queen Elizabeth was “a table painted of the
-history of Assuerus,” for which he received a gilt cruse of some 8 oz.
-in weight. He died in April 1571, and at the time was living in the
-parish of St. Martin’s-in-the-Fields, and left a family of five sons and
-four daughters.[754]
-
-Footnote 753:
-
-  “Foreign Artists in England,” &c., _Transactions Royal Inst. Brit.
-  Architects_, 1868, pp. 218 and 235. It may be suggested that this
-  painter was the “Master Nycolas” or “Nicholas Florentine” who worked
-  with Holbein on the decorations of the Greenwich Banqueting Hall in
-  1527; while a possible, though not very probable, connection between
-  Nicholas Lyzarde and Nicholas Lasora, who was engaged upon similar
-  work at Westminster Palace in 1532, has been already pointed out.
-  Lasora, however, in spite of his Italian-sounding name, appears to
-  have been a Teuton, for he may be identified with some probability as
-  the “Nic. Leysure, a German,” mentioned more than once in the royal
-  accounts. See vol. i. p. 314 and note.
-
-Footnote 754:
-
-  J. G. Nichols, _Archæologia_, vol. xxxix. p. 45. That he was not
-  English seems probable from the fact that he was assessed and taxed at
-  the customary rate for foreigners. See pp. 188-9.
-
-[Sidenote: HIS IMITATORS AND COPYISTS]
-
-In the wider field of European art, also, it is impossible to point to
-any painter who was a pupil, or even a direct follower, of the master.
-Sandrart says that Christopher Amberger “followed the famous artist
-Holbein in his manner of painting, and especially in portraiture,” but
-modern criticism does not endorse this statement. In any case, his
-opportunities of studying Holbein’s works must have been few, though
-Woltmann considered that he certainly did so, and regarded him, if not
-as an actual pupil, yet as a real follower of the master.[755] It is not
-to be expected, indeed, that Holbein should have formed any definite
-school, though he must have influenced painting in Basel during his
-first and longest residence in that city; but, except for that period,
-his life was more or less a wandering one, and he never, during his
-short career, settled for a long enough time in any one place to have
-allowed him to gather any considerable body of pupils around him.[756]
-
-Footnote 755:
-
-  Woltmann, i. p. 488.
-
-Footnote 756:
-
-  On this point, however, see Elsa Frölicher, _Die Porträtkunst Hans
-  Holbeins des Jüngeren und ihr Einfluss auf die schweizerische
-  Bildnismalerei im XVI Jahrhundert_, 1909, in which she traces the
-  influence of Holbein’s art on a number of contemporary Swiss painters
-  and others practising in the latter half of the sixteenth century,
-  such as Hans Asper, Tobias Stimmer, Kluber, Clauser, and Hans Bock the
-  Elder.
-
-The work of his imitators and copyists, such as they were, is to be
-found in the portraits scattered about the older country houses and
-mansions of England, where they are usually attributed to Holbein
-himself, often when the date upon them makes it impossible that he could
-have painted them. Among them are numerous old copies of still-existing
-portraits by him, which indicate the estimation in which his work was
-held for years after his death. For instance, in the fire which burnt
-down Knepp Castle, Sussex, in January 1904, a number of pictures were
-destroyed, including no less than eight attributed to Holbein. The
-titles of nearly all of them were familiar enough—Sir Henry and Lady
-Guldeford, Anne of Cleves, Thomas Cromwell, Sir Richard Rich, and
-Ægidius—indicating that they were most probably merely replicas or
-copies. It is true that Holbein occasionally painted a replica, but this
-was very rarely, and in most cases the portraits in question were the
-work of far less skilful men, and owed their existence to the desire of
-the descendants of Holbein’s original sitters to possess copies of the
-older family portraits.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                              CHAPTER XXIX
-                               CONCLUSION
-
-Holbein’s many-sided art—The destruction of all his larger decorative
-  works—The fertility of his invention and his power of dramatic
-  composition—The influence of the Italian Renaissance upon his art,
-  both in his mural and historical paintings and in his designs for
-  jewellery and the decorative arts—His sacred paintings—His genius in
-  portraiture and his perfection as a draughtsman—A comparison between
-  the art of Dürer and Holbein.
-
-
-HOLBEIN’S art was many-sided, but, through the cruel caprice of Fate, he
-is known to-day to most people merely as a great portrait-painter, and,
-in a lesser degree, as a designer of woodcut illustrations of remarkable
-power and imagination. It is true, of course, that during the latter
-part of his life, after he had settled more or less permanently in
-England, his time was almost entirely occupied with portraiture, and
-that, beyond portraits, little or nothing of his work remains in this
-country upon which to form a judgment of the versatility of his genius;
-and it is true also that his stupendous gifts in this field of art were
-bound to find free expression. That portrait-painting, however, became
-in the end his chief occupation was due much more to his environment
-than to his own personal choice. There was little demand in this country
-for any other form of art, and the painter, as was only natural,
-supplied what his patrons asked of him. It is not to be supposed that
-the master who was capable of producing such great works as the “Meyer
-Madonna,” or the various altar-pieces and glass designs illustrating the
-“Passion,” would have abandoned painting such compositions had he
-received any encouragement to continue; but such encouragement came to a
-more or less abrupt conclusion during the stormy days of the Reformation
-in Basel, and for the remainder of his life Holbein produced little or
-nothing in the field of sacred art. The few examples of this nature from
-his brush which remain place him in the front rank of sixteenth-century
-painters, and had his birthplace been south instead of north of the
-Alps, and his life spent amid surroundings more sympathetic to this side
-of his genius, there can be little doubt that he would have given to the
-world a series of sacred works as fine as those of any of the great
-Italians of the Renaissance.
-
-[Sidenote: DISAPPEARANCE OF DECORATIVE WORKS]
-
-It is with respect to those larger decorative works, however, upon which
-he was engaged from time to time throughout his life, both in
-Switzerland and England—works for which in his own day he was so justly
-celebrated—that Fate has treated him most unkindly. The total
-disappearance of his great wall-paintings and monumental decorations is
-not only an immense loss to art, but has rendered it difficult for all
-but close students of his work to appreciate to the fullest extent the
-wide range of his artistic powers. Not a single example of his skill as
-a mural decorator remains. The passage of time, the carelessness of
-those whose duty it was to preserve them, and the ravages of fire and of
-the weather, gradually obliterated these paintings, while such of their
-faded glories as endured until more modern days were finally swept away
-by the clumsy hand of the restorer or the building schemes of private
-owners and civic authorities. Just as it seems practically certain that
-some at least of his sacred pictures were destroyed by the fury of the
-rioters in the religious disturbances which finally drove Holbein to
-Henry’s court, so the mural paintings and pictured stories with which he
-covered the outer and inner walls of a number of houses in Basel and
-Lucerne have vanished through causes which, though different, have been
-equally effective in their powers of destruction. Damp, dirt, and
-neglect brought about the gradual fading away of his great series of
-wall-paintings in the Council Chamber of the Basel Town Hall; while
-similar works of his English period, the wonderful “Triumphs” painted
-for the banquet-hall of the German Steelyard, and the great fresco of
-Henry VIII with his parents and Jane Seymour in Whitehall, have
-disappeared, the former on the final breaking up of the German trade
-monopoly in this country, and the dispersal of the contents of the
-Steelyard buildings, and the latter in the fire of 1698. Gone, too, is
-the large canvas of “The Battle of Spurs,” painted for the festivities
-at Greenwich in 1527, one of the first of Holbein’s important
-undertakings in England. No trace of this painting now remains, and a
-similar fate has befallen the great picture of Sir Thomas More and his
-family, though in this case it is not absolutely certain that Holbein
-himself ever completed it. Finally, death cut him down as he was engaged
-upon the most elaborate portrait group he ever undertook, which was not
-half finished when he fell a victim to the plague. This list of lost or
-ruined masterpieces is a long one. Unfortunately, the tale is by no
-means uncommon in the history of art, but Holbein has suffered in this
-way more severely than most. Of their beauty and their imaginative power
-it is now only possible to judge from a few fragments of some of the
-original frescoes, some inferior copies of certain of them, and a number
-of masterly sketches and preliminary studies from Holbein’s own hand
-preserved in the Basel Gallery, the British Museum, the Louvre, and
-elsewhere. These latter, scanty as they are, remain priceless treasures,
-for only by means of them is it possible to gain some idea, though it is
-a pale reflection at the best, of the greatness of Holbein’s achievement
-in the higher branches of art, the loftiness of his ideals in his
-monumental paintings, and the wide range of his genius.
-
-In all these large decorative works Holbein displayed the greatest
-fertility of invention, and a power of dramatic composition of a very
-high order. The extraordinary energy of conception, the sense of life
-and movement in all his figures, the truth and expressiveness of their
-gestures, are all alike admirable. This dramatic power is at its finest
-in his wall-paintings for the Basel Town Hall—the “Rehoboam” and the
-“Samuel and Saul”; while in dignity and grandeur of composition, and the
-noble rhythm of its stately movement, the “Triumph of Riches” panel for
-the Steelyard is unsurpassed. The extraordinary fertility and exuberance
-of his imagination is to be seen in the architectural details and
-decorative settings in which these mural paintings and designs were
-placed. These settings show how quickly and completely he made the new
-ideas and decorative motives of the Renaissance his own, while the
-pictures themselves, for which they formed the background and the frame,
-breathe the lofty spirit of Raphael and Mantegna. Though there is no
-slavish copying of the art and architecture of Northern Italy, their
-influence is to be seen so plainly in the work of his younger days that,
-as pointed out in earlier chapters, at least a short visit to Lombardy
-on his part seems to have been absolutely certain.
-
-[Sidenote: HIS FERTILE IMAGINATION]
-
-The same qualities and the same influences are to be discerned in his
-designs for painted windows and the decoration of books; though smaller
-in scale, they are conceived with an equal grandeur and dramatic
-intensity. Indeed, in his “Dance of Death” woodcuts and illustrations to
-the Old Testament his imaginative and dramatic powers reached their
-highest manifestation. Minute as they are in execution, they produce the
-same effects of largeness and dignity of composition as his great
-wall-paintings must have done. In the “Dance of Death” in particular the
-wideness of Holbein’s range of vision, the greatness of his style in
-design, and the intense vitality of his art are seen to the best
-advantage. These little pictures, a few inches square, express within
-their borders almost the whole range of the emotions, from the tender
-sympathy of the lovely “Death and the Ploughman,” and the poignant grief
-of “Death and the Little Child,” down to the terror, horror, and
-violence which is encountered in others of the series in which Death
-suits his coming to the character of his victims. Such works as these
-show the greatness of Holbein as an imaginative artist. Another side of
-his nature and his art appears in such a design as his “Peasants’ Dance”
-on the façade of the Haus zum Tanz in Basel, in which the Teutonic
-element in his character finds full play. The boisterous, even brutal,
-merriment of these fellow-countrymen of his, as they fling themselves
-into the pleasures of the dance with the utmost abandon, made an
-undoubted appeal to him, and in depicting them he expressed the joy of
-living which animates every movement with the utmost frankness and
-realism.
-
-In this wide field of mural decoration and historical painting Holbein
-was the first and the greatest of those painters north of the Alps who
-came under the influence of the Italian revival of art. In him the
-Renaissance found very complete expression. This is also to be seen in
-his innumerable designs for jewellery and the smaller decorative arts,
-of which, happily, there still remain many examples. Both in book
-ornamentations and illustrations, in work for the goldsmith and
-silversmith, the jeweller, and the maker of stained and coloured glass,
-he showed himself to be in closest sympathy with the new movement. In
-his earlier works the effect of this influence appears in the exuberant
-use he made of the models which he had recently studied, some of the
-glass designs being overloaded with fantastic reminiscences of the
-details of Lombardic architecture. Later on, when he had completely
-grasped the full beauty of the Renaissance forms, his taste became
-purer, and he adapted them to his uses with the happiest results. In his
-drawings for personal ornaments and jewellery, most of the best of which
-were done in London, the earlier exuberance is restrained, and the
-design is of the purest Renaissance taste, in the practice of which he
-became an absolute master. These working drawings show infinite
-invention kept within the true limitations of the materials to be used,
-frequently combined with very skilful adaptation of the human figure to
-decorative purposes. It would be difficult to find a more beautiful
-design in the Renaissance style than the one of the so-called Jane
-Seymour Cup, in which Holbein more than holds his own with the best
-Italian workers in this field.
-
-[Sidenote: BRILLIANCE OF HIS DRAUGHTSMANSHIP]
-
-His sacred paintings, in so far as can be judged from those which
-remain, most, if not all, of which were done before he had reached the
-age of thirty, possess similar qualities to those of his mural and
-historical works, and had he but received some little encouragement from
-the English court, he was capable of producing even finer masterpieces
-than the “Meyer Madonna” during the seventeen or eighteen remaining
-years of his life. In his “Passion” and kindred pictures the composition
-is usually admirable, and the subject treated with that strong dramatic
-sense which has been noted already as one of the chief characteristics
-of his frescoes, while in depth and earnestness of feeling they fall but
-little short of the work of the greatest of the Italians. In the Meyer
-and the Solothurn Madonnas there is an air of divine tranquillity, and a
-loftiness and purity in the expression of spiritual beauty, which are
-combined in the happiest and most exquisite way with remarkable truth to
-nature, and vividness of accurate and sympathetic portraiture in the
-figures both of the Virgin and the Divine Child, and those, in the one
-case, of the kneeling donor and his family, and, in the other, of the
-attendant saints. Added to these qualities, the rich, subdued, and
-harmonious colour gives a still greater truth and beauty to the whole.
-In the panel at Darmstadt, indeed, the painter has reached the full
-perfection of his art, and that he painted nothing more of this nature
-must always be a source of deep regret to all who admire him.
-
-In portraiture Holbein’s genius reached its highest manifestations. This
-gift was largely inherited from his father, but was carried to a much
-greater pitch of excellence by the son. His technical methods, too, were
-those of his father, and here again were developed by him to a far
-greater refinement of touch and skill in modelling; and to these methods
-he remained constant throughout his life. There is a striking contrast
-between the rapidity and brilliance of the draughtsmanship of the
-preliminary studies for his portraits and the patient, concentrated,
-minute, and delicate brush-work of the finished portraits themselves. In
-all his completed work he spared himself no pains in the painting of the
-accessories and details, though in none of it, brilliant and absolutely
-truthful as it is, is there any sense of mere display, any boastful
-attempt to show the world how clever he was. He painted all such details
-with a loving care and an evident delight in their beauty, and wrought
-them with a perfection and fidelity which has rarely if ever been
-surpassed. This finish is carried in some of his pictures to a point
-beyond which no Dutchman or Fleming of his own or succeeding generations
-ever reached. Yet the elaboration of subordinate things is never
-overdone; his portraits are never overcrowded with details of this
-nature in a way to draw the spectator’s attention from the main purpose
-of the work. This manipulative skill delights and attracts, but is
-forgotten when the portrait itself is examined. Without any apparent
-effort on the part of the painter, the sitter looks out from the panel
-just as he did in life, set down without flattery, with no harsh
-features softened, and with his character, seized with such penetrative
-and imaginative power by Holbein, fixed for ever with unerring truth and
-errorless draughtsmanship for succeeding generations to see and to
-admire. This effect of absolute truth of portraiture and revelation of
-character, the one due to the wonderful delicacy, subtlety, and
-expressiveness of his line, and the other to his sympathetic insight, is
-obtained by what appear to be the simplest and most straightforward
-methods. There is a dignity and reticence about the portraits which is
-admirable. Without thought of self, he occupies himself entirely with
-the truth as he sees it, and with his desire to realise it as completely
-as possible; no brilliance of technical skill mars the self-restraint
-with which he approaches his sitter. He puts little of himself into his
-portraits, and leaves out little that is worth knowing about the
-subjects of them. No great subtleties of light and shade are attempted,
-and his colour, beautiful and true as it is, helps but does not
-overpower his chief purpose—the complete realisation of the man both in
-body and soul. Holbein was a painter whose keenness of observation was
-extraordinary; he missed little or nothing, and saw much that lesser
-painters would have ignored. With his smooth, fusing methods of painting
-he reached to most marvellously delicate and accurate modelling of form,
-which in its expressiveness is beyond all words.[757]
-
-Footnote 757:
-
-  The writer finds it impossible to agree with a recent critic, M. de
-  Wyzewa, who, in a review of Dr. Ganz’s _Holbein_, in the _Revue des
-  Deux Mondes_, January 15, 1912, speaks of the “half-confidences” of
-  Holbein’s portraiture, and holds that although the painter himself
-  sees clearly the inmost depths of his sitters’ characters, he yet
-  refrains from revealing them to us. When the moment comes for laying
-  bare their deepest feelings “the prudent Swabian workman, through his
-  instinctive reserve, holds back.” In this respect, therefore, he
-  compares him unfavourably with such masters as Dürer, Rembrandt, and
-  Velazquez, “who abandon themselves to their genius for psychological
-  divination,” whereas Holbein refuses us access to the souls of his
-  sitters, though at the same time indicating that he himself has
-  penetrated to the mysterious depths. He speaks of this as his
-  “professional hypocrisy,” and says that he cannot be excused for thus
-  concealing the exact truth of the characters of the great personages
-  who sat to him. He sees similar traits in Holbein’s sacred paintings,
-  and this insensibility he regards as not real, but feigned, springing
-  from the intelligence rather than from the heart. Lovers of Holbein’s
-  art, however, will find it difficult to follow him in his contention.
-
-As a draughtsman pure and simple he stands among the very highest; in
-some of the qualities of his line he has never been surpassed or even
-equalled. In the Windsor and kindred drawings, preliminary studies for
-his portraits, his genius finds its most perfect expression, and these
-are, in many ways, the greatest of his works. Slight as most of them
-are, they contain all the elements of great art. Every fine quality,
-except colour, that is to be found in his finished portraiture is to be
-found here also, and more plainly to be seen, and produced without
-apparent effort or hesitation. The swiftness yet sureness of his touch,
-the wonderful delicacy yet strength of his supple, forceful line, its
-subtlety and flexibility, the penetrative insight, the freedom from all
-traces of mannerism, and the perfect unity of brain, eye, and hand shown
-in these drawings, combine to produce the most vivid effect of truthful,
-living portraiture. His complete mastership is revealed in every touch.
-
-[Sidenote: HOLBEIN AND DÜRER]
-
-In the German school of painting Dürer was the last and the greatest of
-the mediævalists; Holbein was the first and the greatest of those who
-came completely under the sway of the new influences in art and life
-which reached Germany from beyond the Alps. The art of these two great
-masters is, in consequence, in many ways so divergent that it is
-difficult to make any comparison between them. Holbein was the first of
-the painters of northern Europe who was modern in the sense of the term
-as we understand it to-day. Dürer was steeped in the spirit of the older
-schools, both of thought and of art, a dreamer of dreams, a weaver of
-fantasies, and much of his work had a spiritual passion which Holbein’s
-lacked, while his art was imbued through and through with the feeling of
-the Middle Ages. On the other hand, one of the characteristic features
-of Holbein’s work was its serenity and saneness. As already pointed out,
-he had great imaginative power, which he could use at times with
-dramatic intensity. Realism in his painting reached a very high and at
-the same time a very noble development. His delight in nature is evident
-in all that he did; he observed her minutely, and took the utmost
-pleasure in reproducing her manifold beauties down to the smallest
-details, while his work was filled with a frank delight in life and
-close sympathy with all things, animate and inanimate, in the world
-around him. Philosophical thought or theological subtleties left him
-untroubled. That he was on the side of the Reformation is made clear by
-more than one of his woodcut designs, but his share in the controversy
-was after all a minor one, and marked by little or none of that passion
-which swayed the more eager partisans on either side.
-
-True child of the Renaissance as Holbein was, he was yet one of the most
-original of artists. His strong individuality stamped everything that he
-touched; for though the influences under which he was trained can be
-traced throughout his career, they in no way dominated his genius, which
-found its own true expression. Circumstances combined to give this
-originality the fullest play. Both in Basel and in London there was no
-school of painting worthy of the name, and the artists who worked there
-had little or nothing to teach him. In both these cities it was he who
-was the master who towered head and shoulders above his fellow-painters.
-In this way his art developed upon personal and original lines until it
-attained that greatness of style which is so marked a feature of
-everything that he touched.
-
-The art and character of these two great masters of the German school is
-very happily contrasted by the late Lord Leighton in one of his
-published addresses to the students of the Royal Academy. “Albert
-Dürer,” he says, “may be regarded as _par excellence_ the typical German
-artist—far more so than his great contemporary, Holbein. He was a man of
-a strong and upright nature, bent on pure and high ideals, a man ever
-seeking, if I may use his own characteristic expression, to make known
-through his work the mysterious treasure that was laid up in his heart;
-he was a thinker, a theorist, and, as you know, a writer; like many of
-the great artists of the Renaissance, he was steeped also in the love of
-Science. His work was in his own image; it was, like nearly all German
-Art, primarily ethic in its complexion; like all German Art it bore
-traces of foreign influence—drawn, in his case, first from Flanders and
-later from Italy. In his work, as in all German Art, the national
-character asserted itself above every trammel of external influence.
-Superbly inexhaustible as a designer, as a draughtsman he was powerful,
-thorough, and minute to a marvel, but never without a certain almost
-caligraphic mannerism of hand, wanting in spontaneous simplicity—never
-broadly serene. In his colour he was rich and vivid, not always unerring
-as to his harmonies, not alluring in his execution—withal a giant.... In
-Holbein we have a complete contrast to the great Franconian of whom I
-have just spoken; a man not prone to theorise, not steeped in
-speculation, a dreamer of no dreams; without passion, but full of joyous
-fancies, he looked out with serene eyes upon the world around him;
-accepting Nature without preoccupation or afterthought, but with a keen
-sense of all her subtle beauties, loving her simply and for herself. As
-a draughtsman he displayed a flow, a fullness of form, and an almost
-classic restraint which are wanting in the work of Dürer, and are,
-indeed, not found elsewhere in German Art. As a colourist, he had a keen
-sense of the values of tone relations, a sense in which Dürer again was
-lacking; not so Teutonic in every way as the Nuremberg master, he formed
-a link between the Italian and the German races. A less powerful
-personality than Dürer, he was a far superior painter. Proud may that
-country be indeed that counts two names so great in art.”[758]
-
-Footnote 758:
-
-  Leighton, _Addresses delivered to the Students of the Royal Academy_,
-  2nd edition, 1897, pp. 305-6. (Dec. 9, 1893.)
-
-[Sidenote: RUSKIN ON HOLBEIN]
-
-It is quite true that he was a better painter than Dürer, for his
-mastery of the technical side of his art was complete, while his
-artistic temperament found expression in many different branches of the
-decorative arts and crafts. He was thus much more than a great painter:
-he was a great artist and a great craftsman as well, for though he did
-not actually cut the wood blocks he designed, or fashion the actual cups
-of gold and silver for which he made the working drawings, he had so
-perfect a knowledge of the practical side of the crafts, and of the
-artistic capabilities and the limitations of the mediums in which his
-designs were to be carried out, that he was indeed the “notable workman”
-which Erasmus called him. In all that he did, the greatness and the
-individuality of his style, his power of dramatic composition, the
-versatility of his imagination and his restraint in the use of it, his
-serene outlook upon life, and the perfect and unerring unison of his eye
-and hand, combine with his insight into character and technical skill of
-the rarest quality to make him one of the few great masters of the
-world.
-
-Ruskin’s judgment of him, when comparing him with Sir Joshua Reynolds,
-is so true and so just, that, although so well-known, a sentence from it
-may be quoted here in conclusion. “The work of Holbein,” he says, “is
-true and thorough, accomplished in the highest, as the most literal
-sense, with a calm entireness of unaffected resolution which sacrifices
-nothing, forgets nothing, and fears nothing. Holbein is complete; what
-he sees, he sees with his whole soul; what he paints, he paints with his
-whole might.”[759]
-
-Footnote 759:
-
-  Ruskin, “Sir Joshua and Holbein,” in _Cornhill Magazine_, March 1860.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                                APPENDIX
-
-
-(A) EARLY DRAWING BY HOLBEIN IN THE MAXIMILIANS MUSEUM, AUGSBURG. (Vol.
-                               i. p. 43)
-
-THE drawing of “Calvary” in the Maximilians Museum, Augsburg (Woltmann,
-3), is probably the earliest one by Holbein of which we have any
-knowledge. It is a silver-point drawing, touched with the brush in
-brown, white being used for the high lights and red for the
-representation of Christ’s wounds. It is a carefully wrought, youthful
-piece of work, at the same time showing considerable feeling in its
-rendering of the sacred subject. The Cross rises on the left, turned
-away from the spectator, so that the body of Christ is seen almost in
-profile against the sky. Mary and John stand below on the right, the
-former with hands clasped in prayer and head bent in grief. Lower down
-the rock, in the centre, kneels Mary Magdalen with uplifted arms, and on
-the left of the Cross a man is standing with his back to the spectator,
-wearing a tall hat of “beaver” pattern. In the background beyond him is
-a second cross with one of the thieves, the ladder still placed against
-it. Down below the heights there is a glimpse of a mountain and
-buildings. This interesting early example has been recently reproduced
-in the important publication of facsimiles of the complete series of
-Holbein’s drawings, now in the course of appearing under the editorship
-of Dr. Ganz—_Die Handzeichnungen Hans Holbeins des Jüngeren_, viii. 1.
-
-
-  (B) DESIGNS FOR PAINTED GLASS OF THE LUCERNE PERIOD. (Vol. i. p. 79)
-
-[Sidenote: EARLY GLASS DESIGNS]
-
-The design for painted glass with the arms of Hans Fleckenstein, of
-Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is the
-earliest in date of the series of designs for this purpose in which
-Holbein made such fine decorative use of the landsknechte with their
-picturesque costumes as supporters of the shield bearing the coat of
-arms of the patron for whom the glass was ordered. In the Fleckenstein
-design the warrior on the left is bearded, and wears a hat with very
-large feathers, and a great sword, while a long lance is held aloft in
-his right hand, his left resting on the top of the shield, towards which
-he leans, and behind which his left leg is hidden. The man on the right
-is younger and beardless. His head is turned over his shoulder towards
-the right, and his flat black cap is worn jauntily over one ear and
-covers one side of his face, while a large hat with a huge mass of
-feathers is slung upon his back. His right hand rests on his sword-hilt,
-and his left on the top of the shield. The background is one of plain
-architecture, in striking contrast to the highly elaborated ones to be
-seen in most of Holbein’s glass designs produced after his visit to
-Italy. A barrel-roof is supported by flat columns with a round arch,
-across which two iron bars run, as in the Solothurn Madonna picture. On
-either side of this arch, on the top of the columns, stand figures of
-St. Barbara and St. Sebastian. The shield contains in two of the
-quarterings the Fleckenstein “house-sign” surmounted by a bar, the other
-two being filled with lozenge-shaped divisions. On the band at the
-bottom, left empty for an inscription, is written “hans Fleckenstein,
-1517,” and “J. Holbain,” the signature not being in the artist’s own
-handwriting. It is reproduced by Dr. Ganz in _Die Handzeichnungen Hans
-Holbeins des Jüngeren_, v. 4.
-
-The fact that the landscape backgrounds in several of Holbein’s glass
-designs afford evidence of a journey across the Alps has been touched
-upon in the text (see vol. i. p. 77), and further proof of this is to be
-found in another design of this period, made, in all probability, during
-a leisurely journey from Lucerne to Lombardy in 1518. This is the
-striking design representing the Banner-bearer of the Urseren Valley, in
-the Uri district—the valley watered by the Reuss, in which Andermatt is
-the chief village. This drawing, which is in the Royal Print Room,
-Berlin, is mentioned by Woltmann, ii. p. 120, as, in his opinion, not by
-Holbein, but by some “good Swiss master.” The landsknecht, a bearded
-man, stands full-face, with legs stretched wide apart, and the banner
-held aloft in his right hand. His left rests on his hip, and he carries
-a great sword. This animated, vigorously drawn figure is evidently a
-portrait. The banner, an important part of the design, bears on the left
-the figure of a bishop with crozier in the act of benediction, and on
-the right a church, with the bull of Uri in the sky above it, one hoof
-resting on the steeple. In the background is represented the old
-pack-horse road over the St. Gotthard, up which men are climbing with
-horses and mules loaded with barrels and bales. On the summit rises the
-small church which is depicted on the banner. The landscape is evidently
-one actually seen by the artist. The setting is a very effective one,
-consisting of plain pillars and an arch, the former with vine branches
-and bunches of grapes trained round them in spirals, the leaves forming
-the capitals and bases, while other branches stretch across the archway.
-Above the latter is a representation of the Judgment of Paris, with the
-three nude goddesses on the right, and Paris reclining on the ground on
-the left. Mercury, holding the apple, and Venus, the outer figures of
-this group, are placed upon the tops of the pillars on either side. The
-outlines have been put in with a pen in brown, while the banner-bearer’s
-face has been finished in water-colours, and the background slightly
-washed with green. Reproduced in _Handzeichnungen Hans Holbeins des
-Jüngeren_, iv. 4.
-
-The glass design containing the coat of arms of the Lachner family, of
-Basel, in the Print Room of the National Museum, Stockholm (not in
-Woltmann), is a year or two later in date, the elaborately imagined
-architectural background indicating that it must have been made shortly
-after Holbein’s return from Italy, when the recollections of the
-Lombardic buildings he had studied with such keen interest were still
-fresh in his memory. On one side stands a young, beardless warrior as
-shield-bearer, his face in profile to the right, his lance over his
-shoulder, and his right hand on his hip. Opposite to him is the
-completely nude figure of a woman, her face turned towards the
-spectator, and both hands resting on the shield. Her hair hangs down her
-back in two great plaits, which are fastened together at the ends with a
-long loop. This is a realistic study from the life, and one of the very
-few drawings of the nude by Holbein which remain. The coat of arms on
-the curved Italian shield consists of a pair of outstretched wings, and
-these are repeated on the helmet which forms the crest, from which
-masses of finely designed scroll-work fall on either side. The two
-figures stand on a platform, below which are two crouching fauns holding
-a tablet for an inscription. The background, as already stated, is very
-elaborate, consisting of an open loggia with a roof like the later “St.
-Elizabeth” glass design (see vol. i. p. 149 and Pl. 44), and friezes and
-a semicircular arch supported by pairs of columns with grotesque
-capitals, the arch being decorated with a band of ox-heads and foliage.
-Other friezes are covered with carved leaf and scroll-work, and above
-them are grotesque sculptured figures and roundels with heads. Through
-the openings at the back only the sky is indicated. This is a fine
-design, more particularly in the figure of the man, and in the helmet
-with its scroll-work. It is a washed drawing, with the knight’s face and
-hands and the body of the woman put in with water-colour. Reproduced in
-_Handzeichnungen Hans Holbeins des Jüngeren_, iv. 6.
-
-
-        (C) EARLY DRAWINGS FOR WALL-PAINTINGS. (Vol. i. p. 101)
-
-In addition to the studies for wall-paintings made by Holbein shortly
-after his return from Lucerne to Basel, described in vol. i. pp. 98-101,
-there is another in the Ducal Gallery, Brunswick (Woltmann, 127),
-representing the Virgin Mary, as Queen of Heaven, with the Infant Christ
-in her arms, which is signed and dated “1520, H. H.” Her long hair falls
-in curls over her shoulders, and a plain circular halo is placed behind
-her crown. She is looking down upon the Child, whom she holds with both
-hands, and he is smiling back at her. She is placed in a perfectly plain
-architectural niche, with two empty circles for medallions on either
-side. According to an inscription on the back, this drawing, which is in
-black chalk washed with grey, was, towards the end of the sixteenth
-century, in the possession of Daniel Lindtmeyer, the glass painter of
-Schaffhausen. Reproduced in _Handzeichnungen Hans Holbeins des
-Jüngeren,_ iv. 3.
-
-
-(D) GLASS DESIGNS WITH THE COATS OF ARMS OF THE VON ANDLAU AND VON HEWEN
-                       FAMILIES. (Vol. i. p. 145)
-
-A third design for painted glass, representing the martyrdom of the Holy
-Richardis, wife of the Emperor Carl the Big, is of about the same date,
-and very probably belongs to the same series, as the two designs bearing
-the coats of arms of the Von Andlau and Von Hewen families, the second
-of which is dated 1520. St. Richardis, wrongfully accused of
-unfaithfulness, proved her innocence by submitting herself to the ordeal
-by fire. She was the patron saint of the convent of Andlau in Alsace,
-which, according to the legend quoted by Dr. Paul Ganz, was erected upon
-ground which had been scraped up by a bear. It is most probable,
-therefore, that Holbein’s design was commissioned for the decoration of
-this particular religious house. The drawing, which is in the Basel
-Gallery (Woltmann, 50), shows the saint kneeling on the funeral pyre,
-her hands clasped in prayer, her head bent, and her long curls falling
-below her waist. She wears a large cross at her breast, and has a
-circular halo inscribed “S. RIGARDIS VIRGO.” On the right is a small
-kneeling figure of an abbess or nun, with open prayer-book, and on the
-left the bear of the legend. Two flying angels, with draperies very
-effectively arranged, hold the martyr’s crown above her head. The ordeal
-takes place beneath a cupola, with an opening in the centre, supported
-by pillars of fantastic design, the bases of the nearer ones being
-decorated with medallions hanging from chains. Below is the customary
-blank tablet for an inscription, held by two grotesque sea-monsters with
-human heads. At the back, seen through the open arcading of the
-building, there is a view of a small walled town in a hilly country,
-with church and cloisters and watch-towers, and, lower down, the red
-roofs of a cluster of houses. This is one of the most charming of the
-numerous landscape backgrounds which Holbein introduced into his glass
-designs and book illustrations. The drawing is washed with grey, and the
-background lightly touched in with water-colours. It is reproduced in
-_Handzeichnungen Hans Holbeins des Jüngeren_, xi. 8.
-
-
-              THE GLASS DESIGNS OF “THE PASSION OF CHRIST”
-                            (Vol. i. p. 156)
-
-Miss Mary F. S. Hervey, in her _Holbein’s Ambassadors_ (p. 22, _note_),
-draws attention to some cartoons for tapestry representing scenes from
-the Passion designed by Holbein. The reference occurs in a letter from
-Carlos de la Traverse, written from St. Ildefonse in Spain in 1779 to M.
-d’Angeviller, in which he proposes that the latter should buy the
-cartoons. The offer, however, was declined on the ground that Holbein
-was “un peintre sec et demi-gothique” (See _Nouvelles Archives de l’Art
-Français_, 2nd series, vol. i. pp. 258-62). It is possible that these
-designs were not for tapestry but for glass, and they may even have been
-the set in Sir Thomas Lawrence’s collection, now in the British Museum.
-
-
-    (E) THE FAESCH MUSEUM. (Vol. i. pp. 88, 166-8, 180, and 239-41)
-
-[Sidenote: THE FAESCH MUSEUM]
-
-Among the miscellaneous contents of the Faesch Museum, formed by Dr.
-Remigius Faesch, or Fäsch, the most important are the few works by and
-after Holbein. Most of these came to him by inheritance from his
-grandfather, the earlier Remigius Faesch, burgomaster of Basel, who
-married Rosa Irmi, the granddaughter of Jakob Meyer zum Hasen, and so
-became possessed, not only of the double portrait of Meyer and his wife,
-Dorothea Kannengiesser, painted in 1516, and the two fine silver-point
-studies for the same, but also the famous Meyer Madonna now at
-Darmstadt. This last picture, unfortunately for the Basel Public Picture
-Collection, he sold to Lucas Iselin in 1606. Dr. Faesch’s father, Johann
-Rudolf Faesch (1574-1660), also burgomaster of Basel, became in turn the
-owner of the Meyer portraits and drawings, and he added a number of
-other pictures to the collection. He was acquainted with the painter
-Bartholomäus Sarburgh, who from 1620 to 1628 was busily occupied in
-painting portraits in Basel, and to whom, in 1621, he gave a commission
-for a likeness of his son Remigius, an excellent work now in the Basel
-Gallery. (Reproduced by Dr. Emil Major in the sixtieth annual report of
-the Basel Picture Collection, 1908.) From Sarburgh, when that painter
-was in Holland, Johann Rudolf Faesch obtained the copies of Holbein’s
-series of Prophets, nine pairs (see vol. i. p. 88). The originals were
-in water-colour, but were copied by Sarburgh in oil. He is said to have
-taken the originals with him to the Netherlands, since which time all
-traces of them have disappeared. These copies are in the depot of the
-Basel Gallery; two of the pairs are reproduced by Dr. Ganz in _Holbein_,
-p. 191.
-
-[Sidenote: THE FAESCH MUSEUM]
-
-Remigius Faesch the second (1595-1667) became a doctor of law and a
-professor in the Basel University. He was an ardent collector throughout
-his life, not only of pictures, but of books, medals, examples of
-goldsmiths’ art, and antiquities. On the death of his father he became
-the possessor of the Meyer portraits and the Sarburgh “Prophets.” To
-these he added a small square portrait of Erasmus of the Holbein school,
-and in 1630, Johannes Lüdin, a pupil of Sarburgh, then in Belgium,
-copied for him the heads of Jakob Meyer’s son and daughter from the
-Meyer Madonna picture; apparently not from the original, but from the
-copy now in the Dresden Gallery, which, according to Dr. Major, was most
-probably the work of Sarburgh (see vol. i. pp. 239-41). In 1648 Johann
-Sixt Ringlin copied for him one of the versions of the double portrait
-of Erasmus and Froben (see vol. i. pp. 166-8). Again, in 1667, the year
-of Faesch’s death, Lüdin presented him with a small portrait of Holbein
-which he had painted from Hollar’s etching dated 1641. Faesch also
-possessed a second small portrait of Erasmus, copied from the roundel in
-the Basel Gallery, several drawings of the Holbein school, and, among
-other things, the original wood-block of the “Erasmus im Gehäuse.” On
-his death Faesch left his collections and the mansion containing them in
-trust as a Museum, with usufruct to his descendants for so long as there
-should be a doctor of law among the members of his family, failing which
-everything was to become the property of the Basel University. The last
-of these doctors of law was Johann Rudolf Faesch, who died in 1823, when
-the Museum and its contents were handed over to the University, the
-pictures, drawings, and engravings eventually finding a permanent home
-in the Basel Public Picture Collection.
-
-Dr. Remigius Faesch spent many years in the compilation of a manuscript,
-in Latin, now in the University Library of Basel, which he called
-“Humanæ Industriæ Monumenta.” One section of this deals briefly with the
-life of Holbein and with his chief works then in Basel in the Amerbach
-Cabinet and Faesch’s own possession, to which reference has been made
-more than once in these pages. The original text is given by Woltmann,
-ii. pp. 48-51, and extracts from it in _Das Fäschische Museum und die
-Fäschischen Inventare_, by Dr. Emil Major, which forms part of the
-Annual Report (1908) of the Basel Gallery, already mentioned. It is from
-this exhaustive and highly interesting account of the Faesch collections
-and the various inventories and lists, printed in full, that the facts
-in this note have been taken.
-
-The reference to the double portrait of Erasmus and Froben in the
-“_Humanæ Industriæ Monumenta_” is as follows:
-
-    “Erant 2 tabulæ junctæ, ligamentis ferreis ut aperiri et claudi
-    potuerint, in tabula dextra Effigies Johan. Frobenii Typographi,
-    in altera Erasmi sine dubio ab ipso Erasmo in gratiam et honorem
-    Frobenii, quem impense amabat, curatæ, et eidem ab Erasmo
-    oblatæ, unde et eidem dextram cessit: Ex his tabulis nobis
-    exempla paravit pictor non imperitus Joh. Sixtus Ringlinus
-    Basil, An. 1648, quæ extant inter effigies nostras.”
-
-Faesch’s account of the sale of the Meyer Madonna runs thus:—
-
-[Sidenote: THE FAESCH MUSEUM]
-
-    “An. 163 . . . suprad. pictor Le Blond hic à vidua et hæredibus
-    Lucæ Iselii ad S. Martinum emit tabulam ligneam trium circiter
-    ulnarum Basiliensium tum in altitud. tum longitud. in qua
-    adumbratus prædictus Jac. Meierus Consul ex latere dextra una
-    cum filiis, ex opposito uxor cum filiabus omnes ad vivum depicti
-    ad altare procumbentes, unde habeo exempla filii et filiæ in
-    Belgio à Joh. Ludi pictore ex ipsa tabula depicta. Solvit is Le
-    Blond pro hac tabula 1000 Imperiales, et postea triplo majoris
-    vendidit Mariæ Mediceæ Reginæ Galliæ viduæ Regis Lud. 13 matri,
-    dum in Belgio ageret, ubi et mortua: Quorsum postea pervenerit
-    incertum. Tabula hæc fuit Avi nostri Remigii Feschii Consulis,
-    unde Lucas Iselius eam impetravit pro Legato Regis Galliarum,
-    uti ferebat, et persolvit pro ea Centum Coronatos aureos
-    solares. An. circ. 1606.”
-
-In this paragraph Faesch speaks of Johannes Lüdin as Ludi, but in an
-earlier one, describing the portrait of Holbein after Hollar which Lüdin
-sent him, apparently as a new year’s gift, he calls the painter Joh.
-Lydio.
-
-In an inventory drawn up early in the nineteenth century by the last
-keeper of the Museum, Johann Rudolf Faesch, the Sarburgh “Prophets” are
-described as follows:
-
-    “13 a 21. Ferners befinden sich in dem Faeschischen Museo noch
-    hienach-folgende Neun Gemählde auf Tuch, welche von Bartholomäus
-    von Saarbrücken nach Holbeinischen Original Gemählden copirt
-    worden sind, solche werden von Patin in dem Eingangs gemeldten
-    Indice also beschrieben:
-
-    “‘Prophetæ omnes majores & minores, in novem tabulis
-    bicubitalibus, ita ut binos quævis illarum exhibeat, coloribus
-    aqueis nullo admixto oleo depicti. Has tabulas Bartholomæus
-    Sarbruck, Pictor eximius, in Belgium Basilea detulit, atque hic
-    illarum apographa manu sua depicta reliquit, quæ servantur in
-    Musæo Feschiano.’
-
-    “Nach dieser Beschreibung wären also die Originalien mit
-    Wasserfarb, die Copien von Barth. v. Saarbrücken aber, so sich
-    im Faeschischen Museo befinden, sind in Oehl gemahlt. Die sämtl.
-    Propheten sind ganze Figuren u. die Tableaux sind 3 Schuh 1¼ Z.
-    hoch u. 2 S. 3½ Z. breit.”
-
-
-        (F) HANS HOLBEIN AND DR. JOHANN FABRI. (Vol. i. p. 175)
-
-[Sidenote: HOLBEIN AND DR. J. FABRI]
-
-It is very probable that Holbein’s absences from Basel in search of work
-during his second sojourn in that city (1519-1526) were more frequent
-than has been generally supposed. It is not to be expected that many
-records of such journeys should remain, and for this reason the recent
-discovery, by Dr. Hans Koegler, of such an absence during 1523 is of
-exceptional interest. His article, describing this discovery, entitled
-“Hans Holbein d. J. und Dr. Johann Fabri,” was published by him in
-_Repertorium für Kunstwissenschaft_, vol. xxxv. pts. 4 and 5, (1912),
-pp. 379-84. Fabri was Vicar-General of Constance, and afterwards Bishop
-of Vienna, and a friend and correspondent of Erasmus. During the autumn
-of 1523, at some place not yet identified, but evidently in the
-neighbourhood of Constance, Holbein and Dr. Fabri became acquainted, or
-renewed an earlier intercourse, for the Vicar-General made use of him as
-the bearer of some letter, message of greeting, or gift to Erasmus, and
-from the latter’s reply in acknowledgment it is to be gathered that the
-relationships between the painter and the author of _The Praise of
-Folly_ were very friendly ones. The letter from Erasmus to Fabri,
-written in November or December 1523, begins:
-
-    “Reverendo Domino, Joanni Fabro, Canonico et Vicario
-    Constantien. domino plurimum observando.—Salutem, vir
-    amantissime, ex tua salutatione quam mihi per Olpeium misisti,
-    melius habui. Erat enim accurata, et veniebat ab amico, et per
-    hominem amicum. Spongiarum rursus tria milia sunt excusa, sic
-    visum est Frobenio...,” &c.
-
-In this letter Fabri’s messenger is spoken of as “Olpeius,” and the
-point for decision is whether this refers to Hans Holbein, or to a
-second Olpeius occasionally mentioned in the correspondence of
-Erasmus—one Severinus Olpeius, who acted as letter-carrier for Erasmus
-more than once, and appears to have been in the employ of the bookseller
-Koberger of Nuremberg. In one or two of the letters of Erasmus the name
-“Olpeius” is undoubtedly intended for Holbein, as in the one conveying
-his thanks to Sir Thomas More for the drawing of the Family Group which
-More had sent to him by the hands of the painter. In this letter, which
-is dated from Freiburg, September 1529 (see vol. i. p. 341), Erasmus
-says:
-
-    “Utinam liceat adhuc semel in vita videre amicos mihi
-    charissimos, quos in pictura quam Olpeius exhibuit, utcunque
-    conspexi summa cum animi mei voluptate. Bene vale cum tibi
-    charissimis omnibus.”
-
-[Sidenote: HOLBEIN AND DR. J. FABRI]
-
-Again, in a second letter from Erasmus to Bonifacius Amerbach written
-from Freiburg on April 10, 1533 (wrongly dated 1535 in the manuscript),
-first published by Dr. C. Chr. Bernoulli in 1902 (see below, Appendix
-(J)), the “Olpeius” of whom the sage speaks so severely was almost
-certainly Holbein. Dr. Koegler brings forward convincing arguments to
-prove that the artist was also the “Olpeius” of the letter to Dr. Fabri,
-and that the place of encounter was somewhere in the Lake of Constance
-district. He also suggests that as Dr. Fabri was connected in his
-official capacity with the Maria-Wallfahrts Church in Rickenbach, for
-which Holbein’s earliest known picture, the Virgin and Child of 1514,
-was painted, and as he was also the personal friend of the orderer of
-that little work, Canon Johann von Botzheim of Constance, he must have
-been already acquainted with Holbein. In any case, it seems certain
-that, thanks to Dr. Kœgler, we have here definite, though scanty,
-information of one more of the painter’s wanderings in search of work.
-
-
-         (G) THE TRADE-MARK OF REINHOLD WOLFE. (Vol. i. p. 202)
-
-The charming device of boys throwing sticks at an apple tree, which
-Holbein made for the publisher Reinhold Wolfe, seems to have been
-familiar to most English schoolboys in the sixteenth and seventeenth
-centuries, as it was to be found in a Latin Grammar much in use. There
-is an amusing reference to it in Henry Peacham’s _Compleat Gentleman_
-(reprint of the 1634 edition, Clarendon Press, 1906, pp. 126-7). He
-says:
-
-    “Painting is a quality I love (I confesse) and admire in others,
-    because ever naturally from a child, I have beene addicted to
-    the practice hereof: yet when I was young I have beene cruelly
-    beaten by ill and ignorant Schoolemasters, when I have been
-    taking, in white and blacke, the countenance of some one or
-    other (which I could doe at thirteene and foureteene yeeres of
-    age: beside the Mappe of any Towne according to Geometricall
-    proportion, as I did of _Cambridge_ when I was of _Trinity
-    Colledge_, and a Junior Sophister), yet could they never beate
-    it out of me. I remember one Master I had (and yet living not
-    farre from _S. Albanes_) tooke me one time drawing out with my
-    penne that peare-tree and boyes throwing at it, at the end of
-    the Latine Grammar: which hee perceiving, in a rage strooke me
-    with the great end of the rodde, and rent my paper, swearing it
-    was the onely way to teach me to robbe Orchards; beside, that I
-    was placed with him to be made a Scholler and not a Painter,
-    which I was very likely to doe; when I well remember he
-    construed me the beginning of the first _Ode_ in _Horace_,
-    _Edite_, set ye forth, _Maecenas_, the sports, _atavis Regibus_,
-    of our ancient Kings: but leaving my ingenious Master, to our
-    purpose.”
-
-
-           (H) NICOLAS BELLIN OF MODENA. (Vol. i. pp. 282-4)
-
-(i.) _Extract from a Letter from Sir John Wallop, ambassador to France,
-  to Henry VIII, respecting the extradition of “Blanche Rose” from
-  France, and of Nicolas Bellin from England, dated Mantes, 27 September
-  1540._ (_State Papers_, vol. viii. pt. v. cont., No. dcxxviii., p.
-  439.)
-
-
-[Sidenote: NICOLAS BELLIN OF MODENA]
-
-    “... Which the Cardynall of Tornon confessed to be true, saying,
-    ‘his (_i.e._ Blanche Rose) mother was Englissh, and duelled in
-    Orleance, and in the Cardynalles tyme of Yorke being brought
-    uppe in England’; and with stayed, saing that the said fellowe
-    shoued hym many other thinges, that he cauled not to
-    remembraunce: and so left that pourposse, and axed me why Your
-    Majestie delivered not Modena, when he was send for, showing me
-    what was the cause why they desired hym so much, being uppon
-    acompte of a houndreth thousand crownes, that the President
-    Jentill had begiled the King, not yet ended. ‘Whye,’ quod I,
-    ‘then, if ye dyd extyme hym so moch, wherfore dyd ye not kipe
-    hym (_i.e._ Blanche Rose), that I demaunded, in prison, till ye
-    had knowledge, what aunswar should be made for the said Modena;
-    whom if ye had extymed, ye would have so doon? but I perceyve,’
-    quod I, ‘that ye thinke to have a greate personnaige of the said
-    noughty fellowe, who I ensure you to be of as ill qualities as
-    canbe, and his father a poore man; and fourthre ye considre not
-    howe gentelly the King my maister deliverd you of late Adryan
-    Cappes.’”
-
-(ii.) _Extract from a Letter from Sir John Wallop to Henry VIII,
-  referring to the work done at Fontainebleau by Nicolas Bellin, dated
-  Mélun, 17th November 1540._ (_State Papers_, vol. viii. pt. v. cont.,
-  No. dcxlii., p. 484.)
-
-
-    “... and from thense browght me into his (_i.e._ Francis I)
-    gallerey, keping the key therof Hym self, like as Your Majestie
-    useth, and so I shewed Hym, wherewith He toke plesur. And after
-    that I had wel behold the said gallerey, me thought it the most
-    magnifique, that ever I sawe, the lenght and bredthe _no man
-    canne better shewe Your Majestie then Modon, who wrought there
-    in the begynnyng of the same_, being at that tyme nothing in the
-    perfection, as it is nowe. The rowff therof ys seeled with
-    walnott tree, and made after an other forme then Your Majestie
-    useth, and wrought with woode of dyvers cullers, as before I
-    have rehersed to Your Majestie, and is partly gilt; the pavement
-    of the same is of woode, being wrought muche after that sort;
-    the said gallerey is seeled rownde abowte, and fynely wrowght
-    three partes of it; _upon the fourthe parte is all antique of
-    such stuff as the said Modon makith Your Majesties Chemenyes_;
-    and betwixt every windowe standes grete anticall personages
-    entier, and in dyvers places of the said gallerey many fayre
-    tables of stories, sett in, very fynely wrowgth, as Lucretia,
-    and other, _as the said Modon can muche better declare the
-    perfytnes of the hole to Your Majestie, then I_. And in the
-    gallerey at St. James the like wold be wel made, for it is bothe
-    highe and large. Yf your pleasure be to have the paterne of this
-    here, I knowe right wel the Frenche King woll gladly geve it
-    me.”
-
-
-            (I) THE MORE FAMILY GROUP. (Vol. i. pp. 291-302)
-
-[Sidenote: THE MORE FAMILY GROUP]
-
-There is a very interesting manuscript book, dated 1859, in the
-possession of Lord St. Oswald, which contains a descriptive catalogue of
-the pictures at Nostell Priory, together with “Some brief Notices of the
-sundry pictures of the Family of Sir Thomas More, Knt., Lord High
-Chancellor of England, Temp. Henry VIII,” from which, through the
-courtesy of the owner, the writer is enabled to give some extracts. It
-was written by Lord St. Oswald’s grandfather, Mr. Charles Winn, whose
-chief purpose seems to have been to controvert Horace Walpole’s adverse
-criticism, based on George Vertue’s manuscript notes, of the Nostell
-picture. Mr. Winn gives a short history and description of the various
-versions of the Family Group. Speaking of the Nostel Priory version,
-called throughout his notes the “Roper” picture, he says:
-
-    “This picture formerly belonged to William Roper, Esqre., son of
-    William Roper, Esqre., Prothonotary of the Court of King’s
-    Bench, temp. Henry VIII, who married Margaret, the oldest, and
-    favourite daughter of the celebrated Sir Thos. More, Knt., Lord
-    High Chancellor of England; and was painted for him by that
-    renowned artist Hans Holbein in the year 1530, as appears from
-    the monogram and date on the picture. It remained in this family
-    till the death of Edwd. Roper, the last in the direct male line
-    of the Ropers of Well Hall, nr. Eltham, Co. of Kent, and of St.
-    Dunstans, nr. Canterbury; he had only one child, a daughter, who
-    married Charles Henshaw, Esqre., who on her father’s death
-    inherited all his property. The issue of this marriage was three
-    daughters, the eldest of whom married Sir Edward Dering, Bart.,
-    of Surrenden Dering in the County of Kent; the second married
-    Col. Strickland of Beverly, in the East Riding of the Co. of
-    York; and the third, Susannah, married my great-grandfather, Sir
-    Roland Winn, Bart., of Nostel, in the West Riding of the Co. of
-    York. Mrs. Strickland died without leaving issue, and on the
-    death of Mr. Henshaw, his two surviving daughters succeeded to
-    his real, as well as personal property. The Holbein picture was
-    valued at £3000, and Sir Edward Dering preferring to have his
-    share in money, my ancestor paid him a moiety of the valuation,
-    and thus became possessed of the picture, which was conveyed to
-    Nostel, where it still remains.”
-
-[Sidenote: THE MORE FAMILY GROUP]
-
-Mr. Winn was of opinion that the version, with life-size figures,
-painted in distemper, which belonged to Andries de Loo, was not the
-picture at Nostell, the latter being painted in oil. He considered that
-the De Loo version was the one formerly at Heron in Essex (afterwards at
-Thorndon—see vol. i. p. 300), and that it was purchased at De Loo’s
-death by Giles Heron, who married Sir Thomas More’s second daughter,
-
-Cecilia. Heron Hall was the seat of his family, and the property passed
-into the possession of the Tyrrell family by the marriage of Sir John
-Tyrrell with Margaret, daughter and heiress of Sir William Heron, of
-Heron, Kt. Quoting Walpole’s statement that the Heron picture “having
-been repainted, it is impossible to judge of its antiquity,” he goes on
-to say that this “appears to me to go very far in proof of the
-correctness of the opinion I have hazarded, as to who was the purchaser
-of the De Loo picture, for it is hardly to be credited that had this
-(Heron) picture been painted in oil colour it would have become so
-injured as to require its being repainted to an extent to render it
-_impossible to judge of its antiquity_.” Mr. Winn thought that Holbein
-himself must have sold the distemper version to De Loo—though why he
-should do so it is not easy to imagine, as it is natural to suppose that
-Sir Thomas More or some member of his family would have retained it—and
-that the East Hendred picture, in Mr. Winn’s time at Barnborough Hall
-(see vol. i. p. 300), was the actual work painted by Holbein for the
-Chancellor, either from the Basel sketch or the De Loo example. It is
-not likely, he says, that Sir Thomas
-
-    “would have allowed the picture in _Distemper_ to be disposed of
-    to De Loo, ‘till he had secured a copy of it. I can hardly
-    therefore entertain a doubt that Sir Thomas _did_ possess one of
-    these large Family pieces, and that the picture at Barnborough
-    Hall is the identical one. John More had this picture conveyed
-    to Barnborough, when he took up his abode there on the death of
-    Mr. Cresacre, his wife’s father.”
-
-The inference is that John More, as head of the family, inherited the
-version of the Group expressly painted for his father. Mr. Winn says of
-this picture that it is
-
-    “in the _number_ and _arrangement of the persons represented_ a
-    _facsimile_ of the _original sketch_, or drawing, and I deem it
-    far from improbable that it may be the picture which was
-    painted, by Holbein, for Sir Thomas; for although it is now in a
-    very deplorable state, caused by most unpardonable neglect, yet
-    there are parts which shew that the picture, in its original
-    state, was painted by no ‘prentice hand.’ It is now in a low
-    room panelled with oak, and has unfortunately been curtailed,
-    both in width, and depth, to fit it into the panel where it is
-    placed, and this may probably account for the absence of the
-    monogram of the painter, and the date. The present size of the
-    picture is length, ten feet; height, eight feet. The figures
-    represented are the size of life.”
-
-Of the Burford picture (see vol. i. pp. 301-2 and Pl. 76) he says:
-
-    “This picture was formerly in the possession of a branch of the
-    More family, who resided at Gobions, or Gubbins, not far from
-    Barnet, in Hertfordshire, for whom I have no doubt it was
-    painted, and probably by Zuccaro, as it bears the date 1593—some
-    of the figures are copied from one of the pictures already
-    alluded to (most likely from that at Barnborough); these are Sir
-    John More, Knt., Sir Thomas More, Knt., John More, Margaret
-    Roper, Cecilia Heron, Elizabeth Dancey, and Anne Cresacre. The
-    other figures (four in number, whose names I have given at page
-    12) are represented in the costume of the period in which the
-    picture was painted, viz. temp. Eliz. How this picture came into
-    the possession of the Lenthall family is not certain, but the
-    last possessor of it, of that name, told a relative of mine that
-    it had been purchased by their ancestor the Speaker Lenthall, on
-    the sale of Gobions and its contents.”
-
-After pointing out the differences between the Roper picture, the other
-versions, and the Basel sketch, Mr. Winn concludes by saying:
-
-    “There are other differences observable between the Sketch and
-    the Roper picture which though unimportant in themselves, yet
-    when considered in connection with those I have named, do I
-    think afford most satisfactory proof that the Roper picture is
-    _no copy_, but that it is, as Vertue asserts, an _original_
-    production by _Hans Holbein_.”
-
-It is not possible, however, to follow Mr. Winn in every one of his
-conclusions, which would necessitate the belief that Holbein himself
-painted no less than three versions of the Family Group—the one in
-distemper, which was sold by the artist to De Loo, and afterwards
-purchased by Giles Heron, now so injured that “it is impossible to judge
-of its authenticity”; the one in oil painted for Sir Thomas, which
-remained at Barnborough in the possession of John More and his
-descendants, and has been cut down and subjected to “unpardonable
-neglect”; and the Roper picture now at Nostell Priory. It seems almost
-certain that Holbein had no hand in the painting of the two first, and
-that they are merely early copies or adaptations from the Nostell
-picture, though at the same time it should be pointed out that they
-follow the Basel sketch more closely than the latter, and do not show,
-as it does, various alterations in the design, such as the introduction
-of the figure of the secretary Harris. This affords some support to the
-contention that they are of earlier date, or copied from some earlier
-version, than the Roper canvas. The Basel sketch would not be available
-for the purpose, as it was taken with him by Holbein when he left
-England in 1528. Still, in spite of this, the fact remains that the
-Nostell Priory version is the only one that has any pretensions to be
-regarded, even in a small part, as an original work by Holbein, and
-until further proof is forthcoming it is safest to conclude that
-
-[Sidenote: THE MORE FAMILY GROUP]
-
-Holbein, after making his preliminary studies, began a large canvas
-which for some unknown reason was left by him in a very incomplete
-state, and that Sir Thomas More had it finished by some other hand in
-1530, and that this picture was the one which came into De Loo’s
-possession, and is now at Nostell Priory.
-
-One other point remains to be touched upon. Mr. Winn asserts that in
-Vertue’s opinion the Roper picture is an original work by Holbein, and
-he quotes in support of this statement from a manuscript by Vertue in
-his possession which he bought at the Walpole sale. He gives several
-extracts from it, among them the following, upon which, apparently, he
-bases his contention:
-
-    “But the original painting by Holbein of this family (More) has
-    long been preserved by the family of Roper at Eltham in Kent,
-    and was till of late years there to be seen, but of late at
-    Greenwich in the King’s House in the Park inhabited by Sir John
-    Jennings, the family of Roper having desired leave to place it
-    there till their house at Eltham was rebuilt.”
-
-There is, however, a second account of this picture by Vertue in his
-diaries preserved in the British Museum (Add. MSS. 25071, f. 4), first
-published by Mr. Lionel Cust in the _Burlington Magazine_, October 1912,
-pp. 43-4; and in this memorandum, in which the picture is described in
-greater detail, there is no suggestion made that it is an original work.
-Mr. Winn’s manuscript appears to be rather earlier in date. In it Vertue
-speaks of his examination as having been made at Greenwich (“I compared
-the first sketch and the large picture together at Greenwich”—the “first
-sketch” he speaks of being Caroline Patin’s engraving of the Basel
-drawing), but in the British Museum memorandum he states that he
-examined it, at the request of the Earl of Oxford, after it had been
-removed from Greenwich to Sir Roland Winn’s house in Soho Square, when
-he “in a more particular manner observd that the picture differs from
-the others, this seeming to be the most compleated.” He goes on to say:
-
-    “First that design at Basil, presented to Erasmus by Sr. Th.
-    More, I conceive to be the first sketch on lines on a sheet of
-    paper, or Holbein’s first draught, and in this large painting of
-    the Family containd the picture of Sir John Mores wife, a young
-    Lady to whom he was then lately married (and there is left out
-    Margaret Giggs) as in the design of the first, she only being a
-    companion to his daughters and a favorite of Mrs. More Sr.
-    Thomas Lady. Then there is also another person comeing in the
-    room with srole in his hand—whose name is ... Harisius ...
-    famulus, and behind a person setting reading on a desk—at bottom
-    are _two dogs_ favorites, probably put in afterwards by another
-    hand.... There really does not appear to be that certainty of
-    drawing, strength of colouring, as in many other pictures of
-    Holben. Therefore in the oppinion of several judges & professors
-    of painting it is doubtfull.”
-
-He goes on to say:
-
-    “Upon another review of the Family peice of Sr. Thomas More—I
-    observe that the light & shade of the persons represented are
-    various, which is not consistent to nature nor practice in the
-    art of painting, for as it is a view of this Family represented
-    at once, the light ought to proceed from one point throughout
-    the whole picture, which it doth not but some of the figures
-    there represented, the light proceeds from the right side and
-    others from the left side. And the light on the face of Sr.
-    Thomas proceeds from the left and his father Sr. John is from
-    the right. And also the Lady of Sr. Tho. the light on her face
-    proceeds from the left so in several there is a disagrement of
-    light and shade.”
-
-Vertue’s explanation of the painting of the picture is that Holbein,
-after taking various portraits of members of the More family, drew, at
-Sir Thomas’s request, a design for a big Family Group, but that before a
-start could be made on the picture by the artist Henry VIII paid a visit
-to Chelsea, and was at once so captivated by the examples of Holbein’s
-art which he saw there that he carried the painter off to Court at once,
-and gave him so much to do that More’s commission had to be abandoned.
-Sir Thomas, therefore, “after 1530” employed someone else to paint the
-picture from the original design and the finished family portraits,
-“perhaps, and not unlikely, some scholar of Holbein’s with his knowledge
-and consent,” this pupil “so forwarding it with as much skill as he was
-able ready for Holbein to go over again and review and finish it.” This
-would be a matter of time, and during the progress of the work several
-alterations and additions were made, such as the introduction of the
-figure of Harris, which figure, in Vertue’s opinion, showed “most
-visible difference in painting and drawing,” so that it could not be
-copied from any painting by Holbein, but was the original work of the
-assistant, who in this “ventured to show all his skill with full
-liberty.” In conclusion he remarks that “Raphael made many designs in
-small which were executed in large by his scholars, some before his
-death and some after,” and suggests that Holbein made the design for
-this Family Group with the same intention—“Especially as it may be
-observd none of these faces, hands coppyd from Holben’s painted pictures
-are not labouriously finishd, but left broad and light, fitly disposed
-to receive any improvments by Holbens hand—when, on the contrary, all
-the still life in the picture, the jewells, ornaments, gold are highly
-finished.”
-
-[Sidenote: THE MORE FAMILY GROUP]
-
-Since the Nostell Priory picture was photographed, thanks to the
-kindness of Lord St. Oswald, for the purposes of this book, it has
-undergone a thorough and very careful cleaning, with the result that
-many details, previously almost obscured, can now be seen quite clearly,
-while the general effect of the work as a whole has been greatly
-enhanced. As noted in the text (see vol. i. pp. 295-6), the chief points
-in which this picture differs from the Basel sketch is in the change of
-position in the figures of Elizabeth Dancey and Margaret Gigs, and the
-introduction of John Harris. Elizabeth Dancey, who now stands next to
-Sir John More, is in exactly the same position and dress as in the
-sketch, whereas Margaret Gigs, who now forms the outer figure of the
-group on the left, is wearing a plain white head-dress, as in the
-preliminary study at Windsor, in place of the angular hood with black
-fall of the sketch; and she now stands upright, instead of stooping,
-with her right hand resting on the book, indicating a passage with her
-forefinger. The secretary, John Harris, on the opposite side of the
-picture, has been brought from within the inner room, in which he was
-indicated with another person in the sketch, and now leans against one
-of the posts of the “porch” within the larger chamber, having a roll
-with seals in his right hand; while his companion is shown standing at
-the distant window, his back to the spectator, reading a book he holds
-in both hands. The cleaning of the picture has made clear the details of
-the furniture and various objects placed about the room. The chief
-changes in these have been already noted. The most important occurs in
-connection with the large fitting or buffet on the left, which in the
-sketch appears as a sideboard reaching to the ceiling, with panels of
-linen-work surmounted by a carved canopy. In the picture this has been
-changed to a more simple fitting or table, such as is shown in “The Two
-Ambassadors,” covered with a Turkish cloth or carpet, the lower part of
-which forms a cupboard, with a bottle and glass visible through one of
-the open doors. Upon this, some of the plate, including the dish and the
-jug with the cloth over it, have been retained, but pushed into the
-background, with the two musical instruments placed in front of them,
-while to the single vase with flowers another has been added. One of
-these holds lilies and carnations, and the other iris and columbines,
-while the window-ledge on the extreme right, behind Lady More, has now a
-large vase with flowers, instead of the jug, book, and flickering
-candle. The clock is seen to be an astronomical one.
-
-In the foreground, where rushes are roughly indicated, the small
-footstool and the scattered books have been removed, their place being
-taken by the two feebly-painted dogs. Happily, during the recent
-cleaning, the larger and more painful of these has been carefully
-removed, to the very great advantage of the picture. Finally, Lady More
-no longer kneels at a _prie-dieu_, but is seated, and the chained
-monkey, instead of scrambling against her skirts, is placed on its perch
-at her feet, looking at the spectator. The name and age of each sitter
-is written over the head or across the dress, the one over Margaret Gigs
-being in a different style of lettering from the others. This last-named
-is merely “Uxor Johannes Clements,” whereas in the East Hendred version,
-which seems to have been based more directly on the original design than
-that at Nostell Priory, it is “Margareta Giga Mori Filiabus condiscipula
-et cognata, A^o 22.” This has been taken to indicate that the East
-Hendred picture was painted first, before the lady married John
-Clements.
-
-
-          THE PORTRAIT OF SIR THOMAS MORE. (Vol. i. pp. 303-4)
-
-This celebrated portrait, which has been in the possession of the Huth
-family for so many years, is no longer in England. It was purchased last
-year (1912) by Messrs. Knoedler, of Old Bond Street, London, and is now
-in the collection of Mr. H. C. Frick, of New York. It is deeply to be
-regretted that this fine example of Holbein’s art, and one of such great
-historical importance, has not found a final resting-place in the
-National Gallery. According to report, the purchase price was £50,000.
-
-
-       (J) HOLBEIN’S RETURN TO ENGLAND IN 1532. (Vol. i. p. 352)
-
-[Sidenote: LORD ARUNDEL AND REMBRANDT]
-
-A letter from Erasmus to Bonifacius Amerbach, preserved among the Basel
-manuscripts, appears to have reference to Holbein’s second journey to
-England, and at the same time to show that the relationships between the
-philosopher and the painter were not, at that period at least, entirely
-amicable ones. This letter, already referred to in Appendix (F), was
-first published by Dr. C. Chr. Bernoulli in the Basel _Nachrichten_, No.
-296, 1902, and is dated Freiburg, 10th April 1535, but the year-date, it
-is stated, is wrong, and should be 1533. The exact meaning of the letter
-is not quite clear, but in it Erasmus complains somewhat bitterly of
-foolish behaviour and needless delay of more than a month in Antwerp on
-the part of “Olpeius,” and of reprehensible conduct on his part towards
-certain people in England to whom Erasmus had given him letters of
-introduction. It seems almost certain that in the “Olpeius” of this
-letter Holbein is intended. The long stay in Antwerp of which Erasmus
-complains must have been in 1532, and apparently it was not until the
-following spring that he heard of it, after receiving letters of
-complaint about the painter from one or more of his English
-correspondents. There is nothing in the letter to indicate in what way
-Holbein deceived these unnamed friends of Erasmus. The original text of
-the letter is as follows:
-
-    “Subornant te patronum, cui uni sciunt me nihil posse negare.
-    Sic Olpeius per te extorsit litteras in Angliam. At is resedit
-    Antuerpiæ supra mensem, diutius mansurus, si invenisset fatuos.
-    In Anglia decepit eos, quibus fuerat commendatus.”
-
-
-  (K) LORD ARUNDEL AND REMBRANDT AS COLLECTORS OF HOLBEIN’S PICTURES.
-                            (Vol. ii. p. 66)
-
-Several important pictures by Holbein appear to have been in the
-Netherlands during the seventeenth century, and the Earl of Arundel,
-through his friends and agents, made serious efforts to add them to his
-collection, though in some instances the price asked was too high for
-him. In this search for examples of Holbein’s art he received
-considerable assistance from Sir Dudley Carleton, English minister at
-the Hague, to whom the Earl wrote, on 17th September 1619: “I hear
-likewise, by many ways how careful your lordship is to satisfy my
-foolish curiosity in inquiring for the pieces of Holbein.” Two years
-later, as already noted (see vol. i. p. 241), Carleton was endeavouring
-to obtain for him a picture by Holbein which may have been the Meyer
-Madonna; and in 1628 another fruitless attempt was made to purchase the
-portrait of Morette (see Vol. ii. p. 65-66). Again, on 25th April 1629,
-the Earl wrote to Sir Henry Vane respecting “a book of Holbein.” In the
-course of this letter he says:
-
-    “I must likewise give you very many thanks for your care
-    concerning Bloome’s (Bloemaert’s) painting and book of Holbein,
-    and the King protests against any meddling with it, at 600_l._,
-    which he says cost him but 200_l._ For the drawings I hoped to
-    have had them for 30_l._, but rather than fail, as I told you, I
-    would go to 50_l._, but never think of 100_l._, nor 50_l._
-    offered without sure to have it; if he would let it come, upon
-    security to send it back, I should be glad, if not, let it
-    rest.”
-
-[Sidenote: SIR NICHOLAS POYNTZ]
-
-What this book was it is now impossible to say, but it cannot have been
-the one containing the Windsor drawings, which came to the Arundel
-Collection from the Earl of Pembroke at about this time (see Sainsbury’s
-_Original Unpublished Papers_, &c., 1859, Nos. 44, 53, 55, and 57 in
-Appendix). It may have been the little book of twenty-two designs of the
-Passion of Christ which Lord Arundel showed to Sandrart (see Vol. ii. p.
-77).
-
-Another seventeenth-century collector of pictures, the great painter
-Rembrandt, was an admirer of Holbein’s work, and at the end of his life,
-when his fine collection had been sold and scattered for the benefit of
-his creditors, and his monetary troubles were thick upon him, we find
-him, nevertheless, offering the large sum of one thousand gulden for
-some picture by the master. The document referring to this offer, dated
-15th October 1666, three years before Rembrandt died, is quoted by Dr.
-Bode in his _Complete Works of Rembrandt_, 1906, vol. viii. pp. 296-7.
-It is a letter written by Anna de Witt, of Dordrecht, in the course of
-which she says: “Whereas the picture is by one of the greatest painters
-of his time, Holbein, who also painted the picture of their ancestor;
-for this Rembrandt offered 1000 gulden.” This ancestor was Willem
-Schijverts van Merode, and the picture appears to have been a votive
-one, in which he was represented as the kneeling donor. Dr. Bode,
-however, suggests that in all probability the picture which Rembrandt
-was said to be so anxious to possess was not by Holbein at all.
-
-
-       THE PORTRAITS OF SIR NICHOLAS POYNTZ. (Vol. ii. p. 71-72)
-
-Holbein’s original painting of Sir Nicholas Poyntz, from which various
-copies were made, appears to be the picture in the collection of the
-Earl of Harrowby, at Sandon Hall, Stafford. This picture is in close
-agreement with the one described by Woltmann, which was exhibited in
-Paris, at the Exposition du Palais Bourbon, in 1874, by the Marquis de
-la Rosière, and photographed on that occasion by Braun, but has since
-disappeared. Lord Harrowby’s picture, which bears the same inscription
-and three-line motto in French as the examples mentioned in the text, is
-a good and undoubtedly genuine work.
-
-
-          (L) HOLBEIN’S VISIT TO JOINVILLE AND NANCY IN 1538.
-                         (Vol. ii. p. 148-149)
-
-[Sidenote: VISIT TO JOINVILLE]
-
-_Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter
-  Marie, Queen of Scotland, respecting the visit of Hoby and Holbein to
-  Joinville, dated 1st September (1538)._ _Balcarres MSS._, _Advocates’
-  Library_, _Edinburgh_, vol. ii., No. 20.
-
-
-              (_Kindly transcribed by Mr. James Melville_)
-
-    “A la royne descosse.
-
-    “Madame Rouvray a este ycy quelque tans pour meyder a pourvoir
-    aus affaire de vous et de vostre filz ou fesons le myeux que
-    povons Depuis que vous ay escrit par vostre argentier franceis
-    ny a ryens change fors la mort du bailly de Dunoys Son filz a eu
-    sa place du grant conseil et pourchast fort pour avoir le dit
-    baillyage Mons. vostre pere men a escrit affin je lavertyse
-    comme il en pouret faire Mon avys a este en escrire au presydent
-    a Chateaudum affin quil luy manda son avys et sy le dit filz
-    estet capable pour lestre ou syl en connest aultre pleus propre
-    Je luy ay mende ansy que je ne connests le dit filz mais que
-    javes fort oŭy louer lavocat de Chateaudum savent et de bon
-    conseil et quyl conet pourpos Je _retires_ (?) ailleurs qui
-    seret gros daumage pour la meson et que se pouret arestet par
-    sete offyce de bailly penses seret le proufit du lieu et des
-    juges veu quy ly est resydent et le filz du trespase nen et que
-    laustre partission que lon recommendet pour mestre au servyce de
-    la meson que lon dit ausy homme de bien et de savoir et
-    demeurant a Chateaudum fut avocat set ung pour quy le presydent
-    vous parllet mais jen ay houblie le non Je ne ses encore quyl en
-    ara este feit ledit Rouvray sen retourne paser par Paris quy
-    sara se quy ara este feit et vous escrira de tout bien au long
-    Sy croie il ne vous sara dire chose quy vous soit plus agreable
-    que la sente de nostre petit filz quy est ausy bonne que ly
-    foystes onques touiours bien rongneus mais il nen leyse a bien
-    dormyr combien que quelquefois il vouldret estre grate mais
-    cella se pase legerement et sy menge fort bien lon le mayne
-    souvent a lesbat quy me senble ly fait grant bien Je le vous
-    souhete souvent il me senble le trouvariez creu et devenu gros
-    quant au reste de nostre menage vostre seur y est touiours
-    mallade de sa fievre et a este sete semayne pasee bien mal dung
-    fleux de ventre quy la fort afeyblie il y a bien huit jours puis
-    elle bouge pleus du lyst depuis hier le dit flux se comense a
-    paser de la fievre je ny seu pas grant amendement combien les
-    mesdesins soyet davys elle sabregera pour se fleux vostre frere
-    Claude a este ausy mallade jusques a la mort dung fleux de sanc
-    avesques la fievre continue dont il lest renchent par deus fois
-    et estant en chemyn pour revenyr ycy ou Mons. son pere le
-    renvoyet a cuyde demeurer pres daultun ou il est encore Je luy
-    ay envoye ma litiere pour lamener lon ma mande il est en tout
-    hors de denger et prest a senvenyr Vostre seur Anthoinette est
-    ausy mallade dune fievre et dung rume sy croie elle se portera
-    bien les aultres se portet bien Je vous avyse que madame vostre
-    tante est mandee pour aller a la court a la venue de la royne de
-    Hongrie quy doit bientost estre a Compiegne ou le roy et toute
-    la court doit estre en pen de jours de moy jen seus _escupee_
-    pour lamour de mes mallades _il ny a que deus jours que le
-    gentilhomme du roy dengletere quy fut au Havre et le paintre ont
-    este ycy le gentilhomme vynt vers moy fesent senblant venyr de
-    devers lenpereur et que ayent seu Louisse mallade navet voullu
-    paser sens lavoir affin en savoir dire des nouvelles au roy son
-    mestre me priant il la puisse voir se quy fit et estet le jour
-    de sa fievre il luy tint pareil pourpos qua moy puys ma dit
-    questant sy pres de Lorrayne avet envye daller jusques a Nency
-    voir le paiys Je me doute incontynent il y allet voir la
-    demoyselle pour la tirer comme les aultres et pour se envoye a
-    leur logis voir quy y estet et trouve le dit paintre y estet et
-    de fait ont este a Nency et y ont seiourne ung jour et ont este
-    fort festus et venet tous les repas le mestre dostel menger
-    avesques luy avesque force presans et bien trestes Volla se que
-    jen ay encore seu au pis alle sy navyes pour voysine vostre seur
-    se pouret estre vostre cousine_ il se tient quelque pourpos
-    lenpereur offre reconpence pour la duche de Gueldres et que se
-    fesant se pouret faire quelque mariage de la fille de Hongrie et
-    de Mons. le marquys Mons. vostre pere entent bien se fesant
-    avoir sa part en la dite recompence Je vouldreis il en fusset
-    bien recompenses voila tout se que jay seu de nouveau depuis
-    vous escryvys Je vous mes tant de lettres a laventure que croy
-    quelcune vous en pouront venyr Je baille seus ycy a Rouvray pour
-    les bailler au bausquyer de Paris affin les vous faire tenyr Je
-    me doute que ne feres sy bonne diligence den mestre par pays que
-    moy car je ses bien que tenes de Mons. vostre pere et questes
-    pareseuse a escrire sy lair descosse ne vous a change Je nay
-    encore eu que vos premyeres lettres il me tarde bien savoir
-    comme depuis vous seres portee Il me sera grant joye pover oŭyr
-    se set touiours bien Nostre Seigneur le veuille, et vous doint
-    Madame longue et bonne vie (set) se premyer de Sebtenbre de
-
-                   vostre humble et bonne mere
-
-                                  ANTHOINETTE DE BOURBON
-
-
-          (M) HOLBEIN’S STUDIO IN WHITEHALL. (Vol. ii. p. 185)
-
-[Sidenote: HOLBEIN IN WHITEHALL]
-
-It was probably in Holbein’s painting-room in Whitehall that the
-incident occurred which set going the story told by Van Mander—a story
-for which, no doubt, there was some foundation in truth—of Holbein’s
-violence towards a nobleman who insisted upon forcing his way into the
-studio when the artist was engaged upon the portrait of a lady, and who
-was, in consequence, thrown downstairs by the infuriated painter. This
-story Walpole tells as follows:
-
-    The writers of his life relate a story, which Vermander, his
-    first biographer, affirms came from Dr. Isely of Basil and from
-    Amerbach.... The story is, that one day as Holbein was privately
-    drawing some lady’s picture for the king, a great lord forced
-    himself into the chamber. Holbein threw him downstairs; the peer
-    cried out; Holbein bolted himself in, escaped over the top of
-    the house, and running directly to the king, fell on his knees,
-    and besought his Majesty to pardon him, without declaring the
-    offence. The king promised to forgive him if he would tell the
-    truth; but soon began to repent, saying he should not easily
-    overlook such insults, and bade him wait in the apartment till
-    he had learned more of the matter. Immediately arrived the lord
-    with his complaint, but sinking the provocation. At first the
-    monarch heard the story with temper, but broke out, reproaching
-    the nobleman with his want of truth, and adding, ‘You have not
-    to do with Holbein, but with me; I tell you, of seven peasants I
-    can make as many lords, but not one Holbein—begone, and
-    remember, that if ever you pretend to revenge yourself, I shall
-    look on any injury offered to the painter as done to myself.’
-    Henry’s behaviour is certainly the most probable part of the
-    story.” (See Walpole, _Anecdotes_, &c., ed. Wornum, vol. i. pp.
-    71-2.)
-
-Wornum gives a more elaborate account of the adventure (_Holbein_, pp.
-319-20), and it is also introduced by Richard Lovelace into his poem
-called “Peinture: a Panegyrick to the Best Picture of Friendship, Mr.
-Pet. Lilly” (Sir Peter Lely), included in _Lucasta_, first published in
-1649. The lines are as follows:
-
-    “When to our huffling Henry there complain’d
-     A grieved earl, that thought his honor stain’d:
-     Away (frown’d he), for your own safeties hast!
-     In one cheap hour ten coronets I’l cast:
-     But Holbeen’s noble and prodigious worth
-     Onely the pangs of an whole age brings forth.
-     Henry! a word so princely saving said,
-     It might new raise the ruins thou hast made.”
-             (See _Lucasta_, ed. W. Carew Hazlitt, 1864, pp. 225-6.)
-
-Another seventeenth-century poet who makes reference to Holbein—in this
-instance it is the Dance of Death which is in question—is Matthew Prior,
-who, in his _Ode to the Memory of George Villiers_, says:
-
-      “Our term of life depends not on our deed,
-       Before our birth our funeral was decreed;
-       Nor aw’d by foresight, nor misled by chance,
-       Imperious Death directs the ebon lance,
-       Peoples great Henry’s tombs, and leads up Holbein’s Dance.”
-
-[Sidenote: BARBER-SURGEONS’ PICTURE]
-
-It has been suggested that Holbein’s painting-room at Whitehall was over
-the so-called Holbein Gate. Numerous engravings of this gate were made
-in the seventeenth and eighteenth centuries, and reproductions of
-several of these will be found in _Whitehall: Historical and
-Architectural Notes_ (Portfolio Monograph), by W. J. Loftie, F.S.A.,
-1895, and in _The Old Royal Palace of Whitehall_, by Dr. Edgar Sheppard,
-1901. Mr. Loftie reproduces an engraving of Whitehall showing the Gate
-after a drawing by Hollar in the Pepysian Library, Cambridge; the
-“Banqueting Hall, Holbein’s Gate, and Treasury,” from the engraving by
-J. Silvestre, 1640; “Whitehall in 1724,” from the engraving by J. Kip;
-“Holbein’s Gate,” from an engraving by G. Vertue, 1725; and “Whitehall,
-from King Street,” from an engraving by R. Godfrey, 1775, after a
-drawing by T. Sandby, R.A. Dr. Sheppard reproduces the engraving after
-Hollar, and the Kip and Vertue engravings, and also “Whitehall,” from a
-picture by Canaletto in the possession of the Duke of Buccleuch; and “A
-View of Whitehall with the Holbein Gateway,” from a drawing by Paul
-Sandby in the possession of Mr. E. Gardner.
-
-
-            THE BARBER-SURGEONS’ PICTURE. (Vol. ii. p. 294)
-
-A further proof of the high value placed upon this picture by the
-Company in earlier days is to be found in John Strype’s additions to
-John Stow’s _Survey of the Cities of London and Westminster_, in the
-folio edition published in 1720. He says (Book iii. p. 128), in speaking
-of “Barber-Chirurgeons’ Hall”:—“In this Hall also is a large and very
-curious Piece of K. Henry VIII reaching the Chirurgeons their Charter;
-with many other Persons of the said Company delineated. It is said to be
-done by _Hans Holben_; and some say, as many Broad Pieces have been
-offered for the purchase of it as would cover it.”
-
-
-------------------------------------------------------------------------
-
-
-
-
-         SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS
-
-        (_Alphabetically arranged under the various countries_)
-
-
-The following list of Holbein’s pictures and portraits in public and
-private collections in England and abroad consists merely of the title
-of each work, the date whenever known, and the number in Woltmann’s
-list, together with a reference to the page or pages and the plates in
-the present book in which the particular picture is described or
-reproduced. Holbein’s very numerous drawings, studies, and designs are
-not included. For these the reader must be referred to the second volume
-of Dr. Woltmann’s book, and, more particularly, to the important
-publication, now in course of issue, under the editorship of Dr. Paul
-Ganz, which is to include a facsimile reproduction of every one of the
-master’s drawings. Nor does this list include Holbein’s woodcuts and
-book illustrations, for which the student is referred to Woltmann,
-Passavant, Butsch, and others.
-
-
-                                AMERICA
-
-                   BOSTON: COLLECTION OF MRS. GARDNER
-
-Portrait of Sir William Butts, 1542-3.
-
-Portrait of Lady Butts, 1542-3.
-
-    Until recently in the possession of the Pole-Carew family. W. 204,
-    205. See Vol. ii. p. 209-210.
-
-                     NEW YORK: METROPOLITAN MUSEUM
-
-Portrait of Benedikt von Hertenstein, 1517.
-
-    See vol. i. pp. 72-4, Pl. 24. Not in Woltmann.
-
-Portrait of Erasmus.
-
-    Recently purchased by the late Mr. J. Pierpont Morgan from the
-    Howard of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann.
-
-
-              NEW YORK: COLLECTION OF MR. BENJAMIN ALTMAN
-
-Portrait of a Lady, probably Margaret Wyat, Lady Lee.
-
-    Until recently in the collection of Major Charles Palmer, Windsor.
-    See Vol. ii. p. 82-83; Pl. 15, vol. ii. Not in Woltmann.
-
-                NEW YORK: COLLECTION OF MR. H. C. FRICK
-
-Portrait of Sir Thomas More, 1527.
-
-    Until recently in the possession of Mr. Edward Huth. See vol. i. pp.
-    303-4, and Vol. ii. p. 340. W. 207.
-
-        NEW YORK: COLLECTION OF THE LATE MR. J. PIERPONT MORGAN
-
-Portrait of Mrs. Pemberton.
-
-    Miniature. See Vol. ii. p. 228-289; Pl. 33, vol. ii. Not in
-Woltmann.
-
-Portrait of Henry VIII.
-
-    Miniature. See Vol. ii. p. 235-236. W. 157.
-
-Portrait of Sir Thomas More.
-
-    Miniature. See vol. i. pp. 306-7. Not in Woltmann.
-
-Portrait of Thomas Cromwell.
-
-    Miniature. See Vol. ii. p. 231-232; Pl. 31, vol. ii. Not in
-Woltmann.
-
-              NEW YORK: COLLECTION OF MR. W. C. VANDERBILT
-
-Portrait of Lady Guldeford.
-
-    Formerly in the collection of Mr. T. Frewen. See vol. i. pp. 320-1.
-W. 206.
-
-Portrait of Lady Rich.
-
-    Now in an American collection. Until recently in the collection of
-    Captain H. R. Moseley, Buildwas Park, Shropshire. See Vol. ii. p.
-    212. W. 128.
-
-
-                CANADA: COLLECTION OF MR. JAMES H. DUNN
-
-Portrait of Queen Catherine Howard, 1540-41.
-
-    See Vol. ii. p. 194-196. Not in Woltmann.
-
-
-                            AUSTRIA-HUNGARY
-
-                          PRAGUE: RUDOLPHINUM
-
-Portrait of Lady Elizabeth Vaux.
-
-    Badly damaged, but possibly an original. See Vol. ii. p. 86-87. W.
-    243.
-
-                        VIENNA: IMPERIAL GALLERY
-
-Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533.
-
-    See Vol. ii. p. 20-21; Pl. 4, vol. ii. W. 251.
-
-Portraits of an Official of the Court of Henry VIII, and his Wife, 1534.
-
-    Two small roundels. See Vol. ii. p. 70-71. W. 256, 257.
-
-Portrait of Queen Jane Seymour, 1536.
-
-    Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii.
-    pp. 111-2; Pl. 20, vol. ii. W. 252.
-
-Portrait of a Young Man, aged 28, 1541.
-
-    See Vol. ii. p. 202-203; Pl. 27, vol. ii. W. 254.
-
-Portrait of Dr. John Chamber, 1541-3.
-
-    See Vol. ii. p. 208-209; Pl. 30, vol. ii. W. 255.
-
-Portrait of an Unknown English Lady.
-
-    See Vol. ii. p. 207; Pl. 29, vol. ii. W. 253.
-
-                VIENNA: COLLECTION OF COUNT LANCKORONSKI
-
-Portrait of an Unknown English Lady.
-
-    See Vol. ii. p. 211-212. W. 260.
-
-                 VIENNA: COLLECTION OF COUNT SCHÖNBORN
-
-Portrait of a Member of the Wedigh Family of Cologne, and of the London
-Steelyard, 1532.
-
-    See Vol. ii. p. 15-16. W. 262.
-
-
-                                BELGIUM
-
-          BRUSSELS: COLLECTION OF FRAU L. GOLDSCHMIDT-PRZIBRAM
-
-Portrait of a Young Man holding a Carnation, 1533.
-
-    See Vol. ii. p. 57. W. 261.
-
-
-                             BRITISH ISLES
-
-                        LONDON: NATIONAL GALLERY
-
-The Two Ambassadors: Jean de Dinteville and George de Selve, 1533.
-
-    See vol. ii. chap. xvii.; Pl. 9, vol. ii. W. 215.
-
-Portrait of the Duchess of Milan, 1538.
-
-    See vol. ii. chap. xx.; Pl. 21, vol. ii. W. 2.
-
-                          HAMPTON COURT PALACE
-
-Portrait of John Reskimer of Cornwall.
-
-    See vol. i. pp. 333-4. W. 162.
-
-Christ appearing to Mary Magdalen (“Noli Me Tangere”).
-
-    See vol. i. pp. 95-8, Pl. 32. Not in Woltmann.
-
-Portrait of Johann Froben, printer of Basel.
-
-    Probably only a good old copy. See Vol. ii. p. 183-184. Not in
-    Woltmann.
-
-Portrait of Lady Elizabeth Vaux.
-
-    Probably only a good old copy. See Vol. ii. p. 86-87. W. 163.
-
-                             WINDSOR CASTLE
-
-Portrait of Sir Henry Guldeford, 1527.
-
-    See vol. i. pp. 317-20; Pl. 80. W. 264.
-
-Portrait of Hans of Antwerp, 1532.
-
-    See Vol. ii. p. 8-14; Pl. 2, vol. ii. W. 265.
-
-Portrait of Derich Born of Cologne, and of the London Steelyard, 1533.
-
-    See Vol. ii. p. 18-20; Pl. 4, vol. ii. W. 266.
-
-Portrait of Thomas Howard, Duke of Norfolk, about 1538-9.
-
-    See Vol. ii. p. 197-199; Pl. 25, vol. ii. W. 267.
-
-Portrait of Henry Brandon.
-
-    Miniature. Date doubtful. See Vol. ii. p. 223-226; Pl. 31, vol. ii.
-    W. 268.
-
-Portrait of Charles Brandon, 1541.
-
-    Miniature. See Vol. ii. p. 223-226; Pl. 31, vol. ii. W. 269.
-
-Portrait of Lady Audley.
-
-    Miniature. See Vol. ii. p. 222-223; Pl. 31, vol. ii. W. 270.
-
-Portrait of Queen Catherine Howard.
-
-    Miniature. See Vol. ii. p. 192-193; Pl. 31, vol. ii. W. 271.
-
-King Solomon and the Queen of Sheba.
-
-    Miniature painting in grisaille, touched with colour and gold. See
-    vol. ii. pp. 262-3; Pl. 40, vol. ii. W. 272.
-
-    VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON: SALTING COLLECTION
-
-Portrait of Hans of Antwerp.
-
-    Small roundel. See Vol. ii. p. 14. Not in Woltmann.
-
-Portrait of Anne of Cleves.
-
-    Miniature. See Vol. ii. p. 181-182, and 236. W. 158.
-
-                  NATIONAL GALLERY OF IRELAND, DUBLIN
-
-Portrait of Sir Henry Wyat.
-
-    Replica of the portrait in the Louvre, Paris. See vol. i. p. 335.
-    Not in Woltmann.
-
-                             LAMBETH PALACE
-
-Portrait of William Warham, Archbishop of Canterbury, 1527.
-
-    See vol. i. pp. 322-3. W. 208.
-
-                   WALLACE COLLECTION, HERTFORD HOUSE
-
-Self-Portrait of Hans Holbein, 1543.
-
-    Miniature. See Vol. ii. p. 230; Pl. 33, vol. ii. See Woltmann, vol.
-    ii. pp. 167-8.
-
-                     BARBER-SURGEONS’ HALL, LONDON
-
-Henry VIII granting a Charter of Incorporation to the Barber-Surgeons,
-1543.
-
-    See Vol. ii. p. 289-244; Pl. 94, vol. ii. W. 202.
-
-                  DUKE OF BEDFORD, K.G., WOBURN ABBEY
-
-Portrait of Sir John Russell, afterwards Earl of Bedford.
-
-    Attributed to Holbein. W. 358.
-
-Portrait of Queen Jane Seymour.
-
-    Old copy. See Vol. ii. p. 112. BERLIN, KAISER FRIEDRICH MUSEUM DUKE
-    OF BUCCLEUCH, K.G., K.T., DALKEITH HOUSE
-
-Portrait of Sir Nicholas Carew.
-
-    See Vol. ii. p. 88-89. W. 142.
-
-Portrait of Queen Catherine Howard.
-
-    Miniature. See Vol. ii. p. 193-194. Not in Woltmann.
-
-Other fine miniatures of Sir Thomas More, George Nevill, Lord
-     Abergavenny, Self-portrait of Holbein, 1543, Jane Seymour, Henry
-     VIII, &c., attributed to Holbein.
-
-    See vol. ii. chap. xxv. BERLIN, KAISER FRIEDRICH MUSEUM MR. AYERST
-    H. BUTTERY, LONDON
-
-Portrait of an Unknown English Lady.
-
-    Formerly in the possession of the Bodenham family. See vol. i.
-    Postscript to Chapter xiv. and Pl. 95.
-
-                   EARL OF CALEDON, TYTTENHANGER PARK
-
-Portrait of Thomas Cromwell, 1532-34.
-
-    See Vol. ii. p. 58-61. W. 249.
-
-                DUKE OF DEVONSHIRE, G.C.V.O., CHATSWORTH
-
-Henry VII and Henry VIII.
-
-    Cartoon for the left-hand half of the Whitehall Wall-painting. Until
-    recently at Hardwick Hall. See Vol. ii. p. 97-99; Pl. 18, vol. ii.
-    W. 167.
-
-                         MISS GUEST, OF INWOOD
-
-Portrait of Sir Bryan Tuke.
-
-    Formerly in the Collection of the Duke of Westminster. See vol. i.
-    pp. 331-3. W. 213.
-
-    According to report, this picture is no longer in Miss Guest’s
-    possession, having been sold during the present year (1913).
-
-                       LORD LECONFIELD, PETWORTH
-
-Portrait of Derich Berck of Cologne, and of the London Steelyard, 1536.
-
-    See Vol. ii. p. 22-23; Pl. 5, vol. ii. W. 241.
-
-                          MR. HAMON LE STRANGE
-
-Portrait of Sir Thomas le Strange, 1536.
-
-    See Vol. ii. p. 85-86. Not in Woltmann.
-
-                DUKE OF NORTHUMBERLAND, K.G., SYON HOUSE
-
-Portrait of Edward, Prince of Wales.
-
-    Attributed to Holbein. See Vol. ii. p. 166. W. 246.
-
-                      MESSRS. PARKENTHORPE, LONDON
-
-The More Family Group.
-
-    The Burford version, recently in the possession of Sir Hugh P. Lane.
-    Copy, with later additions, of the original painting. See vol. i.
-    pp. 301-2; Pl. 76.
-
-                    EARL OF RADNOR, LONGFORD CASTLE
-
-Portrait of Erasmus, 1523.
-
-    See vol. i. pp. 169-71; Pl. 54. W. 214.
-
-                 SIR JOHN RAMSDEN, BT., BULSTRODE PARK
-
-Portrait of a Musician.
-
-    Formerly regarded as a portrait of Sir Nicholas Vaux. Considered by
-    Dr. Ganz to represent Jean de Dinteville. See Vol. ii. p. 52-53; Pl.
-    10, vol. ii. Not in Woltmann.
-
-                       LORD SACKVILLE, KNOLE PARK
-
-Portrait of Margaret Roper.
-
-    Inscribed “Queen Cathrine.” Old copy of a lost original by Holbein,
-    or of the figure in the More Family Group. See vol. i. pp. 308-9.
-
-Portrait of Queen Jane Seymour.
-
-    Good old copy of the portrait in Vienna. See vol. i. p. 112.
-
-                    LORD ST. OSWALD, NOSTELL PRIORY
-
-The More Family Group, 1527-30.
-
-    This picture, among the various existing versions of the More Family
-    Group, has the greatest claims to be regarded, at least in parts, as
-    the original work by Holbein. See vol. i. pp. 295-8; and vol. ii,
-    pp. 334-40; Pl. 75.
-
-                  EARL SPENCER, G.P.V.O., ALTHORP PARK
-
-Portrait of Henry VIII, about 1537.
-
-    See Vol. ii. p. 107-109; frontispiece, vol. ii. W. 1.
-
-Portrait of Hans of Antwerp (?)
-
-    Small roundel. Attributed to Holbein. See Vol. ii. p. 14-15. Not in
-    Woltmann.
-
-                           MR. VERNON WATNEY
-
-Portrait of an English Lady.
-
-    Miniature. Said to represent Queen Jane Seymour. See Vol. ii. p.
-    237. Not in Woltmann.
-
-                           EARL OF YARBOROUGH
-
-Portrait of Edward, Prince of Wales.
-
-    Fine old copy of the portrait at Hanover. See Vol. ii. p. 165; Pl.
-    22, vol. ii.
-
-
-                                 FRANCE
-
-                           PARIS, THE LOUVRE
-
-Portrait of Erasmus, 1523.
-
-    See vol. i. pp. 172-3; Pl. 56. W. 224.
-
-Portrait of William Warham, Archbishop of Canterbury, 1527.
-
-    See vol. i. p. 322; Pl. 83. W. 225.
-
-Portrait of Niklaus Kratzer, the Astronomer, 1528.
-
-    See vol. i. pp. 327-30; Pl. 86. W. 226.
-
-Portrait of Sir Henry Wyat, 1527-28.
-
-    See vol. i. pp. 335-6; Pl. 88. W. 227.
-
-Portrait of Anne of Cleves, 1539.
-
-    See Vol. ii. p. 181-182; Pl. 24, vol. ii. W. 228.
-
-Portrait of Sir Richard Southwell, 1536.
-
-    Attributed to Holbein, but probably only a fine old copy. See vol.
-    ii. p. 85. Not in Woltmann.
-
-      F. ENGEL-GROS COLLECTION, CHÂTEAU DE RIPAILLE, THONON, SAVOY
-
-Portrait of a Man wearing the livery of Henry VIII.
-
-    Small roundel. See Vol. ii. p. 71. Not in Woltmann.
-
-
-                                GERMANY
-
-                    BERLIN, KAISER FRIEDRICH MUSEUM
-
-Portrait of Georg Gisze, member of the London Steelyard, 1532.
-
-    See Vol. ii. p. 4-8; Pl. i. vol. ii. W. 115.
-
-Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London
-Steelyard, 1533.
-
-    See Vol. ii. p. 16-17; Pl. 3, vol. ii. W. 116.
-
-Portrait of an Unknown Man, aged 37, 1541.
-
-    Possibly a Member of the Dutch family of Vos van Steenwyck. See vol.
-    ii. p. 202. W. 117.
-
-Portrait of an Unknown Man, aged 54.
-
-    Formerly in the Collection of Sir J. E. Millais, Bt. See Vol. ii. p.
-    205-206; Pl. 29, vol. ii. W. 211.
-
-                        BRUNSWICK, ROYAL MUSEUM
-
-Portrait of Cyriacus Fallen, member of the London Steelyard, 1533.
-
-    See Vol. ii. p. 22. W. 126.
-
-                     DARMSTADT, GRAND-DUCAL PALACE
-
-The Madonna and Child with the Family of Jakob Meyer, Burgomaster of
-Basel, about 1526.
-
-    Commonly known as the Meyer Madonna. See vol. i. pp. 232-45; Pl. 71.
-    W. 143.
-
-                     DRESDEN, ROYAL PICTURE GALLERY
-
-Double Portrait of Thomas and John Godsalve, of Norwich, 1528.
-
-    See vol. i. pp. 325-7; Pl. 84. W. 144.
-
-Portrait of Charles de Solier, Sieur de Morette, ambassador to the
-English Court, about 1534.
-
-    See Vol. ii. p. 63-70; Pl. 12, vol. ii. W. 145.
-
-The Madonna and Child with the Family of Jakob Meyer.
-
-    Long regarded as an original work by Holbein. Fine old copy of the
-    picture at Darmstadt. See vol. i. pp. 232-45. Not in Woltmann.
-
-                  FRANKFURT, STÄDELSCHES KUNSTINSTITUT
-
-Portrait of Simon George, of Quocote.
-
-    See Vol. ii. p. 207. W. 151.
-
-            FREIBURG IM BREISGAU, UNIVERSITY CHAPEL, MINSTER
-
-The Adoration of the Shepherds.
-
-The Adoration of the Kings.
-
-    Inner sides of the wings of the Oberried altar-piece. See vol. i.
-    pp. 88-91; Pl. 29. W. 155, 156.
-
-                       HANOVER, PROVINZIAL MUSEUM
-
-Portrait of Philip Melanchthon.
-
-    Small roundel. See vol. i. pp. 184-5; Pl. 58. W. 164.
-
-Portrait of Edward, Prince of Wales, 1538-9.
-
-    See Vol. ii. p. 165. W. 165.
-
-                 KARLSRUHE, GRAND-DUCAL PICTURE GALLERY
-
-Christ Bearing the Cross, 1515.
-
-    On the back the remains of a “Crowning with Thorns.” See vol. i. pp.
-    38-9. W. 168.
-
-St. George, 1522.
-
-St. Ursula, 1522.
-
-    Wings of an altar-piece. See vol. i. pp. 111-2. W. 169, 170.
-
-                        MUNICH, ALTE PINAKOTHEK
-
-Portrait of Derich Born, member of the London Steelyard, 1533.
-
-    Small oval, almost miniature in size. See Vol. ii. p. 20. W. 220.
-
-Portrait of Sir Bryan Tuke, with Death holding a Scythe and Hour-glass.
-
-    Probably a good old copy of the picture until recently in the
-    possession of Miss Guest of Inwood. See vol. i. pp. 331-3. W. 219.
-
-Portrait of Derich Berck, member of the London Steelyard.
-
-    Copy of the picture belonging to Lord Leconfield, Petworth. See vol.
-    ii. p. 23. Not in Woltmann.
-
-                    MUNICH, BAVARIAN NATIONAL MUSEUM
-
-Portrait of a Man, aged 27.
-
-    Miniature, with the initials H. M. on either side of the head. See
-    vol. ii. pp. 241-2. Not in Woltmann.
-
-
-                                HOLLAND
-
-                    THE HAGUE, ROYAL PICTURE GALLERY
-
-Portrait of a Young Lady, said to be Holbein’s Wife.
-
-    See vol. i. pp. 106-8; Pl. 37. W. 161.
-
-Portrait of Robert Cheseman, 1533.
-
-    See Vol. ii. p. 54-57; Pl. 11, vol. ii. W. 159.
-
-Portrait of an Unknown Man with a Falcon, aged 28, 1542.
-
-    See Vol. ii. p. 203; Pl. 28, vol. ii. W. 160.
-
-Portrait of Queen Jane Seymour.
-
-    Good old copy of the picture at Vienna. See Vol. ii. p. 113. Not in
-    Woltmann.
-
-                        THE HAGUE, ROYAL PALACE
-
-Portrait of a Boy.
-
-    Miniature. See Vol. ii. p. 229-230; Pl. 31, vol. ii. Not in
-    Woltmann.
-
-
-                                 ITALY
-
-                        FLORENCE, UFFIZI GALLERY
-
-Portrait of Sir Richard Southwell, 1536.
-
-    See Vol. ii. p. 84-85; Pl. 16, vol. ii. W. 149.
-
-Self-portrait of Hans Holbein, 1543.
-
-    See Vol. ii. p. 213. W. 150.
-
-                         PARMA, PICTURE GALLERY
-
-Portrait of Erasmus, 1530.
-
-    Probably only a good old copy. See vol. i. p. 179. W. 240.
-
-                         ROME, NATIONAL GALLERY
-
-Portrait of Henry VIII, about 1539.
-
-    See Vol. ii. p. 102-103; Pl. 19, vol. ii. Not in Woltmann.
-
-
-                                 SPAIN
-
-                             MADRID, PRADO
-
-Portrait of an Old Man.
-
-    Attributed to Holbein by some writers. Not by him according to Dr.
-    Ganz. See vol. i. pp. 334-5. W. 217.
-
-
-                              SWITZERLAND
-
-                    BASEL, PUBLIC PICTURE COLLECTION
-
-Madonna and Child, 1514.
-
-    See vol. i. pp. 33-5; Pl. 7. Not in Woltmann.
-
-Head of the Virgin.
-
-Head of St. John.
-
-    See vol. i. pp. 37-8; Pl. 8. W. 7, 8.
-
-The Lord’s Supper.
-
-Christ on the Mount of Olives.
-
-Christ taken Prisoner.
-
-The Scourging.
-
-Pilate Washing his Hands.
-
-    The above five paintings, on canvas, formed part of a larger
-    “Passion” series, probably for some Basel church, and are among the
-    earliest works upon which Holbein was engaged after he settled in
-    that city. See vol. i. pp. 39-42; Pls. 9 and 10. W. 24-8.
-
-Schoolmaster’s Sign, 1516.
-
-    Painted on both sides. See vol. i. pp. 51-2; Pl. 14. W. 5, 6.
-
-Double Portrait of the Burgomaster, Jakob Meyer, and his Wife Dorothea
-Kannengiesser, 1516.
-
-    See vol. i. pp. 52-5; Pl. 15. W. 11.
-
-Adam and Eve, 1517.
-
-    See vol. i. pp. 55-6; Pl. 17. W. 9.
-
-Portrait of Bonifacius Amerbach, 1519.
-
-    See vol. i. pp. 85-7; Pl. 28. W. 10.
-
-The Dead Christ in the Tomb, 1521.
-
-    See vol. i. pp. 101-3; Pl. 35. W. 14.
-
-Seven Fragments of three of the Wall-paintings in the Council Chamber of
-the Basel Town Hall:—
-
-        Heads of the Samnite Ambassadors, 1521-2.
-
-        Head of Zaleucus of Locri, 1521-2.
-
-        Head of a Spectator in the same painting, 1521-2.
-
-        Head of King Rehoboam, 1530.
-
-        Hand of King Rehoboam, 1530.
-
-        Two groups of Heads in the same painting, 1530.
-
-    See vol. i. pp. 129-31 and 348; Pls. 40 and 92. W. 21.
-
-Portrait of Erasmus, in profile, writing, 1523.
-
-    See vol. i. pp. 173-4. W. 12.
-
-The Last Supper.
-
-    See vol. i. pp. 75-6; Pl. 25. W. 16.
-
-The Passion of Christ.
-
-    In eight scenes. The outer sides of the wings of an altar-piece. See
-    vol. i. pp. 91-5; Pl. 30. W. 20.
-
-Christ as the Man of Sorrows.
-
-Mary as Mater Dolorosa.
-
-Diptych, monochrome, with blue backgrounds.
-
-    See vol. i. pp. 98-9; Pl. 33. W. 19.
-
-Organ Doors formerly in Basel Minster.
-
-    See vol. i. p. 113. W. 4.
-
-Magdalena Offenburg as Laïs Corinthiaca, 1526.
-
-    See vol. i. pp. 246-52; Pl. 73. W. 17.
-
-Magdalena Offenburg as Venus, 1526.
-
-    See vol. i. pp. 246-52; Pl. 73. W. 18.
-
-Holbein’s Wife and Children, 1528-29.
-
-    See vol. i. pp. 343-6; Pl. 90. W. 15.
-
-Portrait of an Unknown Man.
-
-    See Vol. ii. p. 211. W. 22.
-
-Portrait of Erasmus.
-
-    Small roundel. See vol. i. p. 180; Pl. 58. W. 13.
-
-Portrait of a Young Woman, about 1528.
-
-    Unfinished. See vol. i. pp. 346-7; Pl. 91. W. 46.
-
-Printer’s Mark of Johann Froben.
-
-Portrait of Johann Froben.
-
-    Old copy. See vol. i. pp. 183-4.
-
-                       BASEL, UNIVERSITY LIBRARY
-
-Coat of Arms of Petrus Fabrinus, Rector of Basel University, 1523.
-
-    Coloured drawing in the University Matriculation Book. See vol. i.
-    pp. 145-6. W. 112.
-
-          BASEL, COLLECTION OF DR. RUDOLPH GEIGY-SCHLUMBERGER
-
-Portrait of a Man, said to be Holbein himself.
-
-    Water-colour drawing. See Vol. ii. p. 213. Not in Woltmann.
-
-                          LUCERNE, KUNSTVEREIN
-
-Fragments of the original wall-painting on the façade of the Hertenstein
-House in Lucerne: part of the subject of the Death of Lucretia, 1517.
-
-    See vol. i. p. 68. W. 216.
-
-                        SOLOTHURN, STADT MUSEUM
-
-Madonna and Child, with St. Nicholas (or St. Martin) and St. Ursus,
-1522.
-
-    See vol. i. pp. 103-11; Pl. 36. W. 247.
-
-                  ZÜRICH, SCHWEIZERISCHES LANDESMUSEUM
-
-Table painted with the legend of St. Nobody, hunting and jousting
-scenes, &c., for Hans Baer, of Basel, 1515.
-
-    See vol. i. pp. 35-7. W. 359.
-
-
-------------------------------------------------------------------------
-
-
-
-
-   PICTURES BY AND ATTRIBUTED TO HOLBEIN AND OF HIS SCHOOL AND PERIOD
-
-         EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912
-
-
-  _In almost all cases the attributions are those of the owners of the
-                               pictures_
-
-     _The spelling of the names is that of the original Catalogues_
-
-                    I. THE BRITISH INSTITUTION, 1846
-
-
-  120  │Charles Brandon, Duke of  │   Hans   │Lord Willoughby d’Eresby
-       │Suffolk d. 1545           │ Holbein  │
-
-  122  │Henry VIII                │    "     │Mrs. Nicholl
-
-  131  │The Infant Son of Charles │    "     │Lord Willoughby d’Eresby
-       │Brandon, Duke of Suffolk  │          │
-
-  133  │Edward VI when Prince of  │    "     │Earl of Hardwick
-       │Wales                     │          │
-
-  135  │George Brooke, Lord of    │    "     │F. L. Popham, Esq.
-       │Cobham d. 1558            │          │
-
-  138  │Queen Mary                │    "     │Hon. C. C. Cavendish M.P.
-
-  155  │Thomas Howard, Duke of    │    "     │Duke of Norfolk
-       │Norfolk,                  │          │
-
-  161  │Ambrose Dudley, Earl of   │    "     │Marquess of Salisbury,
-       │Warwick, d. 1589          │          │K.G.
-
-  162  │William Warham, Archbishop│    "     │Archbishop of Canterbury
-       │of Canterbury, d. 1532    │          │
-
-  163  │The Family of Henry VII   │    "     │Lord Willoughby d’Eresby
-       │and Henry VIII, &c.       │          │
-
-  176  │Catherine de Bore, wife of│    "     │Duke of Sutherland, K.G.
-       │Martin Luther             │          │
-
-  178  │Erasmus, d. 1536          │    "     │Duke of Sutherland, K.G.
-
-  200  │Lady Elizabeth Gray, wife │    "     │Lord Baybrooke
-       │of Thomas, Lord Audley of │          │
-       │Warden, Lord Chancellor   │          │
-
-  205  │Henry VIII granting the   │    "     │Barber-Surgeons’ Company
-       │Charter to the            │          │
-       │Barber-Surgeons           │          │
-
-
- II. ART TREASURES OF THE UNITED KINGDOM COLLECTED AT MANCHESTER IN 1857
-
-                              _Old Masters_
-
-
-  454  │Portrait of Francis I     │   Hans   │Her Majesty (Hampton
-       │(considered  by some to be│ Holbein  │Court)
-       │a Janet)                  │          │
-
-  455  │King Henry VIII           │    "     │Earl of Warwick
-
-  456  │Dr. Stokes (Bishop of     │    "     │Her Majesty (Windsor
-       │London)                   │          │Castle)
-
-  457  │King Edward VI            │    "     │A. Barker, Esq.
-
-  459  │Portrait of a Young Man   │    "     │Lord Ward
-       │holding a Book            │          │
-
-  460  │Portrait of Francis I,    │    "     │H.R.H. Prince Albert
-       │dated 1509, No. 40 of     │          │
-       │Kensington Palace         │          │
-       │Catalogue                 │          │
-
-  466  │Portrait of Erasmus. A    │  Georg   │Her Majesty (Windsor
-       │copy of a picture by      │  Pentz   │Castle)
-       │Holbein                   │          │
-
-  533  │The Root of Jesse         │  Gerard  │Sir Culling Eardly, Bt.
-       │                          │  Lucas   │
-       │                          │ Horebout │
-
-
-                       _British Portrait Gallery_
-
-
-   10  │Anne Boleyn               │ Unknown  │Earl of Denbigh
-
-   11  │Anne Boleyn               │    “     │Earl of Warwick
-
-   12  │Mary Boleyn               │    “     │“
-
-   13  │Lord Darnley and his      │  Lucas   │Her Majesty (Hampton
-       │Brother, Charles Stuart   │ d’Heere  │Court)
-
-   14  │Mary Tudor and Charles    │ Unknown  │Duke of Bedford
-       │Brandon, Duke of Suffolk  │          │
-
-   16  │Queen Katherine Parr      │ Holbein  │Earl of Denbigh
-
-   17  │Earl of Surrey (Henry     │    “     │Her Majesty (Hampton
-       │Howard), the poet, in a   │          │Court)
-       │red habit                 │          │
-
-   26  │Sir Nicholas Carew, K.G., │    “     │Duke of Buccleuch
-       │in armour                 │          │
-
-   27  │Sir Walter Raleigh        │    “     │J. Gibson Craig, Esq.,
-       │                          │          │M.P.
-
-   28  │Lady Raleigh              │    “     │“
-
-   29  │The Darnley Cenotaph      │    “     │Duke of Richmond
-
-   30  │Littleton                 │    “     │Lord Lyttelton
-
-   31  │Earl of Southampton (Henry│    “     │Duke of Portland
-       │Wriothesley),             │          │
-       │Shakespeare’s patron, with│          │
-       │his Cat                   │          │
-
-   32  │Countess of Southampton   │    “     │“
-       │(Elizabeth Vernon), wife  │          │
-       │of above                  │          │
-
-   33  │Bess of Hardwick (Building│    “     │“
-       │Bess)                     │          │
-
-   34  │William Camden in his     │    “     │Painter-Stainers’ Company
-       │dress as Clarencieux      │          │
-
-   48  │King Henry VIII           │    “     │Duke of Manchester
-
-   49  │Cardinal Wolsey           │    “     │Christ Church, Oxford
-
-   50  │Queen Jane Seymour        │    “     │Duke of Bedford
-
-   51  │The Father of Sir Thomas  │    “     │Earl of Pembroke
-       │More holding a legal      │          │
-       │document                  │          │
-
-   52  │Sir Henry Guildford       │    “     │Her Majesty (Windsor
-       │                          │          │Castle)
-
-
-                         SOUTH KENSINGTON, 1862
-
-
-   53  │Lady Grey (Margaret       │ Holbein  │Duke of Portland
-       │Wooton)                   │          │
-
-  53A  │Lady Jane Grey            │    “     │Earl of Stamford and
-       │                          │          │Warrington
-
-   54  │King Edward VI. A         │    “     │Her Majesty (Windsor
-       │knee-piece                │          │Castle)
-
-   55  │King Edward VI at age of  │    “     │Earl of Yarborough
-       │six                       │          │
-
-  55A  │King Edward VI            │    “     │Duke of Northumberland
-
-   56  │King Edward VI. Miniature │    “     │Duke of Portland
-       │full-length               │          │
-
-   57  │The Three Children of King│  Mabuse  │Earl of Pembroke
-       │Henry VII                 │          │
-
-   58  │Queen Mary I and Philip   │    “     │Duke of Bedford
-       │II. Small full-lengths,   │          │
-       │dated 1558                │          │
-
-   59  │Queen Mary I, 1544        │  Lucas   │Society of Antiquaries
-       │                          │ d’Heere  │
-
-   62  │Queen Elizabeth. Miniature│    “     │Duke of Portland
-       │full-length               │          │
-
-   66  │William Warham, Archbishop│ Holbein  │Archbishop of Canterbury
-       │of Canterbury             │          │
-
-   67  │The Princess Elizabeth,   │    “     │Her Majesty (Hampton
-       │holding a book            │          │Court)
-
-  67A  │Sir Thomas Gresham        │    “     │Earl of Stamford and
-       │                          │          │Warrington
-
-  173  │Lucius Cary, Viscount     │    “     │Earl of Clarendon
-       │Falkland                  │          │
-
- Frame │Miniatures of the time of │    —     │Duke of Buccleuch
-   7   │Henry VII and Henry VIII, │          │
-       │&c.                       │          │
-
- Frame │Henry VIII                │ Holbein  │Col. Meyrick
-   17  │                          │          │
-
- Frame │Anne of Cleves            │    “     │“
-   17  │                          │          │
-
-
- III. SPECIAL EXHIBITION OF WORKS OF ART, SOUTH KENSINGTON MUSEUM, JUNE
-                 1862. SECTION XI. PORTRAIT MINIATURES
-
-  1901 │Mary Tudor, Queen of      │  Sir A.  │S. Addington, Esq.
-       │England (oil)             │   More   │
-
-  1905 │Thomas Cromwell, Earl of  │ Holbein  │“
-       │Essex                     │          │
-
-  1932 │Edward VI (sculptured in  │ Unknown  │T. L. Barwick Baker, Esq.
-       │wood)                     │          │
-
-  1933 │Henry VIII “              │    “     │“
-
-  1934 │Henry, Duke of Richmond   │    “     │C. Sackville Bale, Esq.
-
-  1935 │Jane Seymour              │   Hans   │“
-       │                          │ Holbein  │
-
-  1936 │Mary Tudor                │    “     │“
-
-  2018 │Henry VII                 │    “     │Duke of Buccleuch, K.G.
-
-  2021 │Henry VIII                │    “     │“
-
-  2022 │“                         │    “     │“
-
-  2023 │“                         │    “     │“
-
-  2024 │Catherine of Aragon       │    “     │“
-
-  2025 │“                         │    “     │“
-
-  2026 │“                         │    “     │“
-
-  2027 │Mary Tudor                │  Sir A.  │“
-       │                          │   More   │
-
-  2029 │Catherine Howard          │   Hans   │“
-       │                          │ Holbein  │
-
-  2030 │“                         │    “     │“
-
-  2039 │Prince Edward             │    “     │“
-
-  2040 │King Edward VI            │   Hans   │Duke of Buccleuch, K.G.
-       │                          │ Holbein  │
-
-  2041 │“                         │    “     │“
-
-  2042 │“                         │    “     │“
-
-  2061 │Sir Thomas More           │    “     │“
-
-  2216 │The Three Children of     │ Ascribed │J. C. Dent, Esq.
-       │Henry VII                 │to Mabuse │
-
-  2217 │Jane Seymour              │   Hans   │“
-       │                          │ Holbein  │
-
-  2218 │Queen Catherine Parr      │    “     │“
-
-  2219 │Henry VIII, full-length   │    —     │“
-       │(carved in honestone)     │          │
-
-  2220 │Henry VIII (carved in     │   Hans   │“
-       │boxwood)                  │ Holbein  │
-
-  2265 │An Unfinished Portrait    │    “     │Sir Wentworth Dilke, Bt.
-
-  2341 │Henry VIII                │ Unknown  │Earl of Gosford
-
-  2405 │Queen Catherine Howard    │   Hans   │Duke of Hamilton
-       │                          │ Holbein  │
-
-  2458 │Sir Thomas More           │Attributed│Sir W. T. Holburne. Bt.
-       │                          │to Holbein│
-
-  2459 │Erasmus                   │    “     │“
-
-  2477 │Thomas Howard, 3rd Duke of│   Hans   │R. S. Holford, Esq.
-       │Norfolk                   │ Holbein  │
-
-  2478 │Thomas Howard, 4th Duke of│  Sir A.  │“
-       │Norfolk                   │   More   │
-
-  2544 │Henry VIII, 1526          │   Hans   │Hollingworth Magniac, Esq.
-       │                          │ Holbein  │
-
-  2545 │Catherine of Aragon       │    “     │“
-
-  2581 │Henry VIII and Jane       │    “     │H. Danby Seymour, Esq.,
-       │Seymour                   │          │M.P.
-
-  2598 │Mary Tudor, Queen of      │ Luis de  │Rev. Walter Sneyd
-       │England                   │  Vargas  │
-
-  2599 │Philip II of Spain        │    “     │“
-
-  2641 │Leonhardus Bur, aged 20,  │   Hans   │Charles Sotheby, Esq.
-       │1549                      │ Holbein  │
-
-  2651 │Henry VIII (oil on panel) │    “     │Earl Spencer
-
-  2652 │Sir John Boling Hatton and│  Lucas   │“
-       │his Mother, 1525          │ d’Heere  │
-
-  2726 │Catherine, Duchess of     │   Hans   │Lady Willoughby de Eresby
-       │Suffolk, d. 1580          │ Holbein  │
-
-  2727 │Thomas Cromwell, Earl of  │ Unknown  │“
-       │Essex                     │          │
-
-
-   IV. SPECIAL EXHIBITION OF PORTRAIT MINIATURES ON LOAN AT THE SOUTH
-                      KENSINGTON MUSEUM, JUNE 1865
-
-  273  │Henry VIII (oil)          │ Unknown  │Duke of Richmond
-
-  307  │Mary Tudor, Queen of      │  Sir A.  │S. Addington, Esq.
-       │England (oil)             │   More   │
-
-  601  │Sir Thomas More (enamel)  │ H. Bone, │R. G. Clarke, Esq.
-       │                          │   R.A.   │
-
-  629  │Mary, Queen of England    │ Luis de  │Rev. W. Sneyd
-       │(oil). Dated 1555         │  Vargas  │
-
-  630  │Philip II of Spain (oil)  │    “     │“
-
-  648  │Katherine of Aragon (on   │   Hans   │Hollingworth Magniac, Esq.
-       │vellum)                   │ Holbein  │
-
-  652  │Henry VIII. Painted in    │    “     │“
-       │1526                      │          │
-
-  763  │Sir Nicholas Poyntz       │    “     │R. S. Holford, Esq., M.P.
-       │(vellum)                  │          │
-
-  950  │Sir John Boling Hatton and│  Lucas   │Earl Spencer, K.G.
-       │his Mother. Dated 1525    │ d’Heere  │
-
-  1029 │Earl of Kildare (oil on   │   Hans   │Lord Boston
-       │panel)                    │ Holbein  │
-
-  146  │Alicia, wife of Sir Thomas│    “     │J. Heywood Hawkins, Esq.
-       │More (on card)            │          │
-
-  1282 │Mary Tudor, Queen of      │ Unknown  │“
-       │England                   │          │
-
-  1381 │Henry VIII (on ivory)     │Copy after│Earl of Gosford
-       │                          │ Holbein  │
-
-  1388 │John Calvin (oil on panel)│   Hans   │Earl Spencer, K.G.
-       │                          │ Holbein  │
-
-  1392 │Henry VIII (oil on panel) │    “     │John Jones, Esq.
-
-  1554 │Thomas Howard, Duke of    │    “     │Philip Henry Howard, Esq.
-       │Norfolk (on panel)        │          │
-
-  1590 │Katherine of Aragon (on   │    “     │Duke of Buccleuch, K.G.
-       │vellum)                   │          │
-
-  1603 │Thomas, Lord Seymour of   │    “     │“
-       │Sudeley (on vellum)       │          │
-
-  1643 │Henry, Duke of Richmond   │ Unknown  │C. Sackville Bale, Esq.
-       │(on card)                 │          │
-
-  1645 │Lady Jane Seymour         │   Hans   │“
-       │                          │ Holbein  │
-
-  1651 │Queen Mary I of England   │    “     │“
-
-  1708 │Margaret Tudor, Queen of  │ Unknown  │Duke of Marlborough
-       │Scotland                  │          │
-
-  1810 │Ann of Cleves. Signed “H. │   Hans   │David Laing, Esq.
-       │H.” (oil on panel).       │ Holbein  │
-
-  2082 │Henry VIII (oil)          │    “     │Earl Spencer, K.G.
-
-  2093 │Portrait of a Gentleman in│    “     │Earl of Shaftesbury, K.G.
-       │a furred gown             │          │
-
-  2347 │Henry VIII and Edward VI  │ Ascribed │Miss Wilson
-       │                          │  to N.   │
-       │                          │ Hilliard │
-
-  2627 │Portrait of a Lady, aged  │   Hans   │J. Heywood Hawkins, Esq.
-       │23 (on card) (Mrs.        │ Holbein  │
-       │Pemberton)                │          │
-
-  2655 │Hans Holbein, the Painter │    “     │Earl Spencer, K.G.
-       │(oil)                     │          │
-
-  2664 │Edward VI. Dated 1547     │    “     │Henry F. Holt, Esq.
-
-  2946 │Charles V, Emperor of     │ Ascribed │William Mosely, Esq.
-       │Germany                   │to Holbein│
-
-  2947 │Anne Boleyn               │    “     │“
-
-  2948 │Henry VIII                │    “     │“
-
-
- V. FIRST SPECIAL EXHIBITION OF NATIONAL PORTRAITS ENDING WITH THE REIGN
-  OF KING JAMES THE SECOND, ON LOAN TO THE SOUTH KENSINGTON MUSEUM, 1866
-
-   46  │Richard Fox, Bishop of    │ Johannes │Corpus Oxford Christi
-       │Winchester. 30” × 19”     │  Corvus  │College,
-
-   49  │Arthur, Prince of Wales.  │   Hans   │Her Majesty (Windsor
-       │15” × 11”                 │ Holbein  │Castle)
-
-   50  │Richard Fox. 15” × 12”    │ Unknown  │Richard Cholmondeley, Esq.
-
-   52  │Henry VII. 23” × 18”      │  Jan de  │Hon. Mrs. Greville Howard
-       │                          │  Mabuse  │
-
-   53  │Margaret Tudor, Queen of  │ Unknown  │Her Majesty (Hampton
-       │Scotland. 94” × 55”       │          │Court)
-
-   54  │Henry VII and Ferdinand of│   Hans   │Henry Musgrave, Esq.
-       │Aragon. 32” × 31”         │ Holbein  │
-
-   55  │Henry VII. 22” × 17”      │ Unknown  │Her Majesty (Windsor
-       │                          │          │Castle)
-
-   56  │Henry VII. 20” × 16”      │    “     │Christ Church, Oxford
-
-   57  │Queen Elizabeth of York.  │ Ascribed │Mrs. B. J. P. Bastard.
-       │21” × 16”                 │to Mabuse │
-
-   58  │The Three Children of     │  Jan de  │Her Majesty (Hampton
-       │Henry VII. 13” × 17”      │  Mabuse  │Court)
-
-   59  │Henry VII. 22” × 25”      │ Unknown  │Charles Winn, Esq.
-
-   60  │John Colet, Dean of St.   │    “     │University Library,
-       │Paul’s. 34” × 24”         │          │Cambridge
-
-   62  │Henry VII. 15” × 11”      │    “     │Christ Church, Oxford
-
-   63  │James IV of Scotland. 14” │   Hans   │Marquis of Lothian
-       │× 11”                     │ Holbein  │
-
-   68  │Sir Thomas Wyat the Elder.│ Unknown  │Bodleian Library, Oxford
-       │17” × 13”                 │          │
-
-   71  │Edward Stafford, 3rd Duke │   Hans   │Marquis of Hastings
-       │of Buckingham. 23” × 18”  │ Holbein  │
-
-   72  │Nicolas Kratzer. 34” × 27”│    "     │Viscount Galway, M.P.
-
-   73  │Hans Holbein, signed “H.  │    "     │Her Majesty (Hampton
-       │B., A.D. 1539.” 16” × 11½”│          │Court)
-
-   74  │Queen Catherine of Aragon │    "     │Walter Moseley, Esq.
-       │(Portrait of Lady Rich).  │          │
-       │17” × 13”                 │          │
-
-   75  │Henry VIII. 35” × 25”     │    "     │Duke of Manchester
-
-   76  │Charles Brandon, Duke of  │    "     │Mrs. Branfill
-       │Suffolk, and his wife,    │          │
-       │Princess Mary Tudor. 30” ×│          │
-       │22”                       │          │
-
-   77  │Henry VIII. 35” × 27”     │ Unknown  │Her Majesty (Windsor
-       │                          │          │Castle)
-
-   78  │Queen Katherine of Aragon.│   Hans   │Countess Delawarr
-       │26” × 20”                 │ Holbein  │
-
-   79  │Queen Katherine of Aragon.│ Unknown  │National Portrait Gallery
-       │23” × 17”                 │          │
-
-   80  │Charles Brandon, Duke of  │  Jan de  │Earl of Yarborough
-       │Suffolk, and the Princess │  Mabuse  │
-       │Mary Tudor. 28” × 18”     │          │
-
-   84  │Henry VIII. 25” × 22”     │   Hans   │Lady Sophia Des Vœux
-       │                          │ Holbein  │
-
-   86  │William Warham, Archbishop│    "     │Archbishop of Canterbury
-       │of Canterbury. 32” × 26”  │          │
-
-   88  │John Fisher, Bishop of    │    "     │Major J. H. Brooks
-       │Rochester. 13” × 10”      │          │
-
-   89  │Sir John More, Kt. 16” ×  │    "     │W. B. Smythe, Esq.
-       │12”                       │          │
-
-   90  │Margaret Tudor, Queen of  │    "     │Marquis of Lothian
-       │Scotland. 14” × 11”       │          │
-
-   91  │Sir Thomas Wyat the Elder.│ Unknown  │Marquis of Hastings
-       │Circular, diameter 19”    │          │
-
-   92  │John Fisher, Bishop of    │   Hans   │St. John’s College,
-       │Rochester, aged 74. 28” × │ Holbein  │Cambridge
-       │24”                       │          │
-
-   93  │Thomas Cranmer, Archbishop│    "     │Jesus College, Cambridge
-       │of Canterbury.            │          │
-
-   95  │Henry Howard, Earl of     │    "     │Bodleian Library, Oxford
-       │Surrey. 8½” × 6½”         │          │
-
-   96  │Thomas Linacre, M.D.,     │Holbein or│Her Majesty (Windsor
-       │dated 1527. 18” × 13”     │  Metsys  │Castle)
-
-   97  │Queen Anne Boleyn. 25” ×  │ Unknown  │Hon. Mrs. Greville Howard
-       │10”                       │          │
-
-   98  │Sir Thomas Wyat the Elder.│    “     │John Bruce, Esq.
-       │15½” × 12”                │          │
-
-   99  │Henry VIII. 36” × 35”     │    "     │Earl of Warwick
-
-  101  │Sir Thomas Boleyn, Earl of│   Hans   │W. B. Stopford, Esq.
-       │Ormonde and Wiltshire,    │ Holbein  │
-       │K.G., aged 60. 20” × 17”  │          │
-
-  102  │Henry Howard, Earl of     │    "     │Her Majesty (Hampton
-       │Surrey, K.G. 76” × 52”    │          │Court)
-
-  103  │Queen Anne Boleyn. 14” ×  │ Unknown  │Earl of Warwick
-       │12”                       │          │
-
-  104  │Christina of Denmark,     │   Hans   │Her Majesty (Windsor
-       │Duchess of Milan. 17” ×   │ Holbein  │Castle)
-       │13”                       │          │
-
-  105  │Mary Boleyn. 14” × 12”    │ Unknown  │Earl of Warwick
-
-  106  │James V of Scotland and   │    “     │Duke of Devonshire, K.G.
-       │his second Queen, Mary of │          │
-       │Guise. 57” × 43”          │          │
-
-  107  │Queen Anne Boleyn, dated  │   Hans   │Sir Montague J. Cholmeley,
-       │1530, “H. B.” 33” × 23”   │ Holbein  │Bt., M.P.
-
-  108  │Sir Richard Southwell, Kt.│    "     │H. E. Chetwynd-Stapylton,
-       │18” × 14” Esq.            │          │
-
-  109  │Henry VIII. 39” × 29”     │    "     │Her Majesty (Windsor
-       │                          │          │Castle)
-
-  110  │Sir William Butts, Kt. 18”│    "     │W. H. Pole-Carew, Esq.
-       │× 14”                     │          │
-
-  111  │Sir Nicholas (called      │ Unknown  │Marquis of Ormonde
-       │“William”) Poyntz, dated  │          │
-       │1535. Canvas. 27” × 18”   │          │
-
-  112  │Sir Richard Southwell,    │ Michell, │Ralph N. Wornum, Esq.
-       │painted in 1835. 22” × 18”│  after   │
-       │Holbein                   │          │
-
-  113  │Thomas Cromwell, Earl of  │   Hans   │Duke of Manchester
-       │Essex. 14” × 11”          │ Holbein  │
-
-  114  │Queen Anne Boleyn. 10½” × │    "     │Earl of Denbigh
-       │8”                        │          │
-
-  115  │Lady Butts. 18” × 14”     │    "     │W. H. Pole-Carew, Esq.
-
-  118  │Henry VIII. 35” × 27”     │    "     │Viscount Galway, M.P.
-
-  119  │Queen Jane Seymour. 14” × │ Unknown  │Duke of Northumberland
-       │11”                       │          │
-
-  120  │Mary Tudor, Queen of      │ Unknown  │Earl Brownlow
-       │France. 6½” × 5½”         │          │
-
-  121  │Henry Howard, Earl of     │   Hans   │Countess Delawarr
-       │Surrey. Dated 1546.       │ Holbein  │
-       │Canvas, 81” × 51”         │          │
-
-  122  │Joanna Fitz-Alan, Lady    │    "     │John Webb, Esq.
-       │Abergavenny. She died     │          │
-       │before 1519. 16” × 22”    │          │
-
-  123  │Charles Brandon, Duke of  │ Unknown  │Earl Brownlow
-       │Suffolk. 7” × 6”          │          │
-
-  124  │Henry VIII. 28” × 22”     │   Hans   │Her Majesty (Hampton
-       │                          │ Holbein  │Court)
-
-  125  │Queen Jane Seymour. 24” × │ Unknown  │Countess Delawarr
-       │19”                       │          │
-
-  126  │Thomas Cromwell, Earl of  │   Hans   │“
-       │Essex. 30” × 24½”         │ Holbein  │
-
-  129  │Sir Henry Guildford, Kt.  │    "     │John Webb, Esq.
-       │34” × 25”                 │          │
-
-  131  │Queen Katherine Parr. 70” │   Hans   │Richard Booth, Esq.
-       │× 34”                     │ Holbein  │
-
-  132  │Queen Anne of Cleves. 28” │    "     │Charles Morrison, Esq.
-       │× 22”                     │          │
-
-  133  │Sir Henry Wyat, Kt. 30” × │ Unknown  │Earl of Romney
-       │24”                       │          │
-
-  134  │Henry VII and Henry VIII. │   Hans   │Duke of Devonshire, K.G.
-       │Cartoon, 102” × 54”       │ Holbein  │
-
-  135  │Henry VIII and Jane       │Van Remée,│Her Majesty (Hampton
-       │Seymour, &c. 39” × 36”    │  after   │Court)
-       │                          │ Holbein  │
-
-  138  │Will Somers. 28” × 23½”   │   Hans   │“
-       │                          │ Holbein  │
-
-  141  │Sir William Sidney, Kt.   │    "     │Lord De L’Isle and Dudley
-       │“Holbein f. 1523.” 48” ×  │          │
-       │38”                       │          │
-
-  142  │Thomas Cranmer. Canvas,   │    "     │Captain Byng
-       │36” × 29”                 │          │
-
-  143  │Erasmus. Dated 1537. 23” ×│ G. Pencz │Her Majesty (Windsor
-       │18”                       │          │Castle)
-
-  144  │Henry VIII. 92” × 53”     │   Hans   │H. Danby Seymour, Esq.,
-       │                          │ Holbein  │M.P.
-
-  146  │Henry VIII. 24” × 19”     │ Unknown  │Royal College of Surgeons
-
-  149  │Sir Henry Guildford, Kt.  │   Hans   │Her Majesty (Windsor
-       │32” × 26”                 │ Holbein  │Castle)
-
-  150  │Sir John More and Sir     │    "     │Sir Henry Ralph Vane, Bt.
-       │Thomas More. Dated 1530.  │          │
-       │Canvas, 55” × 48”         │          │
-
-  151  │Sir Thomas Pope. 47” × 33”│    "     │Countess of Caledon
-
-  152  │Henry VIII, Princess Mary,│ Unknown  │Earl Spencer, K.G.
-       │and Will Somers. Canvas,  │          │
-       │63” × 50”                 │          │
-
-  153  │Edward Stanley, 3rd Earl  │   Hans   │Earl of Derby, K.G.
-       │of Derby, K.G. 13” × 10”  │ Holbein  │
-
-  154  │Sir John Cheke, Kt. 13” × │    "     │Duke of Manchester
-       │9½”                       │          │
-
-  156  │Henry VIII. 30” × 24”     │ Unknown  │Christ Church, Oxford
-
-  157  │Sir Thomas More. 29” × 23”│   Hans   │Henry Huth, Esq.
-       │                          │ Holbein  │
-
-  159  │William, 1st Lord Paget.  │    "     │Duke of Manchester
-       │12½” × 9½”                │          │
-
-  161  │Sir John Thynne, Kt. Dated│    "     │Marquis of Bath
-       │1566. 50” × 39”           │          │
-
-  162  │Sir Nicholas Carew. 42” × │F. Pourbus│Earl of Yarborough
-       │32”                       │          │
-
-  163  │Sir Thomas More and his   │   Hans   │Charles Winn, Esq.
-       │Family. Canvas, 138” × 99”│ Holbein  │
-
-  165  │Thomas Howard, 3rd Duke of│    "     │Her Majesty (Windsor
-       │Norfolk, K.G. 30” × 22”   │          │Castle)
-
-  167  │Henry VIII. Oval, 29” ×   │ Unknown  │Andrew Fountaine, Esq.
-       │24”                       │          │
-
-  170  │Henry VIII and his Family.│   Hans   │Her Majesty (Hampton
-       │Canvas, 138” × 66”        │ Holbein  │Court)
-
-  172  │Edward VI. 40” × 32”      │    "     │"
-
-  173  │Sir Thomas Smith, Kt.     │    P.    │Eton College
-       │1856. 29” × 23½”          │ Fischer, │
-       │                          │  after   │
-       │                          │ Holbein  │
-
-  175  │Edward VI. Dated 1546. 11”│   Hans   │Earl of Hardwicke
-       │× 11”                     │ Holbein  │
-
-  176  │Edward VI. 22½” × 16½”    │    "     │Earl of Yarborough
-
-  177  │Edward VI. Aged 9. 20” ×  │    "     │Christ’s Hospital
-       │16”                       │          │
-
-  179  │Edward VI. 40” × 30”      │    "     │“
-
-  180  │Edward VI. Dated 1547. 28”│    "     │Duke of Manchester
-       │× 21”                     │          │
-
-  181  │Thomas, Lord Seymour of   │   Hans   │Marquis of Bath
-       │Sudeley, K.G. 23” × 17”   │ Holbein  │
-
-  182  │Sir Thomas Wyat the       │ Unknown  │Earl of Romney
-       │Younger. Circular, 15”    │          │
-       │diam.                     │          │
-
-  187  │Edward VI. Canvas, 26” ×  │    "     │King’s College, Cambridge
-       │21”                       │          │
-
-  192  │Edward VI presenting      │   Hans   │Bridewell Hospital
-       │Charters. Canvas, 106” ×  │ Holbein  │
-       │115”                      │          │
-
-  202  │Stephen Gardiner, Bishop  │    "     │Lord Taunton
-       │of Winchester. 13” × 10”  │          │
-
-  208  │Princess Mary Tudor,      │    "     │Marquis of Exeter, K.G.
-       │afterwards Queen Mary.    │          │
-       │Dated at back 1544. 12” × │          │
-       │9”                        │          │
-
-  236  │Margaret Douglas, Countess│    "     │Her Majesty (Hampton
-       │of Lennox. Dated 1572. 92”│          │Court)
-       │× 54”                     │          │
-
-  247  │Queen Elizabeth. Aged 16. │    "     │Her Majesty (St. James’s
-       │42” × 31”                 │          │Palace)
-
-  302  │Ambrose Dudley, Earl of   │    "     │Marquis of Salisbury, K.G.
-       │Warwick. 37” × 28”        │          │
-
-  364  │Sir William Harris. Dated │  Gerard  │Rev. J. M. St. Clere
-       │1596. 34” × 28”           │  Lucas   │Raymond
-       │                          │ Horebout │
-
-  371  │Sir John Spencer. Dated   │G. Stretes│Earl Spencer, K.G.
-       │1590. Canvas, 35” × 28”   │          │
-
-  373  │Admiral Sir John Wallop,  │   Hans   │Earl of Portsmouth
-       │K.G. 24” × 17”            │ Holbein  │
-
-  374  │Lady Harris. 34” × 27”    │  Gerard  │Rev. J. M. St. Clere
-       │                          │  Lucas   │Raymond
-       │                          │ Horebout │
-
-
- VI. THIRD AND CONCLUDING EXHIBITION OF NATIONAL PORTRAITS ON LOAN TO THE
-                   SOUTH KENSINGTON MUSEUM, APRIL 1868
-
-  625  │Sir Brian Tuke, Kt. 19” × │   Hans   │Marquis of Westminster
-       │15”                       │ Holbein  │K.G.
-
-  626  │Henry Howard, Earl of     │ Ascribed │Lord Taunton
-       │Surrey, and a Lady,       │to Holbein│
-       │supposed to be the Fair   │          │
-       │Geraldine. 6½” × 4½”      │          │
-
-  627  │Edward Seymour, Duke of   │   Hans   │Duke of Northumberland
-       │Somerset, K.G. 8½” × 7    │ Holbein  │
-
-  628  │John Reskimer. 18” × 13”  │    “     │Her Majesty (Hampton
-       │                          │          │Court)
-
-  629  │William West, Lord        │    “     │R. S. Holford, Esq., M.P.
-       │Delawarr. 52” × 31”       │          │
-
-  639  │Queen Katherine Parr. 14” │ Ascribed │Sir G. R. Osborn, Bt.
-       │× 10”                     │    to    │
-       │                          │ Amberger │
-
-  651  │Edward VI. Aged 2. 52” ×  │   Hans   │Duke of Northumberland
-       │30”                       │ Holbein  │
-
-  655  │Sir John Bourchier, 2nd   │    “     │Lord Berners
-       │Baron Berners. 24” × 20”  │          │
-
-  656  │John Stokesley, Bishop of │    “     │Her Majesty (Windsor
-       │London, 20” × 15”         │          │Castle)
-
-  657  │Edward VI. 51” × 32”      │    “     │Sir G. R. Osborn, Bt.
-
-  659  │Lady Guildeford. Dated    │    “     │Thomas Frewen, Esq.
-       │1527. 34” × 27”           │          │
-
-
-   VII. ROYAL ACADEMY OF ARTS: WINTER EXHIBITIONS OF WORKS BY THE OLD
-                           MASTERS, 1870-1912
-
- =1870=│                          │          │
-
-   23  │The First Lord De la Warr.│   Hans   │R. S. Holford, Esq.
-       │Panel, 52” × 30½”         │ Holbein  │
-
-  108  │Portrait, with a          │    “     │Her Majesty (Windsor
-       │Manuscript. Panel, 24” ×  │          │Castle)
-       │18”                       │          │
-
-  111  │Portrait of John, Elector │    “     │R. S. Holford, Esq.
-       │of Saxony. Panel, 24” ×   │          │
-       │18½”                      │          │
-
-  120  │Portrait of Sir Thomas    │    “     │Henry Huth, Esq.
-       │More. Panel, 29” × 23½”   │          │
-
-  147  │Portrait of Edward VI.    │    “     │Duke of Northumberland
-       │Panel, 51” × 29”          │          │
-
-  152  │Portrait of a Youth.      │    “     │Her Majesty (Windsor
-       │Panel, 23½” × 17½”        │          │Castle)
-
- =1871=│                          │          │
-
-  153  │Portrait of Thomas Howard,│    “     │“
-       │3rd Duke of Norfolk.      │          │
-       │Panel, 31” × 24”          │          │
-
-  292  │Portrait of Geronimo      │    “     │J. H. Anderdon, Esq.
-       │Deodati, murdered at      │          │
-       │Antwerp 1551. Panel, 12” ×│          │
-       │8½”                       │          │
-
-  296  │Portrait of Francis I.    │    “     │Earl of Dudley
-       │Panel, 28” × 23”          │          │
-
- =1872=│                          │          │
-
-   52  │A Portrait of a Man.      │    “     │J. E. Millais, Esq., R.A.
-       │Panel, 20” × 15”          │          │
-
-   66  │Portrait of Lady Heneage, │    “     │J. C. Hanford, Esq.
-       │Cousin of Ann Boleyn.     │          │
-       │Panel, 16½” × 13”         │          │
-
-   82  │Portrait of Warham,       │    “     │Archbishop of Canterbury
-       │Archbishop of Canterbury. │          │
-       │Panel, 32” × 25¼”         │          │
-
-   94  │Portrait of Sir William   │    “     │W. H. Pole-Carew, Esq.
-       │Butts, Kt., principal     │          │
-       │Physician to Henry VIII.  │          │
-       │Panel, 18” × 14¼”         │          │
-
-   96  │Portrait of Lady Butts.   │    “     │“
-       │Panel, 18” × 14¼”         │          │
-
-  138  │Portrait of Sir Henry     │    “     │Her Majesty (Windsor
-       │Guildford, K.G., Master of│          │Castle)
-       │the Horse to Henry VIII.  │          │
-       │Panel, 32” × 26”          │          │
-
-  213  │Portrait of John          │    “     │Her Majesty (Hampton
-       │Reskimeer, a Cornish      │          │Court)
-       │Gentleman. Panel, 17½” ×  │          │
-       │12¼”                      │          │
-
-  214  │Portrait of Dr. Thomas    │    “     │W. Fuller Maitland, Esq.
-       │Linacre, Physician to     │          │
-       │Henry VII and Henry VIII. │          │
-       │Founded the College of    │          │
-       │Physicians, and was its   │          │
-       │First President. Panel,   │          │
-       │10⅞” × 8½”                │          │
-
-  225  │“Noli Me Tangere.” Panel, │    “     │Her Majesty (Hampton
-       │29½” × 36¾”               │          │Court)
-
- =1873=│                          │          │
-
-  114  │The Two Ambassadors.      │   Hans   │The Earl of Radnor
-       │Panel, 81” × 83”          │ Holbein  │
-
-  175  │Ægidius, the Friend of    │    “     │“
-       │Erasmus. Panel, 29” × 20” │          │
-
-  178  │Portrait of Erasmus,      │    “     │“
-       │signed “Johannes Holbein, │          │
-       │1523.” Panel, 29” × 20”   │          │
-
-  198  │Portrait of a Young Man in│    “     │George P. Boyce, Esq.
-       │a Green Striped Dress.    │          │
-       │Panel, 17½” × 13”         │          │
-
- =1875=│                          │          │
-
-  167  │William Tell, an imaginary│    “     │Sir W. Miles, Bt.
-       │Portrait. Panel, 31” × 27”│          │
-
- =1876=│                          │          │
-
-   66  │Portrait of Mary Queen of │  Lucas   │Earl of Radnor
-       │Scots. Panel, 39” × 30”   │ d’Heere  │
-
-  173  │Portrait of the Three     │  Mabuse  │“
-       │Children of Christian II  │          │
-       │of Denmark. Panel, 14” ×  │          │
-       │18½”                      │          │
-
- =1877=│                          │          │
-
-  146  │Portrait of Anne Roper    │   Hans   │Lord Methuen
-       │(also thought to be a     │ Holbein  │
-       │portrait of Margaret,     │          │
-       │Countess of Richmond and  │          │
-       │Derby, mother of Henry    │          │
-       │VII, by Mabuse). Panel,   │          │
-       │14” × 10”                 │          │
-
-  171  │Portrait of Queen Mary.   │  Lucas   │Society of Antiquaries
-       │Signed and dated 1554.    │ d’Heere  │
-       │Panel, 41” × 31”          │          │
-
-  184  │Portrait of King Edward   │   Hans   │W. More Molyneux, Esq.
-       │VI. Panel, 27½” × 20”     │ Holbein  │
-
-  232  │Portrait of a Gentleman,  │    “     │Sir John Neeld, Bt.
-       │aged 48. Dated 1547.      │          │
-       │Panel, 31” × 25”          │          │
-
-  249  │Portrait of King Henry    │    “     │St. Bartholomew’s Hospital
-       │VIII. Canvas, 46” × 37”   │          │
-
- =1878=│                          │          │
-
-  217  │The Wheel of Fortune.     │   Hans   │Duke of Devonshire, K.G.
-       │Dated 1533. Distemper on  │ Holbein  │
-       │canvas. 28” × 18¾”        │          │
-
-  224  │Portrait of Geronimo      │    “     │J. H. Anderdon, Esq.
-       │Deodati. Panel, 12½” × 8½”│          │
-
- =1879=│                          │          │
-
-  212  │Portrait of Queen Mary.   │Attributed│Lord Chesham
-       │Panel, 8” × 6”            │ to Hans  │
-       │                          │ Holbein  │
-
-  Case │Queen Katherine of Aragon.│ Unknown  │Duke of Buccleuch, K.G.
-  F. 1 │Miniature                 │          │
-
-  “ 2  │Edward VI. Miniature      │  From a  │“
-       │                          │picture by│
-       │                          │ Holbein  │
-
-  “ 5  │Queen Katherine of Aragon.│ Holbein  │“
-       │Miniature                 │          │
-
-  “ 8  │Queen Elizabeth. Miniature│   John   │“
-       │                          │  Bettes  │
-
-  “ 9  │Edward VI as a Boy.       │   Hans   │“
-       │Miniature                 │ Holbein  │
-
-  Case │Henry VIII. Miniature     │ Unknown  │Duke of Buccleuch, K.G.
- F. 10 │                          │          │
-
-  “ 11 │Henry VII. Miniature      │    “     │“
-
-  “ 12 │Henry VII. Miniature      │    “     │“
-
-  “ 13 │Queen Katherine of Aragon.│    “     │“
-       │Miniature                 │          │
-
-  “ 14 │Queen Mary. Miniature     │   Sir    │“
-       │                          │ Antonio  │
-       │                          │   More   │
-
-  “ 15 │Henry VIII. Miniature     │   Hans   │“
-       │                          │ Holbein  │
-
-  “ 16 │Edward VI. Miniature      │ Unknown  │“
-
-  “ 20 │Queen Catherine Howard.   │    “     │“
-       │Miniature                 │          │
-
-  “ 21 │Queen Katherine of Aragon │    “     │“
-       │holding a Monkey.         │          │
-       │Miniature                 │          │
-
-  “ 22 │Queen Catherine Howard.   │  After   │“
-       │Miniature                 │ Holbein  │
-
-  “ 25 │Portrait of the Painter.  │   Hans   │“
-       │Signed “H. H., 1543,      │ Holbein  │
-       │_ætat._ 45.” Miniature    │          │
-
-  “ 27 │Henry VIII. Miniature     │  From a  │“
-       │                          │picture by│
-       │                          │ Holbein  │
-
-  “ 28 │Queen Katherine of Aragon.│   Hans   │“
-       │Miniature                 │ Holbein  │
-
-  “ 29 │Hans Holbein. Miniature   │ Unknown  │“
-
-  “ 30 │Edward VI. Miniature      │    “     │“
-
-  Case │Catherine Howard.         │   Hans   │Her Majesty
-  I. 3 │Miniature                 │ Holbein  │
-
-  “ 4  │Henry Grey, Duke of       │    “     │“
-       │Suffolk. Miniature        │          │
-
-  “ 5  │Charles Brandon, Duke of  │    “     │“
-       │Suffolk. Miniature        │          │
-
-  Case │Sir Thomas More. Miniature│  After   │Duke of Buccleuch, K.G.
-  L. 4 │                          │ Holbein  │
-
-  218  │Head of a Man, perhaps    │   Hans   │Duke of Devonshire, K.G.
-       │Francis North, Earl of    │ Holbein  │
-       │Guildford. Drawing signed │          │
-       │“H. H.”                   │          │
-
-  219  │A Theological or Legal    │    “     │Edward J. Poynter, Esq.,
-       │Discussion. Eng. by Tobias│          │R.A.
-       │Stimmer. Drawing          │          │
-
-  231  │Full-length Figures of    │    “     │Marquis of Hartington,
-       │Henry VII and Henry VIII. │          │M.P.
-       │Cartoon                   │          │
-
-  217, │The Windsor “Heads”       │          │Her Majesty
-
- 200-21,│"                         │    "     │
-
- 223-30,│"                         │    "     │
-
- 232-45│"                         │    "     │
-
- =1880=│                          │          │
-
-  147  │Head of an Old Man. Panel,│    “     │Duke of Devonshire, K.G.
-       │13½” × 10”                │          │
-
-  149  │Portrait of Lady Vaux.    │    “     │Her Majesty (Hampton
-       │Panel, 14½” × 11”         │          │Court)
-
-  150  │Portrait of a Man. Panel, │    “     │Duke of Devonshire, K.G.
-       │14” × 9”                  │          │
-
-  152  │Portrait of Henry Howard, │    “     │Charles Butler, Esq.
-       │Earl of Surrey. Dated     │          │
-       │1534. Panel, 15½” × 11”   │          │
-
-  155  │Portrait of Henry Grey,   │School of │G. P. Boyce, Esq.
-       │Duke of Suffolk. Panel,   │ Holbein  │
-       │13½” × 10½”               │          │
-
-  157  │Portrait of Lady Heneage. │   Hans   │G. C. Handford, Esq.
-       │Panel, 16” × 11”          │ Holbein  │
-
-  161  │Portrait of Henry VIII.   │    “     │Duke of Devonshire, K.G.
-       │Panel, 16½” × 12½”        │          │
-
-  162  │Portrait of a Child.      │    “     │Sir Henry Ainslie Hoare
-       │Panel, 8” × 6”            │          │
-
-  163  │Portrait of Edward VI when│    “     │Duke of Northumberland
-       │Prince of Wales           │          │
-
-  165  │Sir Thomas Gresham. Panel,│School of │The Gresham Committee
-       │71” × 42”                 │ Holbein  │
-
-  167  │Portrait of William West, │   Hans   │R. S. Holford, Esq.
-       │First Lord Delawarr.      │ Holbein  │
-       │Panel, 52” × 31”          │          │
-
-  168  │Portrait of a German Lady.│    “     │Earl Spencer
-       │Panel, 23” × 19”          │          │
-
-  169  │The Wheel of Fortune.     │    “     │Duke of Devonshire, K.G.
-       │Distemper on canvas, 27” ×│          │
-       │18”. Dated 1533           │          │
-
-  170  │Portrait of a Man. Panel, │    “     │J. E. Millais, Esq., R.A.
-       │20” × 14½”                │          │
-
-  171  │Portrait of Lady          │    “     │Edward Frewen, Esq.
-       │Guildford. (Inscribed     │          │
-       │“Anno 1527. Ætatis Suae   │          │
-       │27.”) Panel, 32” × 26”    │          │
-
-  172  │Portrait of Derek Berck.  │    “     │Lord Leconfield
-       │Panel, 20” × 16”          │          │
-
-  173  │Portrait of Thomas Howard,│Attributed│Duke of Norfolk
-       │3rd Duke of Norfolk.      │to Holbein│
-       │Panel, 30” × 23”          │          │
-
-  174  │Portrait of Sir Henry     │   Hans   │Her Majesty (Windsor
-       │Guildford. Panel, 32” ×   │ Holbein  │Castle)
-       │26”                       │          │
-
-  175  │Sir W. Butts. Panel, 18” ×│    “     │W. H. Pole-Carew, Esq.
-       │14”                       │          │
-
-  176  │Portrait of Clement Newce,│School of │W. M. Martin-Edmunds, Esq.
-       │Esq., of Much Hadham.     │ Holbein  │
-       │Panel, 32” × 26”. Dated   │          │
-       │1559.                     │          │
-
-  177  │Portrait of Christina of  │   Hans   │Duke of Norfolk
-       │Denmark, Duchess of Milan │ Holbein  │
-
-  178  │Portrait of Lady Butts.   │    “     │W. H. Pole-Carew, Esq.
-       │Panel, 18” × 14”          │          │
-
-  179  │Portrait of W. Warham,    │    “     │Archbishop of Canterbury
-       │Archbishop of Canterbury. │          │
-       │Panel, 32” × 26”          │          │
-
-  180  │Portrait of Thomas Howard,│    “     │Her Majesty (Windsor
-       │Third Duke of Norfolk.    │          │Castle)
-       │Panel, 31” × 24”          │          │
-
-  181  │Portrait of John, Elector │    “     │R. S. Holford, Esq.
-       │of Saxony. Panel, 25” ×   │          │
-       │28½”                      │          │
-
-  182  │Portrait of Sir John More.│    “     │Earl of Pembroke
-       │Panel, 29” × 24”          │          │
-
-  183  │Portrait of a Merchant of │    “     │Her Majesty (Windsor
-       │the Stahlhof or Steelyard.│          │Castle)
-       │Panel, 23½” × 18”         │          │
-
-  184  │Portrait of a Young Man.  │    “     │G. P. Boyce, Esq.
-       │Panel, 17” × 13”          │          │
-
-  185  │Portrait of John Reskimer.│   Hans   │Her Majesty (Hampton
-       │Panel, 17” × 12½”         │ Holbein  │Court)
-
-  186  │Portrait of a Gentleman.  │School of │Duke of Buccleuch, K.G.
-       │Panel, 13” × 11”          │ Holbein  │
-
-  187  │“Noli Me Tangere.” Panel, │   Hans   │Her Majesty (Hampton
-       │29½” × 37”                │ Holbein  │Court)
-
-  188  │Sir Bryan Tuke. Panel,    │    “     │Marchioness of Westminster
-       │18½” × 14½”               │          │
-
-  190  │Portrait of Anton Fugger  │    “     │Francis Cook, Esq.
-       │of Augsburg. Panel, 14½” ×│          │
-       │11”                       │          │
-
-  191  │Portrait of John Herbster.│    “     │Earl of Northbrook
-       │Panel, 16” × 11”          │          │
-
-  192  │Portrait of Sir Nicholas  │    “     │Duke of Buccleuch, K.G.
-       │Carew. Panel, 36” × 40”   │          │
-
-  195  │Portrait of the Princess  │    “     │Her Majesty (St. James’s
-       │(afterwards Queen)        │          │Palace)
-       │Elizabeth. Panel, 42” ×   │          │
-       │31½”                      │          │
-
-  198  │Portrait of a Young Man.  │    “     │Duke of Marlborough
-       │Panel, 17” × 13”          │          │
-
-  203  │William Tell (an imaginary│    “     │Sir P. Myles
-       │portrait). Panel, 31” ×   │          │
-       │26”                       │          │
-
-  204  │Thomas Cromwell, Earl of  │    “     │Duke of Devonshire, K.G.
-       │Essex, Panel, 6” × 5”     │          │
-
-  205  │Portrait of Thomas Howard,│    “     │“
-       │Duke of Norfolk. Panel, 6”│          │
-       │× 5”                      │          │
-
-  237  │Portrait of Edward VI on  │    “     │Duke of Buccleuch, K.G.
-       │horseback. Canvas, 66” ×  │          │
-       │59”                       │          │
-
- =1881=│                          │          │
-
-  194  │Portrait of Sir Thomas    │    “     │Mrs. Henry Huth
-       │More. Panel, 29” × 23½”   │          │
-
-  201  │Portrait of a Lady. Panel,│    “     │Mrs. Herbert Blackburne
-       │14½” × 10”                │          │
-
- =1882=│                          │          │
-
-  198  │Christ Mocked. Panel, 30” │ Holbein  │C. Magniac, Esq., M.P.
-       │× 24”                     │   (?)    │
-
-  216  │Portrait of a Lady. Panel,│   Hans   │Mrs. Charles Fox
-       │7” × 6¼”                  │ Holbein  │
-
-  222  │Portrait of Thomas        │    “     │Countess of Caledon
-       │Cromwell, Earl of Essex.  │          │
-       │Panel, 30” × 24½”         │          │
-
- =1884=│                          │          │
-
-  288  │The Banker. Panel, 25” ×  │    “     │Marquis of Lansdowne
-       │19”                       │          │
-
- =1886=│                          │          │
-
-  184  │Portrait of Henry VIII.   │    “     │H. R. Hughes, Esq.
-       │Panel, 34½” × 25”         │          │
-
- =1887=│                          │          │
-
-  157  │Portrait of one of the    │School of │Marquis of Bath
-       │Children of Sir John      │ Holbein  │
-       │Thynne. Dated 1582. Panel,│          │
-       │33” × 26”                 │          │
-
-  166  │Portrait of one of the    │    “     │“
-       │Children of Sir John      │          │
-       │Thynne. Dated 1574. Size  │          │
-       │not given                 │          │
-
-  172  │Sir Thomas More as a Young│   Hans   │Ralph Bankes, Esq.
-       │Man. Panel, 13¼” × 12”    │ Holbein  │
-
- =1893=│                          │          │
-
-  166  │Portrait of a Man. Panel, │School of │Captain G. L. Holford
-       │17” x 15”                 │ Holbein  │
-
-  176  │Portrait of Sir Thomas    │    “     │The Gresham Committee
-       │Gresham. 71” x 42”        │          │
-
- =1894=│                          │          │
-
-  175  │Portrait of a Gentleman.  │   Hans   │Mrs. Percy Macquoid
-       │Panel, 14” x 11”          │ Holbein  │
-
- =1895=│                          │          │
-
-  175  │Portrait of a Banker.     │School of │Charles L. Eastlake, Esq.
-       │Panel, 12” x 9”           │ Holbein  │
-
-  178  │The Death of the Virgin in│   Hans   │Dr. J. P. Richter the
-       │the Presence of the       │ Holbein  │Elder
-       │Apostles. Panel, 65” x 59”│          │
-
- D. 24 │Design for a Painted Glass│   Hans   │Sir J. C. Robinson
-       │Panel, supposed to        │ Holbein  │
-       │represent a Meeting of the│          │
-       │Early Swiss Reformers.    │          │
-       │Dated 1522.               │          │
-
- Case G│Pendant, known as the     │    —     │Her Majesty
-   51  │“Holbein George.” Made for│          │
-       │Henry VIII                │          │
-
- =1896=│                          │          │
-
-  138  │Portrait of Sir Thomas    │   Hans   │Edward Huth, Esq.
-       │More. Dated 1527. Panel,  │ Holbein  │
-       │29” x 23½”                │          │
-
- =1902=│                          │          │
-
-  155  │Portrait of John Chamber, │  School  │Merton College, Oxford
-       │M.D. Panel, 26” x 18½”    │ofHolbein │
-
-  157  │Portrait of a Man. Panel, │   Hans   │Right Hon. Lewis Fry
-       │18” x 15½”                │ Holbein  │
-
-  160  │Portrait of Edward VI.    │Attributed│Sir J. C. Robinson, C.B.
-       │Panel, 37” x 30”          │to William│
-       │                          │ Stretes  │
-
-  168  │Portrait of a Man. Dated  │   Hans   │Worcester College, Oxford
-       │1566. Panel, 9½” x 10”    │ Holbein  │
-
- =1907=│                          │          │
-
-   13  │Portrait of a Lady. Panel,│    “     │Major Charles Palmer
-       │16½” x 12½”               │          │
-
- =1908=│                          │          │
-
-   2   │Portrait of William West, │ William  │Major G. L. Holford
-       │1st Lord Delawarr. Panel, │ Stretes  │
-       │52” x 31”                 │          │
-
-   4   │Portrait of Queen Mary    │  Lucas   │Sir W. Cuthbert Quilter,
-       │Tudor. Panel, 30” x 22½”  │ d’Heere  │Bt.
-
- =1910=│                          │          │
-
-   60  │Portrait of William, 1st  │   Hans   │Lord Gwydyr
-       │Lord Paget, K.G. Panel,   │ Holbein  │
-       │18½” x 13”                │          │
-
-  106  │Portrait of Mrs. Anne     │    “     │Lord Methuen
-       │Roper. Panel, 14” x 10”.  │          │
-       │(This picture has also    │          │
-       │been thought to be a      │          │
-       │portrait by Mabuse of     │          │
-       │Margaret, Countess of     │          │
-       │Richmond and Derby, mother│          │
-       │of Henry VII)             │          │
-
- =1912=│                          │          │
-
-   45  │Portrait of Alderman      │School of │Lord De Saumarez
-       │Robert Trappes. Dated     │ Holbein  │
-       │1554. Panel, 23½” x 19½”  │          │
-
-
-   VIII. GROSVENOR GALLERY, WINTER EXHIBITION OF DRAWINGS BY THE OLD
-                            MASTERS, 1878-9
-
-  562  │Saturn. Pen drawing       │   Hans   │Christ Church College,
-       │                          │ Holbein  │Oxford
-
-  563  │Study of a Pilgrim. Pen   │    “     │John Malcolm, Esq.
-       │and bistre, touched with  │          │
-       │red chalk                 │          │
-
-  564  │Portrait of a Man.        │ Ascribed │“
-       │Silver-point, touched with│to Holbein│
-       │red chalk                 │          │
-
-  565  │A Figure of a Wild Man.   │   Hans   │“
-       │Pen, shaded with          │ Holbein  │
-       │Indian-ink and colour     │          │
-
-  566  │Design for a Lamp. Pen and│    “     │Christ Church College,
-       │bistre                    │          │Oxford
-
-  567  │Two Whole-length Figures  │    “     │John Malcolm, Esq.
-       │of Ladies. Indian-ink     │          │
-       │touched with colour       │          │
-
-  568  │Portrait Head, in profile,│    “     │“
-       │of a Young Man wearing a  │          │
-       │Cap. Silver-point         │          │
-
-  579  │Pieta. Probably a design  │    “     │Alfred Seymour, Esq.
-       │for a tomb. Pen and bistre│          │
-
-  580  │A Man seated at a Table,  │    “     │Christ Church College,
-       │with back to spectator.   │          │Oxford
-       │Pen and bistre            │          │
-
-  581  │Design for a Dagger       │    “     │Earl of Warwick
-       │Sheath, representing a    │          │
-       │Battle. Pen-and-wash      │          │
-
-
-     IX. EXHIBITION OF THE ROYAL HOUSE OF TUDOR, NEW GALLERY, 1890
-
-  5  │Mary Tudor, Dowager Queen  │ Johannes │Mrs. Dent of Sudeley Corvus
-     │  of France. Panel, 22½” x │          │
-     │  18”                      │          │
-
-  7  │Sir Henry Wyat in Prison,  │ Unknown  │Earl of Romney
-     │  and the Cat bringing him │          │
-     │  a Pigeon. Canvas, 29” x  │          │
-     │  24”                      │          │
-
-  17 │Sir Henry Wyat. Panel, 15” │    “     │“
-     │  x 12”                    │          │
-
-  19 │The Three Children of Henry│  Jan de  │Mrs. Dent of Sudeley
-     │  VII. Panel, 13” x 18”    │  Mabuse  │
-
-  21 │The Cat that fed Sir Henry │ Unknown  │Earl of Romney
-     │  Wyat. Panel, 15” x 11½”  │          │
-
-  30 │Arthur, Prince of Wales.   │    “     │Her Majesty (Windsor
-     │  Panel, 14¾” x 10¾        │          │Castle)
-
-  38 │Charles Brandon, Duke of   │   Hans   │Lord Donington
-     │  Suffolk, K.G. Panel, 34” │ Holbein  │
-     │  x 27”                    │          │
-
-  39 │Thomas Cromwell, Earl of   │    “     │Duke of Sutherland, K.G.
-     │  Essex. Panel, 20” x 17”  │          │
-
-  41 │Thomas Howard, 3rd Duke of │    “     │Duke of Norfolk, K.G.
-     │  Norfolk, K.G. Panel, 30” │          │
-     │  x 23”                    │          │
-
-  42 │Cartoon of Henry VII and   │    “     │Marquis of Hartington, M.P.
-     │  Henry VIII. 103” x 54”   │          │
-
-  43 │Queen Katherine of Aragon. │ Unknown  │Merton College, Oxford
-     │  Panel, 23” × 17”         │          │
-
-  44 │Queen Jane Seymour. Panel, │    “     │Lord Sackville
-     │  24” × 18”                │          │
-
-  45 │John, 2nd Lord Braye (d.   │   Hans   │Lord Braye
-     │  1557). Panel, 40” × 32”  │ Holbein  │
-
-  46 │Gertrude, Lady Petre (d.   │    “     │Right Rev. Monsignor Lord
-     │  1541)                    │          │Petre
-
-  47 │Embarkation of Henry VIII  │ Vincent  │F. J. Thynne, Esq.
-     │  from Dover, 31st May     │  Volpe   │
-     │  1520. Canvas, 121” × 63½”│          │
-
-  49 │Henry VIII. Dated 1544.    │Attributed│St. Bartholomew’s Hospital
-     │  Canvas, 47” × 38”        │ to Hans  │
-     │                           │ Holbein  │
-
-  50 │Sir Anthony Browne, K.G.   │ Unknown  │Lord Vaux of Harrowden
-     │  (d. 1548). Canvas, 37” × │          │
-     │  30”                      │          │
-
-  51 │Henry Howard, Earl of      │ Guillim  │Duke of Norfolk, K.G.
-     │  Surrey.                  │ Stretes  │
-
-  52 │Hans Holbein. Canvas, 20½” │   Hans   │Her Majesty (Windsor
-     │  × 18½”                   │ Holbein  │Castle)
-
-  53 │Elizabeth Schmid, wife of  │    “     │“
-     │  Hans Holbein             │          │
-
-  54 │Charles Brandon, Duke of   │    “     │W. Holman Hunt, Esq.
-     │  Suffolk, K.G. Panel, 8” ×│          │
-     │  6½”                      │          │
-
-  55 │Henry VIII. Panel, 38” ×   │    “     │Earl of Yarborough
-     │  29”                      │          │
-
-  57 │Meeting of Henry VIII and  │ Unknown  │Her Majesty (Hampton Court)
-     │  Francis I at Field of    │          │
-     │  Cloth of Gold. Canvas,   │          │
-     │  66” × 159”               │          │
-
-  59 │Henry VIII. Panel, 36” ×   │   Hans   │Henry Willett, Esq.
-     │  30”                      │ Holbein  │
-
-  61 │Cardinal Fisher, Bishop of │ Unknown  │Hon. H. Tyrwhitt-Wilson
-     │  Rochester Panel, 21½” ×  │          │
-     │  16½”                     │          │
-
-  62 │Portrait of a Man. Panel,  │School of │Charles Eastlake, Esq.
-     │  23” × 15”                │   Hans   │
-     │                           │ Holbein  │
-
-  65 │Queen Katherine Parr.      │ Unknown  │Earl of Ashburnham.
-     │  Panel, 25½” × 20½”       │          │
-
-  67 │Portrait of a Man. Panel,  │   Hans   │Sir J. E. Millais, Bt.,
-     │  20” × 14½”               │ Holbein  │R.A.
-
-  69 │Edward Stafford, Duke of   │    “     │Sir Henry Bedingfeld, Bt.
-     │  Buckingham, K.G. Panel,  │          │
-     │  19½” × 13½”              │          │
-
-  70 │Sir John More. Panel, 33” ×│    “     │William Seward, Esq.
-     │  26”                      │          │
-
-  71 │Queen Jane Seymour. Panel, │ Unknown  │Society of Antiquaries.
-     │  16½” × 14”               │          │
-
-  72 │John Reskemeer of Cornwall.│   Hans   │Her Majesty (Hampton Court)
-     │  Panel, 17½” × 12½”       │ Holbein  │
-
-  73 │Henry Howard, Earl of      │ Unknown  │“
-     │  Surrey. Panel, 75” × 40½”│          │
-
-  74 │Henry VIII. Panel, 17” ×   │    “     │Charles Butler, Esq.
-     │  13”                      │          │
-
-  75 │Charles Brandon, Duke of   │    “     │Duke of Sutherland, K.G.
-     │  Suffolk, K.G. Panel, 24” │          │
-     │  × 18”                    │          │
-
-  76 │Lady Butts. 35” × 26½”     │   Hans   │William Seward, Esq.
-     │                           │ Holbein  │
-
-  77 │Thomas Wriothesley, 1st    │    “     │Major-General F. E. Sotheby
-     │  Earl of Southampton.     │          │
-     │  Dated 1545. Panel, 24” × │          │
-     │  18”                      │          │
-
-  79 │Sir Nicholas Poyntz, Kt.   │    “     │Marquis of Bristol
-     │  Dated 1535. Panel, 24” × │          │
-     │  17”                      │          │
-
-  80 │Queen Jane Seymour. Panel, │ Unknown  │Marquis of Hertford
-     │  21” × 13½”               │          │
-
-  81 │Queen Anne Boleyn. Canvas, │    “     │Earl of Warwick
-     │  14” × 12”                │          │
-
-  82 │Portrait of a Man. Panel,  │   Hans   │Duke of Devonshire, K.G.
-     │  14” × 9”                 │ Holbein  │
-
-  83 │Mary Tudor, Dowager Queen  │    “     │Earl Brownlow
-     │  of France. Panel, 7” × 6”│          │
-
-  84 │Henry Howard, Earl of      │    “     │Charles Butler, Esq.
-     │  Surrey. Dated 1534.      │          │
-     │  Panel, 15½” × 11”        │          │
-
-  85 │Erasmus. Panel, 20” × 12”  │  Lucas   │Mrs. Du Buisson
-     │                           │ Cranach  │
-
-  86 │Hugo Price, LL.D., Founder │   Hans   │Jesus College, Oxford
-     │  of Jesus College, Oxford.│ Holbein  │
-     │  Panel, 18½” × 13”        │          │
-
-  88 │Sir Anthony Denny, Kt.     │ Unknown  │Sir Henry Bedingfeld, Bt.
-     │  Panel, 15½” × 11½”       │          │
-
-  89 │Portrait of a Gentleman.   │Attributed│Henry Reeve, Esq., C.B.
-     │  Dated 1555. Panel, 25½” ×│ to Hans  │
-     │  20½”                     │ Holbein  │
-
-  90 │Sir Henry Guldeford, K.G.  │   Hans   │Her Majesty (Windsor
-     │  Panel, 32” × 25½”        │ Holbein  │Castle)
-
-  91 │Thomas Howard, 3rd Duke of │    “     │“
-     │  Norfolk. Panel, 30” × 24”│          │
-
-  92 │Christina, Duchess of      │    “     │Duke of Norfolk, K.G.
-     │  Milan. Panel, 70” × 32”  │          │
-
-  93 │Charles Brandon, Duke of   │ Unknown  │C. W. Chute, Esq.
-     │  Suffolk, K.G. Panel, 34” │          │
-     │  × 27”                    │          │
-
-  94 │Sir Thomas More. Panel, 29”│   Hans   │Edward Huth, Esq.
-     │  × 23½”                   │ Holbein  │
-
-  95 │Sir John Cheke, Kt. Panel, │    “     │Duke of Manchester, K.P.
-     │  13” × 9½”                │          │
-
-  96 │William, Lord Paget, K.G.  │    “     │“
-     │  Panel, 13” × 9½”         │          │
-
-  97 │Henry VIII. Panel, 35” ×   │    “     │“
-     │  25”                      │          │
-
-  98 │Katherine of Aragon. Panel,│    “     │“
-     │  13” × 9½”                │          │
-
-  99 │Portrait of a Spanish      │    “     │“
-     │  Nobleman. Panel, 13½” ×  │          │
-     │  10½”                     │          │
-
- 100 │Sir John More. Panel, 29” ×│    “     │Earl of Pembroke
-     │  24”                      │          │
-
- 101 │Henry VIII and his Family. │ Guillim  │Her Majesty (Hampton Court)
-     │  Canvas, 66” × 138”       │ Stretes  │
-     │                           │   (?)    │
-
- 102 │Queen Anne Boleyn. Panel,  │  After   │G. Milner-Gibson-Cullum,
-     │  9” × 7”                  │ Vercolie │Esq.
-
- 104 │Queen Katherine Parr.      │    “     │“
-     │  Panel, 9” × 7”           │          │
-
- 106 │Queen Katherine Parr.      │   Hans   │Richard Booth, Esq.
-     │  Canvas, 72” × 42”        │ Holbein  │
-
- 107 │William Warham, Archbishop │    “     │Viscount Dillon
-     │  of Canterbury. Dated     │          │
-     │  1527. Panel, 32½” × 26”  │          │
-
- 108 │Queen Anne of Cleves.      │    “     │Miss Morrison
-     │  Panel, 28” × 21”         │          │
-
- 109 │Cardinal Wolsey. Panel, 21”│    “     │T. L. Thurlow, Esq.
-     │  × 17”                    │          │
-
- 110 │Henry VIII. Panel, 13½” ×  │ Unknown  │Sir Henry Bedingfeld, Bt.
-     │  11½”                     │          │
-
- 111 │Queen Katherine Parr.      │ Unknown  │Marquis of Hertford
-     │  Panel, 17½” × 13”        │          │
-
- 112 │Erasmus. Parchment (?).    │   Hans   │Her Majesty (Hampton Court)
-     │  21½” × 12½”              │ Holbein  │
-
- 113 │Sir Thomas le Strange, Kt. │    “     │Hamon le Strange, Esq.
-     │  Dated 1536. Panel, 15” × │          │
-     │  10½”                     │          │
-
- 114 │Charles Brandon, Duke of   │    “     │Earl Brownlow
-     │  Suffolk, K.G. Panel, 7” ×│          │
-     │  6”                       │          │
-
- 115 │Erasmus. Panel, 11” × 7”   │    “     │Earl of Portarlington
-
- 116 │Mary Boleyn, Lady Carey.   │ Unknown  │Earl of Warwick
-     │  Canvas 14” × 12”         │          │
-
- 117 │Queen Jane Seymour. Panel, │    “     │Sir Rainald Knightley, Bt.,
-     │  10” × 8”                 │          │M.P.
-
- 120 │Henry VIII “with Scroll.”  │  Paris   │Merchant Taylors’ Company
-     │  Panel, 29” × 22”         │ Bordone  │
-
- 122 │Queen Anne Boleyn. Panel,  │  Lucas   │Earl of Romney
-     │  circular, 10”            │Cornelisz │
-
- 125 │Portrait of an Englishman. │   Hans   │G. P. Boyce, Esq.
-     │  Panel, 17¼” × 13”        │ Holbein  │
-
- 126 │Henry VIII. Panel, 36” ×   │    “     │Earl of Warwick
-     │  25”                      │          │
-
- 127 │Sir Thomas More. No        │    “     │T. L. Thurlow, Esq.
-     │  measurements given       │          │
-
- 128 │Henry VIII. Panel, 88” ×   │    “     │Trinity College, Cambridge
-     │  48”                      │          │
-
- 129 │Nicholas Kratzer. Panel,   │    “     │Viscount Galway
-     │  34” × 26½”               │          │
-
- 130 │Portrait of a Man. Panel,  │School of │Duke of Manchester K.P.,
-     │  10½” × 8”                │ Holbein  │
-
- 131 │Sir Thomas Wyat, Kt. Panel,│  Lucas   │Earl of Romney
-     │  circular, 11½”           │Cornelisz │
-
- 132 │Queen Anne Boleyn. Panel,  │ Unknown  │Mrs. S. S. Gwyllim
-     │  8” × 6”                  │          │
-
- 133 │Queen Anne of Cleves. Dated│  Barth.  │Henry Willett, Esq.
-     │  1534. Panel, 15” × 11”   │  Bruyn   │
-
- 134 │John Frobenius. Canvas, 21”│ Unknown  │Sir H. B. St. John Mildmay,
-     │  × 13”                    │          │Bt.
-
- 136 │Edward Stafford, 3rd Duke  │   Hans   │Lord Donington
-     │  of Buckingham, K.G.      │ Holbein  │
-     │  Panel, 22½” × 18”        │          │
-
- 137 │Erasmus. Panel, 25½” × 21½”│ Unknown  │Charles Butler, Esq.
-
- 138 │Cardinal Fisher, Bishop of │   Hans   │St. John’s College,
-     │  Rochester. Panel, 28” ×  │ Holbein  │Cambridge
-     │  24”                      │          │
-
- 139 │Margaret Roper. Panel, 34” │Attributed│F. L. Devitt, Esq.
-     │  × 2” (?)                 │to Sir A. │
-     │                           │   More   │
-
- 140 │Queen Anne Boleyn. Panel,  │   Hans   │Earl of Denbigh
-     │  11” × 8½”                │ Holbein  │
-
- 141 │Queen Jane Seymour. Panel, │ Unknown  │Duke of Northumberland,
-     │  14” × 11”                │          │K.G.
-
- 142 │Henry VIII. Panel, 38½” ×  │   Hans   │Hon. H. Tyrwhitt-Wilson
-     │  29”                      │ Holbein  │
-
- 145 │Henry VIII, Anne Boleyn,   │ Unknown  │Major-General F. E.Sotheby
-     │  and Others. “The Dancing │          │
-     │  Picture.” Panel, 52” ×   │          │
-     │  42”                      │          │
-
- 146 │Sir Henry Guideford, K.G.  │    “     │Hon. H. Tyrwhitt-Wilson
-     │  Panel, 25½” × 20½”       │          │
-
- 147 │Sir William Petre, Kt.     │   Hans   │Right Rev. Monsignor Lord
-     │  Dated 1545. No           │ Holbein  │Petre
-     │  measurements given.      │          │
-
- 148 │Henry VIII. Panel, 24” ×   │    “     │“
-     │  22”                      │          │
-
- 149 │Henry VIII. Panel, 33” ×   │    “     │T. L. Thurlow, Esq.
-     │  25”                      │          │
-
- 150 │Sir Thomas More and his    │    “     │Sir Henry Vane, Bt.
-     │  Father, Dated 1530.      │          │
-     │  Canvas, 55” × 45”        │          │
-
- 151 │Henry VIII. Dated 1547.    │ Unknown  │Viscount Galway
-     │  Panel, 35” × 27”         │          │
-
- 152 │Henry VIII granting the    │   Hans   │Barber-Surgeons’ Company
-     │  Charter to the           │ Holbein  │
-     │  Barber-Surgeons’ Company.│          │
-     │  Panel, 122” × 71”        │          │
-
- 153 │Francis, Prince of Thurn   │    “     │Baroness Burdett-Coutts
-     │  and Taxis. Dated 1514.   │          │
-     │  Panel, 21½” × 18”        │          │
-
- 155 │Henry VIII. Panel, 30” ×   │ Unknown  │Christ Church, Oxford
-     │  24”                      │          │
-
- 157 │Henry VIII. Panel, 33½” ×  │    “     │Governors of Bridewell
-     │  27”                      │          │Hospital
-
- 158 │Henry VIII. and his Family.│  Sir A.  │Mrs. Dent of Sudeley
-     │  Panel, 51” × 71”         │   More   │
-
- 160 │Thomas Cromwell, Earl of   │ Unknown  │Corpus Christi College,
-     │  Essex, K.G. Panel, 22½” ×│          │Cambridge
-     │  17”                      │          │
-
- 161 │Sir Thomas More. Panel,    │    “     │Baroness Burdett-Coutts
-     │  17½” × 13½”              │          │
-
- 162 │Thomas Cromwell. Panel, 18”│    “     │Charles Penruddocke, Esq.
-     │  × 16”                    │          │
-
- 163 │Thomas Cromwell. 14” × 11½”│   Hans   │Duke of Manchester, K.P.
-     │                           │ Holbein  │
-
- 164 │Charles Brandon. Panel,    │ Unknown  │Sir Henry Bedingfeld, Bt.
-     │  12½” × 8”                │          │
-
- 165 │Portrait of a Gentleman.   │   Hans   │Right Rev. Monsignor Lord
-     │  Panel, 18” × 13½”        │ Holbein  │Petre
-
- 167 │Margaret Tudor, Queen of   │ Unknown  │Charles Butler, Esq.
-     │  Scotland. Panel, 16½” ×  │          │
-     │  12”                      │          │
-
- 168 │Queen Katherine Parr.      │   Hans   │Earl of Denbigh
-     │  Canvas, 70” × 50”        │ Holbein  │
-
- 169 │Sir Thomas Wyat the Elder. │ Unknown  │Bodleian Library, Oxford
-     │  Panel, 17½” × 13”        │          │
-
- 170 │Elizabeth, wife of Lord    │   Hans   │Her Majesty (Hampton Court)
-     │  Vaux. Panel, 14½” × 11”  │ Holbein  │
-
- 171 │Head of an Old Man. Panel, │    “     │Duke of Devonshire, K.G.
-     │  13½” × 10”               │          │
-
- 172 │Henry Grey, 3rd Marquis of │School of │G. P. Boyce, Esq.
-     │  Dorset. Panel, 15¾” × 11”│ Holbein  │
-
- 173 │Henry VIII. Circular panel,│   Hans   │Duke of Sutherland, K.G.
-     │  29”                      │ Holbein  │
-
- 173*│Robert Cheseman. Dated     │    “     │Rev. Charles Shepherd
-     │  1533. Panel, 30” × 22”   │          │
-
- 174 │Edward VI as a Child.      │    “     │Earl of Yarborough
-     │  Panel, 22½” × 16½”       │          │
-
- 175 │Edward VI, aged 10. Panel, │ Unknown  │W. More Molyneux, Esq.
-     │  27½” × 20”               │          │
-
- 176 │Edward VI as a Boy. Canvas,│    F.    │Sir P. Pauncefort Duncombe,
-     │  19” × 15½”               │ Zucchero │Bt.
-
- 178 │Edward VI. Panel, 21” × 15”│ Unknown  │Lord Castletown
-
- 180 │Edward VI. Panel, 16½” ×   │    “     │Duke of Portland
-     │  10”                      │          │
-
- 181 │Edward VI presenting the   │ Guillim  │Governors of Bridewell
-     │  Charter to Bridewell     │ Stretes? │Hospital
-     │  (1553). Canvas, 115” ×   │          │
-     │  108”                     │          │
-
- 182 │Edward VI. Panel, 24” × 22”│   Hans   │Right Rev. Monsignor Lord
-     │                           │ Holbein  │Petre
-
- 183 │Edward VI. Panel, 28” × 21”│ Unknown  │Duke of Manchester, K.P.
-
- 184 │Edward VI. Panel, 32½” ×   │    “     │T. L. Thurlow, Esq.
-     │  21”                      │          │
-
- 186 │Edward VI. Panel, 17” × 15”│   Hans   │A. H. Frere, Esq.
-     │                           │ Holbein  │
-
- 187 │Edward VI. Panel, 18” × 13”│ Unknown  │Malcolm Wagner, Esq.
-
- 188 │Edward VI. Panel, 17½” ×   │    “     │“
-     │  12”                      │          │
-
- 189 │Edward VI. as a Child.     │   Hans   │Duke of Northumberland,
-     │  Panel, 50” × 29”         │ Holbein  │K.G.
-
- 190 │Edward VI. Panel, 46” × 34”│    “     │Earl of Denbigh
-
- 196 │Edward Seymour, Duke of    │ Unknown  │Mrs. Dent of Sudeley
-     │  Somerset. Dated 1535.    │          │
-     │  Panel, 35” × 26½”        │          │
-
- 199 │Edward Seymour, Duke of    │   Hans   │Duke of Northumberland,
-     │  Somerset. Panel, 8½” × 7”│ Holbein  │K.G.
-
- 200 │Queen Mary. Panel, 41½” ×  │ Unknown  │Earl of Ashburnham
-     │  31”                      │          │
-
- 203 │Queen Mary. Canvas, 93” ×  │After Sir │Her Majesty (St James’s
-     │  57”                      │ A. More  │Palace).
-
- 204 │Queen Mary. Panel, 19½”    │  Sir A.  │Dean and Chapter of Durham
-     │                           │   More   │
-
- 206 │Queen Mary. Dated 1554.    │  Lucas   │Society of Antiquaries
-     │  Panel, 40” × 30”         │ d’Heere  │
-
- 208 │Queen Mary. Panel, 22” ×   │ Unknown  │Trinity College, Cambridge
-     │  16½”                     │          │
-
- 211 │Henry Fitz-Alan, 23rd Earl │Cornelius │Duke of Norfolk, K.G.
-     │  of Arundel. Panel, 36” × │  Ketel   │
-     │  28”                      │          │
-
- 213 │Queen Mary. Circular panel.│ Unknown  │Sir William Drake, Bt.
-     │  6½”                      │          │
-
- 214 │Queen Mary. Dated 1546.    │    “     │Lord de L’Isle and Dudley
-     │  Panel, 28” × 22”         │          │
-
- 215 │Queen Mary. Dated 1556.    │    “     │H. P. Spencer Lucy, Esq.
-     │  Panel, 20” × 16”         │          │
-
- 217 │Sir Richard Southwell. Æt. │    “     │W. H. Romaine Walker, Esq.
-     │  95. Panel, 29½” × 25”    │          │
-
- 222 │Sir George Penruddocke.    │  Lucas   │Charles Penruddocke, Esq.
-     │  Panel, 104” × 66”        │ d’Heere  │
-
- 224 │Sir Thomas Wyat the        │ Unknown  │Earl of Romney
-     │  Younger. Panel, circular,│          │
-     │  15”                      │          │
-
- 229 │Queen Mary. Panel, 18” ×   │    “     │Charles Butler, Esq.
-     │  15”                      │          │
-
- 230 │Queen Mary. “Hungad        │  Lucas   │Mrs. Stopford Sackville
-     │  Petition.” Panel, 44” ×  │ d’Heere  │
-     │  35”                      │          │
-
- 233 │Queen Mary. Panel, 22½” ×  │  Sir A.  │Lord Castletown
-     │  16½”                     │   More   │
-
- 235 │Queen Mary. Panel, 8” × 6½”│  Lucas   │Colonel Wynne Finch
-     │                           │ d’Heere  │
-
- 240 │Queen Mary. Panel, 28½” ×  │  Sir A.  │Earl of Carlisle
-     │  22”                      │   More   │
-
- 242 │Portrait of a Man. Panel,  │   Hans   │W. Castell Southwell, Esq.
-     │  6” × 5”                  │ Holbein  │
-
- 243 │Queen Mary as a Child.     │ Unknown  │Duke of Norfolk, K.G.
-     │  Panel, 19” × 13½”        │          │
-
- 246 │Thomas Cranmer, Archbishop │   Hans   │Jesus College, Cambridge
-     │  of Canterbury. Dated     │ Holbein  │
-     │  1547. Panel, 17½” × 12”  │          │
-
- 255 │Frances Brandon, Duchess of│  Lucas   │Colonel Wynne Finch
-     │  Suffolk, and her Second  │ d’Heere  │
-     │  Husband, Adrian Stokes.  │          │
-     │  Dated 1559. Panel, 19½” ×│          │
-     │  27”                      │          │
-
- 292 │Margaret Audley, Second    │    “     │Duke of Norfolk, K.G.
-     │  Wife of Thomas, 4th Duke │          │
-     │  of Norfolk. Dated 1565.  │          │
-     │  Canvas, 38” × 29”        │          │
-
- 348 │William Paulet, 1st Marquis│   Hans   │Duke of Northumberland,
-     │  of Winchester, K.G.      │ Holbein  │K.G.
-     │  Panel, 15½” × 11½”       │          │
-
- 357 │Thomas Howard, 4th Duke of │  Lucas   │Duke of Norfolk, K.G.
-     │  Norfolk, K.G. Dated 1566.│ d’Heere  │
-     │  Panel, 12” × 10”         │          │
-
- 399 │Sir William Sidney, Kt.    │   Hans   │Lord de L’Isle and Dudley
-     │  Dated 1523. Panel, 47” × │ Holbein  │
-     │  37”                      │          │
-
- 428 │Henry VIII. Panel, 21½” ×  │ Unknown  │T. M. Whitehead, Esq.
-     │  16”                      │          │
-
- 429 │Henry VIII. Panel, 16” ×   │    “     │Duke of Devonshire, K.G.
-     │  12”                      │          │
-
- 430 │Queen Jane Seymour. Panel, │    “     │Mrs. S. S. Gwyllim
-     │  7” × 5½”                 │          │
-
- 431 │Edward VI. Copper, 7¾” × 6”│    “     │Hon. Mrs. Trollope
-
- 432 │Henry VIII. Panel, 26½” ×  │    “     │C. W. Chute, Esq.
-     │  19½”                     │          │
-
- 435 │Henry VIII. Panel, 13” ×   │    “     │Marquis of Hertford
-     │  10”                      │          │
-
- 438 │Edward VI. Panel, 10” × 8” │    “     │Sir Rainald Knightley, Bt.
-
- 442 │Henry VIII. Panel, 21” ×   │    “     │Sir G. D. Clerk, Bt.
-     │  17”                      │          │
-
- 455 │Margaret Clifford, Countess│  Lucas   │T. F. C. Vernon Wentworth,
-     │  of Derby. Æt. 49. Panel, │ d’Heere  │Esq.
-     │  38½” × 24”               │          │
-
- 486 │Queen Mary. Canvas, 35” ×  │ Unknown  │Christ Church, O×ford
-     │  27”                      │          │
-
- 495 │The Windsor “Heads”        │   Hans   │Her Majesty (Windsor
-  to │                           │ Holbein  │Castle)
- 573 │                           │          │
-
- 906 │Edward VI. Miniature in    │Attributed│Granville E. Lloyd Baker,
-     │  wood                     │ to Hans  │Esq., M.P.
-     │                           │ Holbein  │
-
- 907 │Henry VIII. Miniature in   │    “     │“
-     │  wood                     │          │
-
- 1066│Henry VIII. Miniature (oil)│   Hans   │Her Majesty (Windsor
-     │                           │ Holbein  │Castle)
-
- 1067│Queen Catherine Howard.    │    “     │“
-     │  Miniature                │          │
-
- 1070│A Man’s Head, unfinished.  │ Ascribed │Right Hon. Sir Chas. Dilke,
-     │  Inscribed, “A.D. 1539.   │ to Hans  │Bt.
-     │  Ætat. 30”                │ Holbein  │
-
- 1071│Thomas Cromwell. Miniature │   Hans   │Major-General F. E. Sotheby
-     │                           │ Holbein  │
-
- 1072│Thomas Cromwell. Miniature │    “     │Lord Willoughby de Eresby
-
- 1073│Henry VIII. Miniature      │ Unknown  │Albert Hartshorne, Esq.
-
- 1074│Henry VIII. Carving in     │   Hans   │Mrs. Dent of Sudeley
-     │  honestone                │ Holbein  │
-
- 1075│Henry VIII. Miniature      │ Unknown  │“
-
- 1076│Queen Katherine Parr.      │   Hans   │“
-     │  Miniature                │ Holbein  │
-
- 1077│Thomas, Lord Seymour of    │    “     │“
-     │  Sudeley. Miniature       │          │
-
- 1078│Edward VI. Miniature       │ Unknown  │Mrs. Dent of Sudeley
-
- 1079│Queen Jane Seymour.        │   Hans   │“
-     │  Miniature                │ Holbein  │
-
- 1080│Queen Anne Boleyn.         │ Unknown  │“
-     │  Miniature                │          │
-
- 1081│Henry VIII. Carving in     │   Hans   │“
-     │  boxwood                  │ Holbein  │
-
- 1082│Edward VI. Miniature       │ Unknown  │Lieut.-General W. Bulwer
-
- 1083│Thomas Cromwell. Miniature │    “     │Duke of Devonshire, K.G.
-
- 1085│Henry VIII. Miniature      │    “     │Mrs. Prothero
-
- 1086│Queen Anne of Cleves.      │    “     │Baroness Burdett-Coutts
-     │  Miniature                │          │
-
- 1087│Family Group of the More   │  Peter   │Major-General F. E. Sotheby
-     │  Family in Two            │  Oliver  │
-     │  Generations. Miniature   │          │
-
- 1089│Queen Anne Boleyn.         │ Unknown  │Countess of Yarborough
-     │  Miniature                │          │
-
- 1091│Henry VIII and Family with │    “     │Dowager Duchess of
-     │  Will Somers. Panel, 6” × │          │Buccleuch
-     │  11”                      │          │
-
- 1092│William Warham. Miniature  │    “     │Henry Willett, Esq.
-
- 1093│William Warham. Miniature  │    “     │Henry Howard, Esq., of
-     │                           │          │Greystoke
-
- 1094│Erasmus. Miniature         │    “     │“
-
- 1095│Sir Anthony Denny.         │    “     │“
-     │  Miniature                │          │
-
- 1096│Henry VIII. Miniature      │    “     │Baroness Burdett-Coutts
-
- 1117│Henry VIII. Miniature in   │    “     │J. Lumsden Propert, Esq.
-     │  copper                   │          │
-
- 1118│Queen Jane Seymour.        │   Hans   │“
-     │  Miniature                │ Holbein  │
-
- 1119│Charles Brandon, Duke of   │    “     │“
-     │  Suffolk. Miniature       │          │
-
- 1121│Edward VI. Miniature       │  Levina  │“
-     │                           │Teerlinck │
-     │                           │   (?)    │
-
- 1411│Henry VIII. Wax medallion  │ Unknown  │Her Majesty
-
- 1412│Sir Thomas More. Wax       │    “     │“
-     │  medallion                │          │
-
- 1414│Thomas Cromwell, Earl of   │   Hans   │Earl of Pembroke
-     │  Essex. Drawing           │ Holbein  │
-
-
- X. EXHIBITION OF THE ROYAL HOUSE OF TUDOR. CORPORATION OF MANCHESTER ART
-                              GALLERY, 1897.
-
-  In this exhibition the greater number of the pictures were the same as
-                             those exhibited
-   at the Tudor Exhibition in the New Gallery, 1890. The following were
-                             among those not
-                   included in the earlier collection:
-
-  48 │Sir Nicholas Poyntz, Kt.   │   Hans   │Right Hon. Evelyn Ashley
-     │  Panel, 24” × 17”         │ Holbein  │
-
-  56 │Catherine Pole, Countess of│    “     │Trustees of the late Lord
-     │  Huntingdon. Panel, 34” × │          │  Donington
-     │  25”                      │          │
-
-  59 │Sir Thomas More. Dated     │    “     │Miss Sumner
-     │  1532. Panel, 21” × 17”   │          │
-
-  60 │Cardinal Wolsey. Panel, 21”│    “     │“
-     │  × 17”                    │          │
-
-  61 │Henry VIII. Panel, 47” ×   │ Unknown  │Martin Colnaghi, Esq.
-     │  35”                      │          │
-
-  69 │Queen Anne Boleyn. Panel,  │   Hans   │C. J. Radcliffe, Esq.
-     │  22½” × 17¾”              │ Holbein  │
-
-  70 │Sir Thomas More. Panel, 16”│ Unknown  │John Eyston, Esq.
-     │  × 11”                    │          │
-
-  71 │Sir Thomas More and Family.│Attributed│“
-     │  Canvas, 91” × 118”       │to Holbein│
-
-
- XI. NEW GALLERY, WINTER EXHIBITION, 1901-2. MONARCHS OF GREAT BRITAIN
-                              AND IRELAND.
-
-  34 │The Three Children of Henry│  Jan de  │H. Dent-Brocklehurst, Esq.
-     │  VII. Panel, 13” × 18”    │  Mabuse  │
-
-  41 │The Three Children of Henry│ Unknown  │Earl of Pembroke
-     │  VII. Panel, 14” × 18”    │          │
-
-  45 │Queen Katherine of Aragon. │    “     │Merton College, Oxford
-     │  Panel, 23” × 17”         │          │
-
-  47 │Queen Anne Boleyn. Panel,  │  Lucas   │Earl of Romney
-     │  circular, 10”            │Cornelisz │
-
-  48 │Henry VIII. Panel, 19” ×   │ Unknown  │Society of Antiquaries
-     │  13½”                     │          │
-
-  49 │Queen Katherine of Aragon. │    “     │Duke of Devonshire, K.G.
-     │  14” × 10½”               │          │
-
-  50 │Mary Tudor, Dowager Queen  │ Johannes │H. Dent-Brocklehurst, Esq.
-     │  of France. Panel, 22½” × │  Corvus  │
-     │  18”                      │          │
-
-  51 │Katherine of Aragon and    │ Unknown  │Charles Butler, Esq.
-     │  Arthur, Prince of Wales. │          │
-     │  Panel, 15” × 20”         │          │
-
-  52 │Henry VIII, Princess Mary, │    “     │Earl Spencer, K.G.
-     │  and Will Somers. Canvas, │          │
-     │  63” × 50”                │          │
-
-  53 │Henry VIII. Panel, 35” ×   │   Hans   │Viscount Galway
-     │  27”                      │ Holbein  │
-
-  54 │Marriage of Henry VIII with│ Unknown  │Earl of Ancaster
-     │  Katherine of Aragon      │          │
-     │  (1501). Panel, 11” × 29” │          │
-
-  55 │Henry VIII and his Family. │   Sir    │H. Dent-Brocklehurst, Esq.
-     │  Panel, 51” × 71”         │ Antonio  │
-     │                           │   More   │
-
-  56 │Edward VI. Panel, 16” × 12”│Attributed│Earl of Pembroke
-     │                           │to Holbein│
-
-  57 │Queen Katherine Parr.      │ Unknown  │Archbishop of Canterbury
-     │  Panel, 21” × 17”         │          │
-
-  58 │Queen Anne of Cleves.      │   Hans   │Charles Morrison, Esq.
-     │  Panel, 28” × 21”         │ Holbein  │
-
-  59 │Queen Jane Seymour. Panel, │ Unknown  │Society of Antiquaries
-     │  16½” × 14”               │          │
-
-  60 │Edward VI. Panel, 20” ×    │ Gwillim  │Lord Aldenham
-     │  16½”                     │ Stretes  │
-
-  61 │Queen Anne Boleyn. Canvas, │Attributed│Lord Zouche
-     │  15” × 12”                │ to Janet │
-
-  62 │Cartoon of Henry VII and   │   Hans   │Duke of Devonshire, K.G.
-     │  Henry VIII. 103” × 54”   │ Holbein  │
-
-  63 │Edward Seymour, Duke of    │ Unknown  │H. Dent-Brocklehurst, Esq.
-     │  Somerset. Dated 1535.    │          │
-     │  Panel, 35” × 26½”        │          │
-
-  64 │Charles Brandon, Duke of   │   Hans   │Executors of LordcDonington
-     │  Suffolk, K.G. Panel, 34” │ Holbein  │
-     │  × 27”                    │          │
-
-  70 │Edward VI. Panel, 46” × 34”│    “     │Earl of Denbigh
-
-  73 │Queen Mary I. Panel, 19½”  │   Sir    │Dean and Chapter of Durham
-     │                           │ Antonio  │
-     │                           │   More   │
-
-  75 │Queen Mary I. Dated 1554.  │  Lucas   │Society of Antiquaries
-     │  Panel, 40” × 30”         │ d’Heere  │
-
-
-                              _Miniatures_
-
- 201 │Charles Brandon, Duke of   │   Hans   │Earl Brownlow
-     │  Suffolk, K.G. Panel, 7” ×│ Holbein  │
-     │  6”                       │          │
-
- 202 │Mary Tudor, Dowager Queen  │    “     │“
-     │  of France. Panel, 7” × 6”│          │
-
- 204 │Queen Katherine Parr       │    “     │H. Dent-Brocklehurst, Esq.
-
- 205 │Queen Jane Seymour         │    “     │“
-
- 206 │Queen Anne Boleyn          │ Unknown  │“
-
- 217 │Queen Catherine Howard     │   Hans   │His Majesty
-     │                           │ Holbein  │
-
- 218 │Henry VIII. Aged 57        │    “     │“
-
- 219 │Henry VIII                 │ Unknown  │H. Dent-Brocklehurst, Esq.
-
- 220 │Edward VI                  │    “     │“
-
- 252 │Queen Mary I               │  Lucas   │Colonel Wynne Finch
-     │                           │ d’Heere  │
-
- 342 │Henry VIII. Carving in     │   Hans   │H. Dent-Brocklehurst, Esq.
-     │  honestone                │ Holbein  │
-
- 348 │Henry VIII. Carving in     │    “     │“
-     │  boxwood                  │          │
-
-
- XII. LOAN COLLECTION OF PORTRAITS OF ENGLISH HISTORICAL PERSONAGES WHO
-               DIED PRIOR TO THE YEAR 1625. OXFORD, 1904
-
-  21 │William Warham, Archbishop │   Hans   │Viscount Dillon
-     │  of Canterbury. Panel, 32”│ Holbein  │
-     │  × 25½”                   │          │
-
-  22 │William Warham. Panel, 32” │Copy from │New College, Oxford
-     │  × 25½”                   │ Holbein  │
-
-  23 │Catherine of Aragon. Panel,│ Unknown  │The Warden of Merton
-     │  22½” × 17”               │          │  College, Oxford
-
-  24 │Sir Thomas Wyat. Panel,    │Based upon│Curators of the Bodleian
-     │  17¼” × 12½”              │a drawing │  Library
-     │                           │by Holbein│
-
-  25 │King Henry VIII. Panel, 24”│ Unknown  │Dean of Christ Church,
-     │  × 19½”                   │          │  Oxford
-
-  26 │King Henry VIII. Panel, 27”│    “     │Archdeacon of Oxford
-     │  × 22”                    │          │
-
-  27 │Dr. John Chambre. Panel,   │Copy from │Merton College, Oxford
-     │  25¼” × 18½”              │ Holbein  │
-
-  30 │Anne of Cleves. Panel,     │ Flemish  │The President of St. John’s
-     │  arched top, 19¾” × 14¼”  │  School  │  College, Oxford
-
-  33 │Sir Thomas Pope. Panel,    │School of │The President of Trinity
-     │  45½” × 31½”              │ Holbein  │  College, Oxford
-
-
- XIII. EXHIBITION ILLUSTRATIVE OF EARLY ENGLISH PORTRAITURE, BURLINGTON
-                          FINE ARTS CLUB, 1909
-
-      _Reprinted by kind permission of the Committee of the Club._
-
-  14 │Margaret Wotton,           │Copy of a │Duke of Portland, K.G.
-     │  Marchioness of Dorset.   │ Portrait │
-     │  Panel, 40½” × 31½”       │ possibly │
-     │                           │by Holbein│
-
-  19 │Lady of the Court of Henry │School of │Society of Antiquaries
-     │  VIII. Panel, 16½” × 14¼” │ Holbein  │
-
-  21 │King Henry VIII. Panel,    │ Unknown  │Lord Sackville
-     │  37¾” × 28¼”              │          │
-
-  23 │Henry VIII. Panel, 46” ×   │    “     │Governors of St.
-     │  37¼”                     │          │  Bartholomew’s Hospital
-
-  24 │Henry VIII “with Scroll.”  │    “     │Merchant Taylors’ Company.
-     │  Canvas, 28¾” × 22¼”      │          │
-
-  25 │Unknown Lady. Panel, 14⅞” ×│ Possibly │Duke of Norfolk, K.G.
-     │  10⅝”                     │H. Eworth │
-
-  28 │Mary Tudor, Sister of Henry│ Johannes │H. Dent-Brocklehurst, Esq.
-     │  VIII. Panel, 22¼”× 18¼”  │  Corvus  │
-
-  30 │Edmund Butts. Panel, 21” × │Attributed│Prince F. Duleep Singh
-     │  15½”                     │  to J.   │
-     │                           │  Bettes  │
-
-  33 │King Henry VIII. Panel,    │ Unknown  │Society of Antiquaries
-     │  18¼” × 13¼”              │          │
-
-  34 │Sir W. Fitzwilliam, Earl of│Copy after│Duke of Devonshire
-     │  Southampton. Panel, 13⅛” │ Holbein  │
-     │  × 9¾”                    │          │
-
-  38 │King Henry VIII. Panel,    │   Hans   │Earl Spencer, K.G.
-     │  10½” × 7½”               │ Holbein  │
-
-  39 │An Elderly Man, Unknown.   │Attributed│R. Langton Douglas, Esq.
-     │  Panel, 15⅝” × 12”        │to Holbein│
-
-  40 │King Henry VII and King    │   Hans   │Duke of Devonshire
-     │  Henry VIII. Cartoon,     │ Holbein  │
-     │  103½” × 54”              │          │
-
-  41 │Sir Thomas le Strange, Kt. │    “     │Hamon le Strange, Esq.
-     │  Panel, 15¼” × 10½”       │          │
-
-  42 │Sir Thomas le Strange.     │Attributed│“
-     │  Panel, 19¼” × 15½”       │to Holbein│
-
-  43 │Sir Bryan Tuke. Panel, 18½”│   Hans   │Miss Guest of Inwood
-     │  × 14½”                   │ Holbein  │
-
-  44 │Margaret Roper. Panel, 25½”│Copy after│Lord Sackville
-     │  × 19½”                   │ Holbein  │
-
-  45 │Sir Nicholas Carew. Panel, │   Hans   │Duke of Buccleuch, K.G.
-     │  36” × 40”                │ Holbein  │
-
-  46 │Queen Jane Seymour. Panel, │Copy after│Lord Sackville
-     │  24” × 19”                │ Holbein  │
-
-  48 │Sir Thomas Wyat the        │ Ascribed │Rt. Hon. Lewis Fry
-     │  Younger. Panel, circular,│to Holbein│
-     │  13” diam.                │          │
-
-  49 │Thomas Howard, 3rd Duke of │Copy after│Duke of Norfolk, K.G.
-     │  Norfolk. Panel, 30” × 23”│ Holbein  │
-
-  50 │Sir Thomas Wyat. Panel,    │    “     │Bodleian Library, Oxford
-     │  17¼” × 12¼”              │          │
-
-  51 │William West, 1st Lord     │Attributed│Lieut.-Col. G. L. Holford,
-     │  Delawarr (?). Panel, 51¾”│to Holbein│  C.I.E.
-     │  × 30¾”                   │and to G. │
-     │                           │ Stretes  │
-
-  52 │Sir Thomas More. Panel, 25”│ Unknown  │Lord Sackville
-     │  × 19¼”                   │          │
-
-  53 │Sir Thomas More. Panel,    │   Hans   │Edward Huth, Esq.
-     │  29¼” × 23¼”              │ Holbein  │
-
-  54 │Henry Howard, Earl of      │Attributed│Duke of Norfolk, K.G.
-     │  Surrey. Canvas, 86” × 85”│  to G.   │
-     │                           │ Stretes  │
-
-  56 │Sir Anthony Wingfield.     │Attributed│T. Humphry Ward, Esq.
-     │  Panel, 34” × 27¾”        │to Holbein│
-
-  60 │King Edward VI. Panel, 18” │ Unknown, │Lord Sackville
-     │  × 12¼”                   │  after   │
-     │                           │ Holbein  │
-
-  62 │Edward VI as a Child.      │ Ascribed │Earl of Yarborough
-     │  Panel, 22½” × 16⅝”       │to Holbein│
-
-  63 │King Edward VI. Panel, 19¾”│Attributed│Lord Aldenham
-     │  × 16½”                   │  to G.   │
-     │                           │ Stretes  │
-
-  64 │Margaret Wyat, Lady Lee    │   Hans   │Major Charles Palmer
-     │  (?). Panel, 16½” × 12½”  │ Holbein  │
-
-  65 │Unknown Lady. Panel, 11⅜” ×│Attributed│P. T. Davies Cooke, Esq.
-     │  8⅞”                      │to Holbein│
-
-  66 │Unknown Lady. Signed “H.   │   Hans   │Marquis of Zetland
-     │  H.” Panel, 12¾” × 9¾”    │ Holbein  │
-
-  68 │King Edward VI. Panel, 16⅜”│ Unknown  │Duke of Portland, K.G.
-     │  × 9⅞”                    │          │
-
-  70 │George Nevill, 3rd Lord    │   Hans   │Earl of Pembroke
-     │  Abergavenny. Drawing in  │ Holbein  │
-     │  coloured chalks, 10¾” ×  │          │
-     │  9½”                      │          │
-
-  72 │An English Lady, supposed  │    “     │George Salting, Esq.
-     │  to be Margaret Roper.    │          │
-     │  Drawing in coloured      │          │
-     │  chalks, 10⅞” × 7⅝”       │          │
-
-
-                             _Miniatures._
-
- Case│                           │          │
-  B. │                           │          │
-
-  1  │King Henry VIII. Diam. 1¼” │   Hans   │J. Pierpont Morgan, Esq.
-     │                           │ Holbein  │
-
-  2  │Queen Jane Seymour. Diam.  │    “     │Vernon Watney, Esq.
-     │  1½”                      │          │
-
-  3  │Mrs. Pemberton. Diam. 2⅛”  │    “     │J. Pierpont Morgan, Esq.
-
-  4  │Queen Anne of Cleves. Diam.│    “     │George Salting, Esq.
-     │  1¾”                      │          │
-
-  5  │Portraits of Two Little    │  Livina  │“
-     │  Girls. Oval, 1-15/16” ×  │Teerlinck │
-     │  1½”                      │          │
-
-  6  │Queen Jane Seymour. Diam.  │   Hans   │H. Dent-Brocklehurst, Esq.
-     │  1⅝”                      │ Holbein  │
-
-  7  │Queen Katherine Parr (?).  │    “     │“
-     │  Diam. 1⅞”                │          │
-
- Case│                           │          │
-  C. │                           │          │
-
-  1  │Margaret Wotton (?) (called│    “     │Duke of Buccleuch, K.G.
-     │  Queen Katherine of       │          │
-     │  Aragon). Diam. 1½”       │          │
-
-  2  │King Henry VIII. Diam. 2⅜” │    “     │“
-
-  4  │Queen Catherine Howard.    │    “     │“
-     │  Diam. 2”                 │          │
-
-  5  │Queen Jane Seymour (called │    “     │“
-     │  Katherine of Aragon).    │          │
-     │  Diam. 1½”                │          │
-
-  6  │King Henry VIII. Diam. 1¾” │Copy after│Duke of Buccleuch, K.G.
-     │                           │ Holbein  │
-
-  7  │King Henry VIII. 2” ×      │ Possibly │“
-     │  1-13/16”                 │  French  │
-
-  8  │Eight Miniatures in one    │          │
-     │  frame, among them:       │          │
-
-     │D. King Henry VIII. Diam.  │   Hans   │“
-     │  1¾”                      │ Holbein  │
-
-     │F. Queen Mary. Diam. 2⅛”   │ Anthonis │“
-     │                           │   Mor    │
-
-     │G. King Edward VI. Diam.   │ Unknown  │“
-     │  1¾”                      │          │
-
-  12 │A Boy (called Edward VI).  │   Hans   │“
-     │  Oval, 1¼” × 1⅛”          │ Holbein  │
-
-  13 │King Edward VI. Oval,      │ Unknown  │“
-     │  1-11/16” × 1-7/16”       │          │
-
-  15 │Katherine of Aragon.       │Attributed│“
-     │  1-15/16” × 1-13/16”      │to Holbein│
-
-  17 │Sir Thomas More. Oval,     │ Possibly │“
-     │  1-5/16” × 1⅛”            │by Holbein│
-
-  19 │King Edward VI. Diam. 1⅝”  │ Unknown  │“
-
-  22 │George Nevill, 3rd Lord    │   Hans   │“
-     │  Abergavenny. Diam. 1¾”   │ Holbein  │
-
-  23 │Hans Holbein. Diam. 1-7/16”│    “     │“
-
-  25 │King Henry VIII. Diam. 1¾” │ Unknown  │“
-
- Case│                           │          │
-  D. │                           │          │
-
-  1  │Hans Holbein. Panel, diam. │   Hans   │George Salting, Esq.
-     │  4½”                      │ Holbein  │
-
-  2  │Katherine Willoughby,      │ Unknown  │Earl of Ancaster
-     │  Duchess of Suffolk.      │          │
-     │  Inscribed in later hand  │          │
-     │  “H. Holbein Fecit.” Diam.│          │
-     │  2⅛”                      │          │
-
-  3  │Katherine of Aragon        │   Hans   │Mrs. Joseph
-     │                           │ Holbein  │
-
-
-                           _In Writing-Room._
-
-  17 │Sir Anthony Browne, K.G.   │ Unknown  │Lord Vaux of Harrowden
-     │  Canvas, 37” x 30”        │          │
-
-  18 │King Edward VI. Panel, 41” │    “     │Major Eley
-     │  × 29”                    │          │
-
-
- XIV. PICTURES BY OR ATTRIBUTED TO HOLBEIN DESCRIBED BY DR. WAAGEN IN HIS
-                “TREASURES OF ART IN GREAT BRITAIN,” 1854.
-
-    Vol. I │                            │
-
-    p. 203 │The Holbein Drawings in the │
-     pp.   │  British Museum            │
-    236-7  │                            │
-
-    p. 429 │William Warham              │Lambeth Palace
-           │                            │
-
-   Vol. II │                            │
-
-    p. 73  │Man with the Golden Fleece  │Duke of Sutherland, Stafford
-           │                            │  House
-
-    p. 86  │The Duke of Norfolk         │Duke of Norfolk
-
-   pp. 93-4│Man in a Furred Robe        │Devonshire House
-
-    p. 112 │Unnamed Portrait            │Lord Ashburton
-
-    p. 199 │Portrait wrongly called Duke│R. S. Holford, Esq.
-           │  Frederick of Saxony       │
-
-    p. 241 │Henry VIII                  │Henry Danby Seymour, Esq.
-
-    p. 242 │Portrait of a “Plump Child” │“
-
-    p. 245 │Portrait of a Woman adorned │Collection of Mr. Neeld
-           │  with many jewels. Dated   │
-           │  1536                      │
-
-    p. 246 │A Man’s Portrait. Dated 1547│“
-
-     pp.   │Henry VIII granting the     │Barber-Surgeons’ Hall
-    327-8  │  Charter to the            │
-           │  Barber-Surgeons’ Company  │
-
-    p. 328 │Edward VI at Bridewell      │Bridewell Hospital
-
-    p. 331 │“A Male Portrait in a rich  │C. S. Bale, Esq.
-           │  dress.” Coloured drawing  │
-
-    p. 332 │“A Female Portrait.”        │“
-           │  Miniature                 │
-
-     pp.   │The Pictures in Hampton     │“
-    361-7  │  Court                     │
-
-    p. 420 │Drawing of a Female Saint   │Rt. Hon. Henry Labouchere at
-           │                            │  Stoke
-
-     pp.   │The Pictures and Drawings in│“
-    430-50 │  Windsor Castle            │
-
-   Vol. III│                            │
-
-     p. 6  │Portrait of a Young Man     │W. Fuller Maitland, Esq.,
-           │  weighing Gold             │  Stanstead House
-
-    p. 29  │The Duchess of Milan        │Duke of Norfolk, Arundel
-           │                            │  Castle
-
-    p. 30  │The Duke of Norfolk         │“
-
-      “    │The Earl of Surrey,         │“
-           │  inscribed “William Strote”│
-
-    p. 33  │“A Female Figure with a Ring│Colonel Egremont Wyndham,
-           │  on one Finger”            │  Petworth
-
-    p. 36  │Edward VI standing under a  │“
-           │  Canopy                    │
-
-    p. 41  │Henry VIII, whole length    │“
-
-      “    │Portrait of a Man with a    │“
-           │  Falcon                    │
-
-    p. 42  │Portrait of a Man with a    │“
-           │  Letter in his Hand (Derich│
-           │  Berck)                    │
-
-    p. 52  │Henry VIII, bust.           │University Galleries, Oxford
-
-    p. 123 │A Man’s Head, about 1530    │Duke of Marlborough,
-           │                            │  Blenheim Palace
-
-    p. 138 │Portrait of Erasmus         │Earl of Radnor, Longford
-           │                            │  Castle
-
-    p. 139 │Peter Ægidius               │“
-
-      “    │Two Male Portraits, the size│“
-           │  of life, in one picture.  │
-           │  (Two Ambassadors)         │
-
-      “    │Luther (?)                  │“
-
-      “    │Anthony Denny               │“
-
-    p. 140 │Æcolampadius                │“
-
-      “    │King Edward VI              │“
-
-    p. 152 │The Father of Sir Thomas    │Earl of Pembroke, Wilton
-           │  More                      │  House
-
-      “    │William, 1st Earl of        │“
-           │  Pembroke                  │
-
-      “    │King Edward VI              │“
-
-      “    │Lord Cromwell (drawing)     │“
-
-    p. 155 │The Wilton Porch            │“
-
-    p. 170 │Catherine Howard            │Earl of Suffolk, Charlton
-           │                            │  Park
-
-    p. 185 │“A half-length Undraped     │J. P. Miles, Esq., Leigh
-           │  Figure, here, in defiance │  Court
-           │  of all probability, called│
-           │  a William Tell”           │
-
-    p. 210 │John Fisher, Bishop of      │Lord Northwick, Thirlstane
-           │  Rochester                 │  House
-
-    p. 211 │Man’s Head. Miniature       │“
-
-    p. 215 │Henry VIII                  │Warwick Castle
-
-    p. 225 │Portrait of a Man Praying   │Mr. Martin, Ham Court,
-           │                            │  Worcestershire
-
-    p. 236 │The Prodigal Son            │Liverpool Institution
-
-    p. 252 │Sir Thomas More             │Mr. Blundell Weld of Ince
-
-    p. 264 │Woman with a White Pigeon   │Earl of Lonsdale, Lowther
-           │                            │  Castle
-
-    p. 313 │Sir Nicholas Carew          │Duke of Buccleuch, Dalkeith
-           │                            │  Palace
-
-    p. 323 │Duke of Norfolk             │Earl of Carlisle, Castle
-           │                            │  Howard
-
-      “    │Henry VIII                  │“
-
-    p. 334 │Man’s Portrait              │Mr. Meynell Ingram, Temple
-           │                            │  Newsham
-
-     pp.   │Sir Thomas More and his     │Mr. Charles Winn, Nostell
-    334-5  │  Family                    │  Priory
-
-    p. 342 │Portrait of Æcolampadius    │W. V. Wentworth, Esq.,
-           │                            │  Wentworth Castle
-
-    p. 346 │Henry VIII, full-length     │Duke of Devonshire,
-           │                            │  Chatsworth
-
-      “    │Head of an Old Man          │“
-
-    p. 359 │The Drawings at Chatsworth  │“
-
-    p. 388 │Portrait of a Man           │Earl of Shrewsbury, Alton
-           │                            │  Towers
-
-    p. 398 │Henry VIII, full-length     │Duke of Rutland, Belvoir
-           │                            │  Castle
-
-    p. 407 │Henry VIII, half-length     │Marquis of Exeter, Burleigh
-           │                            │  House
-
-      “    │Edward VI                   │“
-
-    p. 428 │Anne Boleyn                 │Sir John Boileau,
-           │                            │  Ketteringham Hall
-
-    p. 443 │Portrait of a Woman with    │Mr. Tomline, Orwell Park
-           │  folded hands              │
-
-      “    │“A small picture in a       │“
-           │  circle, dated 1527”       │
-
-    p. 449 │William Fitzwilliam, Earl of│Fitzwilliam Museum,
-           │  Southampton               │  Cambridge
-
-    p. 456 │Henry VIII                  │Earl Spencer, Althorp
-
-      “    │Henry VIII, Princess Mary,  │“
-           │  and Somers                │
-
-    p. 462 │Queen Catherine Parr        │Glendon Hall
-
-    p. 482 │James, King of Scotland, and│Marquis of Bute, Luton House
-           │  his Wife, Margaret,       │
-           │  Daughter of Henry VII     │
-
-      “    │Henry VIII (attributed to   │“
-           │  Gerard Horebout)          │
-           │                            │
-
-   Vol. IV │(_Supplemental_, 1857)      │
-
-   pp. 35-8│The British Museum drawings │
-
-    p. 67  │Edward VI as an Infant      │Lord Yarborough, Arlington
-           │                            │  Street
-
-      “    │Henry VIII                  │“
-
-    p. 77  │“Portrait of a Man with     │Alexander Barker, Esq.
-           │  features resembling the   │
-           │  House of Habsburg”        │
-
-    p. 97  │Johann Herbster             │Mr. Baring’s Collection
-
-    p. 119 │Princess Mary, afterwards   │C. Sackville Bale, Esq.
-           │  Queen. Miniature          │
-
-    p. 188 │The Ascension. Drawing,     │William Russell, Esq., 38
-           │  design for a painted      │  Chesham Place
-           │  window                    │
-
-    p 269  │Edward VI                   │Duke of Northumberland, Syon
-           │                            │  House
-
-      “    │Duke of Somerset, the       │“
-           │  “Protector”               │
-
-      “    │Bust of Henry VII, in dark  │“
-           │  stone, “by Pietro         │
-           │  Torregiano, 1519”         │
-
-    p. 272 │Portrait of Sir Thomas      │Lord Jersey, Osterley Park
-           │  Gresham. (“Not by Holbein,│
-           │  but possibly of the       │
-           │  Lombard School”)          │
-
-    p. 331 │John Russell                │Duke of Bedford, Woburn
-           │                            │  Abbey
-
-    p. 339 │Henry VIII                  │Earl Amherst, Knole Park
-
-    p. 355 │Sir Anthony Denny           │Lord Folkestone, Longford
-           │                            │  Castle
-
-     pp.   │Erasmus                     │“
-    356-7  │                            │
-
-    p. 357 │Peter Ægidius               │“
-
-    p. 359 │The Two Ambassadors         │“
-
-      “    │A Man in a Black Dress      │“
-           │  called Luther             │
-
-    p. 361 │Lady Carey                  │“
-
-    p. 364 │Lady Jane Grey              │Earl of Normanton, Somerley
-
-    p. 394 │“Portrait of Scanderbeg”    │Lord Methuen, Corsham Court
-
-    p. 435 │Sir Nicholas Carew          │Duke of Buccleuch, Dalkeith
-           │                            │  Palace
-
-    p. 464 │Lord Cromwell               │The late Lord Douglas,
-           │                            │  Bothwell Castle
-
-      “    │Sir Thomas More             │“
-
-      “    │Erasmus                     │“
-
-    p. 498 │Henry VIII                  │William Drury Lowe, Esq.,
-           │                            │  Locko Park
-
-    p. 509 │Portrait of a Man in a Black│Duke of Newcastle, Clumber
-           │  Dress and Cap             │  Park
-
-    p. 511 │Portrait of a Man with a Cap│“
-           │  and Bâton, said to be Sir │
-           │  Thomas More               │
-
-    p. 515 │Portrait of a Man in a Black│Duke of Portland, Welbeck
-           │  Dress, holding a Palm in  │  Abbey
-           │  his Left Hand             │
-
-    p. 516 │Portrait of Nicolas Kratzer │Viscount Galway, Serlby
-
-    p. 517 │Henry VIII, full-length     │“
-
-
-
-
-                          A SHORT BIBLIOGRAPHY
-
-
-The following list includes only a few of the more modern and more
-important of the many contributions to the literature dealing with the
-life and art of Hans Holbein the Younger. A very complete bibliography
-of the artist will be found in _Schweiz. Künstlerlexikon_, vol. ii.,
-Frauenfeld, 1906, to which the student is referred. Additional
-references will be found in the text and footnotes of this book.
-
-
-AMIET, _Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus
-    Conrad_, 1879.
-
-BALDRY, A. L., _Drawings of Hans Holbein_, “Drawings of the Great
-    Masters” series. George Newnes, Ltd. Not dated.
-
-BELL, C. F., F.S.A., _Catalogue of a Loan Collection of Portraits of
-    English Historical Personages who died prior to the year 1625_.
-    Oxford, Clarendon Press, 1904.
-
-BENOIT, FRANÇOIS, _Holbein_ (“Les Maîtres de l’Art”). Paris. Not dated.
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-SCHMID, H. A., _Die Gemälde Hans Holbeins d. J. im Basler Grossratsaal_.
-    Jahrbuch der kgl. preuss. Kunsts., xvii. (1896) p. 73.
-
-SCHMID, H. A., _Holbeins Tätigkeit für die Basler Verleger_. Jahrbuch
-    der kgl. preuss. Kunstsammlungen, vol. xx. p. 233.
-
-SCHMID, H. A., _Die Darmstädter Madonna_. Graphische Künste. Vienna,
-    1901.
-
-SCHNEELI, G., and HEITZ, P., _Initialen von Hans Holbein_. Heitz,
-    Strasburg, 1900.
-
-SEEMAN, A., _Der Brunnen des Lebens von H. Holbein_. Zeitschrift f.
-    bild. Kunst, May, 1903.
-
-SHEPPARD, DR. EDGAR, _The Old Royal Palace of Whitehall_, pp. 385-6.
-    Longmans, Green & Co., 1901.
-
-SIMON, K., _Holbeins Morusbild_. Repertorium für Kunstwissenschaft, xxx.
-    1907, p. 332.
-
-SKETCHLEY, R. E. D., _Holbein as Goldsmith’s Designer_. The Art Journal,
-    June, 1910, p. 175.
-
-SMITH, H. CLIFFORD, _Jewellery_. The Connoisseur’s Library.
-
-SQUIRE, W. BARCLAY, and HELEN MATILDA, COUNTESS OF RADNOR, _Catalogue of
-    the Pictures in the Collection of the Earl of Radnor_, 2 vols.
-    Chiswick Press, 1909.
-
-STEPHENS, F. G., _The Private Collections of England_: Nos. lviii. and
-    lix., _Nostell Priory, Wakefield_. The Athenæum, Nos. 2760-1,
-    September 18 and 25, 1880.
-
-STODDART, JANE T., _Girlhood of Mary Queen of Scots_, chap. xxi. p. 346
-    _et seq._ 1909.
-
-STÖDTNER, FRANZ, _Hans Holbein der Aeltere_. Berlin, 1896.
-
-STOW, JOHN, _Summarie of Englysh Chronicles_, &c., 1565.
-
-STOW, JOHN, _The Annales of England_, &c., 1592.
-
-STOW, JOHN, _A Survay of London_, &c., 1598.
-
-STRONG, S. ARTHUR, _Reproduction of Drawings by the Old Masters at
-    Chatsworth_. Duckworth & Co., 1902.
-
-STRONG, S. ARTHUR, _Critical Studies and Fragments_. Duckworth & Co.,
-    1905.
-
-STRYIENSKI, C., _“Pedigree” d’un Holbein: Portrait de G. Gisze_.
-    Chronique des Arts, 1911.
-
-STRYPE, REV. JOHN, _Annals of the Reformation in England_, 1709-31.
-
-TONJOLA, _Basilea Sepulta_, 1661, p. 382.
-
-VÖGELIN, S., _Ein wiedergefundenes Meisterwerk Holbeins_. Frankfurter
-    Zeitung, 1871 (Nos. 236-7, 244, 248).
-
-VÖGELIN, S., _Ergänzungen und Nachweisungen zum Holzschnittwerk H. H. d.
-    J._ Repertorium f. Kunstwissenschaft, ii. (1877) pp. 162, 312; v. p.
-    179.
-
-VÖGELIN, S., _Der Holbeintisch auf der Stadtbibliothek in Zürich_.
-    Vienna, 1878.
-
-VÖGELIN, S., _Holbeins Fassadenmalereien zu Basel_. Anzeiger für
-    schweiz. Altertumskunde, xiii., 1880, p. 50.
-
-VÖGELIN, S., _Fassadenmalerei in der Schweiz_. Anzeiger für schweiz.
-    Altertumskunde, 1884.
-
-VÖGELIN, S., _Wer hat Holbein die Kenntnis des klassischen Altertums
-    vermittelt?_ Repertorium für Kunstwissenschaft, x. p. 345.
-
-VOLL, KARL, _Meisterwerke der Gemäldegalerie im Haag_. Hanfstaengl,
-    1903.
-
-VOLL, KARL, _Holbein und Böcklin_. Süddeutsche Monatshefte, 1905, ii. 8,
-    p. 177.
-
-VOSS, H., _Holbein und Raphael_. Monatshefte für Kunst., iii. (1910) p.
-    159.
-
-WAAGEN, G. F., _Kunstwerke und Künstler in Deutschland_, 1845.
-
-WAAGEN, G. F., _Treasures of Art in Great Britain_, 4 vols. Translated
-    by Lady Eastlake. John Murray, 1854-7.
-
-WALPOLE, HORACE, _Anecdotes of Painting in England, with some Account of
-    the Principal Artists_. Additions by the Rev. James Dallaway,
-    revised by Ralph N. Wornum, 3 vols. Swan, Sonnenschein, Lowrey &
-    Co., 1888.
-
-WEALE, W. H. JAMES, _Simon Binnink, Miniaturist_. Burlington Magazine,
-    No. xxxv. vol. viii. (February, 1906) pp. 355-6.
-
-WEALE, W. H. JAMES, _Livina Teerlinc, Miniaturist_. Burlington Magazine,
-    No. xl. vol. ix. (July, 1906) p. 278.
-
-WERNER, ANTON, _Die Holbein in Augsburg_. Der Sammler, No. 143, 1907.
-
-WILLIAMSON, G. C., _The History of Portrait Miniatures_, 1531-1860, 2
-    vols. George Bell & Sons, 1904.
-
-WILLIAMSON, G. C., _Mr. J. Pierpont Morgan’s Catalogue: The Miniatures_.
-    Privately printed.
-
-WILLIAMSON, G. C., _Portrait Miniatures_. The Studio, Spring Number,
-    1910.
-
-WOLTMANN, ALFRED, _Holbein und seine Zeit_, 2 vols., second edition. E.
-    A. Seeman, Leipzig, 1874-6.
-
-WOLTMANN, ALFRED, _Holbein and his Time_. Translation of vol. i. first
-    edition, by F. E. Bunnett. Richard Bentley & Son, 1872.
-
-WOLTMANN, ALFRED, _Holbein at the National Portrait Gallery_.
-    Fortnightly Review, vol. vi. (1866) p. 160.
-
-WOLTMANN, ALFRED, _Holbein und Q. Metsys in Longford Castle_.
-    Zeitschrift für bild. Kunst., i. p. 198.
-
-WORNUM, RALPH N., _Some Account of the Life and Works of Hans Holbein,
-    Painter, of Augsburg_. Chapman & Hall, 1867.
-
-WORNUM, RALPH N., _Hans Holbein and the Meier Madonna_. Arundel Society,
-    1871.
-
-WURSTISEN, _Epitome Historiæ Basiliensis_. Basel, 1577.
-
-WYATT, M. DIGBY, F.R.I.B.A., _On the Foreign Artists employed in England
-    during the Sixteenth Century, and their influence on British Art_.
-    Transactions of the Royal Institute of British Architects. Session
-    1867-8 (May 18, 1868), pp. 209-58.
-
-WYZEWA, T. DE, _À propos d’un Livre nouveau sur Holbein le Jeune_
-    (review of Dr. Ganz’ _Holbein_). Revue des Deux Mondes, January 15,
-    1912.
-
-ZAHN, A. VON, _Hans Holbein d. J. und seine Familie_. Jahrbücher für
-    Kunstwissenschaft, iii. (1870) p. 115.
-
-ZAHN, A. VON, _Die Augsburger Steuerbücher über Hans Holbein d.
-    Aeltern_. Jahrbücher für Kunstwissenschaft, iv. 1871, p. 267.
-
-ZETTER-COLLIN, F. A., _Die Zetter’sche Madonna von Solothurn_.
-    Festschrift des Kunst-Vereins der Stadt Solothurn, 1902.
-
-_A Drawing by Holbein in the Collection of the Duke of Devonshire._
-    Burlington Magazine, No. ii. vol. i. (April, 1903) pp. 223-4.
-
-_Drawings attributed to Holbein in the Collection of the Duke of
-    Devonshire._ Burlington Magazine, No. iii. vol. i. (May, 1903) p.
-    354.
-
-_A Portrait of a Man by Holbein recently acquired by the Metropolitan
-    Museum of New York._ Burlington Magazine, No. xliii. vol. x.
-    (October, 1906) pp. 48-53.
-
-_A Portrait by Holbein._ Bulletin of the Metropolitan Museum of Art, New
-    York, vol. i. No. 12 (November, 1906) p. 150-3.
-
-Catalogue of the Exhibition of the Royal House of Tudor. New Gallery,
-    1890. Illustrated.
-
-Catalogue of the Exhibition of Works by Hans Holbein the Younger at
-    Basel, 1897-8.
-
-Katalog der Oeffentlichen Kunstsammlung in Basel, 1908. Illustrated.
-
-Cust, Lionel, M.V.O., _The Painter HE (“Hans Eworth”)_. Walpole Society,
-    2nd annual vol., 1912-13, pp. 1-44.
-
-
-------------------------------------------------------------------------
-
-
-
-
-                               INDEX^{TN}
-
-
-(_The Lists of Pictures by or attributed to Holbein, &c., exhibited at
-  various exhibitions between 1846 and 1912, Vol. ii. p. 359-389, are
-  not included in the Index._)
-
-
- Abbate, Niccolo dell’, of Modena, i. 281, 287 _note_
-
- Abergavenny, castle and lordship, ii. 288
-
- —— George Nevill, 3rd Earl of, ii. 222, 248, 255
-
- Acorre, i. 105 _note_
-
- _Adagia_ (Erasmus), i. 45, 49
-
- Addison, Joseph, i. 328 _note_
-
- Advocates’ Library, Edinburgh, ii. 148, 343
-
- Ægidius, Petrus, i. 62, 163, 193, 255, 288-289, 298, 339;
-   ii. 265
-
- Æmilius (œmmel), George, i. 212, 224
-
- _Æneæ Platonici Christiani_, &c. (pub. Froben, 1516), i. 191
-
- Airell, Richard, i. 265
-
- Aix-la-Chapelle, ii. 15
-
- Aix-les-Bains, i. 344 _note_
-
- Akersloot, W., engraver, i. 87
-
- Albertina, Vienna, i. 5, 60, 161 _note_, 344 _note_
-
- Albury, i. 171 _note_
-
- Alciat, i. 84, 174
-
- Aldegrever, ii. 52 _note_
-
- Aldenham, Lord (collection), ii. 169
-
- Alessandro of Milan, _see_ Carmillian, Alys
-
- Alexander VI, Pope, i. 271
-
- Alexander, Thomas, painter-stainer, i. 261
-
- Alexe of Myllen, _see_ Carmillian, Alys
-
- Algarotti, Count Francesco, i. 242-243
-
- Allington Castle, Kent, i. 336
-
- Alsop, T., barber-surgeon, ii. 291, 293
-
- Altdorfer, ii. 270
-
- Althorp, ii. 14, 72, 93, 107, 141, 352
-
- Altishofen, Colonel Karl Pyffer von, i. 71
-
- Altman, Mr. Benjamin (collection), ii. 82, 348
-
- Altorf, i. 74, 77
-
- Amadas, Robert, Master of the Jewel House, ii. 58, 287
-
- Amberger, C., ii. 17 _note_, 310
-
- Ambraser Collection, Vienna, i. 60;
-   ii. 70
-
- Amerbach, Basilius, i. 45, 85, 102, 181, 345
-
- —— Bonifacius, i. 39, 45, 74-75, 84-87, 90, 122, 151, 174, 177, 180,
-    250, 253, 341, 343, 345, 352;
-     ii. 87-88, 256, 259, 264, 331, 340, 344
-
- —— Collection, Inventory, &c., i. 5, 38, 40, 44, 55-56, 60, 75, 79,
-    84-85, 87, 99, 100-102, 106, 113, 121, 135, 146, 157, 161, 174,
-    180-181, 186, 199, 246-247, 250, 344-345, 347;
-     ii. 87-88, 260-261, 329
-
- Amerbach, family house, i. 122
-
- —— Hans, i. 85
-
- Amiet, ii. 390
-
- Amsterdam, i. 27, 28, 106, 224, 240-241, 243-244, 335;
-   ii. 15, 25-27, 64, 112, 199, 213, 231, 248
-
- —— Museum, i. 165;
-     ii. 304, 308
-
- Andermatt, i. 77;
-   ii. 324
-
- Andlau, ii. 82
-
- Andlau, Convent of, Alsace, ii. 326
-
- Andlau, Von, family, i. 145;
-   ii. 326
-
- “Androw, painter,” _see_ Wright, Andrew
-
- Angelrot, Balthazar, goldsmith of Basel, i. 117-118
-
- Angeviller, Mons. d’, ii. 327
-
- Anne, Queen of England, i. 107;
-   ii. 52, 203
-
- —— Boleyn, Queen, _see_ Boleyn
-
- —— of Cleves, Queen, _see_ Cleves
-
- Anthony, Anthony, of the Ordnance Department, ii. 297-298
-
- “Anthony, Mr., the King’s servant,” ii. 294, 296-298
-
- Anstis, _Order of the Garter_ (1724), i. 319
-
- Antiquaries, Society of, i. 287 _note_, 291, 313;
-   ii. 110, 125, 137, 271
-
- _Antiquities of Westminster_ (J. T. Smith), ii. 267
-
- Antonine Abbey of Isenheim, Vicar of, i. 254
-
- Antwerp (town), i. 62, 163-164, 176, 245, 264, 268-269, 273-274,
-    288-289, 329;
-   ii. 27, 87, 152, 176, 198, 230, 264, 298, 307-308, 341
-
- “Antwerp, Glazier of” (Galyon Hone?), i. 268
-
- Antwerp, Hans of, ii. 8-14, 215, 275, 286-288, 295-297
-
- Antwerp Museum, i. 164
-
- Anwarpe, Augustine, ii. 13
-
- Anwarpe, Roger, ii. 13
-
- Apelles, i. 227, 247;
-   ii. 75
-
- Apethorpe Hall, Northamptonshire, ii. 222
-
- Apian, Peter, ii. 50
-
- Apiarius, _see_ Bienenvater
-
- Appuldurcombe, Isle of Wight, ii. 165
-
- Aragon, Queen Katherine of, i. 272;
-   miniature of, 308, 317;
-   ii. 109-110, 117, 131, 212, 233, 235, 237
-
- Arbury, Warwickshire, ii. 210
-
- _Archæologia_, ii. 38, 110, 125, 137, 170
-
- Archangell, Italian lead-caster, i. 314
-
- Archer, Wykeham, ii. 2 _note_
-
- _Architectural Remains of Reigns of Elizabeth_, &c. (Richardson), ii.
-    271 _note_
-
- Arcos, Duke d’, i. 272
-
- Aristotle, i. 159, 199
-
- Arkeman, Philyp, painter, i. 278
-
- Art Treasures Exhibition, Manchester, 1857, ii. 360-361
-
- Arthur, Prince of Wales, ii. 136
-
- Arundel, Alathea, Countess of, i. 106, 178, 335;
-   ii. 25, 64, 199, 209, 248
-
- —— Castle, ii. 135, 137, 197, 199, 201, 303, 307
-
- —— Collection and Inventory (1655), i. 27-28, 60, 71, 106, 171, 177,
-    179 _note_, 285, 295 _note_, 318-319, 323, 325 _note_, 328 _note_,
-    335;
-       ii. 15, 19, 25, 44, 53, 61, 64-65, 67-69, 72, 77, 81, 84, 89,
-          112, 164, 166 _and note_, 181 _and note_, 182 _and note_, 193,
-          198 _and note_, 200-201, 205 _and note_, 209, 213 _note_, 214,
-          216, 219, 231, 246, 248, 263, 270, 276, 283, 342
-
- —— Earl of, in Basel, i. 252
-
- —— Elizabeth, of Telverne, i. 334
-
- —— Henry Fitz-Alan, 12th Earl of, i. 178;
-   ii. 307
-
- —— Henry Frederick, Earl of (1608-52), ii. 219
-
- —— Philip Howard, Earl of (1557-95), ii. 135
-
- —— Thomas Howard, Earl of (1585-1646), i. 28, 178, 241, 318, 323, 328
-    _note_, 335;
-       ii. 19, 25, 61-62, 64-66, 68-69, 77, 84, 107, 135, 166, 181, 193,
-          198, 201, 209, 216, 231, 246, 247 _and note_, 248, 299,
-          341-342
-
- —— Sir John, of Teloerne, i. 334
-
- —— House, ii. 25
-
- Asper, Hans, ii. 311 _note_
-
- _Athenæum_, i. 297, 305
-
- Aubrey, i. 301
-
- Audley, Lady, ii. 220, 222-223, 255, 258
-
- —— John Touchet, 9th Lord, ii. 223
-
- Augsburg (town), i. 1-3, 5, 6, 8, 9, 13-15, 19, 20, 22, 23, 29, 31, 32,
-    42, 65, 74, 145, 148, 168, 189, 190, 214, 331;
-   ii. 162, 300
-
- Augsburg, decorative arts in, i. 31
-
- —— Cathedral, i. 7
-
- —— Episcopal Library, i. 4
-
- —— Gallery, i. 3, 4, 8, 10, 23, 24, 39, 110;
-   ii. 323
-
- —— Kaisheimer Hofs, i. 7 _note_
-
- —— Painters’ Guild, i. 22
-
- —— St. Katherine, Convent of, i. 4, 7, 9, 10, 14, 15, 23, 24
-
- —— St. Moritz Church, i. 13
-
- —— St. Sauveur Church, i. 15
-
- Augustus III, King of Poland and Elector of Saxony, i. 242-243;
-   ii. 67
-
- Augustyne, John, i. 262
-
- Aumale Collection, Chantilly, i. 11
-
- Austria, Duke Leopold of, i. 71
-
- —— Margaret of, _see_ Margaret
-
- Autun, ii. 148
-
- Auxerre, ii. 43, 45 _note_
-
- Avaux family, ii. 37
-
- Avignon, i. 84, 174
-
- Avogadro, Venetian banker, i. 242-243
-
- Aylif, T., Warden of Barber-Surgeons’ Company, ii. 291
-
-
- Bacon, John, of Cambridgeshire, ii. 210
-
- Baer, Hans, i. 35-36, 53
-
- —— Magdalena, i. 53, 234
-
- Baggeley, Mr., ii. 107
-
- Bagnols, agent of Frederick, Prince of Wales, ii. 199
-
- Baker, Mr. C. H. Collins, ii. 89 _note_
-
- Balcarres, Lord, ii. 136
-
- —— MSS., ii. 148, 343
-
- Baldinucci, i. 306
-
- Baldry, A. L., ii. 390
-
- Baldung, Hans, _see_ Grien
-
- Bale, C. Sackville (collection), ii. 237
-
- Ballard, Thomas, painter-stainer, i. 261
-
- Bamberg (town), i. 69
-
- —— Library, i. 19
-
- Bandz, Tomas, ii. 7
-
- Banister, Edward, i. 178
-
- Bar and Lorraine, François, Duke of, ii. 120, 130
-
- Bar-le-Duc, ii. 147
-
- Bar-sur-Seine, ii. 40, 42
-
- Barbers, Company of, ii. 289
-
- Barber-Surgeons’ Company, ii. 289-291, 293-294
-
- —— Hall, ii. 289, 293, 346, 350
-
- Bardi family, i. 270
-
- —— Pietro di, i. 271
-
- Barker, Christopher (Garter), i. 262
-
- Barnborough Hall, i. 300;
-   ii. 335-336
-
- Barnes, Dr., ii. 173
-
- Barnet, ii. 335
-
- Baron, Bernard, engraver, ii. 294
-
- “Barough,” ii. 119
-
- Barrett family, of Lee Priory, ii. 181-182, 235
-
- —— Mr., of Lee Priory, ii. 109, 181-182
-
- —— Mr. T. B., ii. 182
-
- “Barrough, Ladie Marqueis of,” ii. 118-119, 182, 128
-
- Bartolozzi, F., R.A., ii. 250
-
- Basel, i. 1, 15, 22-23, 31-33, 35-37, 43, 45-46, 49, 53, 55, 57-58, 65,
-    75, 78, 80-82, 84, 87, 90, 101, 104, 106, 109, 111, 115-116, 137,
-    141-142, 145, 147, 151, 153, 157, 158-159, 162-163, 166-169, 172,
-    174-177, 188, 190-191, 195, 200-202, 204-206, 208, 211, 218, 225,
-    228, 232-233, 236, 241, 245-248, 252-255, 262, 288, 291, 298-299,
-    321, 338-341, 343, 347, 351;
-   ii. 5, 6, 12 _note_, 32-35, 46-47, 56, 63-64, 71, 77, 87, 91,
-      150-151, 154-164, 186, 191-192, 211, 213, 219, 227, 240, 260, 268,
-      297, 300-301, 311, 313, 319, 325-326, 328-330
-
- — Bäumleingasse, No. 18 (“zum Luft”), i. 163;
-   zur Blume, inn, i. 123;
-   Carthusian Monastery, i. 90;
-   Cathedral, i. 87, 91, 95, 113-115, 148, 154, 340;
-   Dominican Monastery, i. 205, 208;
-     ii. 156;
-   Eisengasse, i. 117-118, 120;
-   Fischmarktplatz, i. 123, 163;
-   Gerbergasse (“zum Papst”), i. 1;
-   Historical Museum, i. 83, 150;
-   Kunstverein, i. 51;
-   Library, i. 5, 91-92, 113, 239;
-     ii. 6, 329;
-   Painters’ Guild (Zunft zum Himmel), i. 58-59, 82-83, 97, 121, 232;
-     ii. 32-33, 47, 63, 157-158;
-   Public Picture Gallery (_see below_);
-   Rheingasse, i. 122;
-   Rhine Bridge, i. 102, 117;
-   Rhine Gate, i. 351;
-   St. Leonhard, i. 190;
-   St. Johann Vorstadt, i. 205, 339;
-     ii. 156;
-   Haus zum Tanz, _see_ Dance, House of the;
-   Town Archives, i. 58-59, 83, 126, 339;
-   Town Council, i. 59, 90, 106, 124, 126-127, 130, 181, 198, 205, 232,
-      252, 254-255, 338-340, 347, 351;
-     ii. 34-35, 63, 158-159, 161-163, 191, 300;
-   Town Hall and Council Chamber (wall-paintings), i. 91-92, 106, 118,
-      123-134, 343, 347-352;
-     ii. 157, 262-264, 313-314;
-   University, i. 37, 45, 84, 93, 145, 183;
-   ii. 328-329, 357
-
- Basel Public Picture Collection (Gallery), i. 7 _note_, 9, 19, 26, 35,
-    37, 39, 42-43, 45, 50-52, 54 _note_, 55, 58-61, 63, 65, 68, 77-79,
-    81, 84-85, 87-88, 91, 98-99, 101, 106, 112-113, 120-121, 125,
-    127-131, 137, 142-143, 145, 147-150, 159-161, 172-173, 175, 177,
-    180, 182-183, 185, 186 _note_, 188, 205, 207, 228, 230, 236, 241,
-    245, 289, 291, 321, 338, 343, 346-348, 350-351;
-   ii. 87 _and notes_, 167-168, 189, 211, 238, 248, 255-256, 259-260,
-      273, 275-278, 281, 283-284, 314, 327-329, 356-357, 400
-
- —— Jergen ze, ii. 7
-
- _Basilea Sepulta_ (Tonjola), i. 127, 130
-
- Basville, Marquis de, ii. 46
-
- Bathoe (James II’s catalogue of pictures), ii. 249
-
- _Battle of Bosworth Field_ (jewel with pendant miniatures, by
-    Hilliard), ii. 234
-
- _Battle of Spurs_ (Hampton Court), i. 258, 315-316;
-   ii. 64, 91, 215
-
- “Bauerntanz,” _see_ Dance, House of the Bavaria, i. 15
-
- —— Duke Albrecht V of, ii. 241
-
- —— Maximilian I, Elector of, i. 17
-
- Bavarian National Museum, Munich, ii. 241-242
-
- Bayersdorfer, A., i. 237
-
- Bayonne, ii. 38
-
- Beard (Byrd), Richard, ii. 173-175, 177, 184
-
- Beauchamp, Earl (collection), ii. 304, 309
-
- Beaufort, Lady Margaret, her monument, i. 272
-
- Beaujon, Nicolas, ii. 45 _and note_, 46
-
- —— Sale and Catalogue, 45 _and note_, 46-47
-
- Beaune, i. 153, 174
-
- Beaver, Alfred, _Memorials of Old Chelsea_, i. 315;
-   ii. 272
-
- Bebelius, Johannes, printer, i. 202, 225
-
- Beckford Collection, ii. 278
-
- Beckman, Barthold, Steelyard merchant, ii. 6
-
- Bedford, Duke of (sale and collection), i. 304 _note_;
-   ii. 112, 351
-
- Bedford, John Russell, Earl of, ii. 256
-
- Bell, Mr. C. F., F.S.A., ii. 237, 390
-
- —— John (painter of Henry VIII’s tomb), i. 269, 272
-
- Bellay, Guillaume du, ii. 38-39
-
- —— Jean du, ii. 38-39
-
- Bellin, Nicolas, of Modena, i. 281-286, 287 _note_, 314;
-   ii. 186, 201, 269 _note_, 303, 333
-
- Belvoir Castle, ii. 100
-
- Bemberg Ducal Library, ii. 277
-
- Bemposta, Castle of, i. 16
-
- “Benedict, the King’s tomb-maker,” _see_ Rovezzano
-
- Bentinck family, ii. 187
-
- Bentinck, Hans William, 1st Earl of Portland, ii. 187
-
- Bentinck, William, 3rd son of 1st Earl of Portland, ii. 187
-
- “Benting, Lord William, Lord of Rhoon,” ii. 187
-
- Berck (Berg), Derich, Steelyard merchant, ii. 22-23, 83
-
- Bergh, Mayer van den, Collection, Antwerp, ii. 230
-
- Beringen, Anna von, i. 33
-
- —— Ycher von, i. 33
-
- Berkeley, Thomas, Lord, ii. 72
-
- Berlepsch, H. E. von, i. 121
-
- Berlin, i. 204, 242
-
- Berlin, Kaiser Friedrich Museum and Royal Print Room, i. 11, 18, 21,
-    25-26, 119-120, 142-143, 182, 206-207, 214, 242, 354;
-   ii. 4-6, 15, 16, 31, 201, 205-206, 248, 255, 259, 278, 324, 353
-
- Bermondsey, i. 262
-
- Bernal, Ralph, Sale (1855), ii. 53
-
- Bernardi family, painters, i. 287
-
- Bernburg Library, i. 5
-
- Berne, i. 3, 32, 77, 202, 204, 241;
-   ii. 161-162
-
- —— Dominican Monastery, i. 206;
-   Historical Museum, i. 141;
-   Town Council, ii. 162
-
- Bernoulli, Dr. C. Chr., ii. 331, 341
-
- Beromünster Cloisters, Lucerne, i. 79
-
- Berry, dukes of, i. 175
-
- —— Duke Jehan of, and Duchess, i. 175-176
-
- Bertholdo, i. 271
-
- Besançon, i. 149, 174, 179 _note_
-
- Besselsleigh, Berks., i. 301
-
- Bettes, John, ii. 210, 241, 308-309
-
- —— Thomas, ii. 241, 309
-
- Beverley, Yorks., ii. 334
-
- Bewick, John, _Emblems of Mortality_, i. 214
-
- —— Thomas, i. 214
-
- Bibliothèque Nationale, Paris, i. 142, 144, 207
-
- Bickley Hall, Kent, ii. 33
-
- Bicocca, battle of, i. 72
-
- Bienenvater, Matthias (Apiarius), printer of Berne, i. 202
-
- Binck, Jacob, ii. 250
-
- Binnink, Simon, of Bruges, miniaturist, ii. 238-239
-
- Binyon, Mr. Laurence, i. 356;
-   ii. 390
-
- Birmann, i. 127
-
- Bisschop, Jan de, i. 243;
-   ii. 27-28
-
- Black, Mr. W. H., F.S.A., ii. 294, 297-298, 390
-
- Blackheath, i. 295
-
- Blakenhall, William, i. 327
-
- Blamire, Mr. W., sale (1863), ii. 230, 237
-
- “Blanche Rose,” i. 283;
-   ii. 333
-
- Blankenberghe, near Bruges, ii. 238
-
- Bletz, Zacharias, registrar of Lucerne, i. 64
-
- Bloemaert, ii. 341
-
- Blomefield, Norfolk, i. 326
-
- Blomfield, Mr. Reginald, A.R.A., ii. 272 _and note_, 390
-
- Blond, Michel le, _see_ Le Blond
-
- Bock, Hans, the Elder, i. 105-106, 126-127;
-   ii. 311 _note_
-
- Bode, Dr., i. 335;
-   ii. 196, 342
-
- Bodenham family, i. 353, 355-356;
-   ii. 351
-
- —— Mr. Charles, i. 355
-
- —— Thomas, i. 356
-
- Bodleian Library, Oxford, i. 171 _note_, 326;
-   ii. 81, 113, 247, 274
-
- Boetius, _De Consolatione Philosophiæ_, i. 296
-
- Bohemia, King and Queen of, i. 241
-
- Boisserée, i. 91 _note_
-
- _Boke called the Governour_ (Sir T. Elyot), i. 336
-
- Boleyn, Queen Anne, i. 178, 262, 306, 319;
-   ii. 30-33, 38, 59, 78, 91, 104, 109-110, 116, 192, 196, 208, 235,
-      237, 288
-
- —— Sir Thomas, Earl of Wiltshire and Ormonde, i. 327;
-   ii. 256
-
- —— Sir William, ii. 272
-
- Boling, Sir John, and his mother, miniature, signed “L.,” ii. 240
-
- Bolingbroke, Lord, ii. 230
-
- Bollonia, Hierome Trevix, _see_ Treviso, G. da
-
- Bologna, i. 286
-
- Bonnat, M. Léon, Paris (collection), i. 19, 148
-
- Bonner, wood-engraver, i. 214
-
- Booth, Mrs., of Glendon Hall (collection), i. 269
-
- Borcht, H. Van der, ii. 15
-
- Bordeaux, i. 329
-
- Bordone, Paris, ii. 107
-
- Born, Derich, Steelyard merchant, ii. 17-20, 65
-
- —— Theodoricus, ii. 18-19
-
- Borough, Lady, ii. 256
-
- Boston, U.S.A., ii. 210, 347
-
- Boswell, William, ii. 65
-
- “Bottle, The,” Bermondsey, i. 262
-
- Botzheim, von, family, i. 33
-
- —— Johann von, i. 33;
-     ii. 332
-
- —— Michael von, i. 33
-
- Bouchot, Mons., i. 305
-
- Boulogne, i. 286, 326;
-   ii. 144, 303
-
- —— Captain of, ii. 6
-
- —— siege of, ii. 119
-
- Bourbon, Nicolas, i. 211, 227, 328;
-   ii. 38, 63, 72-75, 79, 90-91, 92 _note_, 288
-
- Bourges Cathedral, i. 175-176
-
- Brabant, i. 269
-
- Bracquemond, Félix, etcher, i. 173
-
- Braganza, Catherine of, i. 16
-
- Brandon, Anne, Lady Powys, ii. 227
-
- —— Charles, Duke of Suffolk, i. 269;
-     ii. 11, 44 _note_, 59, 193, 214, 220, 223-225, 227, 241, 280
-
- —— Charles, son of above, ii. 201, 220, 222-227, 258
-
- —— “Duke of,” ii. 224
-
- —— Eleanor, Countess of Cumberland, ii. 195, 227
-
- —— family, ii. 227
-
- —— Frances, Countess of Dorset, ii. 227
-
- —— Henry, afterwards Duke of, ii. 63, 167, 220, 222-227
-
- —— Mary, Lady Monteagle, ii. 227
-
- Braneburgh, ii. 55
-
- Brasseur, Herr, of Cologne, i. 344 _note_
-
- Braun, _Urbium Præcipuarum Mundi_, &c. (1583), i. 276
-
- —— photographer, ii. 72, 342
-
- Bray, i. 78
-
- —— Sir Edward, of Shere, i. 309-310
-
- —— family, of Shere, i. 309
-
- Brede Church, Sussex, ii. 272
-
- Breidrood, Lord of, ii. 116
-
- Brentano-Birckenstock Sale (1870), ii. 207
-
- Brentford, i. 300
-
- Brera Gallery, _see_ Milan
-
- Brescia, i. 275
-
- Breslau, i. 83
-
- Bretten, i. 185
-
- Brewer, Dr., i. 256, 315;
-   ii. 390
-
- Brian, Sir Francis, Master of the Toils, ii. 142, 144-146
-
- Brickdon, Huntingdonshire, ii. 226
-
- Bridewell Hospital, _see_ London
-
- —— Palace, ii. 42-43, 292
-
- Brighton Art Gallery, ii. 104
-
- Bristol, Marquis of, ii. 72
-
- British Institution Exhibition, 1846, ii. 359
-
- British Museum, Print Room, i. 21-22, 63, 80, 146, 156, 182, 188, 207,
-    214 _note_, 307, 324, 356;
-   ii. 26-27, 40, 61, 92 _note_, 113, 196, 211, 219, 226-227, 246, 247
-      _note_, 254, 269-270, 273-274, 276-280, 283-284, 314, 327, 337
-
- Brocklebank, Mr. Ralph (collection), i. 54 _note_
-
- Brockwell, Mr. Maurice W., i. 354-355, 357
-
- Browne, Sir Anthony, ii. 180, 227
-
- —— John, serjeant-painter, i. 258-262, 273-274, 314
-
- Bruce, Mr., ii. 79
-
- Bruges, i. 289;
-   ii. 5, 238-239;
-   Carmelite Church, i. 245;
-   Golden Fleece Exhibition (1907), ii. 141 _note_;
-   Painters’ Guild, i. 269
-
- Brunner, Barbara, i. 35
-
- Brunswick Gallery, i. 73, 79;
-   ii. 18, 22, 323, 326, 353
-
- Brussels, i. 170;
-   ii. 57, 61, 115-116, 119-120, 125, 127, 129, 140-141, 148, 150, 153,
-      155, 180, 349
-
- Brussels Exhibition of Miniatures (1912), ii. 57 _note_, 230
-
- —— Museum, i. 304
-
- Bruyn, Bartholomäus, i. 96
-
- Buccleuch, Duke of (collection), ii. 62, 88, 109, 170, 192-194,
-    221-222, 230-231, 234, 237-238, 346, 351
-
- Bucer, Martin, ii. 225
-
- Buchanan, dealer, ii. 37
-
- Büchel, Emmanuel, i. 113, 205
-
- Buchheit, Dr. Hans, ii. 241-242
-
- Buckingham (town), ii. 52
-
- —— Duke of, i. 166, 240, 320
-
- —— —— Collection and Inventory (1635), i. 320;
-       ii. 14, 87, 215, 237, 308
-
- —— Earl of, ii. 292
-
- —— Edward Stafford, Duke of, ii. 44 _note_
-
- —— House, ii. 26
-
- —— Palace, ii. 249
-
- Bugenhagen, _Interpretation of the Psalms_, i. 198
-
- Buildwas Park, Shropshire, ii. 212, 348
-
- Bullinger, Heinrich, ii. 156
-
- Bulstrode Park, Bucks., ii. 52-53, 352
-
- Burckhardt family, i. 74
-
- Burckhardt, A., ii. 390
-
- Burckhardt-Werthemann, D., ii. 390
-
- Büren, Colonel May von, i. 71-72
-
- Burford Priory, Oxfordshire, i. 301-302 ii. 335
-
- Burgkmair, Hans, i. 4, 6, 12, 30-31, 55 _note_, 74
-
- —— Thomas, i. 4
-
- Burgratus, Francis, ii. 152, 172-173
-
- Burgundy, ii. 38
-
- —— county of, ii. 150
-
- —— duchy of, ii. 150
-
- Burke’s _Peerage_, ii. 225
-
- Burleigh House, ii. 107
-
- Burlington, Earl of, ii. 294
-
- —— Fine Arts Club Exhibition (1906), i. 20, 81
-
- —— —— (1909), i. 269, 286-287, 303, 308, 332;
-       ii. 81, 85, 88, 103-104, 107, 109, 165, 167, 169-170, 193-194,
-          199, 204, 210, 221-222, 230, 234-239, 384-386
-
- —— —— Catalogue, ii. 106, 194, 204, 233-235, 239
-
- —— House, ii. 135
-
- _Burlington Magazine of Fine Arts_, ii. 23, 45 _note_, 52 _and note_,
-    60 _note_, 65, 228-229, 231, 337, 400
-
- Burnet, Bishop, _History of the Reformation_, ii. 178-179
-
- Burrell, Sir William, i. 320
-
- Burton, Sir Frederick, ii. 44
-
- Bute, Marquis of (collection), i. 266;
-   ii. 102
-
- Buttery, Mr. Ayerst H., i. 353, 357-358;
-   ii. 351
-
- Buttessey, Bamardyne, ii. 188
-
- Butts, Edmund, ii. 210-211, 309
-
- —— family, ii. 210-211
-
- —— Lady, ii. 83, 205, 209-210, 255
-
- —— Sir William, ii. 73, 205, 208-211, 255, 289, 291, 309
-
- Byfield, John, wood-engraver, i. 214
-
- Bygnalle, Rychard, painter-stainer, i. 261
-
- Byrom, George, of Salford, ii. 6
-
-
- Calais, i. 163, 178, 258-259, 268, 273, 289;
-   ii. 118, 144-145
-
- Calard, Rychard, painter-stainer, i. 261
-
- Caledon, Earl of, ii. 58-59, 351
-
- _Calendars of Letters and Papers, Foreign and Domestic_, &c., i. 273,
-    284, 287 _note_, 312, 314, 327, 334, 356-357;
-   ii. 4, 6, 10, 11, 15, 19, 21, 43, 92, 120, 141, 146, 152-153, 172,
-      179-180, 202, 253, 272, 298
-
- “Calumny of Apelles,” i. 62
-
- Cambridge, ii. 211;
-   Corpus Christi College, ii. 61;
-   Fitzwilliam Museum, ii. 43, 71, 204-205, 304;
-   King’s College, ii. 270;
-   Pepysian Library, ii. 346;
-   St. John’s College, i. 325;
-   ii. 226;
-   Trinity College, ii. 101, 332;
-   University, ii. 244
-
- Campo, _History of Cremona_, ii. 137
-
- Campori, Monsignor, i. 306
-
- Camusat, Nicolas, antiquary, ii. 41-42
-
- Canaletto, ii. 346
-
- Canterbury, ii. 334
-
- —— Archidiaconal Court of, ii. 302
-
- —— Prerogative Court of, i. 262
-
- Cappes, Adryan, ii. 333
-
- Carden, R. W., _Italian Artists in England_, &c., i. 287 _note_
-
- Cardiff, ii. 27 _note_
-
- Cardon, Mons. C. Léon, Brussels (collection), ii. 61
-
- Carew, Sir George, ii. 256
-
- —— Sir Nicholas, Master of the Horse, i. 279, 337;
-   ii. 65, 87-89, 256, 260
-
- —— Lady, ii. 87 _note_, 260
-
- —— Sir Peter, portrait by Flicke, i. 306
-
- Carl the Big, Emperor, ii. 326
-
- Carleton, Sir Dudley, i. 241;
-   ii. 341
-
- Carlisle, Earl of, ii. 245 _note_
-
- Carmeliano, Peter, of Brescia, i. 275
-
- Carmenelle, Elys, _see_ Carmillian Alis
-
- Carmillian, Alys or Ellys, i. 273-276, 314
-
- Carmillione, Elisa, _see_ Carmillian
-
- Carmyan, Ellys, _see_ Carmillian
-
- Carne, Dr. Edward, ii. 131, 133, 173
-
- Caroline, Queen, wife of George II, ii. 249
-
- Carracci, Agostino, ii. 137
-
- Carwardine, Sir Thomas, Master of the Revels, ii. 244
-
- Caspar, Lucerne goldsmith, i. 64
-
- Cassel, i. 180
-
- Castiglione, Count Balthazar, ii. 38
-
- Castillon, Louis de Perreau, Sieur de, French Ambassador in England,
-    ii. 64, 139-145, 152, 154
-
- Castle Howard, ii. 44, 104, 245
-
- Catherine of Braganza, _see_ Braganza
-
- Cavalcanti, Bernardo, i. 271
-
- —— family, i. 270
-
- Cavendish’s _Life of Wolsey_, ii. 109
-
- Cavendish, Richard, ii. 11
-
- Cazillac, François de, _see_ Cessac
-
- Cebes of Thebes, i. 193
-
- “Cebes, Table of,” i. 193-195
-
- Cellini, Benvenuto, i. 257, 272
-
- Cerny, Prince de (collection), ii. 45 _note_
-
- Certosa of Pavia, i. 69, 76, 140
-
- Cessac, De, family, ii. 46
-
- —— François de Cazillac, Baron de, ii. 44, 46
-
- Chaloner, Thomas, ii. 214
-
- Chamber, Dr. John, ii. 65, 112, 205, 208-209, 255, 289, 291
-
- Chamberlaine, John, _Imitations of Holbein’s Drawings_, i. 334;
-   ii. 249-250
-
- Chamberlayne, Francis, ii. 56
-
- Champagne, ii. 147
-
- Chantilly, i. 11, 16;
-   ii. 44, 52, 245
-
- Chapuys, Eustace, Imperial Ambassador in London, ii. 30, 32, 58-59,
-    111, 118, 124, 152, 172
-
- Charing Cross, i. 265
-
- Charles I of England, i. 106, 166-167, 172, 334;
-   ii. 104, 198, 224, 234, 245
-
- —— —— Collection and Catalogue, i. 165-166, 173, 304 _note_, 334;
-       ii. 13-14, 20, 24-25, 62, 81, 107, 110, 166, 188, 209, 224,
-          233-234, 245-246, 248, 253, 274, 308
-
- —— II of England, i. 16, 97;
-     ii. 94-95
-
- —— V, Emperor, i. 19;
-     ii. 6, 30, 32, 40, 42, 111, 114, 117, 124, 131-133, 137-138, 148,
-        152, 171-172, 177
-
- —— VIII of France, his tomb, i. 271
-
- —— Prince, of Hesse-Darmstadt, i. 242
-
- —— de France, Monsieur, ii. 40
-
- Chateaudun, ii. 343
-
- Chatsworth, i. 336;
-   ii. 97 _note_, 101, 103 _note_, 248, 283, 285-286, 351
-
- Chatto, _Treatise on Wood Engraving_, i. 223, 227;
-   ii. 391
-
- Chaumont, ii. 147
-
- Cheam, i. 276
-
- Cheke, Sir John, ii. 225, 244
-
- Chelsea, i. 289-290, 302, 314, 316, 338;
-   ii. 1, 145, 272, 338
-
- —— Church (More Chapel), ii. 271-272
-
- Cheltenham, ii. 169
-
- Cherbourg, i. 284
-
- Cheseman, Anne, ii. 56
-
- —— Edward, ii. 54-55
-
- —— Robert, of Dormanswell, ii. 54-56, 203, 206, 255
-
- —— William, of Lewes, ii. 55
-
- Chetwynd, Mr., ii. 183
-
- Childe, John, painter-stainer, i. 261
-
- Cholmondeley Sale (1898), ii. 194
-
- Chrétien, Félix, painter, of Auxerre, ii. 45 _note_
-
- Christie’s, Messrs., i. 301, 307, 332;
-   ii. 45 _note_, 61 _note_
-
- Christina of Denmark, Duchess of Milan, _see_ Milan
-
- Christina, Queen of Sweden, i. 180
-
- Chur, i. 145
-
- Churchill, Mr. Sydney J. A., ii. 52 _note_, 391
-
- Cibber, Caius Gabriel, sculptor, ii. 33
-
- Cibber, Colley, dramatist, ii. 33
-
- Circignano, Nicolo, _see_ Pomerantius
-
- Clarendon Press, ii. 332
-
- Clauser, Jakob, i. 46, 87;
-   ii. 311 _note_
-
- Clement, Dr. John, i. 293;
-   ii. 340
-
- —— Margaret, _see_ Gigs
-
- Cleve, Joos van (“Sotto” Cleef), ii. 105-107, 206, 308
-
- Cleves (duchy), ii. 12 _note_, 174-175, 177, 180
-
- —— Amelia of, ii. 154, 174-176, 178, 236
-
- —— Queen Anne of, i. 178;
-   ii. 55, 65, 114-116, 154, 171, 173-184, 192, 215, 232, 235-236, 271
-
- —— Duchess of, ii. 178
-
- —— Duke of, ii. 116, 172-173, 178, 180
-
- —— young Duke of, ii. 172-174, 177
-
- —— Sybille of, Duchess of Saxony, ii. 173, 178
-
- Clinton, Edward, Lord, ii. 256
-
- Clouet, François, ii. 261-262
-
- —— Jean, ii. 44, 106, 194, 216 _note_, 261
-
- Clouets and their school, i. 175
-
- Cob, Thomas, painter-stainer, i. 261
-
- Cobham, George Brooke, Lord, ii. 256
-
- —— Lord, ii. 257
-
- Cochin, N., engraver, i. 299
-
- Cocles, Peter, i. 163
-
- Cokayne family, ii. 169
-
- Cokethorpe Park, Ducklington, Oxfordshire, i. 301
-
- Colbert, i. 335
-
- Coligny, Gaspard de, Admiral of France, miniature by Bettes, ii. 309
-
- College of Heralds, i. 262
-
- Colmar, i. 5, 18, 91, 190
-
- Colnaghi, Messrs. P. & D., & Co., ii. 136
-
- Cologne, i. 214, 328, 335, 344 _note_;
-   ii. 5, 15-16, 19, 22, 175, 202
-
- —— Bible (1480), i. 230 _note_
-
- —— University, ii. 19
-
- Colvin, Sir Sidney, i. 177-178;
-   ii. 38, 44, 48, 69, 196, 391
-
- Colynbrowgh, Hans, Steelyard merchant, ii. 6
-
- Commonwealth Commissioners (sale of Charles I’s pictures), i. 167;
-   ii. 14, 25, 107, 137, 170, 246
-
- Como, i. 77, 95, 98, 100, 139
-
- Compiègne, ii. 131, 148, 344
-
- _Compleat Gentleman_ (Peacham), ii. 186 _note_, 270, 332
-
- Condover Hall, Shropshire, ii. 194
-
- _Connoisseur, The_, ii. 221
-
- Conon, Johann, of Nuremberg, i. 84
-
- Constable, Sir Thomas, Bt., of Tixall, ii. 61
-
- Constance (town and lake), i. 1, 32-33, 44 _note_;
-   ii. 331-332
-
- Constantyne, George, ii. 177
-
- “Conton, Maistre,” ii. 59
-
- Conway, Sir Martin, i. 335;
-   ii. 83, 391
-
- Cook, Sir Frederick (collection), i. 20
-
- Cope, Robert, painter-stainer, i. 261
-
- —— Sir Walter, i. 323, 328 _note_
-
- Copenhagen Museum, i. 16
-
- Copp, Dr. Johannes, _Evangelistic Calendar_, i. 200
-
- Cornelisz, Lucas, ii. 81, 83
-
- “Coronation of Henry VIII” (wall-painting in Westminster Palace), i.
-    261
-
- Correggio, i. 88
-
- Correra, Mons, de, ii. 123
-
- Corrozet, Gilles, i. 209, 212, 227
-
- Corsham House, ii. 137
-
- Corsi family, i. 270
-
- Corsini Gallery, Rome, i. 166
-
- Corvus, Johannes, i. 269-270;
-   ii. 303-304
-
- Cosimo II, Grand Duke of Tuscany, ii. 84
-
- _Cosmography_ (Sebastian Münster), i. 173, 198, 350
-
- Cosway Collection, ii. 226
-
- Cotes, Mr. Charles, ii. 35
-
- Cottrell-Dormer family, i. 301
-
- “Court of Francis II,” painting by Félix Chrétien, ii. 45 _and note_
-
- Court, Lord Benedike, ii. 123
-
- Coutrai, i. 77
-
- Coverdale’s _Bible_, title-page, ii. 76-77, 91, 106
-
- Cowden, Kent, i. 262
-
- Cowdray House, ii. 204
-
- Cox, Miss Mary, ii. 64, 391
-
- Cracherode, Rev. C. M., i. 324
-
- Cranach, Lucas, the Elder, i. 168;
-   ii. 174
-
- Cranmer, Thomas, Archbishop of Canterbury, ii. 60, 73, 305-306
-
- Cranmer’s _Catechism_, ii. 78-79
-
- Cratander, i. 62, 188, 200-202
-
- Cresacre, Anne, wife of John More, i. 292, 294, 303;
-   ii. 335-337
-
- —— family, i. 300
-
- Crispin, John, jeweller of Paris, ii. 288
-
- Croft, Sir Archer, ii. 212
-
- —— Elizabeth, ii. 212
-
- —— Rev. Herbert, Bishop of Hereford, ii. 212
-
- Croi, Charles de, Prince de Chimaix, ii. 154
-
- Croke, Master John, Commissary-General, ii. 295
-
- Cromhout, Jacob, and sale, i. 241-244
-
- Cromwell family, ii. 231 _note_
-
- —— Thomas, Earl of Essex, K.G., i. 262, 278, 326, 329;
-     ii. 3, 6, 11, 13, 58-62, 65, 76, 88, 92, 115-122, 124, 127, 138,
-        140, 146, 149-150, 152-153, 172, 174, 178-179, 192, 199, 211,
-        222, 231-232
-
- —— —— —— accounts, i. 281;
-       ii. 12, 232
-
- Crozat Collection, ii. 27, 31, 246
-
- Crust, John, painter, i. 287
-
- Crystyne, Thomas, painter-stainer, i. 261
-
- Cuddington, i. 276
-
- Cudnor, William, painter-stainer, i. 261
-
- Culpeper, Thomas, ii. 55, 196
-
- Cumberland, i. 178
-
- —— Countess of, _see_ Brandon, Eleanor
-
- —— Duke of, ii. 267
-
- Cunningham, Allan, ii. 267
-
- Curio, Valentine, publisher, i. 202
-
- Cust, Lionel, M.V.O., F.S.A., i. 264, 269, 270, 275 _note_, 281, 319
-    _note_, 335;
-   ii. 10-11, 12 _and note_, 13, 60 _and note_, 61, 65, 108, 133, 192,
-      193 _note_, 194-196, 205 _note_, 231-233, 245, 248, 253-254, 283,
-      296, 307, 337, 391-392, 400
-
- “C. V.” (metal cuts after Holbein), i. 188
-
- Cyny, Domynyke, i. 273
-
- Dacres, Alice, wife of Robert Cheseman, ii. 56
-
- —— Alderman Henry, of Mayfield, ii. 56
-
- Dalkeith, ii. 305, 351
-
- Dallaway, Rev. James, i. 301, 325;
-   ii. 189, 219 _note_, 247 _note_, 249, 268
-
- Dalton, keeper of George III’s drawings, ii. 249
-
- _Dance of Death_ (Douce), i. 214
-
- “Dance of Death,” early representations, i. 204-206
-
- “Dance of Death” woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191,
-    204-224, 290;
-   ii. 187-188, 314-315
-
- “Dance of Death,” at Whitehall, ii. 186-188
-
- Dance, House of the, i. 117-121, 200;
-   ii. 315
-
- Dancey, Elizabeth, i. 293, 296, 301, 303;
-   ii. 336, 339
-
- Dantiscus, Johannes, Bishop of Kulm, i. 179-180
-
- Danzig, ii. 5
-
- Darcy of Chiche, Thomas, 1st Lord, ii. 305
-
- Darmstadt, Grand-Ducal Palace and Museum, i. 50, 232;
-   ii. 316, 328, 354
-
- Darnley, Lord, and his brother Charles (portrait by Eworthe), ii. 307
-
- David, Gherardt, i. 245, 289
-
- —— Jakob, Basel goldsmith in Paris, i. 176;
-     ii. 162-164, 298, 300
-
- Davies, Mr. Gerald S., i. 12, 29, 42, 96-97, 108, 112-113, 245, 250,
-    288-289;
-   ii. 252-253, 392
-
- —— Miss, ii. 182
-
- —— Mr. Randall, ii. 215 _note_, 392
-
- Dean, engraver, i. 295 _note_
-
- De Cessac, _see_ Cessac
-
- Delahante, Parisian picture-dealer, i. 245
-
- Delahay, William, i. 265
-
- Delawarr, Countess, i. 308
-
- _De Levens en Werken_, &c. (Immerzeel), i. 265
-
- Delfino family, of Venice, i. 242-244
-
- Delfino, Giovanni, i. 242
-
- Demayns, John, _see_ Maiano
-
- Demyans, John, _see_ Maiano
-
- Denisot, Nicolas, i. 304-305
-
- Denmark, Christian II, King of, ii. 117, 130, 134, 136-137
-
- —— Christian IV, King of, ii. 130
-
- —— Prince of, ii. 137
-
- Denny, Sir Anthony, ii. 127, 214, 276, 286, 307
-
- Dent-Brocklehurst, Mr. H. (collection), i. 269, 286;
-   ii. 237-238
-
- Deovanter, Perpoynt, Steelyard merchant, ii. 6
-
- Dequevauvillers, François, engraver, i. 173
-
- Derby, Edward Stanley, Earl of, ii. 256
-
- —— Earl of, Collection (1865), ii. 183
-
- Dereham, Francis, ii. 55, 196
-
- Dering, Sir Edward, Bt., ii. 334
-
- Desenfans Collection, ii. 293
-
- Dessau Library, i. 159
-
- Deuchar, David, i. 214
-
- Deutsch, Niklaus Manuel, i. 159, 206, 249, 340
-
- Develay, V., ii. 392
-
- Deventer, ii. 18-19
-
- Devil’s Bridge, Andermatt, i. 77, 138
-
- Devonshire, Duke of (collection), ii. 93, 97, 99, 141, 204, 248, 351,
-    400
-
- Devynk, John, painter, i. 278
-
- Dexter, Mr. Elias, _Holbein’s Ambassadors Identified_, ii. 38-39
-
- Dickes, Mr. W. F., _Holbein’s Ambassadors Unriddled_, i. 305 _note_;
-   ii. 5, 17 _note_, 18-19, 32, 39, 45-47, 48 _and note_, 49, 50, 158,
-      392
-
- _Dictionary of National Biography_, i. 302;
-   ii. 209, 225
-
- Didlington, Norfolk, i. 325
-
- Dielitz, Privy Councillor, ii. 15
-
- Diepold (Augsburg), i. 2, 4
-
- Diesbach, Nikolaus von, Dean of Solothurn, i. 109
-
- Digby, John, Earl of Bristol, ii. 309
-
- Dijon, i. 149, 174
-
- Dillon, Viscount, i. 323
-
- Dimier, Mons. L., i. 281-282;
-   ii. 254, 306, 392
-
- Dinteville family, ii. 41
-
- —— Claude de, ii. 44
-
- —— François II de, Bishop of Auxerre, ii. 43, 45 _note_
-
- —— Jean de, Bailly of Troyes, French Ambassador to England, ii. 35-36,
-    38-46, 49-53, 64, 69, 255, 257, 284
-
- Diocletian, Emperor, i. 15
-
- Ditchley, Enstone, Oxfordshire, i. 323;
-   ii. 82, 101
-
- Dobson, Austin, i. 214 _note_
-
- Dodgson, Mr. Campbell, i. 21, 214 _note_, 309;
-   ii. 226, 227 _note_, 252, 392
-
- “Domyngo,” Italian painter, i. 314
-
- Donaueschingen, i. 38, 40
-
- Donauwörth, i. 9
-
- Doort, A. Van der, _see_ Van-Doort der Doort
-
- Dorchester House, i. 89 _note_;
-   ii. 72
-
- Dordrecht, ii. 342
-
- Dormanswell, near Norwood, ii. 54
-
- Dorset, Marchioness of, ii. 256
-
- Douce, Francis, i. 214;
-   ii. 182, 186-188, 392
-
- Dover, i. 258
-
- “Drei Herrn,” i. 124
-
- Dresden, i. 204, 244;
-   ii. 206, 211
-
- —— Gallery and Print Room, i. 17, 201, 237, 325 _and note_;
-   ii. 38, 63, 65, 67-68, 263, 329, 354
-
- —— Holbein Exhibition (1871), i. 237
-
- Dublin, i. 336;
-   ii. 350
-
- Ducheman, John, servant to Hans of Antwerp, ii. 13
-
- Ducie, Mr., ii. 215
-
- Ducklington, Oxfordshire, i. 301
-
- Ducy, Sir William, i. 304 _note_
-
- Dugdale, Sir William, i. 322
-
- Duisburg, ii. 20-21
-
- Dunn, Mr. James H., Canada (collection), ii. 195, 348
-
- Dunois, the Bailly of, ii. 343
-
- Dunster Castle, ii. 307
-
- Düren, ii. 115, 173, 175-176, 181, 184, 235-236
-
- Dürer, Albrecht, i. 42-44, 56, 60, 92, 159, 166, 168, 170-171, 197,
-    224, 264, 329;
-   ii. 266, 270, 318 _and note_, 319-320
-
- Düsseldorf, ii. 175
-
- Dutch States, i. 107;
-   ii. 57
-
- Dyck, A. van, _see_ Van Dyck
-
-
- Earp, F. R., ii. 392
-
- East Bursham, i. 270
-
- East Hendred, Berkshire, i. 300, 304 _note_;
-   ii. 335, 340
-
- Easterlings, _see_ Steelyard
-
- Eastlake, Sir Charles and Lady (collection), ii. 26 _and note_
-
- _Ecclesiastical History_ (Fox), ii. 309
-
- Edinburgh, ii. 141;
-   Advocates’ Library, ii. 148, 343;
-   University Library, ii. 218
-
- Edward III of England, ii. 2
-
- —— IV of England, ii. 197
-
- —— VI of England, i. 178, 279, 285-286, 314 _note_, 326;
-     ii. 12 _note_, 65, 70, 97 _and note_, 107, 113, 127, 136, 138,
-        164-171, 200, 205, 208, 226-227, 234-235, 238-239, 243-244, 255,
-        269, 288, 303-305, 310
-
- “Edward VI transferring Bridewell to the City of London,” formerly
-    attributed to Holbein, ii. 169
-
- “Edward VI,” miniature by Bettes, ii. 309
-
- “Edward VI,” portrait by “Hans Hueet,” ii. 308
-
- Edward VI, his portraits, ii. 164-171
-
- Eewouts, Hans, _see_ Eworthe
-
- Eglin, painter, of Lucerne, i. 72
-
- Egmond, Earl of, ii. 116
-
- Eigner, A., i. 24, 110
-
- Einstein, L., ii. 392
-
- Eisenach, i. 16
-
- Elberfeld Collection, ii. 202
-
- Eichinger, Anna, i. 3;
-   ii. 162
-
- Elector Palatine, ii. 20
-
- Eleonora of Spain, wife of Francis I, ii. 106
-
- Elizabeth, Princess, _see_ Elizabeth, Queen of England
-
- “Elizabeth, Princess,” portrait once attributed to Holbein, ii. 110,
-    169
-
- Elizabeth, Princess, of Prussia, i. 242
-
- —— of York, wife of Henry VII, ii. 91, 94-96, 235
-
- —— Queen of England, i. 269, 314 _note_;
-     ii. 13, 24, 84, 92, 110, 133, 135, 208, 235, 239, ii. 272, ii. 292,
-        310
-
- Eltham, i. 295;
-   ii. 334, 337
-
- Elyot, Sir Thomas, i. 336-337
-
- Elyot, Lady, i. 336-337;
-   ii. 258
-
- “Embarkation of Henry VIII from Dover” (Hampton Court), i. 274
-
- _Emblems of Mortality_ (John Bewick), i. 214
-
- _Emendations of Pliny_ (B. Rhenanus), i. 168
-
- _Encomium Moriæ_, _see_ Erasmus
-
- Engelberg, Burkhart, i. 20
-
- Engel-Gros, Herr F. (Collection), ii. 71, 353
-
- Engleberd, Melchior, painter-stainer, i. 261
-
- English Artists in the reign of Henry VIII, i. 256-263
-
- Enschede, publisher, of Haarlem, i. 183
-
- Enstone, Oxfordshire, ii. 101
-
- _Epigrams_ (Sir Thomas More), i. 193
-
- Episcopal Library, Augsburg, i. 4
-
- Episcopus, Nic., i. 182
-
- _Epitomæ Historiæ Basiliensis_ (Wurstisen), i. 124
-
- Erasmus, i. 44-49, 84, 86, 90, 146, 151, 161-174, 177-185, 192-193,
-    198-199, 253, 255, 288-292, 294, 298, 313, 321-324, 329, 338-343,
-    350-351;
-   ii. 19, 25, 65, 188, 215, 256, 265, 276, 321, 329, 331, 337, 340-341
-
- Erasmus, _Adagia_, i. 45, 49, 181;
-   _Colloquies_, i. 171;
-   _Ecclesiastæ_, &c., i. 181;
-   _Hyperaspistes_, i. 291;
-   _Institution of Christian Marriage_, i. 291;
-   _New Testament_, i. 45, 62, 162, 192;
-   _Paraphrase of the Gospel of St. Mark_, i. 172;
-   _Praise of Folly_ (_Encomium Moriæ_), i. 45-50, 85, 171;
-   _Praise of Matrimony_, i. 191;
-   _Precatio Dominica_ (metal cuts by C. V.), i. 188;
-   _St. Paul’s Epistle to the Romans_, i. 165
-
- Eresby, Catherine Willoughby de, _see_ Suffolk, Duchess of
-
- —— William, 10th Lord Willoughby de, ii. 225
-
- Erhart, Dominica, i. 4
-
- Ermeland, i. 179-180
-
- Eschenbach, Ulrich von, painter of Lucerne, i. 72
-
- Este, Duke Francesco d’, ii. 66
-
- Este-Modena, Duke Francesco of, ii. 67
-
- Eustace, Clerk of the Works at Hampton Court, i. 327
-
- Evangelic League, Diet of the, ii. 173
-
- _Evangelistical Calendar_ (Dr. Johannes Copp), i. 200
-
- Evelyn, John, _Diary_, i. 97, 171, 276, 304 _note_, 323, 333;
-   ii. 95, 188, 215;
-   _Sculptura_, ii. 188
-
- Evolls, Hans, _see_ Eworthe
-
- Ewen, Nicholas, gilder of Henry VII’s tomb, i. 271
-
- Eworthe, Hans, painter, i. 270;
-   ii. 307-308
-
- Exeter, Duke of, i. 334
-
- —— Marquis of (temp. Hen. VIII), ii. 87
-
- —— —— (collection), ii. 107
-
- Exhibitions, _see_ Basel, Brussels, Burlington Fine Arts Club, Dresden,
-    Manchester, Oxford, Royal Academy, Tudor, &c. &c.
-
- Exposition du Palais Bourbon (1874), ii. 342
-
- Eycks, the Van, _see_ Van Eyck
-
- Eyston, Mr. Charles John, i. 300, 304 _note_
-
-
- Faber, Jakob, i. 188, 200;
-   ii. 79 _note_
-
- Fabri, Dr. Johann, bishop of Vienna, ii. 330-332
-
- Fabrinus, Petrus, rector of Basel University, i. 145
-
- Faesch, Johann Rudolf, ii. 328
-
- —— Johann Rudolf (_d._ 1823), ii. 329-330
-
- Faesch, Remigius, burgomaster of Basel, i. 239-240;
-   ii. 328, 330
-
- —— Dr. Remigius, grandson of above, collection and inventory, i. 5, 54
-    _note_, 88, 166, 168, 180, 239-241, 346;
-     ii. 156, 328-330
-
- _Faeschische Museum_, &c. (Major), ii. 329
-
- Falkland, Viscount, i. 301
-
- Fallen, Cyriacus, Steelyard merchant, ii. 17, 22
-
- Farrer, picture-dealer, i. 303
-
- Fattore, Il, _see_ Penni, G. F.
-
- Félibien, _Entretiens sur les Vies_, &c., ii. 25-26
-
- Feltes, John, painter-stainer, i. 261
-
- Fenrother, Alderman Robert, jeweller, ii. 287
-
- Fenwolf, Morgan, _see_ Wolf-Morgan, Morgan
-
- Ferdinand, Archduke, ii. 137
-
- —— III, Emperor, i. 91
-
- Ferrara, Duke of, i. 284
-
- Ferrari, Gaudenzio, i. 89 _note_, 95, 105 _and note_
-
- Ferreris, Bartholomäus, i. 28
-
- Fidler, G., ii. 392
-
- Field of Cloth of Gold, i. 259, 273;
-   ii. 86, 103 _note_, 106
-
- “Field of Cloth of Gold” (Hampton Court), i. 258, 274
-
- Figdor Collection, ii. 52 _note_
-
- Fischart, Johann, ii. 94, 186 _note_
-
- Fisher, John, Bishop of Rochester, i. 169, 289, 299, 323-325, 337;
-   ii. 76, 212, 254, 267
-
- Fitz-Alan family, ii. 135
-
- —— Henry, Earl of Arundel, _see_ Arundel
-
- —— Lady Joan, ii. 133
-
- —— Lady Mary, ii. 135
-
- Fitzroy, Henry, Duke of Richmond and Suffolk, natural son of Henry
-    VIII, ii. 110, 257
-
- Fitzwater, Lord, ii. 133
-
- Fitzwilliam Museum, Cambridge, ii. 43, 71, 204-205, 304
-
- Flaxman, John, ii. 267
-
- Fleckenstein, Hans, of Lucerne, i. 79;
-   ii. 323-324
-
- Fleischmann, Privy Councillor, of Strasburg, ii. 27
-
- Fliccius, Gerlach, painter, i. 270;
-   ii. 303, 305-306
-
- Flint, Richard, painter-stainer, i. 261
-
- Florence, i. 271-272, 276-278, 280
-
- —— Uffizi Gallery, ii. 23, 83, 355
-
- —— Duke of, i. 280
-
- Flötner, Peter, of Nuremberg, ii. 278
-
- Flower, Dr. Wickham, ii. 184 _note_
-
- Flushing, i. 289
-
- Folkestone, ii. 302
-
- —— 1st Lord, i. 164
-
- Fontainebleau, i. 280-284, 315;
-   ii. 75, 186, 333
-
- Foreign artists at the Court of Henry VIII, i. 256-258, 263-287
-
- Forest Monstier, ii. 40
-
- Förster, i. 15
-
- Fortescue, Mrs., _Holbein_, i. 108-109, 248 _note_, 351;
-   ii. 49, 393
-
- Foster, Mr. J. J., _British Miniature Painters_, ii. 240, 393
-
- “Fountain of Youth,” i. 70
-
- Fox, i. 329
-
- —— _Ecclesiastical History_, ii. 309
-
- Foxe, Richard, Bishop of Winchester, i. 269;
-   ii. 304
-
- France, Admiral of, i. 284
-
- Franche Comté, ii. 150
-
- Francis I, King of France, i. 211, 217, 229, 257, 259. 266, 269,
-    281-285, 311;
-   ii. 6, 40, 44, 45 _note_, 72, 91, 106, 114, 124, 131, 133, 139-142,
-      144-145, 148, 154, 171, 177, 197, 333
-
- Francis the Courier, ii. 117
-
- Frankfurt, i. 9, 29, 161 _note_, 224;
-   ii. 173
-
- —— Staedel Institut, ii. 205, 207, 264, 354
-
- Franks, Sir Augustus W., F.S.A., ii. 189, 296-297
-
- Franz, Arnold, of Basel, ii. 219, 240-241
-
- Freeman, engraver, ii. 61
-
- —— John, jeweller, ii. 288
-
- Freiburg, i. 90-91, 111, 177, 180, 185, 338, 341, 351;
-   ii. 331, 341
-
- —— University of, i. 84, 145;
-   University Chapel in Minster, i. 88, 91;
-     ii. 354
-
- Freihamer, Thomas, i. 13
-
- Frellon, Jehan and François, publishers, of Lyon, i. 212-213, 224,
-    227-228
-
- French royal accounts, i. 281, 284
-
- Frescobaldi family, i. 270
-
- Frewen, Mr. T., i. 320;
-   ii. 348
-
- Frey family, of Lucerne, i. 65
-
- Frick, Mr. H. C., New York (collection), ii. 340, 348
-
- Friedländer, Dr., i. 20;
-   ii. 196, 354
-
- Frisch, A., ii. 393
-
- Friso, Johan Willem, Prince of Orange-Nassau, ii. 57
-
- Froben, Hieronymus, i. 182, 350
-
- —— Johann, printer of Basel, i. 44-45, 47, 57, 62, 162-163, 166-168,
-    181-184, 188-192, 194, 198, 201, 208, 253, 290, 339;
-     ii. 241, 256, 329, 331
-
- Frölicher, Elsa, _Die Porträtkunst H. Holbeins des J._, &c., ii. 311
-    _note_, 393
-
- Fromont, Hans de, ii. 11
-
- Froschover, Christopher, printer of Zürich, i. 202, 228;
-   ii. 76
-
- Fruytiers, Philip, painter, ii. 198, 200
-
- Fry, Rt. Hon. Lewis, ii. 81-82
-
- —— Roger E., ii. 82-83, 99, 108, 169, 393
-
- Fugger family, i. 6, 19
-
- —— Anton, i. 19
-
- —— Jacob, i. 19
-
- —— Raimund, i. 19
-
- —— Ulrich, i. 19
-
- Fulham, i. 264;
-   ii. 210
-
- Fürstenberg, Prince Carl von, i. 38
-
- Fusina, Andrea, tomb at Milan, i. 140
-
-
- Gage, Sir Edward, ii. 65
-
- Gairdner, Dr. James, ii. 153 _and note_, 390
-
- _Galerie du Musée Napoléon_, i. 173
-
- Galway, Viscount (collection), i. 328 _and note_;
-   ii. 104
-
- Ganz, Dr. Paul, director of the Public Picture Collection, Basel, i.
-    35, 39, 42, 44, 47, 56, 65, 69, 79, 81, 85 _note_, 88, 97, 107, 109,
-    112, 121, 130, 139-140, 143, 148-149, 151, 153, 157, 159-160, 174,
-    184, 234 _note_, 344 _note_, 346, 350, 356;
-   ii. 14-15, 117, 23, 26 _note_, 28, 52, 71, 83, 86, 87 _note_, 88
-      _note_, 93 _note_, 103, 108, 186 _note_, 193, 196, 213 _and note_,
-      214, 226-227, 230, 257, 260, 292, 323-324, 327-328, 347, 352, 393
-
- Gardiner, Stephen, ii. 138
-
- Gardner, Mr. E., ii. 346
-
- Gardner, Mrs. John, Boston (collection), ii. 210, 347
-
- Garrard, Martin, jeweller of Paris, ii. 288
-
- Gassner, Veronica, i. 19
-
- Gates, Richard, painter-stainer, i. 261
-
- “Gaunt, a painter of,” i. 268
-
- Gauthiez, Mons. Pierre, i. 78, 81;
-   ii. 393
-
- Gay, Mr. Walter, Paris (collection), i. 171
-
- _Gazette des Beaux-Arts_, i. 173, 238
-
- Gebweiler (town), i. 32
-
- Gebwiler, i. 84
-
- Gegenbach, Pamphilius, i. 62
-
- Geigy-Schlumberger, Dr. Rudolph, Basel (collection), ii. 213, 358
-
- Gelderland, ii. 177
-
- Genoa, i. 286
-
- Gentils (Gentilz), President, i. 282-283;
-   ii. 333
-
- _Gentleman’s Magazine_, i. 302
-
- George II, King of England, ii. 249
-
- —— III, King of England, ii. 249
-
- ——, Simon, ii. 205, 207-208, 252, 255
-
- “Gerarde,” i. 267
-
- “Gerhart, Master, Illuminator,” _see_ Hornebolt, Gerard
-
- German Merchants in England, _see_ Steelyard
-
- _German Old Testament_ (Petri), i. 229
-
- Gerster, Hans, town archivist of Basel, i. 109, 111
-
- Gesner, Conrad, of Zürich (_Partitiones Theologicæ_, &c.), i. 224
-
- _Gesta Romanorum_, i. 67
-
- _Geuchmatt_ (Thomas Murner), i. 59
-
- Ghent, i. 265, 268, 289, 307;
-   Guild of St. Luke, i. 263; St. Bavon, i. 264
-
- Ghirlandajo, Ridolfo, i. 276
-
- Gibson, Richard, i. 260, 315
-
- Giehlow, Dr. Carl, i. 21
-
- Gigs, Margaret, i. 293, 296, 301, 303;
-   ii. 337, 339-340
-
- Gilpin, ii. 189
-
- Gisze, Georg, Steelyard merchant, ii. 4-8
-
- Glarus, i. 344
-
- Glaser, Dr. Curt, _Hans Holbein the Elder_, i. 15, 20;
-   ii. 393
-
- Glass-painting, Holbein’s designs for, i. 135-157
-
- Glass-painting in Switzerland, i. 135-136
-
- “Gleane, The,” Southwark, i. 262
-
- Glendon Hall, i. 269
-
- Godefroy brothers, ii. 41-42, 47
-
- Godfrey, R., engraver, ii. 346
-
- Godington Park, Kent, i. 332
-
- Godolphin-Quicke Collection, ii. 220
-
- Godsalve, Sir John, i. 299, 325-327, 337;
-   ii. 65, 255;
-   miniature by Bettes, 309
-
- —— Thomas, i. 299, 325-326, 337;
-   ii. 65, 255
-
- Goelenius, of Louvain, i. 179-180
-
- Goes, van der, _see_ Gow, John van der
-
- Goette, A., ii. 393
-
- Golden Fleece, Exhibition of the, Bruges (1907), ii. 141 _note_
-
- Golden Norton, ii. 11
-
- Goldschmidt-Przibram, Frau L. (collection), ii. 57, 349
-
- Goldsmiths’ Company, ii. 11, 13
-
- Goltzius, ii. 24
-
- Gonzaga, i. 234 _note_
-
- Goodrich Court, ii. 182, 235
-
- Gostwick’s Accounts, ii. 68
-
- Gow, John van der (Hans of Antwerp), ii. 10, 12-13
-
- Gower, Lord Ronald Sutherland, i. 309
-
- Graf, Urs, i. 47, 62, 158, 193, 197, 340
-
- Grafton, ii. 176
-
- Graham, William, Collection, i. 54 _note_
-
- Granger, ii. 68, 194
-
- Great Fire of London, i. 261;
-   ii. 24
-
- _Great Harry_ (ship), i. 259, 273
-
- Great Wardrobe Accounts, i. 262
-
- _Greek New Testament_ (Bebelius), i. 225
-
- Greenwich, ii. 184, 240, 294, 297-298;
-   Banqueting House (1527), i. 274-275, 281, 290, 311-316, 331, 336-337;
-     ii. 64, 91, 310 _note_, 346;
-   King’s House, ii. 337;
-   Palace, i. 271, 311, 317;
-     ii. 208;
-   Park, ii. 32;
-   Revels at, i. 260
-
- Gregorius, sculptor, of Augsburg, i. 9
-
- Gregory XIV, Pope, i. 305-306
-
- Grenchen, Chapel of All Saints, i. 110
-
- Grenville, Rt. Hon. George, ii. 237
-
- Gresham, Sir Thomas, i. 287;
-   ii. 205, 304
-
- Grey, Henry, Duke of Suffolk, i. 269
-
- —— Thomas, i. 253
-
- —— of Wilton, William, Lord, portrait by Flicke, ii. 305
-
- Greystoke Castle, i. 177-179;
-   ii. 214
-
- Grien, Hans Baldung, i. 31, 56, 88, 147, 168
-
- Griesher, Hans, i. 19, 20
-
- Griffoni, i. 243
-
- Grimm, H., i. 24, 165, 169
-
- Grinder, Mr., ii. 137
-
- Grooth, Nikolaus, i. 75, 92-93
-
- Grosvenor Gallery, Winter Exhibition (1878-1879), ii. 374
-
- Grün, Heinrich, i. 20
-
- —— tailor, of Augsburg, i. 20
-
- Gruner, Herr L., ii. 67
-
- Grünewald, Matthias, i. 31, 147-148
-
- Grünstadt, Bavaria, i. 1, 23
-
- Gsell Collection, ii. 57
-
- Guarienti, Pietro, i. 17
-
- Gubbins (Gobions), Hertfordshire, i. 301;
-   ii. 335-336
-
- Gueiss, Albert von, ii. 5
-
- Gueldres, ii. 178, 344
-
- Guest, Miss, of Inwood, i. 332;
-   ii. 351, 355
-
- —— Lady, Theodora, i. 332
-
- Guicciardini, Lodovico, i. 265;
-   ii. 218, 239 _and note_
-
- Guild of St. Luke, _see_ Ghent
-
- Guise, Anthoinette de Bourbon, Duchess of, ii. 144, 146-150, 337,
-    343-344
-
- —— Anthoinette de, daughter of Duke Claude, ii. 148-149, 344
-
- —— Claude, Duke of, ii. 139, 144-146, 150, 154, 343-344
-
- —— Claude, son of Duke Claude, ii. 148, 343
-
- —— François II, Duke of, ii. 147
-
- —— Louise of, ii. 142-146, 148-149, 153 _and note_, 154-155, 173, 176,
-    343-344
-
- —— Marie of, Duchess of Longueville, afterwards Queen of Scotland, ii.
-    139-144, 147-149, 153 _and note_, 154-155, 235, 343-344
-
- —— Renée of, ii. 144-146, 149, 155, 173, 176
-
- Guises, Castle of the, at Joinville, ii. 147
-
- Guisnes, i. 259, 273
-
- Guldeford, Sir Henry, i. 299, 313, 316-321, 337;
-   ii. 1, 2, 65, 250, 254-255
-
- —— Lady, i. 299, 318, 320-321, 337;
-     ii. 65, 87 _note_, 147
-
- —— Sir Richard, i. 319
-
- —— Joan, Lady, i. 319
-
- Guldenknopf, Barbara, i. 109
-
- Gwalther, Rudolph, ii. 156 _and note_
-
- Gysin, _see_ Gisze
-
- Gyssler, Jacob, butcher, of Basel, Holbein’s son-in-law, ii. 301
-
-
- Haarhaus, J. R., i. 165 _note_
-
- Haarlem, i. 183
-
- Haas, publisher, of Basel, i. 188
-
- Haberdashers’ Company, i. 260
-
- Haddon, Dr. Walter, ii. 226
-
- Hague, The, i. 179, 241;
-   ii. 59, 229, 341
-
- —— Gallery, i. 106-107, 346-347;
-     ii. 54, 57, 65, 113, 203, 229, 355
-
- Haig, Mr. J. R., i. 333
-
- _Hall’s Chronicle_, i. 188 _note_;
-   ii. 79, 294, 309
-
- —— _Triumphant Reigne of Kynge Henry the VIII_, i. 311-312, 316
-
- Halsey, Miss Ethel, _Gaudenzio Ferrari_, i. 89 _note_, 95 _note_;
-   ii. 393
-
- Hamburg, ii. 6
-
- Hamilton, Duke of, i. 172
-
- Hampton Court Palace, i. 95-96, 98, 165-167, 183-184, 258, 267, 270,
-    274, 281, 283-284, 301, 315-317, 333;
-   ii. 77, 86, 93-94, 97, 104-106, 136, 192, 204, 215, 267, 292, 304,
-      310, 349
-
- Hampton Court Palace Accounts, i. 277
-
- _Handzeichnungen Hans Holbeins des Jüngeren_ (Ganz), ii. 323-327
-
- Hanfstaengl, Mr. F., ii. 250
-
- Hanover, Provinzial Museum, i. 184, 351;
-   ii. 15, 164-166, 205, 353-354
-
- Hanseatic League in London, _see_ Steelyard
-
- Hanworth, i. 278
-
- Hardie, Mr. Martin, ii. 219 _note_
-
- Harding, S., i. 320
-
- Hardwick Hall, ii. 97, 99, 101 _note_, 141, 205 _note_, 236, 351
-
- Hardy, Mr. J. P., Collection, ii. 61 _note_
-
- Haringworth, ii. 259
-
- Harleian MSS., ii. 246
-
- Harman, Dr. (Barber-Surgeons picture), ii. 291
-
- Harris, John, Sir T. More’s “famulus,” i. 296, 301;
-   ii. 336-339
-
- Harrowby, Earl of, Collection, ii. 72 _note_, 61
-
- Harrowden, i. 319;
-   ii. 52, 86
-
- Hartmann, Canon, i. 110
-
- Hasse, George, Steelyard merchant, ii. 6
-
- Hastings, Marquis of, ii. 80
-
- —— plat of, i. 274
-
- Hatfield Priory, Essex, ii. 267
-
- Hauntlowe, Richard, painter-stainer, i. 261
-
- Hauser, of Munich, i. 238;
-   ii. 22 _note_
-
- Havering, i. 278
-
- Havre, Le, ii. 139-140, 143-144, 146, 148-149, 155, 344
-
- “Haward, a Dutch Juello^r,” portrait by Eworthe, ii. 307
-
- Hawkins, Mr. C. Heywood T., sale (1904), ii. 228, 239-240
-
- —— Mr. J. Heywood (collection), i. 308 _note_
-
- Hay, Mr., Savile Row, i. 304
-
- Haydock, Richard, i. 302;
-   ii. 218, 308
-
- Hayes, Cornelis, court jeweller;
-   ii. 73, 92, 164, 287-288
-
- Hazlitt, W. Carew, ii. 345
-
- Heath, Mr. Dudley, ii. 221-222, 307
-
- —— John, _see_ Hethe
-
- Hebdenring, Wilhelm, i. 239
-
- Heere, Lucas d’, ii. 307-308
-
- Heerweghe, Jan van, i. 264
-
- Hefner-Alteneck, Herr J. H. von, ii. 100
-
- Hegner, Ulrich, i. 74, 77, 81, 84;
-   ii. 156 _note_, 239
-
- Heitz, P., ii. 394, 398
-
- Hemingham, Sir Anthony, ii. 258
-
- —— Lady, ii. 237, 256, 258
-
- “Henegham,” _see_ Hemingham
-
- Henri II of France, i. 281;
-   ii. 147
-
- Henry II, Emperor, i. 114
-
- —— III of England, ii. 51
-
- Henry VI of England, i. 205
-
- —— VII of England, i. 269, 271-272, 275;
-     ii. 55, 94-96, 394, 188, 234-235, 267, 301
-
- —— VIII, i. 97, 169, 176, 178, 256-259, 265-266, 268-270, 272-276,
-    279-280, 282-287, 294, 305-307, 311-312, 314-317, 319, 326-331, 338,
-    355-356;
-     ii. 3, 11, 12 _note_, 36, 45 _note_, 54, 59, 60, 65, 67-68, 70-73,
-        76, 79, 86-87, 90-110, 112-115, 117-120, 122-125, 127, 129-136,
-        138-144, 145-146, 148-149, 151-152, 154, 157-159, 164, 169,
-        171-180, 182, 184-185, 186 _note_, 187-188, 192, 194, 196-197,
-        200, 208-209, 211, 217-218, 221, 223, 225, 231-239, 244-247,
-        263, 266-267, 271, 274, 276, 278-279, 282, 310, 313, 333, 338
-
- —— —— his collection and inventory of pictures, i. 97;
-     ii. 109, 127, 133-134, 137, 149, 170
-
- —— —— portraits of, i. 266-267;
-     ii. 93-109
-
- —— —— his tomb, i. 272, 280-281, 287 _note_
-
- _Henry VIII_ (Shakespeare), ii. 211
-
- “Henry VIII and his Family” (Hampton Court), ii. 97
-
- _Henry Grace à Dieu_ (ship), _see_ _Great Harry:Great-Harry_
-
- Henry, Prince of Wales, ii. 24-26
-
- Henshaw, Charles, ii. 334
-
- Hentzner, Paul, ii. 94-95, 97, 267
-
- Heralds, College of, i. 262, 279
-
- Herbert, Sir William, ii. 268
-
- Herbster, Hans, i. 39, 40, 58, 60-61, 340
-
- Hereford (town), i. 353;
-   ii. 212
-
- Heresius, _see_ Harris, John
-
- Herlins, Hans, i. 19
-
- Hermitage Gallery, St. Petersburg, i. 61;
-   ii. 62, 245-246
-
- Heron, Cecilia, daughter of Sir Thomas More, i. 294, 297, 303, 357;
-   ii. 250, 334-336
-
- —— Essex, i. 300;
-     ii. 334-335
-
- —— Giles, ii. 334, 336
-
- —— Margaret, ii. 335
-
- —— Sir William, of Heron, Kt., ii. 335
-
- Herrault, Christopher, jeweller of Paris, ii. 288
-
- Hert, illuminator, i. 267
-
- Hertenstein, Benedikt von, i. 70, 72-74, 162;
-   ii. 278
-
- —— Caspar von, i. 65
-
- —— House decorations, ii 57-58, 64-72, 122
-
- —— Jakob von, ii 57, 65-67, 69, 70, 74, 79
-
- —— Leodegar von, i. 70
-
- —— Peter von, Canon of Basel, i. 79
-
- Hertford, Earl of, ii. 200
-
- Hervey, Miss Mary F. S., _Holbein’s Ambassadors_, ii. 5, 39-41, 70, 45
-    _note_, 46-47, 49, 50, 52, 69 _note_, 257, 305, 327, 394
-
- Herwart, Margreth, sister of Hans Holbein the Elder, i. 3;
-   ii. 162
-
- Hes, Dr. Willy, i. 25-26, 45, 47, 60, 63;
-   ii. 394
-
- Heseltine, Mr. J. P. (collection), i. 318 _note_, 324;
-   ii. 71 _note_, 3
-
- Hess, Hieronymus, painter, i. 81, 127-130
-
- Hesse, Grand Duke of, i. 232
-
- Hesse-Darmstadt, Prince Charles of, i. 242
-
- Hethe (or Heath), John, painter-stainer, i. 261-263
-
- —— Lancelot, painter-stainer, i. 263
-
- —— Lawrence, painter-stainer, i. 263
-
- _Het Schilder Boek_ (Carel van Mander), _see_ Van Mander:Mander
-
- Hewen, Von, family, i. 145;
-   ii. 326
-
- —— —— Wolfgang von, rector of Freiburg University, i. 145
-
- Heymans, Mynheer, ii. 187
-
- Higham Park, Northamptonshire, ii. 228
-
- “High Burgony,” _see_ Upper Burgundy
-
- Hilliard, Laurence, ii. 234
-
- —— Nicholas, i. 302;
-     ii. 90-91, 112-113, 218-219, 234-235, 237, 246, 81-309
-
- Himmel, Zunft zum (Basel Painters’ Guild), i. 58-59, 82-83, 97, 121,
-    232
-
- Hind, Mr. A. M., i. 230 _note_, ii. 394
-
- Hirth, publisher, of Munich, i. 214
-
- His-Heusler, Dr. Edouard, i. 50, 80, 190, 338;
-   ii. 157, 299, 394
-
- _History of Portrait Miniatures_ (G. C. Williamson), ii. 220, 230
-
- Hoby, Sir Philip, i. 176;
-   ii. 119-125, 130-131, 140-141, 143-144, 58, 148-151, 153-156, 343-344
-
- —— Sir Thomas, ii. 168
-
- —— William, of Leominster, ii. 119
-
- Hoefnagel, Joris, engraver, i. 277
-
- Holbein family, i. 1-4
-
- Holbein, Ambrosius, elder son of Hans Holbein the Elder, i. 4, 5;
-   his portrait by his father in the “St. Paul” altar-piece and in
-      drawings, 11, 20, 25-27;
-   training in his father’s workshop, 29;
-   sets out for Switzerland with his brother, and settles in Basel, 32;
-   his share in the “Virgin and Child” picture of 1514, 34-35;
-   his drawings, 34;
-   date of his arrival in Basel, 37;
-   his share in the “Passion” series of paintings, 39-42;
-   designs for Basel printers, 44-45;
-   his share in the “Praise of Folly” drawings, 47-48;
-   portrait of a man at Darmstadt (1515), 50-51;
-   probable visit to Lucerne, 58;
-   citizen of Basel, and joins Painters’ Guild, 58-59;
-   portrait of Schweiger, and probable date of his death, 59;
-   his paintings, and portrait of Herbster, 60-61;
-   his drawings and designs, 61;
-   portrait at St. Petersburg, 61-62;
-   woodcut designs, 59, 62-63;
-   his art, 63, 82, 185, 189, 192, 254;
-     ii. 65
-
- Holbein, Ambrosius—
-
-
- _Pictures and Drawings_
-
- Portraits of Two Boys (Basel), i. 34, 51, 59, 60, 63
-
- Portrait of a Little Girl (Vienna), i. 60
-
- Portrait of Hans Herbster (Basel), i. 39, 50, 60-61
-
- Portrait of a Young Man, dated 1515 (Darmstadt), i. 50-51
-
- Portrait of Jörg Schweiger (Basel), i. 59
-
- Portrait of a Young Man (Hermitage), i. 61-62
-
- The Saviour as the “Man of Sorrows” (Basel), i. 60
-
- Study of Two Death’s Heads (Basel), i. 60
-
- Drawing of a Girl, “Anne” (Basel), i. 34, 61, 63
-
- Drawing, Head of an Unknown Man (Basel Kunstverein), i. 51
-
- Silver-point studies for Portraits of Two Boys (Vienna and Paris), i.
-    60
-
- Drawing, Head of a Young Woman (Basel), i. 61
-
- Drawing, Head of Young Man turned to left, 1517 (Basel), i. 61
-
- Drawing, coloured, of a member of the Von Rüdiswiler family (Basel), i.
-    58, 185
-
- Drawing, Head and Body of a Baby (British Museum), i. 63
-
- Glass design, “Foundation of Basel” (Basel), i. 61
-
- Drawings, “Pyramus and Thisbe” and “Hercules and Antæus,” two roundels
-    (Karlsruhe), i. 63
-
- Woodcut designs for T. Murner’s _Geuchmatt_, i. 59
-
- Woodcut designs for More’s _Utopia_, i. 62, 192
-
- Woodcut designs for title-pages, initial letters, &c., i. 62-63
-
- Woodcut design for title-page, “Tarquin and Lucrece,” i. 193
-
- Holbein, Anna, sister of Hans Holbein the Elder, _see_ Eichinger, Anna
-
- —— Barbara, sister of Hans Holbein the Elder, _see_ Oberhausen, Barbara
-    von
-
- —— Bruno, mythical brother of Ambrosius and Hans Holbein, i. 4, 5
-
- —— Elsbeth (Schmid), wife of Hans Holbein the Younger, i. 83-84,
-    105-109, 222, 245, 248, 252-253, 339, 343-347;
-     ii. 63, 65, 160-162, 168, 300
-
- —— Felicitas, wife of Conrad Volmar, ii. 301
-
- —— Hans, supposed grandfather of Hans Holbein the Younger, i. 3, 4, 7
-
- —— Hans, the Elder, i. 2;
-     his family, 3, 4;
-     forged signatures on his pictures, 3;
-     his birth and earliest works, 4;
-     his art, 5-7;
-     settles in Ulm, 8;
-     visits Frankfurt, 9;
-     work for the Monastery of Kaisheim, 9-11;
-     portraits of himself and sons in “Baptism of St. Paul,” 11-12;
-     drawings of his sons, 11, 20, 25-27;
-     work for the Church of St. Moritz, Augsburg, 13;
-     financial troubles, 13;
-     the “St. Sebastian” altar-piece, 14-16, 30;
-     “Fountain of Life,” 16-18;
-     portrait-studies of heads in silver-point, 18-21;
-     portrait of a Lady, Sir F. Cook’s Collection, 20-22;
-     his last years, 22;
-     letter claiming his painting materials left at Isenheim, i. 22,
-        254;
-     his death, i. 22; 34, 38, 40, 51;
-     legend that he lived in Lucerne with his sons, 58, 92, 108, 148,
-        186, 254
-
- Holbein, Hans, the Elder—
-
-
- _Pictures and Drawings_
-
- The Virgin with the Infant Christ in her Arms (Augsburg), i. 3
-
- Basilica of Santa Maria Maggiore (Augsburg), i. 4, 7
-
- Joachim’s Sacrifice, Birth of Mary, Presentation of Mary, and
-    Presentation of Christ, four altar panels (Augsburg), i. 7
-
- The Death of Mary, Afra altar-piece (Basel), i. 7 _note_
-
- Crowning of the Virgin, Vetter altar-piece (Augsburg), i. 8, 38
-
- Genealogy of Christ and of the Dominicans, &c. (Frankfurt), i. 9
-
- Kaisheim Altar-piece (Munich), i. 9, 27
-
- Transfiguration of Christ (Augsburg), i. 10
-
- Basilica of St. Paul (Augsburg), i. 10, 11, 27, 186
-
- Martyrdom of St. Sebastian (Munich), i. 14-17, 30, 33, 104
-
- The Fountain of Life (Lisbon), i. 5, 16-18, 22, 34
-
- Portrait of a Lady (Sir F. Cook’s Collection), i. 20-21
-
- Martyrdom of St. Catherine, Legend of St. Ulrich, The Virgin and St.
-    Anne Teaching the Infant Christ to Walk, &c., altar panels
-    (Augsburg), i. 23-25, 30
-
- The Death of Mary (Basel), i. 26-27
-
- Passion Series (Donaueschingen), i. 38, 40
-
- Drawing, Study of his Own Head (Chantilly), i. 11
-
- Drawing of a Lady’s Head, perhaps his wife (Munich), i. 12
-
- Studies for St. Sebastian (Copenhagen), i. 16
-
- Studies for Sir F. Cook’s portrait of a Lady (British Museum and
-    Berlin), i. 21-22
-
- Portrait-Studies of his Sons, i. 11, 20, 25, 27, 186
-
- Portrait-Studies in silver-point, i. 18-21
-
- Study for the “Death of Mary” (Basel), i. 26
-
- Holbein, Hans, the Younger, his portrait by his father in the “St.
-    Paul’s” altar-piece (1504), i. 11;
-   and in his father’s drawings, i. 11, 25-27;
-   personal appearance, i. 11;
-   works of his father wrongly ascribed to him, 14-15;
-   his supposed share in the “St. Sebastian” altar-piece, 15, 16, 30;
-   place and date of his birth, 23-29;
-   miniatures of himself, 28;
-   house where born, 29;
-   training in his father’s workshop, 29-30;
-   influence of Burgkmair, 30, of the Italian Renaissance, 30-31, and of
-      Grien and Grünewald, &c., 31;
-   sets out with his brother Ambrosius for Switzerland, 32;
-   date of arrival in Basel, 37;
-   early works in Basel, 32-45;
-   possibility that he worked for a time in Hebster’s studio, 39;
-   work for printers and “Praise of Folly” drawings, 44-49;
-   legends as to his character, 49-50;
-   double portrait of Jakob Meyer and his wife, 52-55;
-   his methods of work at that time, 53;
-   work in Lucerne and decoration of the Hertenstein House, 57-72;
-   his visit to Lombardy and its influence on his art, 74-78;
-   other work in Lucerne, 78-81;
-   returns to Basel, enters Painters’ Guild, and becomes a burgher,
-      82-83;
-   his marriage, 83-84;
-   portrait of Bonifacius Amerbach, 84-87;
-   sacred pictures and drawings of this period, 88-101;
-   Italian influences in his work, and growing mastery of technique,
-      &c., 86, 94-95, 98;
-   Dead Christ in the Tomb, 101-103;
-   Solothurn Madonna, 103-111;
-   portraits of his wife, 106-109;
-   wall-paintings for the House of the Dance, and other buildings,
-      117-123;
-   his wall-paintings in the Council Chamber of the Basel Town Hall,
-      123-134;
-   work as a designer for glass-painters, 135-157;
-   costume studies and other drawings, 157-161;
-   his various portraits of Erasmus, 164-174;
-   his journey though the South of France, 174-176;
-   portraits of Froben, 166-168, 183-184, of Melanchthon, 184-185, and
-      of himself, 185-186;
-   designs for woodcuts and book illustrations, 187-203;
-   the Dance of Death woodcuts, 204-224;
-   the happy partnership of Holbein and Lützelburger in these cuts,
-      223-225;
-   Alphabet of Death and Old Testament woodcuts, 224-230;
-   the Meyer Madonna, 232-252;
-   resolves to visit England, 252-253;
-   attempts to get his father’s painting materials from Isenheim, 254;
-   Erasmus’ letter of introduction to Ægidius, 255;
-   leaves Basel for England, 288;
-   his relationships with Sir Thomas More, 290-291;
-   painting of the More Family Group, 291-302;
-   other portraits of More and his family, 303-310;
-   his work in connection with the temporary Banqueting House at
-      Greenwich (1527), 311-316;
-   portraits of Sir Henry Guldeford, Warham, Fisher, Thomas and John
-      Godsalve, Kratzer, and others, 317-337;
-   returns to Basel and purchases two houses, 338-339;
-   portrait of his wife and two children, 343-346;
-   finishes his wall-paintings in the Basel Town Hall, 347-350;
-   paints a new portrait of Erasmus, 351;
-   lack of work caused by severe iconoclastic outbreaks sends him back
-      to England, 352
-
-   ii. Second residence in London, and connection with the German
-      merchants of the Steelyard, 1-32;
-   portraits of Gisze, Hans of Antwerp, Wedigh, Born, Tybis, Fallen,
-      Berck, &c., 4-23;
-   his decorative paintings of the Triumphs of Riches and Poverty,
-      23-30;
-   triumphal arch designed for Anne Boleyn’s Coronation, 30-32;
-   painting of “The Two Ambassadors,” 34-53;
-   portraits of Cheseman, Thomas Cromwell, Morette, Poyntz, Nicolas
-      Bourbon, 54-75;
-   woodcuts of the English period, 76-79;
-   portraits of members of the Wyat family, Sir Richard Southwell, and
-      others, 79-89;
-   enters the service of Henry VIII, 90-92;
-   the Whitehall fresco of Henry VII and Henry VIII, &c., 93-100, and
-      other portraits of the King and of Jane Seymour, 100-113;
-   goes to Brussels to paint the Duchess of Milan (1538), 119-137;
-   goes to Havre in June and to Joinville and Nancy in August (1538), to
-      take likenesses of ladies of the Guise and Lorraine families,
-      139-155, 343-344;
-   revisits Basel, and is entertained at a banquet, 156;
-   offer of a pension from Basel Town Council, 158-161;
-   death and will of his uncle Sigmund, 161-162;
-   returns to England, 162-164;
-   portraits of the infant Prince of Wales, 164-168;
-   goes to Düren (1539) to paint Anne of Cleves, 175-182;
-   his work in Whitehall Palace, 185-187;
-   residing in parish of St. Andrew Undershaft, 188-189;
-   payments in advance of his salary, 190-191;
-   possibility of a visit to Basel in 1540, 191-192;
-   portraits of Queen Catherine Howard, the Duke of Norfolk, the Earl of
-      Surrey, the Earl of Southampton, Dr. John Chamber, Sir William and
-      Lady Butts, and others of unknown men and ladies, 192-212;
-   various miniatures and portraits of himself, 213;
-   his work as a miniature painter, 217-242;
-   his drawings of the heads of the men and women of Henry’s court, now
-      in the Royal Library, Windsor, 243-259;
-   similar drawings in Berlin, Basel, &c., 259-261;
-   comparison between his portrait-drawings and those of the two
-      Clouets, 261-262;
-   his work as a practical designer for craftsmen and jewellers, and
-      architectural designs, 265-286;
-   his connection with various London goldsmiths, 287-288;
-   his last large picture, for the Barber-Surgeons’ Company, left
-      unfinished, 289-294;
-   his death and will, and executors, 294-298;
-   earlier mistakes as to the date of his death, 298-299;
-   his wife, children, and descendants, 299-301;
-   some of his contemporaries and successors at the English Court,
-      302-311;
-   destruction or loss of all his larger decorative works, 312-314;
-   fertility of his invention and power of dramatic composition,
-      314-315;
-   influence of the Italian Renaissance on his art, 315-316;
-   the brilliance of his draughtsmanship, 316-318;
-   comparison of his art with Dürer’s, 318-320;
-   Lord Leighton and Ruskin upon his art, 319-321;
-   his early drawings and glass designs, 323-327;
-   his connection with Dr. Johann Fabri, 330-332;
-   his return to England in 1532, 340-341;
-   his studio in Whitehall, 344-346
-
- Holbein, Hans, the Younger—_Pictures, Drawings, Woodcuts, &c._—
-
- _Pictures_
-
- Virgin and Child, 1514 (Basel), i. 32-35, 37;
-   ii. 332, 356
-
- Christ bearing the Cross, 1515 (Karlsruhe), i. 38, 43, 101;
-   ii. 354
-
- Crowning with Thorns, 1515 (Karlsruhe), i. 39;
-   ii. 354
-
- Painted Table (Zürich), i. 35-37, 53, 77;
-   ii. 358
-
- Heads of the Virgin Mary and St. John (Basel), i. 37-38, 56;
-   ii. 356
-
- Scenes from Christ’s Passion, on canvas (Basel), i. 39-42, 68, 93, 99,
-    104, 156;
-   ii. 356
-   1. The Last Supper, i. 39, 40, 42, 76;
-     ii. 356
-   2. Christ on the Mount of Olives, i. 40, 42;
-     ii. 356
-   3. The Arrest in the Garden, i. 40, 42, 87;
-     ii. 356
-   4. The Scourging of Christ, i. 39, 40-42, 56;
-     ii. 356
-   5. Pilate Washing his Hands, i. 41-42;
-     ii. 356
-
- Schoolmaster’s Signboard, 1516 (Basel), i. 48 _note_, 51-52;
-   ii. 356
-
- Adam and Eve, 1517 (Basel), i. 38, 55-56, 112;
-   ii. 93, 356
-
- Passion of Christ Altar-piece (Basel), i. 43-44, 87, 91-96, 150, 350;
-   ii. 312. 316, 357
-
- The Last Supper (Basel), i. 75-76. 88, 91 _note_, 340;
-   ii. 357
-
- Coat of Arms for the Painters’ Guild Chamber, Basel, i. 83
-
- Christ as the Man of Sorrows, i. 98-99;
-   ii. 357
-
- Mary as Mater Dolorosa, i. 98-99;
-   ii. 357
-
- The Nativity (Freiburg), i. 87-91, 98;
-   ii. 354
-
- The Adoration of the Kings (Freiburg), i. 87-91, 98;
-   ii. 354
-
- Dead Christ in the Tomb, 1521 (Basel), i. 77, 160;
-   ii. 356
-
- St. George, 1522 (Karlsruhe), i. 111-113, 160;
-   ii. 354
-
- St. Ursula, 1522 (Karlsruhe), i. 111-113, 249;
-   ii. 354
-
- Solothurn Madonna, 1522 (Solothurn), i. 84, 103-113, 149, 160, 235,
-    245, 249, 345-346;
-   ii. 316, 324, 358
-
- Meyer Madonna (Darmstadt), i. 33, 103, 149, 232-246, 249-250, 293
-    _note_, 243;
-   ii. 260, 312, 316, 328, 330, 341, 354
-
- Meyer Madonna (Dresden), i. 236-239, 241-244;
-   ii. 328-329, 354
-
- Magdalena Offenburg as Laïs, 1526, i. 75, 158, 162, 245-252, 289;
-   ii. 357
-
- Magdalena Offenburg as Venus, 1526, i. 75, 158, 162, 245-252, 289;
-   ii. 357
-
- “Noli Me Tangere” (Hampton Court), i. 76, 95-98;
-   ii. 77, 349
-
- Organ Doors, Basel Minster (Basel), i. 87, 113-115, 154, 249, 340;
-   ii. 357
-
- “Triumph of Riches,” i. 159;
-   ii. 23-30, 262-263, 313-314
-
- “Triumph of Poverty,” ii. 23-26, 28-30, 262, 313
-
- Various copies and engravings of the Triumphs of Riches and Poverty, by
-    Zuccaro, Vorsterman, Bisschop, Merian, &c., ii. 26-27
-
- Coats of arms painted for the borough of Waldenburg, i. 233
-
-
- _Lost Pictures and Pictures Attributed to Holbein_
-
- Head of Christ (Altorf), attributed to Holbein, i. 77
-
- Crucifixion (Altorf), attributed to Holbein, i. 77
-
- Christ in the Tomb (Altorf), copy of the 1521 painting, i. 77-78
-
- Five pictures mentioned by Patin as in Lucerne churches in his day, i.
-    80-81
-
- Taking Down from the Cross (Palermo), copy of lost original, i. 81
-
- Christ on the Cross between Mary and John (Basel), copy of lost
-    original, i. 87
-
- Christ taken Prisoner (engraving only), copy of lost original, i. 87
-
- Lamentations over Christ, &c. (etching), copy of lost original, i.
-    87-88
-
- St. Barbara (etching), copy of lost original, i. 88
-
- Series of Prophets, on canvas (Basel), by Sarburgh after lost
-    originals, i. 88;
-   ii. 328, 330
-
- Siege of Terouenne, painting for the Greenwich Banqueting Hall, 1527,
-    i. 315-316;
-   ii. 64, 313
-
- Painting of “Adam and Eve,” for a royal cradle (1534), ii. 92-93
-
- Death of Virginia (Dresden), copy of a lost picture, ii. 263-264
-
- Death’s Head and Cross Bones (Arundel Collection, 1655), ii. 65
-
- A Picture with “divers figure Jocatori, &c.” (Arundel Collection,
-    1655), ii. 65
-
- Arms of England in water-colours (Arundel Collection, 1655), ii. 65
-
- “Legge Vecchio & Nove” (Arundel Collection, 1655), ii. 65
-
- Jupiter and Io, water-colour (BuckinghamInventory, 1635), ii. 215
-
-
- _Wall-Paintings_
-
- Hertenstein House wall-paintings, i. 57, 64-72, 117, 127, 142
-
- Tarquin and Lucrece, original fragment of above (Lucerne), i. 68;
-   ii. 358
-
- House of the Dance wall-paintings, i. 117-121, 127, 200;
-   ii. 157, 315
-
- Basel Town Hall wall-paintings, i. 123-134, 142, 232, 252, 343,
-    347-352;
-   ii. 157, 357
-   Charondas, i. 127-128
-   Curius Dentatus, i. 127-128, 130-131
-   Zaleucus, i. 127-130;
-     ii. 284
-   Sapor and Valerian, i. 128-129, 131-132
-   Rehoboam rebuking the Elders, i. 126-128, 347-349;
-     ii. 263, 314
-   Samuel and Saul, i. 126-128, 347, 349;
-     ii. 314
-   Hezekiah breaking the Idols, i. 128, 347
-   Single figures of Christ, David, &c., i. 128, 132-133
-   Original fragments of “Curius Dentatus,” i. 127, 130;
-     ii. 357
-   Original fragments of “Rehoboam,” i. 127, 347-349;
-     ii. 357
-   Copies of some of the remains by H. Hess, i. 127-129
-
- Whitehall fresco—Henry VII and Elizabeth of York, Henry VIII and Jane
-    Seymour, i. 286;
-   ii. 91, 93-97, 100, 103, 105, 109, 113, 185, 187-188, 271, #313
-
-
- _Portraits (arranged alphabetically)_
-
- Amerbach, Bonifacius, 1519 (Basel), i. 74, 84-87, 90, 122, 162, 170;
-   ii. 256, 356
-
- Amelie of Cleves (lost portrait), ii. 174-176
-
- Anne of Cleves, 1539 (Louvre), ii. 65, 115, 171, 174-176, 181-182,
-    236-237, 255, 311, 353;
-   other portraits, ii. 183-184
-
- Antwerp, Hans von, 1532 (Windsor), ii. 8-14, 16, 215, 350
-
- Antwerp, Hans of, roundel (Salting Collection), ii. 14-15, 350
-
- Antwerp, Hans of (?), roundel (Lord Spencer), after Holbein (?), ii.
-    14-15, 352
-
- Berck, Derich, 1536 (Petworth), ii. 22-23, 83, 351;
-   copy at Munich, ii. 23, 355
-
- Born, Derich, 1533 (Windsor), ii. 17-20, 65, 350
-
- Born, Derich (Munich), ii. 20, 355
-
- Bourbon, Nicolas (lost portrait), ii. 72-73
-
- Butts, Sir William (Mrs. Gardner, Boston), ii. 205, 209-210, 289, 347
-
- Butts, Lady (Mrs. Gardner, Boston), i. 354;
-   ii. 83, 205, 209-210, 347
-
- Carew, Sir Nicholas (Dalkeith), i. 337;
-   ii. 65, 87-89, 134, 255, 351
-
- Chamber, Dr. John (Vienna), ii. 65, 112, 208-209, 255, 289, 349; copy
-    at Oxford, ii. 209
-
- Cheseman, Robert, 1533 (Hague), ii. 46, 54-57, 203, 206, 255, 355
-
- Cromwell, Thomas, 1534 (?) (Tyttenhanger Park), i. 328;
-   ii. 58-60, 65, 88, 255, 311, 351;
-   other versions of Cromwell portrait, ii. 60-61
-
- Denny, Sir Anthony (lost portrait?), ii. 214
-
- Dinteville, Jean de, and George de Selve, 1533 (The Ambassadors),
-    (National Gallery), i. 327, 330;
-   ii. 5, 17 _note_, 19, 35-53, 64, 158, 255, 339, 349
-
- Edward VI (Hanover), ii. 12 _note_, 65, 164-165, 171, 205, 288, 354
-
- Edward VI (Lord Yarborough), ii. 165, 353;
-   other versions, after Holbein, and by Stretes and others, ii.
-      166-170, 165
-
- Erasmus, 1523 (Longford Castle), i. 164, 167-172, 177, 179, 180-182,
-    219, 253, 322-323;
-   ii. 256, 352
-
- —— 1523 (Louvre), i. 168-169, 172-173, 181-182;
-     ii. 353
-
- —— 1523 (Basel), study for Louvre portrait, i. 172-174;
-     ii. 357
-
- —— 1530 (Parma), i. 177, 179-180, 351;
-     ii. 355
-
- —— roundel (Basel), i. 171 _note_, 177, 179-180, 184, 351
-
- —— (Pierpont Morgan Collection), i. 171 _note_, 177-180;
-     ii. 347
-
- —— various copies of above, i. 167-168, 171, 180-181;
-     ii. 328-329
-
- —— and Froben, double portrait, i. 166, 182;
-     ii. 329
-
- —— (Arundel Collection, 1655), ii. 25, 65
-
- —— (Lumley Inventory, 1590), ii. 134
-
- Fallen, Cyriacus, 1533 (Brunswick), i. 73;
-   ii. 17, 22, 353
-
- Fisher, John, Bishop of Rochester (lost portrait), i. 299, 323-325, 337
-
- Fitzwilliam, William, Earl of Southampton (Cambridge), after Holbein,
-    ii. 43, 65, 204, 304
-
- Froben, Johann (Hampton Court and Basel), i. 162, 166-167, 172,
-    183-184;
-   ii. 256, 349, 357
-
- Gage, Sir Edward (Arundel Collection, 1655), ii. 65
-
- George, Simon (Frankfurt), ii. 205, 207, 354
-
- Gisze, Georg, 1532 (Berlin), i. 54;
-   ii. 4-8, 10 _and note_, 14, 18, 43, 129, 353
-
- Godsalve, Thomas and John, 1528 (Dresden), i. 299, 317, 325-326, 337;
-   ii. 65, 255, 354
-
- Guise, Louise of, 1538 (lost portrait), ii. 144, 146-149, 299
-
- Guldeford, Sir Henry, 1527 (Windsor), i. 299, 317-320, 337;
-   ii. 65, 134, 311, 350
-
- Guldeford, Lady, 1527 (W. C. Vanderbilt, New York), i. 299, 318-320,
-    337;
-   ii. 65, 134, 311, 348
-
- Henry VIII (Althorp), ii. 93, 107-109, 299, 352
-
- Henry VIII (Rome), ii. 93 _note_, 101-103, 171 _note_, 356
-
- Henry VIII presenting a Charter to the Barber-Surgeons’ Company
-    (Barber-Surgeons’ Hall), ii. 208-209, 289-294, 346, 350
-
- Henry VIII, various portraits after Holbein or by his contemporaries,
-    at Warwick Castle, ii. 100-102, 104, 217, 290;
-   Windsor Castle, ii. 103-104, 236;
-   St. Bartholomew’s Hospital, ii. 101, 103, 234;
-   and at Belvoir, Petworth, Chatsworth, and elsewhere, ii. 100-107,
-      101, 169, 234, 236
-
- Henneage, Sir Thomas (Lumley Inventory, 1590), ii. 134
-
- Hertenstein, Benedikt von, 1517 (New York), i. 72-74, 86, 162;
-   ii. 278, 347
-
- Holbein, Elsbeth, early portrait (The Hague), i. 106-108, 345;
-   ii. 57, 65, 355
-
- Holbein’s Wife and Children, 1528-529 (Basel), i. 106-107, 185, 250,
-    343-347;
-   ii. 164, 189, 255, 357;
-   other versions, i. 344-345
-
- Holbein, Hans (Uffizi), ii. 213, 231, 355
-
- —— —— (Geigy Collection, Basel), ii. 213, 358
-
- Howard, Queen Catherine (Dunn Collection, Canada), i. 354;
-   ii. 192, 195-196, 207, 283, 348;
-   copy in National Portrait Gallery, ii. 194-196
-
- Kratzer, Niklaus, 1528 (Louvre), i. 299, 317, 325, 327-328, 337, 350;
-   ii. 4, 88, 241, 255, 353
-
- Le Strange, Sir Thomas (Mr. H. Le Strange), ii. 85-86, 134
-
- Lorraine, Anne of, 1538 (lost portrait), ii. 144, 146-149, 154
-
- Lovell, Sir Thomas (Lumley Inventory, 1590), ii. 135
-
- Melanchthon, Philip, roundel (Hanover), i. 184-185, 351;
-   ii. 354
-
- Meyer, Jakob, and his Wife, 1516 (Basel), i. 52-55, 73-74, 86, 162;
-   ii. 328, 356
-
- Milan, Christina, Duchess of, 1538 (National Gallery), ii. 25, 43, 51,
-    65, 88, 115, 125-130, 133-137, 142, 150-151, 155, 171, 255, 349;
-   copy of the upper half (Windsor), ii. 125-127
-
- More Family Group, i. 293, 328, 337, 357;
-   ii. 1, 43, 65, 244, 260, 289, 313, 334-340
-
- —— —— —— (Nostell Priory), i. 295-300, 308;
-         ii. 334-340
-
- —— —— —— (East Hendred), i. 300;
-         ii. 335-336, 125, 352
-
- —— —— —— (Thorndon), i. 300;
-         ii. 334-336
-
- —— —— —— (Burford), i. 301-302;
-         ii. 45 _note_, 300-336, 351
-
- —— —— —— miniature after the Burford picture, by R. Lockey (?) (Sotheby
-    Collection), i. 302
-
- —— Sir Thomas and his Father (Hutton Hall), i. 300
-
-
- More, Sir Thomas, 1527 (Frick Collection), i. 293, 299, 303-307,
-    316-317;
-   ii. 221, 289, 340, 348
-
- —— Sir Thomas (Lumley Inventory, 1590), ii. 134
-
- —— Sir Thomas (Arundel Collection, 1655), ii. 25, 65
-
- —— Lady (Methuen Collection), i. 299, 303, 307-308;
-     ii. 289
-
- Morette, Charles de Soliers, Sieur de (Dresden), i. 306;
-   ii. 17 _note_, 38, 49 _note_, 63-70, 255, 341, 354
-
- Musician, Portrait of a, called Dinteville (Bulstrode Park), ii. 52-53,
-    65, 87 _note_, 352
-
- Norfolk, Duke of (Windsor), i. 330;
-   ii. 65, 171, 197-199, 330, 350;
-   other versions, ii. 197-199
-
- Poyntz, Sir Nicholas (various versions), ii. 63, 72, 342-343
-
- Reskimer (Hampton Court), i. 299, 320, 333-334;
-   ii. 349
-
- Rich, Sir Richard, attributed to Holbein (Knepp Castle, destroyed by
-    fire), ii. 311
-
- Rich, Lady (America), ii. 212, 348
-
- Roper, Margaret (Knole), after Holbein, i. 303. 307-309, 337;
-   ii. 352
-
- Russell, Sir John, attrib. to Holbein (Woburn Abbey), ii. 351
-
- Seymour, Queen Jane (Vienna), i. 54;
-   ii. 65, 109, 111-113, 181, 237, 280, 349;
-   other versions, ii. 112-113, 169, 351-352, 355
-
- Southwell, Sir Richard, 1536 (Florence), i. 330;
-   ii. 23, 83-85, 355;
-   other versions, ii. 83, 85, 353
-
- Surrey, Earl of (lost portrait), ii. 65, 171, 198, 200, 303-304
-
- Tuke, Sir Bryan (Miss Guest and Munich), i. 299, 331-332, 337;
-   ii. 351, 355;
-   other versions, i. 332-333
-
- Tybis, Derich, 1533 (Vienna), ii. 7, 10, 17, 20-21, 348
-
- Vaux, Lord (lost portrait), ii. 87 _and note_
-
- —— Lady (Hampton Court and Prague), ii. 86-87, 348, 349
-
- Warham, Archbishop (Louvre and Lambeth), i. 299, 317, 321-323, 328,
-    337;
-   ii. 65, 350, 353
-
- —— —— (Viscount Dillon), i. 323
-
- Wedigh of Cologne, 1532 (Schönborn Collection), ii. 15-16, 349
-
- Wedigh, Hermann H., 1533 (Berlin), ii. 16-17, 17 _note_, 18, 22, 49
-    _note_, 353
-
- Wyat, Sir Henry (Louvre), i. 304, 306, 335-337;
-   ii. 353;
-   other versions (Dublin and Countess of Romney), i. 335;
-     ii. 350
-
- —— Sir Thomas (various portraits), ii. 65, 79-81, 134, 255
-
- —— Margaret, Lady Lee (Altman Collection, New York), ii. 82-83, 348
-
- Zürich, Hans von (lost portrait), ii. 15, 65
-
-
- Unknown Young Woman, about 1528 (Basel), unfinished, i. 346-347;
-   ii. 357
-
- —— Young Man, 1533, roundel (Goldschmidt-Przibram), ii. 57, 349
-
- —— Man in Henry VIII’s livery, 1534, roundel (Vienna), ii. 62, 70-71,
-    348
-
- —— Lady, wife of above, 1534, roundel (Vienna), ii. 62, 70-71, 348
-
- —— Young Man in Henry VIII’s livery, roundel (F. Engel-Gros), ii. 71,
-    353
-
- —— —— copy of above in Fitzwilliam Museum, Cambridge, ii. 71
-
- —— —— aged 28, 1541 (Vienna), ii. 202-203, 206, 255, 349
-
- —— —— aged 37, 1541 (Berlin) ii 201-202, 353
-
- —— Man with Falcon, 1542 (Hague), ii. 54, 57, 203, 205, 255, 355
-
- —— Lady (Vienna), ii. 205, 207, 349
-
- —— Middle-aged Man (Berlin), ii. 205-206, 255, 353
-
- —— Man (Basel), ii. 211, 255, 357
-
- —— English Lady (Lanckoronski Collection, Vienna), ii. 211-212, 349
-
- —— English Lady (Mr. A. H. Buttery), i. 353-358;
-     ii. 351
-
- —— Elderly Man (Prado), formerly attributed to Holbein, i. 334-335;
-     ii. 356
-
- Portrait of a Lady, “con gli mani giunti” (Arundel Collection, 1655),
-    ii. 65
-
- Portrait of a Lady aged forty, with motto “In all things,” &c. (Arundel
-    Collection, 1655), ii. 65
-
- Portraits of various unknown men, ladies, and boys, only known from
-    Hollar’s etchings after Holbein, ii. 214-215
-
-
- _Miniatures (by or attributed to Holbein)_
-
- Abergavenny, Lord (Duke of Buccleuch), ii. 62, 222, 351
-
- Anne of Cleves (Salting Bequest), ii. 181-182, 232, 236, 350
-
- Audley, Lady (Windsor), ii. 220, 222-223, 350
-
- Brandon, Charles, Duke of Suffolk (Morgan Collection), not by Holbein,
-    ii. 241
-
- —— Charles, son of the Duke (Windsor), ii. 201, 220, 222-225, 227, 350
-
- —— Henry, son of the Duke (Windsor), ii. 63, 220, 222-225, 227, 350
-
- Cromwell, Thomas (Morgan Collection), ii. 61, 231-232, 348
-
- Edward VI, various miniatures, ii. 238
-
- Franz, Arnold (Morgan Collection), ii. 219, 240-241
-
- Henry VIII (Morgan Collection), ii. 182, 235-236, 348
-
- —— —— (Duke of Buccleuch), ii. 109, 234;
-       other miniatures of Henry VIII not by Holbein, ii. 234-235, 351
-
- Holbein, Hans (Wallace Collection), ii. 230, 350
-
- Holbein, Hans (Duke of Buccleuch), ii. 230-231, 351
-
- —— —— other versions, ii. 215, 230-231
-
- Howard, Queen Catherine (Windsor), ii. 192-193, 220, 222, 238, 350
-
- —— —— —— (Duke of Buccleuch), ii. 193-194, 220, 222
-
- Kratzer, Niklaus (Morgan Collection), i. 241, 328
-
- Mielich, Hans, or Maynert, Harry (?) (Munich), ii. 241-242, 355
-
- More, Sir Thomas (Morgan Collection), i. 306-308;
-   ii. 220-222, 348
-
- —— —— —— (Duke of Buccleuch), ii. 221-222, 351
-
- Pemberton, Mrs. Robert (Morgan Collection), ii. 228-229, 348
-
- Seymour, Queen Jane, various miniatures, ii. 237-238, 351
-
- Unknown Youth (Queen of Holland), ii. 220, 229-230, 355
-
- —— Man in Black (Queen of Holland), ii. 230
-
-
- _Drawings and Designs_
-
- Calvary, early drawing (Augsburg), ii. 323
-
- Bearing the Cross (Basel), i. 42-44
-
- “Praise of Folly” marginal drawings (Basel), i. 45-50, 63, 85, 229
-
- Study for “Leæna and her Judges,” for Hertenstein House (Basel), i. 68
-
- Architectural design, Hertenstein House (Basel), i. 65-66, 69, 122
-
- Dagger sheath with a Roman Triumph (Basel), i. 73
-
- The Archangel St. Michael (Basel), i. 79, 80, 112, 248
-
- Miners at Work (British Museum), i. 80
-
- The Holy Family (Basel), i. 99, 100
-
- Virgin and Child (Basel), i. 99, 100
-
- Virgin and Child (Leipzig), i. 100
-
- Virgin and Child (Brunswick), 1520, ii. 326
-
- Design for Basel organ case (Basel), i. 113-115
-
- Study for Dancing Peasants, House of the Dance (Berlin), i. 119-121
-
- Various tracings and copies of studies for same house (Basel), i.
-    120-121
-
- Design for a painted house-front with figure of Emperor (Basel), i.
-    121-122
-
- Design for a painted framework of a window (Basel), i. 122
-
- Design for “Sapor and Valerian,” Basel Council Chamber (Basel), i.
-    131-132;
-   ii. 264
-
- Contemporary copies of the designs for the Council Chamber paintings
-    (Basel), i. 132-133
-
- Studies of Ladies’ Costumes (Basel), i. 138, 157-159, 245, 248
-
- Coat of arms for Petrus Fabrinus (Basel University), i. 145-146;
-   ii. 357
-
- Costume Study (Dessau), i. 159
-
- Costume study of a Lady, full-length (British Museum), i. 356-357
-
- St. Adrian (Louvre), i. 159-160
-
- Study of a Nude Woman (Basel), i. 160
-
- Fight of Landsknechte (Basel), i. 160-161, 230;
-   (Albertina), i. 161 _note_
-
- Lamb, Lamb’s Head, and Bat (Basel), i. 161
-
- Duke of Berry, copy of a sepulchral figure (Basel), i. 175-176
-
- Duchess of Berry, copy of a sepulchral figure (Basel), i. 175-176
-
- Designs for painted glass—
-   Virgin and Child, with Lucerne Bridge (Basel), i. 78-79
-   Three Peasants with Holdermeier arms (Basel), i. 79
-   Design for Hans Fleckenstein (Brunswick), i. 79;
-     ii. 323-324
-   Design with arms of Lachner family (Stockholm), ii. 325-326
-   The Banner-Bearer of the Urseren Valley (Berlin), ii. 324-325
-   Martyrdom of St. Richardis (Basel), ii. 326-327
-   Design with figure of a Bishop (Basel), i. 77
-   St. Barbara (Basel), i. 88
-   Eight panels of Saints (Basel), i. 137-139, 248
-   The Prodigal Son (Basel), i. 139-141
-   Two Unicorns (Basel), i. 140-141
-   Various designs with figures of Landsknechte (Basel, Berlin, Berne,
-      &c.), i. 140-144
-   Scroll-work with helmets and coat of arms of Von Hewen family
-      (Basel), i. 144-145;
-     ii. 326
-   Design with coat of arms of Von Andlau family, i. 145;
-     ii. 326
-   Terminus, for Erasmus (Basel), i. 146
-   Wild Man of the Woods (British Museum), i. 146-147
-   Christ on the Cross between the Virgin and St. John (Basel), i.
-      147-148
-   The Annunciation (Paris), i. 147-148
-   St. Elizabeth (Basel), i. 148-149;
-     ii. 325
-   Virgin and Child with kneeling donor (Basel), i. 149-150, 249
-   Ten designs illustrating the Passion of Christ (Basel), i. 43-44,
-      115, 136, 150-157;
-     ii. 327;
-     replicas in British Museum, i. 156-157;
-       ii. 327
-
- Rehoboam rebuking the Elders, study for Basel Council Chamber
-    wall-painting (Basel), i. 347-348
-
- Meeting of Samuel and Saul, study for Basel Council Chamber
-    wall-painting (Basel), i. 347, 349-350;
-   ii. 264
-
- Design for Dagger Sheath, dated 1529 (Basel), i. 350
-
- Design for a Cup for Hans of Antwerp (Basel), ii. 11, 275, 286
-
- Triumph of Riches (Louvre), ii. 26-29, 264
-
- Apollo and the Muses on Mount Parnassus, ii. 31-33
-
- Satirical drawings of the “Passion” for woodcuts, ii. 77, 342
-
- Queen of Sheba and King Solomon (Windsor), ii. 262-264, 350
-
- A Transport Ship (Frankfurt), i. 161 _note_;
-   ii. 264
-
- Design for a royal fireplace (British Museum), ii. 269-270
-
- Queen Jane Seymour’s Cup (Oxford and British Museum), ii. 113, 274-275,
-    286
-
- Sir Anthony Denny’s Clock (British Museum), ii. 276, 286
-
- Designs for cups, tankards, sword and dagger hilts, jewellery,
-    hat-badges, &c. (British Museum, Basel, Chatsworth, &c.) i. 73, 161,
-    350;
-   ii. 195-196, 275-286
-
-
- _Drawings: Portrait-Studies (arranged alphabetically)_
-
- (Except where indicated, the drawings are all in the Windsor Castle
-    Collection.)
-
- Abergavenny, Marquis of (Wilton House), ii. 62, 222, 248, 255
-
- Audley, Lady, ii. 255, 258
-
- Boleyn, Queen Anne, so-called, ii. 110
-
- Boleyn, Thomas, Earl of Wiltshire, ii. 256
-
- Borough, Lady, ii. 256
-
- Bourbon, Nicolas, ii. 63, 73-74
-
- Butts, Lady, ii. 210, 255
-
- Carew, Sir George, ii. 256
-
- —— Sir Nicholas (Basel), ii. 87-88, 248, 256, 260
-
- Clement, Margaret, i. 303
-
- Cleves, Anne of, so-called, ii. 183
-
- Clinton, Edward, Lord, ii. 256
-
- Cobham, George Brooke, Lord, ii. 256-257
-
- Cresacre, Anne, i. 303
-
- Dancy, Elizabeth, i. 296, 303
-
- Dorset, Marchioness of, ii. 256, 258
-
- Edward VI., three drawings, ii. 166-168, 205, 255
-
- —— —— with meerkat (Basel), ii. 167-168
-
- —— —— roundel in Basel Sketch-Book, ii. 168, 238
-
- Elyot, Sir Thomas, i. 336
-
- Elyot, Lady, i. 336;
-   ii. 258
-
- Erasmus, study of hands for 1523 portraits (Louvre), i. 171
-
- Fisher, John, Bishop of Rochester, i. 324;
-   other versions in British Museum, &c., i. 324;
-     ii. 254
-
- Fitzwilliam, William, Earl of Southampton, ii. 204-205
-
- George, Simon, ii. 207-208, 252, 255
-
- Godsalve, Sir John, i. 325-326;
-   ii. 125, 251, 255
-
-
- Guldeford, Sir Henry, i. 318-319, 321;
-   ii. 250-252, 255;
-   version formerly in Heseltine Collection, i. 318 _note_;
-     ii. 254
-
- —— Lady (see below, Unknown Lady)
-
- Hemingham, Lady, i. 310 _note_;
-   ii. 237, 256, 258
-
- Henry VII and Henry VIII, &c., study for Whitehall wall-painting
-    (Chatsworth), ii. 93, 95, 97-99, 318 _note_, 105, 107, 134, 236, 351
-
- Henry VIII (Munich), ii. 93, 99-101, 104-105, 107-108, 236, 248
-
- Heron, Cecilia, i. 303;
-   ii. 250
-
- Hoby, Sir Philip, ii. 119
-
- Holbein, Hans (Basel), i. 185-186
-
- Holbein’s Wife as a Girl (?) (Louvre), i. 108, 112, 144
-
- Howard, Queen Catherine, ii. 194, 254-255
-
- Le Strange, Sir Thomas, ii. 86, 256
-
- Lister, Lady, ii. 258
-
- “Mary, Lady, after Queen,” ii. 110, 215, 258
-
- Melanchthon, Philip, ii. 200, 250
-
- Mewtas, Lady, ii. 140, 256-257
-
- Meyer, Jakob, and Wife, study for double portrait of 1516 (Basel), i.
-    22, 55;
-   ii. 256, 328
-
- Meyer, Jakob, Wife, and Daughter, studies for the Meyer Madonna
-    (Basel), i. 236-237;
-   ii. 256, 260
-
- Monteagle, Lady, ii. 256
-
- More Family Group, study for (Basel), i. 291-296, 298-301, 303, 305,
-    308-310, 338, 341-342;
-   ii. 255, 331, 335-339
-
- More, John, i. 303
-
- More, Sir John, i. 303
-
- More, Sir Thomas, i. 303;
-   ii. 250-251, 255
-
- Morette, Charles de Soliers, Sieur de (Dresden), ii. 66-67, 69, 248,
-    256
-
- Parker, Lady, ii. 256, 258
-
- Parr, William, Marquis of Northampton, ii. 256
-
- Parry, Sir Thomas, ii. 256
-
- Poyntz, Sir Nicholas, ii. 71-72
-
- Poyntz, John, ii. 71;
-   another version formerly in Heseltine Collection, ii. 71 _note_, 254
-
- Ratcliffe, Lady, ii. 256
-
- Reskimer, i. 333-334;
-   ii. 255
-
- Rich, Sir Richard, ii. 212, 256
-
- Rich, Lady, ii. 212, 256, 258
-
- Richmond, Mary, Duchess of, ii. 110-111, 257
-
- Roper, Margaret (?) (Salting Bequest), i. 309;
-   ii. 248, 252
-
- Russell, Sir John, ii. 256
-
- Seymour, Queen Jane, ii. 112, 251, 255
-
- Sherrington, Sir William, ii. 256
-
- Southwell, Sir Richard, ii. 85, 255
-
- Stanley, Edward, Earl of Derby, ii. 256
-
- Suffolk, Catherine, Duchess of, ii. 226;
-   replica in British Museum, ii. 226, 254
-
- Surrey, Henry Howard, Earl of—three drawings, ii. 200-201
-
- Surrey, Lady, ii. 201
-
- Tuke, Sir Bryan, ii. 255
-
- Vaux, Lord, ii. 52, 87, 252, 256-257
-
- —— Lady, ii. 87, 252, 255
-
- Warham, William, Archbishop of Canterbury, i. 321;
-   ii. 250-251, 255
-
- Wentworth, Sir Thomas, ii. 256
-
- Wingfield, Sir Charles, ii. 254
-
- Wyat, Sir Thomas, ii. 79, 250, 252
-
- Zouch, Mary, ii. 256, 259
-
- Unknown Man (called Dinteville), ii. 43, 69 _and note_, 257
-
- —— Englishman (Berlin), ii. 248, 259
-
- —— —— (Chatsworth), i. 336;
-         ii. 248
-
- —— —— —— i. 337;
-           ii. 248
-
- —— —— and Wife (Basel), i. 321;
-         ii. 248, 260
-
- —— English Lady (Lady Guldeford?) (Basel), i. 321;
-     ii. 87 _note_, 248, 260
-
- —— Young Man with Broad Hat (Basel), i. 186 _note_;
-     ii. 259-260
-
- —— —— —— profile, to right, ii. 257
-
- —— Lady in White Cap, ii. 258
-
- —— —— ii. 70, 227
-
- —— —— full-face, ii. 214
-
- —— Boy, dated 1520 (Louvre), ii. 214
-
- Portrait group of a Lady and Children (British Museum), ii. 226-227
-
- Windsor Castle, Collection of Heads of the ladies and gentlemen of
-    Henry VIII’s Court, &c. (general), i. 294, 309, 321, 328, 336;
-   ii. 62, 69, 70, 73, 79, 85-87, 101, 110, 125, 134, 140, 191, 200-201,
-      223, 243-259, 318, 342
-
-
- _Designs for Woodcuts_
-
- Earliest dated title-page, i. 34, 191, 193, 253
-
- Christ Bearing the Cross, i. 44
-
- Jacob’s Ladder (in Wolff’s _Pentateuch_), i. 77
-
- Table of Cebes, i. 77, 193-195
-
- The New Jerusalem (Wolff’s _New Testament_), i. 77
-
- Title-page, Statue-Book of Freiburg, i. 111, 193
-
- Erasmus, roundel, i. 181
-
- Erasmus “in eim Ghüs,” i. 181-182, 350;
-   ii. 276, 329
-
- Various title-pages, &c., metal cuts by Faber and “C.V.,” i. 188
-
- Mucius Scævola, i. 191-193
-
- St. Peter and St. Paul (Luther’s _New Testament_), i. 195
-
- Four Evangelists (Luther’s _New Testament_, octavo edition), i. 195-196
-
- St. Paul (Platter’s _New Testament_), i. 196, 350
-
- St. John Baptizing the Saviour, &c. (Wolff, _New Testament_), i.
-    196-197
-
- Death of Cleopatra, i. 198
-
- David Dancing before the Ark, i. 198
-
- Christ the True Light, i. 198-200
-
- The Sale of Indulgences, i. 198-199
-
- Borders, alphabets, printers’ marks, &c., i. 200-202, 231;
-   ii. 332
-
- Dance of Death woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191,
-    204-224, 226-229, 290;
-   ii. 49, 50, 74, 87-88, 188, 264, 314-315, 345
-
- Alphabet of Death, i. 189, 201, 207, 224-226
-
- Old Testament Woodcuts, i. 85, 187, 190, 204, 211-212, 226-230;
-   ii. 74-75
-
- Title-page, Coverdale’s Bible, i. 97
-
- Designs for Münster’s Cosmography, &c., i. 350-351
-
- Portrait of Nicolas Bourbon, ii. 74, 79
-
- Woodcuts of English period, ii. 78-79
-
- Title-page, _Hall’s Chronicle_, i. 188 _note_;
-   ii. 79
-
- Portrait of Sir Thomas Wyat in _Næniæ_, ii. 79-81, 205
-
- Holbein, Jacob, Hans Holbein’s younger son, ii. 301
-
- —— Johann Georg, Knight of Holbeinsberg, ii. 300-301
-
- —— John, of Folkestone, and wife, ii. 302
-
- —— Katherine, wife of Jacob Gyssler, Hans Holbein’s daughter, i.
-    343-347;
-     ii. 301
-
- —— Kunigunde (Küngolt), wife of Andreas Syff, Hans Holbein’s daughter,
-    ii. 301
-
- —— Margreth, _see_ Herwart, Margreth
-
- —— Michel, of Oberschönefeld (1448), i. 1, 2
-
- —— —— leather-dresser, father of Hans Holbein the Elder, and his wife,
-    i. 2, 3
-
- —— Ottilia, i. 3
-
- —— Philip, Hans Holbein’s eldest son, i. 105-106, 176, 343-347;
-     ii. 162-164, 298, 300
-
- —— Philip, son of above, ii. 300
-
- —— Ursula, _see_ Nepperschmid, Ursula
-
- —— Sigmund, brother of Hans Holbein the Elder, i. 3, 13, 20, 32;
-     ii. 161-162, 300
-
- —— an Englishman, of Wells, ii. 301
-
- —— Chamber, Strawberry Hill, ii. 249
-
- —— Exhibition, Basel (1897-1898), i. 79
-
- —— —— Dresden (1871), i. 237;
-       ii. 206, 211
-
- —— Society, i. 214
-
- _Holbein’s Ambassadors_ (Miss M. F. S. Hervey), 1900, _see_ Hervey
-
- _Holbein’s Ambassadors Identified_ (Elias Dexter), 1890, _see_ Dexter
-
- _Holbein’s Ambassadors Unriddled_ (W. F. Dickes), 1903, _see_ Dickes
-
- Holbein’s coat of arms, i. 1;
-   ii. 280
-
- Holbein’s Gate, _see_ Whitehall
-
- Holbeinsberg, Knight of, _see_ Holbein, Johann Georg
-
- Holbyn, Johannes, of North Stoke, ii. 301
-
- Holdermeier, State Councillor of Lucerne, i. 79
-
- Holford, Lieut.-Col. G. L., C.I.E. (collection), ii. 304
-
- Holford, Mr. R. S. (collection), ii. 72
-
- Holland, Earl of, i. 323
-
- —— Henry, Lord, Duke of Exeter, i. 334
-
- —— House, i. 328 _and note_
-
- —— Jane, i. 334
-
- —— Queen of (collection), ii. 220, 229-230, 355
-
- —— Robert, i. 334
-
- —— William, jeweller, ii. 287
-
- Hollar, Wenceslaus, i. 27-28, 71, 87, 214, 308, 318, 320;
-   ii. 15, 44, 61, 67-69, 77, 112, 166, 182 _and note_, 193-194, 200,
-      209, 214-215, 231, 253, 263, 275-276, 283, 329-330, 346
-
- Holmes, Mr. C. J., i. 251
-
- —— Sir Richard, ii. 70, 228-229, 244, 250-251, 394-395
-
- Holtesweller, Henry, jeweller, ii. 287
-
- “Holtein,” i. 17
-
- Holtscho, house-master of London Steelyard, ii. 24
-
- Holyrood Palace, ii. 141
-
- Holywell Priory, Shoreditch, i. 272
-
- Holzwart, Matthias, poet, i. 132
-
- Hondius, H., ii. 15
-
- Hone, Galyon, glazier, i. 268
-
- Honthorst, Gerard, i. 224;
-   ii. 101 _note_
-
- Hoorenbault family, _see_ Hornebolt
-
- —— Lucas, painter of this name master of Ghent Guild (1512-32), i. 264
-
- Horace, ii. 332
-
- “Horebout, Gerard,” ii. 102
-
- Horne, Sir William van, Montreal (collection), i. 185
-
- Hornebaud, _see_ Hornebolt
-
- Hornebolt family, ii. 233-234
-
- —— Gerard, i. 263-268, 287;
-     ii. 100, 102, 105, 217, 220
-
- —— Jacomyne, daughter of Lucas, i. 265
-
- —— Lucas, i. 263-268, 287;
-     ii. 71, 100, 102, 104-105, 141-142, 197, 217-220, 236, 303
-
- —— Margaret, wife of Lucas, i. 265
-
- —— Susanna, i. 263-265, 268, 287;
-     ii. 70-71, 217, 238-239
-
- Horsham St. Faith’s, ii. 85
-
- Hoskins, John, ii. 235
-
- Houbraken, _Heads of Illustrious Persons_ (1745), ii. 61, 181-182,
-    193-194
-
- House of the Dance, _see_ Dance
-
- Houth, Thomas, ii. 6
-
- Howard family, ii. 135, 191-192
-
- —— Queen Catherine, ii. 55, 192-197, 200, 207, 220, 222-223, 238,
-    254-255, 283, 286
-
- —— Charles, i. 178
-
- —— Lord Edmund, ii. 192
-
- —— “Frances, Duchess of Norfolk,” ii. 228
-
- —— family of Greystoke Castle, i. 178;
-     ii. 214, 347
-
- —— Henry, Earl of Surrey, _see_ Surrey
-
- —— Mr., i. 171 _note_
-
- —— —— Soho Square, ii. 135
-
- —— Thomas, Duke of Norfolk, _see_ Norfolk
-
- —— Lord William, ii. 138
-
- Howell, John, painter-stainer, i. 261
-
- Huber, Andreas, tailor of Basel, i. 58
-
- Hudson, William, ii. 72
-
- Hueet, Hans, _see_ Eworthe
-
- Hueffer, F. M., ii. 395
-
- Hughes, Gerard, jeweller, ii. 287
-
- _Humanae Industriae Monumenta_ (Faesch), ii. 329
-
- Humphreys, H. Noel, i. 214
-
- Hungary, Isabella of, Queen of Denmark, ii. 117
-
- —— Queen Mary of, Regent of the Netherlands, ii. 115-116, 118-120,
-    122-124, 130-133, 137, 148, 180, 344
-
- Hunstanton, Norfolk, ii. 86
-
- Huppertz, A., ii. 395
-
- Hurebaut, Gheraerd, of Ghent, father of Lucas Hornebolt, i. 264, 268
-
- —— Joris, i. 264
-
- Hutchinson, Colonel, i. 167
-
- Huth family, ii. 340
-
- Huth, Mr. Edward, i. 293, 303, 306;
-   ii. 221, 348
-
- —— Mr. Henry, i. 303
-
- Hutten, Ulrich von, i. 36
-
- Hutton, John, resident English agent in Brussels, ii. 115-128, 130-131,
-    180
-
- —— Hall, i. 300
-
- Hymans, H., i. 165 _and note_
-
- Hythlodæus, Raphael, i. 62, 163, 192
-
- Iconoclastic outbreaks in Basel, i. 113, 177, 339-343, 352
-
- _Illustrated London News_, ii. 294
-
- Imhoff Collection, i. 18
-
- Imhoff, Magdalena, i. 14
-
- Immerzeel, _De Levens en Werken_, &c. (1842), i. 265
-
- Imperial Diet at Speier (1529), i. 185
-
- Ingoldstadt, ii. 50
-
- Inquisition, Spanish, i. 272
-
- _Interpretation of the Psalms_ (Bugenhagen), i. 198
-
- _Inventare hansischer Archive_, &c., ii. 19
-
- Ipswich, Wolsey’s College, i. 267
-
- Ireland, National Gallery of, i. 335
-
- Irmi, Anna, _see_ Meyer, Anna
-
- —— Nikolaus, i. 236, 239
-
- —— Rosina, i. 239;
-     ii. 328
-
- Irnham Hall, Lincolnshire, ii. 305
-
- Iron Acton, Gloucestershire, ii. 72
-
- Isabella of Denmark, sister of Charles V, ii. 132, 137
-
- Iselin, Johan Lucas, i. 190
-
- —— Lucas, i. 239-241;
-     ii. 328, 330, 344
-
- —— Dr. Ludwig, i. 118, 123;
-     ii. 156-157, 301
-
- Isenheim, i. 5, 13-15, 18, 22, 32, 82, 148, 254
-
- —— Monastery of St. Anthony, i. 13, 22
-
- Italian influences in Holbein’s pictures, &c., i. 75-78, 80-81, 250-251
-
- —— painters and sculptors in England, i. 270-287
-
- Italy, Holbein’s visit to, _see_ Lombardy
-
- Iveagh, Lord, ii. 35
-
-
- Jabach, Eberhard, banker, of Cologne, i. 173, 335;
-   ii. 65
-
- Jacob, Brother, of Dominican Monastery, Basel, ii. 156
-
- Jäger Collection, ii. 57
-
- “Jak, Mother,” nurse to Edward VI, ii. 70, 227
-
- James I of England, ii. 13, 24, 130, 293
-
- —— —— Catalogue, ii. 87
-
- —— II of England, Catalogue, i. 97;
-     ii. 14, 224, 249
-
- —— V. of Scotland, ii. 139-141, 143, 147
-
- _James V and Marie of Lorraine_, by an unknown Scottish master, ii. 141
-    _and note_
-
- Jane, maid to Hans of Antwerp, ii. 13
-
- Janet (Jennet), ii. 105, 107, 137, 216 _and note_
-
- Jenks (Gynkes), William, grocer, of London, ii. 212
-
- Jennings, Sir John, ii. 337
-
- Jentill, _see_ Gentils
-
- Jenyns, Robert, the King’s master mason, i. 271
-
- “Jeronimo Italion,” _see_ Treviso, G. da
-
- Jessop, Dr. Augustus, i. 305-306
-
- Jewel House, Master of the, _see_ Amadas and Cromwell
-
- _Jewellery_ (H. Clifford Smith), ii. 281-282
-
- Johann Ernst, Duke of Saxony, ii. 94-95
-
- John IV of Portugal, i. 16
-
- Johnson, Mr. John G., Philadelphia (collection), ii. 206
-
- Joinville, i. 176;
-   ii. 139, 144, 147-152, 154-155, 343
-
- Joseph, Mrs. (collection), i. 320
-
- Jura, i. 233
-
- Juxon, Archbishop, i. 322
-
-
- Kainzbauer, L., ii. 395
-
- Kaisheim Monastery, Donauwörth, i. 9
-
- Kale (for Fallen), ii. 22 _note_
-
- Kämlin, Hans, i. 13, 22
-
- Kannengiesser von Tann, Dorothea, wife of Jakob Meyer, i. 52-55,
-    157-158, 234, 236, 239;
-   ii. 328
-
- Karlsruhe Gallery, i. 38-39, 43, 63, 87, 101, 112, 160, 180, 249;
-   ii. 354
-
- —— Grand-Ducal Cabinet, i. 207
-
- Kastner, Adolph, joiner, i. 9
-
- —— Georg, Abbot, i. 9
-
- Katherine of Aragon, _see_ Aragon
-
- Kaulek, ii. 143
-
- Kensington Palace, i. 317, 319, 326;
-   ii. 249, 252
-
- Ketteringham, Norfolk, ii. 258
-
- Kildare, Earl of, ii. 6
-
- Killigrew, Sir Robert, i. 334
-
- Kimbolton Castle, i. 266;
-   ii. 104
-
- _King Saul and the Shepherd David_ (M. Holzwart), i. 132
-
- King’s Bench, i. 293
-
- —— Book of Payments, _see_ Royal Household Accounts
-
- —— Walden House, Herts, ii. 104
-
- Kinkel, G., ii. 395
-
- Kinnaird, Lord (collection), i. 319 _note_
-
- Kip, J., engraver, ii. 346
-
- Kirkheimer, Erasmus, King’s armourer, ii. 19, 298
-
- Klingenthal Nunnery, Little Basel, i. 205
-
- Kluber, Hans Hug, painter of Basel, i. 205;
-   ii. 311 _note_
-
- Knackfuss, Prof. H., i. 50, 96, 112, 184, 186, 249;
-   ii. 395
-
- Knapton Sale (1804), i. 309
-
- Knepp Castle, Sussex, fire at (1904), i. 320;
-   ii. 212, 311
-
- Knight, _Life of Erasmus_, i. 320
-
- Knoedler, Messrs., ii. 340
-
- Knole, i. 287, 307-308, 310 _note_;
-   ii. 112, 201, 303, 352
-
- Knörr, banker, Lucerne, i. 71
-
- Knowsley, ii. 245
-
- Koberger, bookseller of Nuremberg, ii. 331
-
- Koegler, Dr. Hans, i. 98;
-   ii. 330-332, 395
-
- Kolman family, armourers of Augsburg, i. 31
-
- Konody, Mr. P. G., ii. 45 _note_
-
- Kratzer, Niklaus, Henry VIII’s astronomer, i. 299, 327-330, 337, 350;
-   ii. 4, 43, 73, 88, 143, 152, 241, 255
-
- Kugler, Dr., i. 237;
-   ii. 395
-
- Kulm, Dantiscus, Bishop of, i. 179
-
- Kunigunde, Empress, i. 114
-
- _Kunstblatt_, ii. 167
-
- Kyrkenar, Erasmus, _see_ Kirkheimer
-
-
- Lachner family, of Basel, ii. 325
-
- Lafenestre, i. 173
-
- Lago, Alice di, ii. 228
-
- —— Jago di, of Newcastle-under-Lyme, ii. 228
-
- Laine, Richard, painter-stainer, i. 261
-
- “Lallenkönig,” i. 351
-
- Lambert, Bishop, i. 111
-
- Lambeth Palace, i. 321-323;
-   ii. 350
-
- Lanckoronski Collection, Vienna, i. 20;
-   ii. 211, 349
-
- Landgrave, The, ii. 172
-
- Lane, Sir Hugh P., i. 301;
-   ii. 351
-
- Lange, Jehan, jeweller of Paris, ii. 288
-
- Languedoc, ii. 44
-
- Lappenberg, Dr., ii. 2 _note_, 13, 24-25, 395
-
- Larpent, S., _Sur le Portrait de Morett_, ii. 68, 395
-
- Lasora, Nic., painter, i. 262, 314;
-   ii. 310 _note_
-
- Latronet, jeweller of Paris, ii. 288
-
- Lausanne, i. 180
-
- Lavater, i. 300
-
- Lavaur (town), ii. 35, 40-42
-
- —— Bishop of, _see_ Selve, George de
-
- Lavena, Trolli von, i. 72
-
- Law, Mr. Ernest, i. 97, 165, 167, 184, 318, 333-334;
-   ii. 10, 87, 97, 103-104, 193, 199, 223, 225, 395
-
- Lawrence Collection, i. 144, 156, 357;
-   ii. 327
-
- Layer Marney, i. 270
-
- Le Blond, Michel, i. 28, 166-168, 239-241;
-   ii. 330
-
- Le Brun, J. B. P., ii. 37-38, 45-48
-
- —— —— —— _Galerie des Peintures_, &c., ii. 37
-
- —— —— Madame Vigée, ii. 37
-
- Lebrune, Isaac, painter, i. 262
-
- Lech Canals, Augsburg, i. 2, 19
-
- Leconfield, Lord (collection), ii. 22, 97 _and note_, 351, 355
-
- Lee, Sir Anthony, ii. 82
-
- —— Sir Henry, K.C., ii. 82
-
- —— Lady, _see_ Wyat, Margaret
-
- —— Dr., i. 329
-
- —— Priory, Kent, ii. 109, 181-182, 235
-
- Leemput, Remigius van, ii. 94-97, 97 _note_, 99, 103-104
-
- Lehmann, Rudolf, i. 238
-
- Leicester, Earl of, i. 333
-
- Leighton, Lord, _Addresses to Students of the Royal Academy_, ii.
-    319-320, 396
-
- Leipzig, and Museum, i. 100, 106;
-   ii. 31
-
- Leithäuser, ii. 396
-
- Leland, John, ii. 38, 80, 205;
-   _Næniæ_, i. 202-203;
-   poem on birth of Prince of Wales, i. 203
-
- Lely Collection, ii. 26
-
- Lely, Sir Peter, ii. 345
-
- Lenthall Sale (1808), i. 301; (1833) i. 301
-
- —— William, Speaker, i. 301;
-     ii. 336
-
- Leo X, Pope, i. 199
-
- Leominster, ii. 119
-
- Leonardo da Vinci, i. 74-76, 87, 106-107, 160, 173, 250, 257
-
- Leontorius, Conrad, i. 84
-
- Leopold, Archduke, ii. 65, 209
-
- Leopold William, Archduke, ii. 203
-
- Lepzelter, Bastian, sculptor, of Basel, i. 58
-
- —— Martin, sculptor, i. 133
-
- Leslie, Sir John, Bt. (collection), ii. 254
-
- Le Strange, _see_ Strange
-
- Lewes (town), ii. 55
-
- Lewis, F. C., engraver, ii. 250
-
- —— Rev. J., i. 295-296
-
- “Leysure, Nic., a German,” i. 314 _note_;
-   ii. 310 _note_
-
- Lezard, _see_ Lyzarde
-
- Liancourt, Duc de, i. 173;
-   ii. 245
-
- _Lieberhaber-Bibliothek_, i. 214
-
- Liestall, near Basel, ii. 5
-
- Lille Museum, i. 344
-
- Linacre, Dr., ii. 208
-
- Lincoln, Bishop of, ii. 226
-
- Lindtmeyer, Daniel, glass-painter of Schaffhausen, ii. 326
-
- Linton, Henry, engraver, ii. 294
-
- Lippmann, Dr. F., i. 214
-
- Lisbon, i. 14, 16, 22;
-   ii. 300;
-   Palacio das Necessidades, i. 16, 22 _note_;
-   Museu Nacional, i. 22 _note_
-
- Lisle, Lord, i. 333
-
- Lister, Lady, ii. 258
-
- Little Basel, i. 90, 122, 351;
-   St. Theodore, i. 150;
-   Klingenthal Nunnery, i. 205
-
- _Little Passion_ (Albrecht Dürer), i. 42-43
-
- Lizardi, Nicolo, _see_ Lyzarde
-
- Lloyd, picture-restorer, ii. 293 _note_
-
- Lobons, John, the King’s Master Mason, i. 271
-
- Lock, William, mercer, ii. 19, 92 _note_
-
- Lockey, Rowland, i. 302
-
- Lodge, Edmund, Lancaster Herald, ii. 250
-
- Lodge’s _Portraits_ (1835), ii. 61
-
- Lodi (town), i. 240
-
- —— Giovanni da, i. 240
-
- Lottie Mr. W. J., F.S.A., ii. 346, 396
-
- _Lomazzo on Painting_ (trans. by Haydock), ii. 308
-
- Lombardy, Holbein’s visit to, i. 42, 57, 64-65, 69, 72, 74-78, 80, 143,
-    251;
-   ii. 314
-
- “Lomentlin” (Anna), i. 20
-
- London, i. 169, 257, 265, 268, 271, 273, 278, 280, 282-283, 289-290,
-    295, 302, 315, 328, 331;
-   ii. 1-4, 9, 11, 13-15, 19, 22, 24, 30, 33, 35, 43-44, 59, 64, 67-68,
-      76, 80, 87, 91-92, 118, 121, 124, 139, 142, 145, 152, 154-155,
-      164, 172, 175-176, 184, 219, 221, 233, 261, 281, 288, 294, 297,
-      299, 300, 308, 319
-
- —— All Hallows St., ii. 2;
-   Bridewell Hospital, ii. 169;
-   Bridewell Palace, ii. 42-43, 292;
-   Cannon St., ii. 2 _and note_;
-   Christ’s Hospital, ii. 169;
-   Cousins Lane, ii. 2;
-   Dowgate, ii. 2;
-   Farringdon Without and Within, i. 260;
-   Fenchurch St., ii. 30;
-   Fleet St. ii. 56;
-   Gracechurch St., ii. 30;
-   Great Fire (1666), i. 261;
-     ii. 189, 299;
-   Guildhall, ii. 96;
-   Holywell Priory, Shoreditch, i. 272;
-   John Ball’s Buildings, ii. 33;
-   Lombard St., ii. 13, 287;
-   London Bridge, ii. 189;
-   Mercers’ Hall, i. 287;
-     ii. 205, 304;
-   Monkwell St., ii. 289;
-   Montagu House, ii. 221-222;
-   Parliament St., ii. 267;
-   Rolls Chapel, i. 272;
-   St. Andrew Undershaft, Aldgate Ward, ii. 1, 188-189, 295-296, 299;
-   St. Bartholomew’s Hospital, i. 266;
-     ii. 101, 103, 234;
-   St. Bride’s, ii. 291;
-   St. Catherine Cree, ii. 299;
-   St. Giles without Cripplegate, ii. 305;
-   St. James’s Palace, i. 284;
-     ii. 137, 269-271, 333;
-   St. James St., ii. 269;
-   St. Martin’s-in-the-Fields, i. 265;
-     ii. 310;
-   St. Martin Orgar, i. 280;
-   St. Nicholas Acon, ii. 12-13;
-   St. Paul’s Cathedral, ii. 294;
-   St. Saviour’s, Southwark, ii. 307;
-   St. Vedast in Chepe, i, 260, 262;
-   Soho Square, ii. 135, 337;
-   South-Eastern Railway Station, ii. 2 _and note_;
-   Stafford House, ii. 165;
-   Thames St., ii. 2 _and note_, 3, 5, 33;
-   Tower, ii. 30, 200, 221;
-   Tyburn, ii. 196;
-   Waterloo Place, ii. 60;
-   Westminster, ii. 30;
-   Westminster Abbey, ii. 50;
-   Westminster Palace, ii. 127, 310;
-   Windgoose Alley, ii. 3, 21;
-   York House, ii. 14, 215
-
- London, Registers of the Commissary of, ii. 294
-
- Longford Castle, i. 164, 167, 169, 171, 177, 289, 292;
-   ii. 37, 137, 214, 307, 352
-
- Long Walk, Windsor Park, ii. 267
-
- Longueville (town), ii. 140
-
- —— Charles d’Orléans, Duke of, ii. 139
-
- Longueville, Duchess of, _see_ Guise, Marie of
-
- —— François, Duke of, son of Marie of Guise, ii. 146-148, 344
-
- Loo, Andries de, i. 295, 298, 323, 328 _and note_;
-   ii. 60-61, 334-337
-
- Lord, Robert, jeweller, ii. 287
-
- Lorenzo, Antonio di Piergiovanni di, i. 273
-
- Lorraine, ii. 120, 148, 150
-
- —— Anne of, ii. 145-146, 148-149, 153 _note_, 154-155, 176, 344
-
- —— Duke of, ii. 146, 149-150, 153 _and note_
-
- —— Duchess of, ii. 148, 152
-
- —— Christina, Duchess of, _see_ Milan
-
- Loseley MSS., ii. 244
-
- Loskart, Jasper, i. 241, 243
-
- Lössert, Johann, i. 240-241, 243
-
- Lothian, Marquis of (collection), i. 304 _note_;
-   ii. 305
-
- Lotter, Jörg, i. 13
-
- Louis XII of France, i. 269;
-   ii. 225, 234
-
- —— XIII of France, i. 173, 239
-
- —— XIV of France, i. 173, 323, 335;
-     ii. 181
-
- Louvain, i. 179, 192
-
- Louvre Gallery, Paris, i. 108, 122, 159-160, 171, 234 _note_, 304, 322,
-    325, 327-328, 335;
-   ii. 26, 81, 83, 85, 176, 181-183, 214, 237, 241, 255, 314, 353
-
- Lovelace, Richard, _Lucasta_, ii. 345
-
- Lovell, Sir Thomas, i. 272, 274
-
- Lubeck, i. 204
-
- Lucas, William, painter-stainer, i. 261
-
- Lucerne, i. 31, 42, 46, 57-58, 63-67, 70-72, 74, 78-82, 90, 100, 109,
-    116-117, 137, 142-144, 185, 197, 248;
-   ii. 313, 323-324, 326
-
- Lucerne, Brotherhood of St. Luke (Painters’ Guild), i. 64;
-   Church of the Augustines, i. 80-81;
-   Convent of the Franciscans, i. 78;
-   Fountain of the Cordeliers, i. 78;
-   Museum, i. 79, ii. 358;
-   Town Library, i. 72, 74;
-   Town Hall, i. 74
-
- Lucian, i. 62
-
- Ludi, Johannes, _see_ Lüdin
-
- Lüdin, Johannes, i. 239-240;
-   ii. 328-330
-
- Lugano, i. 77
-
- “Luike, Cardinal of,” ii. 116
-
- Luini, i. 81, 87, 95
-
- “Lukas, Master,” _see_ Hornebolt, Lucas
-
- Lumley Castle, Collection and Inventory (1590), i. 178, 304 _and note_,
-    318-320;
-   ii. 81, 88-89, 99, 133-135, 243-245, 305, 307
-
- —— family, ii. 89, 245
-
- —— John, Lord, i. 178, 277, 304, 319;
-     ii. 130, 133-135, 245
-
- Lupset, i. 253
-
- Luther, Martin, i. 212, 260
-
- —— —— _German Translation of New Testament_ (Petri), i. 195
-
- —— —— _German Translation of New Testament_, quarto ed. (Wolff), i. 196
-
- —— —— _German Translation of Old Testament_ (Petri), i. 197
-
- —— —— _Servum Arbitrium_, i. 291
-
- Luton House, i. 266
-
- Lutterell, Sir John, portrait by Eworthe, ii. 307
-
- Lützelburger, Hans, i. 44, 175, 181-182, 188, 189-191, 193, 195-197,
-    199, 201-202, 206-208, 210-213, 221-223, 226-229;
-   ii. 77
-
- —— Jacob, i. 190
-
- —— Michael, i. 190
-
- Lutzow, De, i. 237
-
- Lydio, _see_ Lüdin
-
- Lynne, Walter, printer, ii. 78-79
-
- Lyon, i. 149, 174-175, 188, 190, 208-209, 211-213, 222, 224, 226-228;
-   ii. 6, 38, 74-75, 187-188
-
- —— Corneille de, i. 305
-
- —— St. Pierre-les-Nonnains, i. 209;
-   St. Romain, i. 210
-
- _Lytle Treatise_, &c. (Dr. U. Regius), ii. 78-79
-
- Lyzarde, Nicholas, i. 287, 314 _note_;
-   ii. 12, 309, 310 _and note_
-
-
- Mabuse, i. 56, 307;
-   ii. 93, 136-137
-
- Machiels, A., i. 164 _note_, 166 _note_, 180 _note_;
-   ii. 396
-
- Machyn, _Diary_, i. 285
-
- Maçon, i. 174
-
- Madresfield Court, ii. 304, 308
-
- Madrid, Prado, i. 304 _note_, 334;
-   ii. 356
-
- _Magazine of Art_, ii. 39
-
- Magniac Collection Sale (1892), i. 335;
-   ii. 234
-
- Maguire, T. H., lithographer, ii. 125
-
- Mähly, J., i. 170
-
- Maiano, Giovanni da, i. 278, 280-281, 287 _note_, 314;
-   ii. 266-267
-
- Maintz, i. 190
-
- Mair, Paulson, i. 13
-
- Major, Dr. Emil, i. 85 _note_, 241;
-   ii. 328-329, 396
-
- Malcolm Collection, British Museum, i. 147, 357;
-   ii. 226
-
- Malermi Bible (1490), i. 230 _note_
-
- Malines, i. 179;
-   ii. 137
-
- Maltravers, Lord, portrait by Eworthe, ii. 307
-
- Manchester, Art Treasures Exhibition, 1857, ii. 360-361
-
- Manchester, Duke of (collection), ii. 61, 104
-
- Mander, Carel van, i. 23, 27-28, 50, 74, 224, 252, 289-290, 295, 298,
-    328;
-   ii. 15, 24, 29, 60, 94, 112, 134, 187, 213, 217, ii. 231, 289, 290,
-      298-299, 344, 396
-
- “Mane,” _see_ Maiano
-
- Manion, _see_ Maiano
-
- Manners, Lady Victoria, ii. 396
-
- Mannheim, ii. 20
-
- Mantegna, i. 67, 73-74, 95, 114, 121, 151, 234 _note_;
-   ii. 27, 314
-
- Mantes, ii. 333
-
- Mantz, P., ii. 396
-
- Manuel, H. R., i. 130
-
- —— Niklaus, _see_ Deutsch
-
- —— Rudolf, i. 173
-
- Margaret of Austria, i. 264
-
- —— of Navarre, i. 305;
-     ii. 145
-
- Margaret, Duchess of Savoy, daughter of Francis I, ii. 139
-
- —— Princess, afterwards Queen of Scotland, i. 353, 357;
-     ii. 136
-
- Marguyson, i. 284
-
- Mariette Collection, ii. 276
-
- Marignano, battle of, i. 35, 66
-
- Marillac, Charles de, French ambassador in England, i. 282-283;
-   ii. 176, 197
-
- Marlborough Collection, ii. 206
-
- Marne, ii. 147
-
- Marseilles, i. 305
-
- Marthyn, Cornwall, i. 334
-
- Martin-Holland, Mr. R., ii. 45 _note_
-
- Martyr, Peter, ii. 226
-
- Mary, Princess, Queen of England, i. 178, 266, 269, 311;
-   ii. 110, 112, 135, 168, 172, 195, 200, 215, 235, 239, ii. 257, 272,
-      304-305, 310
-
- “Mary, Queen,” portrait by “Evolls,” ii. 308
-
- Mary Tudor, sister of Henry VIII, widow of Louis XII, afterwards
-    Duchess of Suffolk, i. 269, 357;
-   ii. 193-194, 225, 227, 234, 258, 304
-
- Mary, Queen of Scots, _see_ Scots
-
- Mary, Princess, daughter of Charles I, ii. 104
-
- _Mary and John_ (ship), i. 258
-
- _Mary Rose_ (ship), i. 258
-
- Marzohl, Lucerne painter, i. 72
-
- Mason, Sir John, ii. 168
-
- Massmünster, Georg von, abbot of Murbach, i. 145
-
- Master of the “Death of Mary,” i. 335
-
- Mather, Mr. F. J., ii. 206
-
- Matted Gallery, Whitehall, _see_ Whitehall
-
- Matthias, Emperor, ii. 300
-
- Mauclair, C., ii. 396
-
- Maximilian, Emperor, i. 19, 20, 31, 49, 189, 217
-
- —— I, Elector of Bavaria, i. 17, 91-92
-
- Mayfield, Staffordshire, i. 156
-
- Mayn, John de la, _see_ Maiano
-
- Maynard, John, painter, i. 269, 271;
-   ii. 298
-
- Maynert, Henry, painter, witness of Holbein’s will, i. 269;
-   ii. 242, 295, 298
-
- Maynors, Katherine, miniaturist, i. 268-269;
-   ii. 298
-
- Mazzoni, Guido (Paganino), i. 270-271
-
- Meade, Dr. (Sale), i. 164, 171;
-   ii. 183
-
- Meath, ii. 209
-
- Mechel, Christian von, engraver, i. 183, 299;
-   ii. 5, 27, 300, 396
-
- Mechlin, i. 264
-
- Medici family, i. 199;
-   ii. 85
-
- —— Lorenzo de’, i. 271
-
- —— Maria de’, i. 239-241;
-     ii. 330
-
- —— Society, ii. 141
-
- Melanchthon, Philip, i. 184-185, 351;
-   ii. 200, 241, 250
-
- Melem, Von, i. 332
-
- Melman, Henry, Steelyard merchant, ii. 6
-
- Meltinger, Heinrich, burgomaster of Basel, i. 22, 254
-
- Mélun, ii. 283, 333
-
- Melville, Mr. James, ii. 343
-
- Memlinc, i. 288-289
-
- _Memorials of Old Chelsea_ (Alfred Beaver), i. 315
-
- Mercator, Sir Michael, ii. 178
-
- Mercers’ Hall, i. 287
-
- _Merchants’ Arithmetic Book_ (Apian, 1527), ii. 50
-
- Merchant Taylors’ Company, ii. 107
-
- Meres, Francis, i. 302;
-   ii. 308-309
-
- Mereworth Castle, Kent, ii. 189
-
- Mergenthau, i. 3
-
- Merian, C., i. 50, 206
-
- —— Friedrich, ii. 301
-
- —— Matthäus, _Topographia Helvetiæ_, i. 113, 131;
-     ii. 15, 27, 301
-
- Merlin, Conrad, i. 20
-
- Merlo of Cologne Collection, ii. 202
-
- Methuen, General Lord, i. 307
-
- Metropolitan Museum, New York, i. 72, 179;
-   ii. 347, 400
-
- Metsys, Quentin, i. 163-165, 169, 255, 288-289, 292
-
- Mewtas (Meutas), Lady, ii. 140, 256-257
-
- —— —— Peter, ii. 140-141, 143, 155
-
- Meyer, Adelberg, burgomaster of Basel, i. 124;
-   ii. 163, 298
-
- —— Anna, i. 234-236, 239
-
- —— C., i. 81
-
- —— Dorothea, _see_ Kannengiesser
-
- —— Jakob, zum Hasen, i. 52-55, 61, 109, 124-125, 131, 157, 174,
-    233-236, 239, 243, 343;
-     ii. 34, 256, 328, 330
-
- —— —— —— Hirschen, ii. 34, 158-159
-
- Meyrick, General, ii. 182, 235-236
-
- —— Sir Samuel Rush, ii. 182, 235
-
- Michelangelo, i. 271;
-   ii. 186 _note_
-
- _Microcosmo_ (Scannelli), ii. 66
-
- Middleton, Alice, _see_ More, Lady
-
- Mielich, Hans, painter, of Munich, ii. 241
-
- Milan, i. 6, 75, 140, 174, 250, 283;
-   ii. 159-160
-
- —— Brera Gallery, i. 251;
-   Archæological Museum, i. 140
-
- —— Christina, Duchess of, ii. 25, 65, 88, 115-138, 142, 150-151, 153
-    _and note_, 154-155, 171, 173-174, 176-178, 235, 255
-
- Milburne, Mr., i. 167-168
-
- Mildmay, Sir Henry B. St. John, Bt., i. 184
-
- Milhars, Château de, Languedoc, ii. 44, 46
-
- Millais, Sir J. E., and Sale (1897), ii. 206, 353
-
- _Miniatura, or the Arte of Limning_ (E. Norgate), ii. 219 _and note_
-
- Miniatures, Exhibition of, Brussels (1912), ii. 57 _note_, 230
-
- —— —— —— Rotterdam (1910), ii. 230
-
- —— —— —— South Kensington (1865), i. 308 _note_;
-         ii. 72 _note_, 109, 183, 228
-
- Mitcham, i. 279
-
- Mitchell, William, Collection, British Museum, i. 188
-
- Modecio, Nic. de, _see_ Bellin
-
- Modena (town), i. 281, 284;
-   ii. 186, 201, 303
-
- Modena, Collection, ii. 66-67
-
- —— Duke of, i. 306; _see also_ Este
-
- —— Nicholas de, _see_ Bellin
-
- Modène, _see_ Bellin
-
- Modon, _see_ Bellin
-
- Molitor, Oswald, i. 45-46, 49, 52, 57, 66, 125
-
- Monforde, barber-surgeon, ii. 291
-
- Mont, _see_ Mount
-
- Montagu House, ii. 221-222, 230, 235, 309
-
- Monteagle, Lady, ii. 256
-
- Montecucculi, Marquis Massimiliano, ii. 66
-
- Montmorency, Anne de, Grand Master of France, i. 283;
-   ii. 42-43, 139, 142-145, 152, 154
-
- Montpellier, i. 84, 149, 151, 153, 174, 176
-
- Montreal, i. 185
-
- Montrottier, i. 210
-
- Moor, The, ii. 110
-
- Mor, Sir Anthonis, ii. 235
-
- Morant, Mr., ii. 53
-
- More family, i. 243, 301
-
- —— Chapel, _see_ Chelsea
-
- —— Sir John (Sir T. More’s father), i. 293, 296-297, 300, 302-303;
-     ii. 336, 338-339
-
- —— John (Sir T. More’s son), i. 292, 294, 303;
-     ii. 335-337
-
- —— Lady (Sir T. More’s wife), i. 293-294, 296-297, 299, 300-301, 303,
-    337, 342;
-     ii. 337-338, 340
-
- —— Sir Thomas More, i. 45, 62, 163-164, 169, 179, 191-193, 243,
-    252-253, 255, 289-310, 313, 316, 321-323, 335-338, 341, 357;
-     ii. 1, 16, 25, 28-29, 65-66, 76, 84, 145, 185, 203-204, 212,
-        220-222, 250, 255, 271-272, 289, 331, 334-338, 340
-
- —— Thomas (More’s grandson), i. 301
-
- —— —— (More’s great-grandson), i. 301
-
- Morett, Hubert, French goldsmith, ii. 67-69, 288
-
- Morette, Charles de Soliers, Sieur de, French ambassador in England,
-    ii. 49 _note_, 63-70, 256
-
- Morgan, J. Pierpont, the late (collection), i. 177-179, 307, 328;
-   ii. 61, 182, 219-221, 227-228, 231-232, 235-236, 240-241, 347-348
-
- —— —— junior, ii. 214
-
- _Morning Post_, i. 354;
-   ii. 212 _note_
-
- “Moro, Il,” ii. 66-67
-
- Morysin, Sir Richard, ii. 165-166
-
- Moseley, Acton, ii. 212
-
- —— Captain, H. R., ii. 212
-
- —— Mr. Walter Michael, ii. 212, 348
-
- _Moses and Aaron before Pharaoh_ (Félix Chrétien), _see_ Chrétien
-
- Mount (Mont), Christopher, ii. 12 _and note_, 172-174
-
- Mühlhausen, i. 46
-
- Mundy, Alderman Sir John, jeweller, ii. 287
-
- Munich, i. 15, 91, 98, 328-329, 350;
-   ii. 231 _note_, 241
-
- —— Gallery, i. 9, 14, 27, 104, 331-332;
-     ii. 20, 23, 93, 99, 100, 104, 248, 355
-
- —— Print Room, i. 12, 182;
-     ii. 77, 236
-
- —— Academy of Fine Arts, i. 214
-
- —— Bavarian National Museum, ii. 241, 355
-
- Münster, Sebastian, _Cosmography_, i. 173, 198, 350
-
- Müntz, ii. 249
-
- Murbach, i. 82, 145
-
- Murner, Thomas, _Geuchmatt_, i. 59
-
- Murten, battle of, i. 66
-
- Musée Royal, i. 173
-
- Mychell, John, servant to Hans Eworthe, ii. 308
-
- Myconius, _see_ Molitor
-
- Mytens, D., ii. 101 _note_
-
-
- “Næniæ,” &c. (John Leland), i. 202-203;
-   ii. 80-81, 205
-
- Nägely, Hans Franz, burgomaster of Berne, ii. 162
-
- Nancy, i. 176;
-   ii. 139, 148-150, 154-155, 343-344
-
- Napoleon, ii. 85
-
- Nassau family, ii. 104
-
- National Art-Collections Fund, i. 188;
-   ii. 136
-
- —— Gallery, i. 286;
-     ii. 17 _note_, 35, 37, 46, 52, 125, 127, 136, 210-211, 309, 340,
-        349
-
- —— —— Catalogue, ii. 36-37
-
- —— —— of Ireland, i. 335;
-       ii. 350
-
- —— Portrait Exhibition (1862), ii. 109, 221, 361-362
-
- —— —— —— (1866), i. 297, 308;
-         ii. 79, 80, 85, 210, 212, 363-367
-
- —— —— —— (1868), i. 320, 332;
-         ii. 367
-
- —— —— Gallery, i. 269;
-       ii. 60, 80-81, 104, 109, 167, 170, 194, 196, 205, 210, 305
-
- —— —— —— Trustees, i. 301
-
- Navarre, Margaret of, _see_ Margaret
-
- Negker, Jost de, i. 189, 214 _and note_
-
- Nell, Hans, i. 19
-
- Nepperschmid, Ursula, sister of Hans Holbein the Elder, i. 3;
-   ii. 162
-
- Netherland New Testament (1532), ii. 19
-
- Neuburg, ii. 39, 48
-
- Nevers, François, Duke of, ii. 154 _note_
-
- Neville, Sir Edward, ii. 55
-
- Newbattle Abbey, Dalkeith, ii. 305-306
-
- Newcastle, ii. 204, 211
-
- Newcastle-under-Lyme, ii. 228
-
- Newdegate-Newdigate, Mr. F. A. (collection), ii. 210
-
- New Gallery Winter Exhibition (1899-1900), ii. 184 _note_; (1901-1902),
-    ii. 382-383
-
- New Hall, masking at, i. 259
-
- Newmarket, ii. 293
-
- _New Testament_ (Erasmus), i. 45
-
- Newton family, i. 173, 323;
-   ii. 85
-
- —— J. Adam, i. 173
-
- —— St. Cyres, Devon, i. 306
-
- New Year’s Gifts to and from Henry VIII, i. 267-268;
-   ii. 12 _and note_, 164, 232, 238-239
-
- New York, i. 72, 179, 320;
-   ii. 82, 340, 347-348, 400
-
- “N. H.,” of Augsburg, i. 189
-
- Nichol, _History of Leicestershire_, i. 302
-
- Nicholas Florentine, painter, i. 314;
-   ii. 310 _note_
-
- Nichols, F. M., F.S.A., i. 169 _note_, 291-292, 312-313, 315-316;
-   ii. 271-273, 396
-
- —— John Gough, F.S.A., i. 164, 263, 274, 284;
-     ii. 38, 110, 170, 193, 298, 396
-
- Nicolas, Sir Harris, _Privy Purse Expenses of Henry VIII_, ii. 68, 396
-
- Nimeguen, i. 190;
-   ii. 19
-
- Nimes, i. 174
-
- Nonsuch Palace, i. 263, 276-277, 279, 287;
-   ii. 135, 245, 270, 298
-
- Norfolk, Thomas Howard, 3rd Duke of, ii. 65, 84, 110, 124, 143, 171,
-    192, 194, 197-200, 216 _note_, 255, 257, 305
-
- —— Thomas Howard, 5th Duke of, ii. 248
-
- —— —— (1678), ii. 216
-
- —— Henry, 7th Duke of, Sale (1686), ii. 249;
-   (1692), ii. 198-199
-
- —— Duke of (present), ii. 135-136, 201, 303
-
- —— Mary, Duchess of, portrait by Eworthe, ii. 307
-
- —— House, ii. 198-199
-
- Norgate, Edward, _Miniatura_, &c., ii. 219 _and note_, 246-247 _and
-    note_
-
- Norman, Dr. Philip, ii. 2 _note_, 3 _note_, 33 _note_, 218, 219 _note_,
-    397
-
- Norris, Sir Edward, of Bray, i. 178
-
- —— Henry, i. 178
-
- —— (or Noryce), John, i. 178
-
- North, rebellion in the, ii. 19, 55
-
- —— Montague, i. 305
-
- —— Hon. Roger, i. 305-306
-
- Northampton, ii. 228
-
- Northbrook, Lord (collection), i. 50
-
- Northcote, Essex, ii. 54
-
- North Stoke, near Bath, ii. 301
-
- Northumberland, Duke of (collection), ii. 112, 166, 352
-
- —— Earl of, ii. 89
-
- Northwick Collection, i. 286
-
- North Wokendon, Essex, ii. 71
-
- Norton, ii. 11
-
- Norwich, i. 325-327
-
- Norwood, ii. 54, 56
-
- Nostell Priory, i. 295, 297, 299, 300;
-   ii. 334, 336-337, 339-340, 352
-
- Nottingham Pursuivant, i. 259
-
- Noue, Le, Collection, ii. 246
-
- _Nouvelles Archives de l’Art Français_, ii. 327
-
- Noviomagus, Gerardus, of Nimeguen, i. 192-193
-
- _Nugæ_ (Nicolas Bourbon), i. 211;
-   ii. 73-75
-
- Nunziata, Toto dell’, father of Antonio Toto, i. 276
-
- Nuremberg, i. 9, 92, 168, 171-172;
-   ii. 278, 320, 331
-
- —— Treaty of (1532), ii. 39, 46, 48
-
- “Nycolas, Master,” painter, i. 313-314;
-   ii. 310 _note_
-
-
- Oberhausen, Barbara von, sister of Hans Holbein the Elder, i. 3
-
- Oberried, Hans, i. 90-91
-
- Oberschönefeld, near Augsburg, i. 1, 2
-
- Obynger, Olrycke, merchant, witness of Holbein’s will, ii. 295, 298
-
- Ochs, Peter, i. 91 _note_, 127;
-   ii. 397
-
- œcolampadius, i. 350 _note_
-
- œmmel, _see_ Æmilius, George
-
- Offenburg, Dorothea, i. 158, 246
-
- —— Hans, i. 158
-
- —— Magdalena, i. 158, 162, 245-249, 252-253, 345-346
-
- Old Testament woodcuts, i. 85, 87, 190, 226-230
-
- Olisleger, Dr. Henry, Vice-Chancellor of Cleves, ii. 174-175, 184
-
- Oliver, Isaac, ii. 188, 209
-
- —— Peter, i. 302;
-     ii. 166
-
- “Olpeinus,” i. 341
-
- “Olpeius,” i. 342;
-   ii. 331, 341
-
- Olpeius, Severinus, ii. 331
-
- Oporinus, i. 61
-
- Orange, René, Prince of, ii. 154
-
- —— William of, ii. 104
-
- Ordnance Department, ii. 297
-
- “Oret, Andrewe,” _see_ Wright, Andrew
-
- Orleans, ii. 333
-
- —— Charles d’, Duc de Longueville, _see_ Longueville
-
- —— Collection and Sale, ii. 5 _and note_
-
- —— Duke of, i. 242
-
- —— Gallery, i. 304
-
- Osnabrüch, ii. 305
-
- Ostrelins, Maison des, Paris, ii. 25
-
- Othmarsheim, i. 95
-
- Ottener, Guillim, jeweller of Paris, ii. 288
-
- Otto Henry of Neuburg, Count Palatine of the Rhine, ii. 17 _note_, 39,
-    46, 48 _and note_, 49 _and note_
-
- Oxenbrigge Chapel, Brede Church, Sussex, ii. 272
-
- Oxford, i. 329;
-   Bodleian Library, i. 171 _note_, 326;
-   ii. 81, 113, 247, 274;
-   Corpus Christi College, i. 269, 329;
-   Merton College, ii. 208-209;
-   St. John’s College, ii. 183;
-   St. Mary’s Church, i. 329;
-   Wolsey’s College, i. 267
-
- Oxford, Earl of, Sale (1741), ii. 205 _note_, 337
-
- —— Lord Treasurer, ii. 189
-
- —— Exhibition of Historical Portraits (1904), i. 323;
-     ii. 81, 184, 209, 383
-
-
- Padua, ii. 64, 208
-
- —— John of, ii. 266
-
- Paganino, _see_ Mazzoni, Guido
-
- “Pageny, Master,” _see_ Mazzoni, Guido
-
- Palermo, i. 81;
-   ii. 203
-
- _Palladis Tamia_ (F. Meres), ii. 308-309
-
- Palmer, Major Charles, ii. 82, 348
-
- Paludanus, i. 192
-
- Panell, Thomas, ii. 12
-
- Pantalus, first Bishop of Basel, i. 114, 137
-
- Paris, i. 60, 147-148, 171, 176, 204, 266, 325 _note_;
-   ii. 25-26, 38, 44, 68, 71 _note_, 72, 141, 152, 162-164, 272, 288,
-      300, 342-343;
-   Bibliothèque Nationale, i. 142, 144, 207;
-   Bibliothèque de l’Institut, ii. 41;
-   Cabinet des Estampes, ii. 145;
-   Chapeaufort Maison, ii. 45;
-   Louvre, _see_ Louvre;
-   Rue du Four, St. Germain-des-Prez, ii. 45;
-   St. Sulpice, ii. 42, 45
-
- Parkenthorpe, Messrs., ii. 351
-
- Parker, Archbishop, i. 322
-
- —— John, yeoman of the robes, i. 264;
-     ii. 70, 217
-
- —— Lady, ii. 256, 258
-
- Parliamentary Commissioners (1650), i. 276
-
- Parma and Gallery, i. 177, 180, 351;
-   ii. 66, 355
-
- Parr, Queen Catherine, i. 269;
-   ii. 233, 238
-
- —— Sir William, afterwards Marquis of Northampton, ii. 256
-
- Parrhasius, ii. 75
-
- Parry, Sir Thomas, ii. 256
-
- Parthey, G., i. 88;
-   ii. 209, 397
-
- _Partitiones Theologicæ_, &c. (Conrad Gesner), i. 224
-
- Pasqualigo, Venetian ambassador to England, ii. 98
-
- Passavant, i. 4, 14-15, 49, 50, 296;
-   ii. 347
-
- “Passion in Folio,” owned by Sandrart, i. 157
-
- Patenson, Henry, i. 294, 301-302, 305
-
- Patin, Caroline, _Tabellæ Selectæ_ (1691), i. 299; 337
-
- —— Charles, i. 5, 23, 36, 80-81, 88, 117, 127;
-     ii. 397, 167, 180, 186, 240, 253; iii. ii. 94, 97, 231, 330, 397
-
- Pavia, battle of, i. 61
-
- —— Certosa of, i. 69, 76, 140
-
- Paynell, Thomas, ii. 172
-
- Paynter-Stayners’ Company, i. 260-261, 273
-
- —— Hall, Trinity Lane, i. 260-261
-
- Peacham, Henry, _Compleat Gentleman_, ii. 186 _note_, 270, 332
-
- —— —— _Graphice_, ii. 186 _note_
-
- Peartree, Mr. M., ii. 227
-
- Peasants’ War, i. 207, 252, 254
-
- Peltzer, R. A., ii. 397
-
- Pemberton, Lancashire, ii. 228
-
- —— family, ii. 228
-
- —— Major-General R. C. B., ii. 228
-
- —— Robert, ii. 228
-
- —— Mrs. Robert, ii. 220, 228-229
-
- —— William, ii. 228
-
- Pembroke, William Herbert, 1st Earl of (_d._ 1569), ii. 62, 268-269
-
- —— —— 2nd Earl of, ii. 134
-
- —— —— ii. 245-246, 248, 342
-
- —— Collection, ii. 222, 268
-
- —— and Montgomery, Earl of, ii. 62
-
- Pencz, George, portrait of Erasmus, i. 171-172, 181
-
- Pendrecht, ii. 187
-
- “Pene, Anthony,” _see_ Toto
-
- Pennacchi, Girolamo, _see_ Treviso
-
- —— Piermaria, i. 286
-
- Pennant, ii. 267
-
- Penne, Barthilmewe, _see_ Penni, B.
-
- Penni, Bartolommeo, i. 276-277, 280;
-   ii. 105, 303
-
- Penni, Gian Francesco (Il Fattore), i. 280
-
- —— Luca, i. 280
-
- Penny, Bartholomew, _see_ Penni, B.
-
- Penruddocke, Mr. Charles, ii. 61
-
- Pepys, _Diary_, i. 276;
-   ii. 95, 186, 188, 271, 293-294
-
- Perréal (de Paris), Jean, ii. 233-234
-
- Perreau, Louis de, _see_ Castillon
-
- Perrenot, Antoine, i. 111
-
- _Peter Pounde Garnarde_ (ship), i. 258
-
- Petre, Dr. William, ii. 175
-
- Petre, Lord, i. 300
-
- Petri, Adam, i. 59, 62, 111, 187, 190, 195, 197-198, 200, 228-229
-
- —— Heinrich, i. 350
-
- Petworth, Sussex, ii. 22, 97, 169, 351
-
- Pfleger, Hans, i. 19
-
- Philadelphia, ii. 206
-
- Phillip, Morgan, _see_ Wolf, Morgan
-
- Philipp of Neuburg, Count Palatine of the Rhine, i. 305 _note_;
-   ii. 17 _note_, 39, 46, 48 _and note_, 49 _and note_
-
- Phillips, Sir Claude, i. 164 _note_, 309;
-   ii. 86, 125, 397
-
- —— Sir Thomas, Sale (1903), i. 282
-
- Physicians, Royal College of, ii. 208-209
-
- Picart, C., engraver, ii. 214 _note_
-
- “Picart, Nicolas, Account of,” i. 282
-
- Piccard, T. Nieuhoff, ii. 186-188
-
- Pierron, J. A., engraver, ii. 37-38, 46
-
- Pirkheimer, Wilibald, i. 166, 168, 174, 340
-
- Pisselieu, Anne de, Duchesse d’Estampes, ii. 194
-
- Plasyngton, William, painter, i. 262
-
- Plato, i. 199
-
- Platter, T., publisher of Basel, i. 196, 350 _note_
-
- Playne, David, painter-stainer, i. 261
-
- Plepp, H. J., glass-painter, i. 129 _note_
-
- Plessis-Praslain, M. le Mareschal, ii. 42
-
- Plumier, Alard (Alart Plymmer), jeweller of Paris, ii. 142, 288
-
- Pole, Cardinal, ii. 87
-
- —— Carew, Mr. W. H., ii. 210, 347
-
- —— Sir Geoffrey, ii. 55
-
- Polisy, ii. 35, 38-41, 44, 48, 50
-
- —— Lord of, _see_ Dinteville
-
- Pollard, A. F., ii. 397
-
- Pomarancio, Il, _see_ Pomerantius
-
- Pomerantius (N. Circignano), i. 305-306
-
- Pope, Sir Thomas, ii. 60
-
- Porta, Hugo à, printer of Lyon, i. 227-228
-
- Portland, Duke of, ii. 169
-
- Portrait Miniatures, Special Exhibition of (1865), i. 308 _note_;
-   ii. 72 _note_, 109, 183, 228
-
- Poyntz (or Poyns), Anthony, ii. 72
-
- —— —— Elizabeth, ii. 72
-
- —— —— Joan, ii. 72
-
- —— —— John, ii. 254
-
- —— —— Nicholas, the Elder, ii. 71
-
- —— —— —— the Younger, ii. 63, 71-72, 342-343
-
- Prado, Madrid, i. 304 _note_, 334
-
- Prague Gallery, ii. 86, 348
-
- “Praise of Folly” drawings, i. 45-50, 63, 85, 171, 186
-
- Pré-Saint-Gervais, ii. 39
-
- Price, J. E., ii. 2 _note_
-
- Primadicis, Francisque de, _see_ Primaticcio
-
- Primaticcio, i. 257, 282;
-   ii. 75
-
- Prior, Matthew, ii. 345
-
- _Private Collections of England_ (F. G. Stephens), i. 297
-
- Privy Chamber, i. 178;
-   ii. 119, 140, 173, 177, 185
-
- —— Council, i. 271, 283;
-     ii. 59, 114, 117, 138, 142, 168, 177, 201, 208, 303-304
-
- —— Purse Expenses, _see_ Royal Payments
-
- _Privy Purse Expenses of Henry VIII_ (Nicolas), ii. 68
-
- Privy Purse Expenses of the Princess Mary, ii. 11
-
- Propert, Lumsden, Collection, ii. 237, 241, 309
-
- Prussia, Princess Elizabeth of, i. 242
-
- —— Prince William of, i. 237, 242
-
- Przibram, Fräulein Gabriele (collection), ii. 57
-
- Puttick and Simpson, Messrs., i. 353, 356
-
-
- Quad, Matthis, i. 23
-
- Quandt, Von, ii. 67
-
- Queen’s House, _see_ Buckingham
-
- Quesnel, François (portrait of Mary Ann Walker), ii. 141
-
- —— Jacques, ii. 141
-
- —— Nicolas, ii. 141
-
- —— Pierre, ii. 141
-
- Quicke family, of Newton St. Cyres, i. 306-307
-
- —— Mr. John, i. 307
-
- Quaritch, Bernard, i. 214
-
- Quocote, ii. 207
-
-
- Raczynski, ii. 397
-
- Radnor, second Earl of, ii. 37
-
- —— fifth Earl of, ii. 35
-
- —— Earl of (collection), i. 164;
-     ii. 214 _and note_, 308 _note_, 352
-
- Raf (Rave), Jan, _see_ Corvus
-
- —— Jehan, painctre de Flandres, _see_ Corvus
-
- Ramsden, Sir John, Bt., of Bulstrode Park, ii. 52-53. 352
-
- Raphael, i. 160, 250, 280, 286;
-   ii. 24, 62, 245, 314, 338
-
- —— Italian lead-caster, i. 314
-
- Rastall (or Rastell), John, i. 259, 314
-
- Ratcliffe, Lady, ii. 256
-
- Ratisbon, i. 91
-
- Rauner, Gumprecht, i. 19
-
- Ravensburg, i. 1
-
- Ravesbury, Surrey, i. 279
-
- Rawlinson MSS., Bodleian Library, ii. 219
-
- Rawnsley, Canon, ii. 397
-
- Razet, Jacques, i. 28
-
- Record Office, i. 267, 312;
-   ii. 64, 127, 232
-
- “Ree, Isle of,” i. 166
-
- Regius, Dr. Urbanus, ii. 78
-
- Reinach, S., ii. 22 _note_, 397
-
- Reinhart, H., ii. 209
-
- Rembrandt, ii. 318 _note_, 342
-
- Reperdius, Georgius, _see_ Reverdino
-
- _Repertorium für Kunstwissenschaft_, ii. 331
-
- Reskemeer, _see_ Reskimer
-
- Reskimer, i. 299, 333-334;
-   ii. 255
-
- —— Catherine, _see_ Trethurff
-
- —— Elizabeth, _see_ Arundel
-
- —— Jane, _see_ Holland
-
- —— John, of Marthyn, i. 334
-
- —— William, i. 334
-
- Reuss (river), i. 138;
-   ii. 324
-
- Reutlingen, i. 84
-
- Reverdino, Italian engraver, ii. 75
-
- _Revue de Champagne et de Brie_, ii. 39
-
- —— _des Deux Mondes_, i. 107 _note_
-
- Reynolds, Sir Joshua, ii. 321
-
- —— —— —— _Journey to Flanders_, ii. 56
-
- Rhenanus, Beatus, i. 84, 125, 168
-
- Rhine, i. 141-142, 176, 288, 339
-
- —— Gate, Basel, i. 351
-
- Rhône, i. 174
-
- Rhoon, ii. 187
-
- Rich, Sir Richard, Lord Chancellor, ii. 212, 256
-
- —— Lady, ii. 212, 256, 258
-
- Richard I of England, ii. 2
-
- —— III of England, ii. 55
-
- —— servant to Hans of Antwerp, ii. 13
-
- Richardson, Jonathan, the Younger, ii. 193
-
- —— Jonathan Collection and Sale (1746), i. 309, 324;
-   ii. 68, 270
-
- Richardson’s _Architectural Remains_, &c., ii. 271 _note_, 397
-
- Richmond, i. 20;
-   ii. 184, 249
-
- Richmond and Derby, Margaret, Countess of, i. 307
-
- —— and Suffolk, Duke of, _see_ Fitzroy
-
- —— Mary, Duchess of, wife of Henry Fitzroy, ii. 110-111, 20
-
- Richtenberger, i. 173
-
- Rickenbach, near Constance, i. 33-34, 37;
-   ii. 332
-
- Ricketts, Mr. Charles, ii. 206
-
- Ridgway, Captain (collection), ii. 60
-
- Rieher, Eucharius, cloth-weaver of Basel, i. 339
-
- Ringle, Sixt, i. 113;
-   ii. 329
-
- Ripaille, Château de, near Thonon, ii. 71, 353
-
- Rippel, Niklaus, glass painter of Basel, i. 121
-
- Robinson Collection, i. 336;
-   ii. 226
-
- —— Sir J. C., ii. 38, 292
-
- Rocheford, Thomas, Lord, i. 281;
-   ii. 38
-
- Rochfort, Lady, ii. 196
-
- Rodriguez Collection, Paris, i. 60
-
- Rölingerin, Dorothea, i. 4, 7
-
- Rollin, Nicolas, Chancellor (his hospital in Beaune), i. 153
-
- Rolls Chapel, i. 272
-
- Romaynes, Peter, jeweller of Paris, ii. 288
-
- Rome, i. 165, 271, 277, 305;
-   ii. 59, 66, 101, 134;
-   Corsini Gallery, i. 166;
-   National Gallery, ii. 93 _note_, 102-103, 356;
-   Palazzo de’ Crescenzi, i. 306;
-   Vatican, i. 271
-
- Romney, Constance, Countess of (collection), i. 335;
-   ii. 81
-
- Ronsard, ii. 218
-
- Roper family, i. 307;
-   ii. 337
-
- —— Edward, ii. 334
-
- —— Margaret, i. 290, 292, 294-297, 303, 308-310, 337-338, 341-342;
-     ii. 258, 334, 336
-
- —— William, ii. 334, 397
-
- Rosen, Kunz von der, i. 19
-
- Rosenheim, the late Mr. Max, ii. 69
-
- Rosière, Marquis de la, ii. 72, 342
-
- Rossie Priory, i. 319 _note_
-
- Rosso, i. 280, 282
-
- Rotherwas House, Hereford, i. 353
-
- Rothschild & Sons, Nathaniel, ii. 35
-
- Rotterdam, i. 180-181;
-   Exhibition of Miniatures (1910), ii. 230
-
- Rouen Museum, i. 245;
-   town, ii. 272
-
- Rouvray, Madame, ii. 343
-
- Rovesham (Rovesanne), Benedict, _see_ Rovezzano
-
- Rovezzano, Benedetto da, i. 280-281, 287 _note_;
-   ii. 266
-
- Royal Academy, ii. 319
-
- —— —— Winter Exhibitions (1879), ii. 221, 230;
-   (1880), i. 320, 332;
-     ii. 135;
-   (1901), ii. 209;
-   (1907), ii. 82;
-   (1910), ii. 307;
-   (1870-1912), ii. 368-373
-
- —— Payments and Household Accounts (Hen. VIII), i. 261, 264, 268,
-    273-274, 276, 277 _note_, 280, 317, 330;
-     ii. 12, 68, 90, 124-125, 143, 148, 150-151, 155, 175, 180, 190-191,
-        239
-
- —— Society, ii. 219
-
- Rubens, i. 224, 240, 242, 304 _note_
-
- Rüdiswil, i. 58
-
- Rüdiswiler, Von, family, i. 58, 185
-
- Rumohr, i. 92, 250;
-   ii. 67
-
- Rushden, Northamptonshire, ii. 228
-
- Rushton Hall, Northamptonshire, ii. 169
-
- Ruskin, John, i. 244;
-   ii. 8, 321, 397
-
- Russell, Lord High Admiral, ii. 179
-
- Russell, Sir John, ii. 141-142
-
- Rutland, fourth Duke of, ii. 100
-
- Rydham, Norfolk, i. 327
-
- “Rye, plat of,” i. 274
-
- Ryff, Andreas, i. 80
-
- Rynach, Uly von, fisherman of Basel, i. 339
-
- Rypyngale, Richard, painter-stainer, i. 261
-
-
- Sackville, Lord (collection), i. 308;
-   ii. 104, 112-113, 167, 169, 201, 352
-
- Saffron Walden, i. 332
-
- Saffroy, Mons., of Pré-Saint-Gervais, ii. 39
-
- Sainsbury, _Original Unpublished Papers_, &c., (1859), ii. 342, 397
-
- St. Albans, ii. 58, 332
-
- —— Andrew Undershaft, _see_ London
-
- St. Albans, Anthony, Monastery, Isenheim, i. 13. 22
-
- —— Bartholomew’s Hospital, i. 266;
-     ii. 101, 103, 234
-
- —— Benedictus, patron saint of Lucerne, i. 70
-
- —— Catherine, Augsburg, i. 4, 7, 8, 10, 14-15, 23-24
-
- —— Denis, Paris, i. 271
-
- Saint-Dizier, ii. 147
-
- St. Dunstans, near Canterbury, ii. 334
-
- St. Edith, Monastery of, Wilton, ii. 268
-
- —— Gotthard, i. 74, 80, 138;
-     ii. 325
-
- St. Ildefonse, Spain, ii. 327
-
- —— Moritz, Augsburg, i. 13
-
- —— Nicholas Acon, _see_ London
-
- “St. Nobody” (Zürich Painted Table), i. 37
-
- St. Oswald, Lord, i. 295;
-   ii. 334, 339, 352
-
- —— Paul’s Cathedral, i. 205
-
- —— Petersburg, Hermitage Gallery, i. 61, 180;
-     ii. 62, 245-246
-
- —— Pierre de Reims, ii. 144
-
- —— Sauveur, Augsburg, i. 15
-
- —— Ulrich, the monks of, i. 19, 20
-
- —— Ursus, patron saint of Solothurn, i. 103-104, 109, 111, 149, 160
-
- “Saints connected with the House of Habsburg,” woodcuts, i. 189
-
- Salford, ii. 6
-
- Salting, George, Collection, i. 28, 309;
-   ii. 14, 69 _note_, 181-182, 232, 239-240, 248, 252, 350
-
- Samm, Herr, of Mergenthau, i. 3
-
- Sancroft, Archbishop, i. 322
-
- Sandby, Paul, ii. 346
-
- —— Thomas, R. A., ii. 346
-
- Sanderson, Mr. R., Sale (1848), i. 332
-
- Sandon Hall, Stafford, ii. 342
-
- Sandrart, Joachim von, i. 3, 28, 36, 50, 92, 147, 157, 224, 240-241,
-    243;
-   ii. 25, 27, 77, 133, 135, 187, 217, 231, 298-299, 310, 342, 397
-
- Sandwich, i. 331
-
- Sarburgh, Bartholomäus, painter, i. 88, 241;
-   ii. 328-330
-
- Savoie, Jacques de, Duc de Nemours, portrait by Flicke, ii. 306
-
- Saxony, i. 168
-
- —— King Frederick Augustus of, ii. 67
-
- —— Augustus III, Elector of, i. 242;
-     ii. 67
-
- —— Johann Ernst, Duke of, ii. 94-95
-
- —— Duke of, ii. 152-153, 172-174
-
- Scannelli, Francesco, i. 306;
-   ii. 66
-
- Schaeufelin, Hans, ii. 47
-
- Schaffhausen, i. 91;
-   ii. 326
-
- Schaffner, Martin, i. 20
-
- Scharf, Sir George, i. 286, 320;
-   ii. 26 _note_, 95 _note_, 110, 125-126, 129-130, 137, 194, 231, 233,
-      237-238, 397-398
-
- Schiavonetti, i. 320
-
- Schijverts von Merode, Willem, ii. 342
-
- Schinz, von, family, of Zürich, i. 50
-
- Schlegel, Friedrich, i. 244
-
- Schleissheim, i. 9
-
- Schlotthauer, Joseph, i. 214
-
- Schmid, tanner, i. 109
-
- —— Elsbeth, _see_ Holbein, Elsbeth
-
- —— Franz, i. 83;
-     ii. 162-163, 300
-
- Schmid, H. A., ii. 398
-
- Schneeli, G., ii. 398
-
- Schöffer, printer of Maintz, i. 190
-
- Schönborn, Count von, Vienna (collection), ii. 15, 16, 349
-
- Schöner, Johann, ii. 50
-
- Schongauer, Kaspar, i. 6
-
- —— Martin, i. 5, 6, 18
-
- Schrott, Johannes, i. 19, 20
-
- Schuman, Michel, i. 83
-
- Schwartz, Christopher, of Munich, painter, i. 98
-
- —— Gumpret, i. 20
-
- —— Hans, i. 20
-
- Schwartzensteiner, wife of Burgomaster, i. 20
-
- Schwegler, painter of Lucerne, i. 72
-
- Schweiger, Jörg, Basel goldsmith, i. 59
-
- Scots, Mary, Queen of, i. 353, 357, ii. 147
-
- Scrope, Maria, i. 301
-
- Seder, Herr Anton, i. 33
-
- Seeman, A., ii. 398
-
- Seine, ii. 272
-
- Seld, Jörig, i. 19
-
- Selve, George de, Bishop of Lavaur, ii. 17 _note_, 35-36, 39-43, 48-51,
-    255
-
- —— Jean de, Premier President of Parliament, Paris, ii. 40-41
-
- “Selve et d’Avaux, MM. de,” ii. 37, 46-47
-
- “Semel” (Seymour), Edward, ii. 112
-
- Seneca, i. 296
-
- Serlby, ii. 104
-
- Sessac, Sieur de, ii. 42
-
- Sesto, Cesare da, i. 250-251
-
- Settignano, i. 273
-
- Seville, i. 272
-
- Seward, Mr. Edwin, ii. 27 _note_
-
- Seymour family, ii. 101, 200, 237
-
- —— Queen Jane, ii. 65, 90-91, 94-96, 101, 109, 111-117, 138-139, 169,
-    180-181, 208, 234, 237, 254, 259, 274, 276, 280, 286, 313
-
- Sforza, Francesco Maria, last Duke of Milan, ii. 117, 128, 137
-
- —— Lodovico (“Il Moro”), ii. 66-67
-
- Shakespeare, _Henry VIII_, ii. 211
-
- Shelley, Edward, portrait by Eworthe, ii. 307
-
- Shelton, Norfolk, ii. 272
-
- —— Sir John and Lady, ii. 272-273
-
- —— Mrs., ii. 116
-
- Shepherd, Rev. Charles, ii. 57
-
- Sheppard, Dr. Edgar, _Old Royal Palace of Whitehall_, ii. 185, 346, 398
-
- Shere, i. 309
-
- Sherrington, Sir William, ii. 256
-
- Shoreditch, i. 272
-
- Short, Robert, painter-stainer, i. 261
-
- Shrewsbury, Earl of (_temp._ Henry VIII), ii. 211
-
- Shute, John, painter, ii. 308
-
- Silvestre, J., engraver, ii. 346
-
- Simon, K., ii. 398
-
- Simson, John, painter, i. 287
-
- Singer’s edition of Cavendish’s _Life of Wolsey_ (1825), ii. 109
-
- Singh, Prince Frederick Duleep, ii. 210
-
- Sketchley, R. E. D., _Holbein as Goldsmiths’ Designer_, ii. 286 _note_,
-    398
-
- Slingelandt, G. von (collection), i. 107
-
- Sloane, Sir Hans, ii. 276, 278
-
- Smetyng, Elard, of the Steelyard, ii. 6
-
- Smid, Ludwig, i. 13
-
- Smirke, Sir R., ii. 270
-
- Smith, H. Clifford, _Jewellery_, ii. 281-282, 398
-
- —— John Russell, i. 214
-
- —— J. T., ii. 267
-
- Snecher, Anthony, witness to Holbein’s will, ii. 295, 297-298
-
- Society of Antiquaries, _see_ Antiquaries
-
- Socrates, i. 193
-
- _Solace and Consolation of Princes_ (Spalatinus), ii. 153
-
- Soliers, Charles de, _see_ Morette
-
- Solimar, Thomas, King’s secretary, ii. 73
-
- Solly Collection, ii. 6
-
- Solothurn, i. 58, 106, 109-110
-
- —— Gallery, i. 111;
-     ii. 358;
-     Minster, i. 109
-
- Somerset, Charles, Duke of, ii. 237
-
- —— Lord Protector, i. 305
-
- Sotheby, Colonel, ii. 216 _note_
-
- —— Major-General F. E., i. 302;
-     ii. 216 _note_
-
- Souch, Mary, _see_ Zouch
-
- Sourdis, De, Collection, ii. 246
-
- Southam Delabere, near Cheltenham, ii. 169
-
- Southampton, William Fitzwilliam, Earl of, ii. 65, 204 _and note_, 205,
-    211, 304
-
- South Kensington, i. 308 _note_;
-   ii. 228
-
- South Kensington Museum, Exhibition of Portrait Miniatures (1862), ii.
-    361;
-   (1865), ii. 362-363
-
- —— Exhibition of National Portraits (1866), ii. 363-367;
-     (1868), ii. 367
-
- Southwark, i. 262
-
- Southwell, Mr. Edward, ii. 61
-
- —— Sir Richard, i. 330;
-     ii. 83-85
-
- Spalatinus, Georgius, ii. 152-153
-
- Speier, Imperial Diet at, i. 185
-
- Spencer, Earl (collection), ii. 14, 72, 93, 107, 109, 141, 234, 240,
-    352
-
- Spenser, Robert, i. 265
-
- —— Thomas, painter-stainer, i. 261
-
- Spontini, i. 242
-
- Squire, Mr. W. Barclay, i. 164 _note_, 166 _note_;
-   ii. 50, 214, 308 _note_, 398
-
- Stafford, Marquis of, i. 309
-
- —— Viscount, son of Thomas Howard, Earl of Arundel, i. 335;
-     ii. 25, 64-65, 199, 248
-
- Stahlhof, _see_ Steelyard
-
- Stanley, Colonel, ii. 95
-
- Stapylton, Mr. H. E. Chetwynd, ii. 85
-
- State Papers, _see_ Calendars of Letters and Papers, &c.
-
- Steck, Matthäus, ii. 156
-
- Steelyard, London, i. 159, 327, 330;
-   ii. 1-35, 57-58, 88, 215, 219, 229, 255, 262-263, 287
-
- —— Alderman and Deputy, ii. 3, 6, 287
-
- —— allegorical paintings in, ii, 23-30
-
- —— Guild Hall and Council Chamber, ii. 2-5, 11, 13, 20, 24, 28, 313
-
- —— triumphal arch at Anne Boleyn’s Coronation, ii. 30-33
-
- Steenwijk, Vos von, family, ii. 202
-
- Steenwyck, Von, i. 167-168, 183-184
-
- Stephens, Mr. F. G., i. 297-298, 320;
-   ii. 398
-
- Sternen Platz, Lucerne, i. 66
-
- Stettin, Paul von, i. 4
-
- Stettler, W., i. 50
-
- “Stilliarde, le,” _see_ Steelyard
-
- Stimmer, Tobias, ii. 311 _note_
-
- Stock, Andreas, i. 179;
-   ii. 15
-
- Stockholm, National Museum, ii. 325
-
- Stoddart, Miss Jane T., _Girlhood of Mary Queen of Scots_, ii. 147, 398
-
- Stödtner, F., ii. 398
-
- Stokesley, Dr. John, Bishop of London, i. 337
-
- Stokesly, Rydham, Norfolk, i. 327
-
- Stolten, Hans, ii. 7
-
- Stow, _Annales_ and _Survey_, i. 330;
-   ii. 30-31, 179, 294, 299, 346, 398
-
- Stowe, i. 320
-
- Strange, Mr. Hamon le, ii. 85, 352
-
- —— Sir Thomas le, ii. 85-86, 256
-
- Strangeways, Richard, ii. 305-306
-
- Strasburg, i. 145, 168, 204, 253;
-   ii. 27
-
- Stratford-le-Bow, i. 262
-
- Strawberry Hill and Sale (1842), i. 184-185;
-   ii. 230, 237, 249
-
- Strein, Richard, of Vienna, i. 181
-
- Stretes, Guillim, i. 270, 287;
-   ii. 104, 168-170, 201, 204-205, 220, 234, 238, 241, 292, 303-304
-
- Strickland family, of Cokethorpe Park, i. 301
-
- Stroganoff, Count Alexander, Rome (collection), i. 165-166
-
- Strong, S. Arthur, i. 336;
-   ii. 47 _note_, 98, 101 _note_, 103 _note_, 285 _note_, 398
-
- “Strote, William,” ii. 303
-
- Strowse, Geo., of the Steelyard, ii. 6
-
- Stryienski, C., ii. 398
-
- Strype, _Memorials_, &c., ii. 168, 201, 299, 303, 346, 398
-
- Stuart, Alexander, Archbishop of St. Andrews, i. 146
-
- Stuttgart, i. 92
-
- Subsidies of aliens in England, ii. 12
-
- Sudeley Castle, ii. 137
-
- Suermondt, Herr B. (collection), i. 144;
-   ii. 15, 202
-
- Suffolk, Anne, Duchess of, ii. 227
-
- —— Charles Brandon, Duke of, _see_ Brandon, Charles
-
- —— Mary, Queen Dowager of France, Duchess of, _see_ Mary Tudor
-
- —— Duke of, _see_ Grey Henry
-
- —— Duchess of, ii. 124
-
- Suffolk, Catherine de Eresby, Duchess of, ii. 225, 227, 254
-
- —— Duke of (_temp._ Charles I), ii. 233-235
-
- —— House, ii. 89
-
- Sultz, Joachim von, i. 246
-
- Surgeons, Guild of, ii. 289
-
- —— Royal College of, ii. 293
-
- Surrenden Dering, Kent, ii. 334
-
- Surrey, Henry Howard, Earl of, i. 287;
-   ii. 65, 84, 110-111, 168, 171, 194, 198 _and note_, 200-201, 204,
-      303-304
-
- —— Thomas Howard, Earl of, ii. 200
-
- —— Earl of (in Basel), i. 252
-
- _Survey of the Cities of London and Westminster_ (Stow and Strype), ii.
-    299
-
- Sussex, Earl of, ii. 133
-
- Sustris, Lambert, painter, i. 98
-
- Sutherland, Duke of (collection), ii. 61, 198
-
- Sutton Place, i. 270
-
- Svaunders, Derich, i. 264
-
- —— Margaret, i. 264
-
- Sweden, King of, i. 165
-
- —— Queen Christina of, i. 180
-
- Sybel, von, Collection, ii. 202
-
- Syff, Andreas, miller of Basel, ii. 301
-
- Symonds, Richard, i. 28;
-   ii. 89
-
- Syon House, ii. 166, 196, 352
-
-
- “Table of Cebes,” i. 193-195
-
- Tarbes, Bishop of, French ambassador in London, i. 283;
-   ii. 124
-
- “Tate, Bartilmew,” _see_ Penni
-
- Teerlinc, George, of Blankenberghe, ii. 238-239
-
- —— Livina, i. 268;
-     ii. 220, 238-240
-
- Telverne, Cornwall, i. 334
-
- Tenison’s School, Archbishop, Leicester Square, i. 171 _note_
-
- Terouenne, i. 316
-
- Tertullian, i. 194
-
- _Teutsche Akademie_ (Sandrart, 1675), i. 3;
-   ii. 77, 298
-
- Thames, ii. 42
-
- Thausing, i. 237
-
- Thebes, i. 193
-
- Theodoricus, i. 192
-
- Thirty Years’ War, i. 91, 180
-
- Thonon, ii. 71, 353
-
- Thorndon, near Brentford, i. 300;
-   ii. 334
-
- Thornham, Norfolk, ii. 210
-
- Thornhill, Sir James, i. 171 _note_
-
- Throgmorton, Margaret, _see_ Pemberton, Mrs. Robert
-
- —— Richard, ii. 228
-
- Tieck, Ludwig, i. 244
-
- Tillman, Bernhard, treasurer of the Berne Council, ii. 162
-
- _Times_, ii. 35, 38-39
-
- Titian, i. 173
-
- Tixall, ii. 61
-
- Toke, Mr. John Leslie, i. 332
-
- Tomkinson Collection, ii. 241
-
- Tonjola, _Basilea Sepulta_, i. 127, 130, 349;
-   ii. 399
-
- _Topographia Helvetiæ_ (Merian), i. 113
-
- “Tornon, Cardynall of,” ii. 333
-
- Torrigiano, Pietro, i. 271-273, 276, 287 _note_
-
- Torrington, Lord, Sale (1787), ii. 100
-
- Toto, Antonio, serjeant-painter, i. 268, 273, 276-281, 287 _note_;
-   ii. 105, 142, 269, 298, 303
-
- —— Helen, i. 278
-
- Touchet, John, ninth Lord Audley, ii. 223
-
- Tournai, i. 6, 316
-
- Touzele, Madame Jehanne de, abbess of St. Pierre-les-Nonnains, Lyon, i.
-    209
-
- Trappes, Thomas, jeweller, ii. 287
-
- Traverse, Carlos de la, ii. 327
-
- Treasurer of the Chamber’s Accounts, _see_ Royal Payments
-
- _Treatise concerning the Arte of Limning_ (Hilliard), ii. 218
-
- Trechsel, Johann, i. 212
-
- —— Melchior and Gaspar, printers, of Lyon, i. 175, 190, 208-213,
-    226-227
-
- Trelawney family, ii. 16
-
- Trethurff, Catherine, i. 334
-
- —— John, i. 334
-
- Treviso, i. 286
-
- —— Girolamo Pennacchi da, i. 286-287;
-     ii. 105, 266, 303
-
- Trier, i. 145
-
- “Triumphal Procession” (Burgkmair), i. 31, 189
-
- Troyes, ii. 35, 40-41
-
- —— Bailly of, _see_ Dinteville
-
- Trümpy, Herr E., of Glarus, i. 344-345
-
- Tschekkenbürlin, Amalie, i. 90
-
- —— Hieronymus, i. 90
-
- —— Magdalena, _see_ Offenburg, Magdalena
-
- Tuck, picture-dealer, ii. 182
-
- Tudor Exhibition (1890), i. 184, 300, 302, 319, 323, 325, 328;
-   ii. 57, 61, 72, 82, 85, 112, 165, 170, 199, 216 _note_, 374-381
-
- Tudor Exhibition, Manchester (1897), ii. 381-382
-
- Tuke, Sir Bryan, Treasurer of the Chamber, i. 275, 299, 331-333, 337;
-   ii. 90, 191, 223, 255
-
- —— Mr. W. M., i. 332
-
- Tunstall, Bishop, i. 169, 329
-
- Turin, i. 171, 180;
-   ii. 65
-
- Twiselton, John, jeweller, ii. 287
-
- Tybis, Derich, Steelyard merchant, ii. 7, 17, 20-22
-
- Tyrrell, Sir John, i. 300;
-   ii. 335
-
- “Tyrwin, plat of,” i. 312, 315-316
-
- Tyttenhanger Park, St. Albans, ii. 58, 60-62, 232, 351
-
-
- Uffizi Gallery, Florence, ii. 83, 213, 231
-
- Ulm, i. 6, 8, 29
-
- Uncle, Thomas, painter-stainer, i. 261
-
- Upper Burgundy, Holbein’s journey to, ii. 12 _note_, 115, 120, 129,
-    138-155, 164
-
- Urbino, Duke of, ii. 38
-
- _Urbium Præcipuarum Mundi_, &c. (Braun, 1583), i. 276
-
- Uri, i. 77;
-   ii. 300, 324
-
- Uri, Heini von, i. 71
-
- Urmeston, Clement, i. 259
-
- Urseren Valley, ii. 324
-
- Usteri, poet and painter, i. 72
-
- _Utopia_ (Sir T. More), i. 45, 62, 163, 191-193, 253, 290, 299
-
- Utrecht, i. 224
-
- Utricke, John van, jeweller, ii. 287
-
- Utterson Collection, ii. 226
-
-
- Vaga, Perino del, i. 276, 286
-
- Vanderbilt, Mr. W. C., New York (collection), i. 320;
-   ii. 348
-
- Van der Doort, Abraham, i. 172;
-   ii. 25, 166, 188, 231, 245, 248
-
- Vandergucht, ii. 37
-
- Van der Weyden, Rogier, i. 5, 6, 289
-
- Van Dyck, ii. 28, 198, 200
-
- Van Eycks, the, i. 288
-
- —— Heerweghe, Jan, i. 264
-
- —— Horne, Sir William, _see_ Horne
-
- —— Leemput, Remigius, _see_ Leemput
-
- —— Mander, _see_ Mander
-
- —— Merode, Willem Schijverts, ii. 342
-
- Vane, Sir Harry, i. 165;
-   ii. 13, 224, 341
-
- —— —— Henry, Bt., i. 300
-
- Varallo, i. 105
-
- Vasari, G., i. 265, 271, 276-277, 280, 286-287;
-   ii. 239
-
- —— Society, i. 309;
-     ii. 226
-
- Vatican, _see_ Rome
-
- Vaughan, Stephen, i. 267;
-   ii. 131
-
- Vaux of Harrowden, Thomas, Lord, ii. 52-53, 86-87, 87 _note_, 252,
-    256-257
-
- —— Lady, ii. 86-87, 252, 255
-
- —— Sir Nicholas, i. 259, 319
-
- Vauzelles, Jean de, poet and scholar of Lyon, i. 210-212, 222
-
- Velazquez, i. 349;
-   ii. 318 _note_
-
- Vendôme, Margaret of, ii. 139, 144-146, 154-155
-
- —— Marie of, ii. 144, 154-155
-
- Venice, i. 6, 230 _note_, 242-243, 286;
-   ii. 37
-
- Venturi, ii. 66
-
- Vernon, Mr. John, ii. 107
-
- _Versailles Gallery_, ii. 39
-
- Vertue, George, i. 296, 320;
-   ii. 26, 135, 169, 194, 198, 205 _note_, 216 _note_, 249, 253, 267,
-      309, 334, 336-338, 346
-
- —— Robert, the King’s master mason, i. 271
-
- Vetter, Christina, i. 8
-
- —— Veronica, i. 8
-
- —— Walburg, i. 8
-
- _Vetusta Monumenta_, ii. 267
-
- Vic, M. de, garde de sceaux, ii. 42
-
- Vicary, T., barber-surgeon, ii. 291
-
- Victoria and Albert Museum, ii. 167, 232, 350
-
- —— Queen, ii. 250
-
- Vienna, i. 20, 60, 161 _note_, 171, 180-181, 189;
-   ii. 15-16, 57, 211, 236, 300, 331
-
- —— Albertina, i. 5, 60, 344 _note_
-
- —— Imperial Gallery, i. 60;
-     ii. 7, 17, 20, 62, 65, 70-71, 109, 111-112, 201-203, 205-209, 211,
-        237, 255, 280, 348-349
-
- Vierwaldstättersee, i. 143
-
- “Vincence of Naples,” _see_ Volpe
-
- Vinci, Leonardo da, _see_ Leonardo
-
- Vischer, Cornelius, i. 165
-
- —— Peter, ii. 270
-
- Vittadini, Signor, Arcorre, i. 105 _note_
-
- Vögelin, Professor Salomon, i. 37;
-   ii. 399
-
- Voll, Professor Karl, i. 15;
-   ii. 399
-
- Volmar, Conrad, ii. 301
-
- Volpe, Vincent, i. 258, 273-276, 314-315
-
- Von Hertenstein, _see_ Hertenstein
-
- —— Hewen, _see_ Hewen
-
- —— Hutten, _see_ Hutten
-
- —— Mechel, _see_ Mechel
-
- —— Sandrart, _see_ Sandrart
-
- —— Slingelandt, _see_ Slingelandt
-
- —— Steenwyck, _see_ Steenwyck
-
- —— Sybel, _see_ Sybel
-
- Vorsterman, Lucas, engraver, i. 27-28, 179, 305 _note_;
-   ii. 26-28, 198, 231, 246
-
- Vosges Mountains, ii. 156
-
- Voss, H., ii. 399
-
- Vries, Joan de, Sale (1738), i. 107
-
- Vulp, _see_ Volpe
-
-
- Waagen, Dr., i. 14, 24, 242, 250, 266, 289, 297;
-   ii. 86, 101-102, 107, 269, 303, 386-389, 399
-
- Wagner, Leonhard, i. 20
-
- Wagynton, William, painter-stainer, i. 261
-
- Wake, Sir Isaac, ii. 65-66, 68
-
- Wakefield, i. 295
-
- Waldenburg, i. 233
-
- Wales, Dowager Princess of, widow of Frederick, Prince of Wales, ii.
-    199
-
- —— Frederick, Prince of, ii. 199
-
- —— Henry, Prince of, son of James I, ii. 244
-
- Walker, Sir Edward, ii. 246
-
- —— Humphrey, metal founder, i. 271
-
- —— Mary Ann, portrait by François Quesnel, ii. 141
-
- —— Mr. W. H. Romaine, ii. 85
-
- Wallace Collection, ii. 230 _and note_, 350
-
- Wallop, Sir John, i. 283-284;
-   ii. 59, 139, 333
-
- Wall-paintings in Augsburg, i. 65
-
- —— in Basel, i. 117-123
-
- —— in Lucerne, i. 65
-
- —— and decorations in Westminster Palace, i. 261-262
-
- Walpole, Collection and Sale (1842), ii. 26, 230, 237, 270, 276, 337
-
- —— Horace, i. 167, 184, 243, 250, 263, 293, 296-297, 300-302, 322, 325,
-    328 _and note_;
-     ii. 26, 28, 94, 133, 135, 169-170, 179, 181, 189, 193-194, 199,
-        230, 237, 247 _note_, 249-251, 266, 301, 308, 334-335, 344-345,
-        399
-
- —— Society, ii. 218, 219 _note_
-
- Walther, Anna, i. 10
-
- —— Johann, _Geystliche Gesangbüchlein_, ii. 50
-
- —— Maria, i. 10
-
- —— Ulric, i. 10
-
- Wannewetsch, Hans Jörg, of Basel, painter, i. 81
-
- Warberge, Von, family, i. 242
-
- Ward, Mr. T. Humphry, i. 287
-
- Wardell, Joan, ii. 208
-
- Ware, Abbot Richard, ii. 51
-
- Warham, William, Archbishop of Canterbury, i. 169, 253, 255, 289, 299,
-    321-323, 337;
-   ii. 1, 59, 65, 250, 255
-
- Warner, Robert, ii. 133
-
- Wartburg, near Eisenach, i. 16
-
- Warwick Castle, i. 266;
-   ii. 100-104, 217
-
- —— Countess of, i. 328 _note_
-
- Wassy, ii. 147
-
- Watney, Mr. Vernon J., ii. 169, 237, 352
-
- Wauters, Mr. A. J., i. 305
-
- Weale, Mr. W. H. J., ii. 239-240, 399
-
- Weaver, Mr. Lawrence, ii. 33
-
- Wedigh family, of Cologne, ii. 15-16
-
- —— Hermann Hillebrandt. ii. 16-17, 17 _note_, 49 _note_
-
- Weggis, near Lucerne, i. 66, 70
-
- Wegmann, Hans Heinrich, of Lucerne, painter, i. 81
-
- Weigel, Rudolph, Collection, Leipzig, i. 106;
-   ii. 31
-
- Weingarten, Abbey of, i. 7
-
- “Weisskunig” (H. Burgkmair), i. 31
-
- Well Hall, Eltham, i. 295;
-   ii. 344
-
- Wells Cathedral, ii. 301
-
- Welser, Bartholomaeus, i. 10
-
- Welser, Veronica, i. 10, 12, 24
-
- Wenck, Petrus, i. 45
-
- Wentworth, Sir Thomas, ii. 256
-
- Wentz, J., i. 130
-
- Werden, Gerard van, Steelyard merchant, ii. 6, 10
-
- Werner, Anton, ii. 399
-
- West, William, Lord De la Warr, ii. 304
-
- Westbury, Dean of, ii. 177
-
- Westminster, parish of St. Margaret, i. 265;
-   hermitage of St. Katherine, i. 265;
-   St. Peter’s, i. 271
-
- —— Abbey, i. 272, 287 _note_
-
- —— Palace, i. 275, 314;
-     ii. 127, 142
-
- —— Marquis and Marchioness of, i. 332
-
- Westmorland, Earl of, Sale (1892), ii. 222
-
- Wettingen Cloisters, i. 79, 137
-
- Weybridge, ii. 216
-
- Weyden, Rogier, vander, _see_ Van der Weyden
-
- _Wheel of Fortune_ (picture at Chatsworth), ii. 47
-
- Whitehall Palace, i. 97, 257, 286, 301, 305;
-   ii. 25, 91, 94-95, 97 _and note_, 107, 110, 137, 170, 185-188, 243,
-      263, 266-269, 292, 344-346
-
- —— —— Fire at (1698), ii. 25, 94-95, 186, 293
-
- —— —— “Holbein’s Gate,” ii. 185, 266-269, 345-346
-
- —— —— Matted Gallery, ii. 95, 186, 271
-
- —— —— Privy Chamber wall-painting, ii. 91, 93-96, 97, 271, 302, 313
-
- _Whitehall, Historical and Architectural Notes_ (W. J. Loftie), ii. 346
-
- —— _Old Royal Palace of_ (Sheppard), ii. 346
-
- Whitley, Surrey, i. 258
-
- Whorstley, English sculptor, i. 265
-
- Wicklow, Earl of, Collection, ii. 277
-
- Wieland, Daniel, i. 46
-
- Wight, Isle of, ii. 165
-
- Willems, Marc, ii. 170
-
- Willett, Mr. Henry (Collection), ii. 104
-
- William III of England, i. 107;
-   ii. 57, 187, 203
-
- William V of Orange, i. 107;
-   ii. 57
-
- —— of Prussia, Prince, i. 237, 242
-
- Williams, Lewes, painter, i. 278
-
- Williamson, Dr. G. C., i. 306;
-   ii. 219 _note_, 220, 228, 230, 231 _and note_, 235, 240-241 _and
-      note_, 304, 309, 399
-
- Wilson, Hon. H. Tyrwhitt, i. 319, 325
-
- —— Thomas, Secretary of State to Queen Elizabeth, ii. 225
-
- Wilton House, ii. 62, 137, 248, 266, 268-269
-
- Wiltshire and Ormonde, Earl of, _see_ Boleyn, Sir Thomas
-
- Winchester, Bishop of, _see_ Foxe, Richard
-
- Windesore, Thomas, ii. 55
-
- Windsor (town), ii. 208
-
- —— Castle and Collections, i. 97, 171, 178, 302, 317, 319, 324, 333,
-    337, 357;
-     ii. 8, 14, 17, 19, 44, 52, 62-63, 73, 90-91, 103, 110, 112, 125,
-        167, 169, 183, 191-193, 197, 200-201, 204-205, 207, 210, 212,
-        214-215, 222-223, 226-227, 233-234, 236-237, 243, 262, 307, 339,
-        350
-
- —— Park, Ranger of (Duke of Cumberland), ii. 267
-
- —— —— Long Walk, ii. 267
-
- —— St. George’s Chapel, i. 280
-
- Wingfield, Sir Anthony, i. 287
-
- —— Sir Charles, ii. 254
-
- —— Sir Richard, i. 268;
-     ii. 137
-
- Winn family, i. 295
-
- —— Mr. Charles, ii. 334-337
-
- —— Sir Rowland, i. 295;
-     ii. 334, 337
-
- Winstanley, Mr., i. 332
-
- Wise, Ulric, Steelyard merchant, ii. 10
-
- Witt, Anna de, ii. 342
-
- Wittelsbach Collection (1597), i. 332
-
- Wittemberg, i. 214, 328;
-   ii. 50
-
- _Wit’s Treasury_ (F. Meres), ii. 308-309
-
- Woburn Abbey, i. 304 _note_;
-   ii. 112, 351
-
- Wocher, Marquard, painter, i. 81
-
- Wolf, Hans, of Lucerne, i. 66
-
- —— or Wolffe, John, painter, i. 274;
-     ii. 1, 2, 6, 7 _note_
-
- —— (Fenwolf or Phillip), Morgan, ii. 10, 288
-
- Wolfe, Reinhold, printer, i. 202;
-   ii. 79, 332
-
- Wolff, Thomas, i. 62, 187, 196, 202
-
- Wolhusen, Christof Truchsess von, i. 158
-
- Wolleb, Conradt, magistrate of Basel, i. 132
-
- Wolsey, Cardinal, i. 169, 259, 267, 280-281, 321, 327, 329, 331, 334;
-   ii. 16, 55, 59, 137, 187, 199, 288, 333
-
- Woltmann, Dr., i. 4, 5, 14-15, 19, 23-25, 38, 51, 62, 93, 96, 102,
-    106-107, 109, 112, 121, 123, 165, 169, 174, 184, 187-188, 211, 222,
-    228, 237, 247, 288, 292, 297, 299, 319, 326, 332, 334, 336, 344
-    _note_, 356;
-   ii. 5, 9, 10, 13, 16, 22, 26, 32, 37-38, 57, 60, 72, 77, 79, 97, 101,
-      105, 108, 125-126, 150, 158, 161-162, 175, 199, 203, 211, 223,
-      225, 230, 260, 269, 284, 323-325, 327, 329, 342, 347, 393, 399
-
- Woodburne, Samuel, Sale (1860), ii. 67
-
- Wooley, Henry, jeweller, ii. 287
-
- Wooley, Nicholas, jeweller, ii. 287
-
- Wootton, Dr. Nicholas, ii. 173-178, 180
-
- Worcester, i. 265
-
- Worksop Manor, ii. 135
-
- Wörlitz, Gothic House, i. 300
-
- Wornum, R. N., i. 14, 92, 165 _note_, 167, 184, 237, 247, 263, 266,
-    297, 300, 306, 328, 331-333;
-   ii. 37, 46, 49, 60, 72, 86, 101, 105, 125, 130, ii. 150, 165-167,
-      169, 212, 225, 233, 269-270, 292-293, 298, 345, 400
-
- Worsley, Sir Richard, ii. 165
-
- Woulpe, _see_ Volpe
-
- Wright, coach builder, ii. 267
-
- —— Andrew, serjeant-painter, i. 261-262, 273
-
- —— Christopher, painter-stainer, i. 261-262
-
- —— Richard, painter-stainer, i. 261
-
- Wriothesley, Thomas, ii. 117, 131-133, 211
-
- Wurstisen, _Epitome Historiæ Basiliensis_ (1577), i. 126;
-   ii. 400
-
- Wyat, Sir Henry, i. 304, 306, 313, 327, 335-337;
-   ii. 79, 255
-
- —— Margaret, Lady Lee, ii. 82-83
-
- —— Sir Thomas, i. 203, 358;
-     ii. 37-38, 65, 71, 79-83, 118, 205, 250, 252, 280
-
- —— Sir Thomas the Younger, ii. 81-82
-
- “Wyat, Mr.,” i. 357
-
- Wyat’s, Sir T., “Maze,” ii. 81
-
- —— rebellion, ii. 82, 306
-
- Wyatt, Mr. M. Digby, i. 275, 277;
-   ii. 400
-
- Wyndham, Elizabeth, ii. 237
-
- —— Sir Thomas, portrait by Eworthe, ii. 307
-
- Wysdom family, painter-stainers, i. 261
-
- Wyzewa, Mons. T. de, i. 107 _note_, 248 _note_, 345-346;
-   ii. 318 _note_, 400
-
-
- Yarborough, Earl of, ii. 104, 164-166, 353
-
- Yattendon, Berkshire, i. 178
-
- York, Queen Elizabeth of, wife of Henry VII, _see_ Elizabeth of York
-
- —— House, ii. 14, 215, 308
-
- Younge, Mr. John, Master of the Rolls, i. 272
-
-
- Zahn, A. von, i. 237;
-   ii. 57, 86, 400
-
- Zasius, Ulrich, i. 84, 111
-
- Zeitblom, Bartolomaeus, i. 6
-
- Zetter, Herr Franz Anton, i. 110-111
-
- Zetter-Collin, Herr F. A., i. 105 _note_, 111 _note_;
-   ii. 400
-
- Zeuxis, i. 227;
-   ii. 75
-
- Zimmerman, Görg, tailor of Berne, ii. 161
-
- Zouch (Souch), Lord, of Haringworth, ii. 259
-
- —— Richard, ii. 259
-
- —— Mary, ii. 256, 259
-
- Zuccaro, Federigo, ii. 24, 26 _and note_, 27, 134, 336
-
- Zürichü, i. 35, 46, 50, 202, 224, 228;
-   ii. 76, 156 _and note_, 213, 358
-
- —— State Library, i. 36-37
-
- Zürich, Hans von, goldsmith, ii. 15, 65
-
- Zwinger, Theodor, i. 118
-
-
-
-
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Hans Holbein the Younger, Volume 2 (of 2), by Arthur B. Chamberlain</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Hans Holbein the Younger, Volume 2 (of 2)</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Arthur B. Chamberlain</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 8, 2022 [eBook #69502]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Tim Lindell, Barry Abrahamsen, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HANS HOLBEIN THE YOUNGER, VOLUME 2 (OF 2) ***</div>
-
-<div  class='figcenter id001'>
-<img src='images/cover.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='small'>The cover image was created by the transcriber and is placed in the public domain.</span></p>
-</div>
-</div>
-<div class='pbb'>
- <hr class='pb c000' />
-</div>
-<div>
-  <span class='pageno' id='Page_I'>I</span>
-  <h1 class='c001'>HANS HOLBEIN THE YOUNGER</h1>
-</div>
-<div class='pbb'>
- <hr class='pb c002' />
-</div>
-<div id='frontis'  class='figcenter id002'>
-<img src='images/frontis.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol</span>. II. <span class='sc'>Frontispiece</span><br />KING HENRY VIII<br /><span class='sc'>Earl Spencer’s Collection, Althorp</span></p>
-</div>
-</div>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='c005'>HANS HOLBEIN</span></div>
-    <div class='c000'><span class='c006'>THE YOUNGER</span></div>
-    <div class='c007'>BY</div>
-    <div class='c000'><span class='c008'>ARTHUR B. CHAMBERLAIN</span></div>
-    <div class='c000'><span class='small'>ASSISTANT KEEPER OF THE CORPORATION ART GALLERY, BIRMINGHAM</span></div>
-    <div class='c003'><span class='c009'>WITH 252 ILLUSTRATIONS, INCLUDING 24 IN COLOUR</span></div>
-    <div class='c003'>IN TWO VOLUMES</div>
-    <div class='c000'>VOL. II</div>
-    <div class='c003'><span class='c010'>NEW YORK</span></div>
-    <div><span class='c011'>DODD, MEAD AND COMPANY</span></div>
-    <div><span class='c010'>1913</span></div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c003'>
-    <div><span class='pageno' id='Page_II'>II</span>Printed by <span class='sc'>Ballantyne, Hanson &amp; Co.</span></div>
-    <div>at the Ballantyne Press, Edinburgh</div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_v'>v</span>
-  <h2 class='c012'>CONTENTS</h2>
-</div>
-<div class='fs80'>
-
-<table class='table0' summary=''>
-<colgroup>
-<col width='14%' />
-<col width='74%' />
-<col width='11%' />
-</colgroup>
-  <tr>
-    <td class='c013'><span class='xsmall'>CHAP.</span></td>
-    <td class='c014'>&nbsp;</td>
-    <td class='c015'><span class='xsmall'>PAGE</span></td>
-  </tr>
-  <tr>
-    <td class='c013'>XVI.</td>
-    <td class='c014'>THE MERCHANTS OF THE STEELYARD</td>
-    <td class='c015'><a href='#Page_1'>1</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XVII.</td>
-    <td class='c014'>“THE TWO AMBASSADORS,” 1533</td>
-    <td class='c015'><a href='#Page_34'>34</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XVIII.</td>
-    <td class='c014'>PORTRAITS OF 1533-1536</td>
-    <td class='c015'><a href='#Page_54'>54</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XIX.</td>
-    <td class='c014'>“SERVANT OF THE KING’S MAJESTY”</td>
-    <td class='c015'><a href='#Page_90'>90</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XX.</td>
-    <td class='c014'>THE DUCHESS OF MILAN</td>
-    <td class='c015'><a href='#Page_114'>114</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXI.</td>
-    <td class='c014'>THE VISIT TO “HIGH BURGONY”</td>
-    <td class='c015'><a href='#Page_138'>138</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXII.</td>
-    <td class='c014'>BASEL REVISITED</td>
-    <td class='c015'><a href='#Page_156'>156</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXIII.</td>
-    <td class='c014'>ANNE OF CLEVES: 1539</td>
-    <td class='c015'><a href='#Page_171'>171</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXIV.</td>
-    <td class='c014'>THE LAST YEARS: 1540-1543</td>
-    <td class='c015'><a href='#Page_185'>185</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXV.</td>
-    <td class='c014'>HOLBEIN AS A MINIATURE PAINTER</td>
-    <td class='c015'><a href='#Page_217'>217</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXVI.</td>
-    <td class='c014'>THE WINDSOR DRAWINGS AND OTHER STUDIES</td>
-    <td class='c015'><a href='#Page_243'>243</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXVII.</td>
-    <td class='c014'>DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS</td>
-    <td class='c015'><a href='#Page_265'>265</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXVIII.</td>
-    <td class='c014'>THE BARBER-SURGEONS’ PICTURE AND THE PAINTER’S DEATH</td>
-    <td class='c015'><a href='#Page_289'>289</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XXIX.</td>
-    <td class='c014'>CONCLUSION</td>
-    <td class='c015'><a href='#Page_312'>312</a></td>
-  </tr>
-</table>
-
-</div>
-<div class='chapter'>
-  <h2 class='c012'>APPENDIX</h2>
-</div>
-<div class='fs80'>
-
-<table class='table1' summary=''>
-<colgroup>
-<col width='11%' />
-<col width='76%' />
-<col width='11%' />
-</colgroup>
-  <tr>
-    <td class='c013'>A.</td>
-    <td class='c014'><span class='sc'>Early Drawing by Holbein in the Maximilians Museum, Augsburg</span> (Vol. i. p. 43)</td>
-    <td class='c015'><a href='#app-A'>323</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>B.</td>
-    <td class='c014'><span class='sc'>Designs for Painted Glass of the Lucerne Period</span> (Vol. i. p. 79)</td>
-    <td class='c015'><a href='#app-B'>323</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>C.</td>
-    <td class='c014'><span class='sc'>Early Drawings for wall-paintings</span> (Vol. i. p. 101)</td>
-    <td class='c015'><a href='#app-C'>326</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>D.</td>
-    <td class='c014'><span class='sc'>Glass Designs with the Coats of Arms of the Von Andlau and Von Hewen Families</span> (Vol. i. p. 145)</td>
-    <td class='c015'><a href='#app-D'>326</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'><span class='sc'>The Glass Designs of “The Passion of Christ”</span> (Vol. i. p. 156)</td>
-    <td class='c015'><a href='#Page_327'>327</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>E.</td>
-    <td class='c014'><span class='sc'>The Faesch Museum</span> (Vol. i. pp. 88, 166-8, 180, and 239-41)</td>
-    <td class='c015'><a href='#app-E'>328</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>F.</td>
-    <td class='c014'><span class='sc'>Hans Holbein and Dr. Johann Fabri</span> (Vol. i. p. 175)</td>
-    <td class='c015'><a href='#app-F'>330</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>G.</td>
-    <td class='c014'><span class='sc'>The Trade-Mark of Reinhold Wolfe</span> (Vol. i. p. 202)</td>
-    <td class='c015'><a href='#app-G'>332</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>H.</td>
-    <td class='c014'><span class='sc'>Nicolas Bellin of Modena</span> (Vol. i. pp. 282-4)</td>
-    <td class='c015'><a href='#app-H'>333</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>I.</td>
-    <td class='c014'><span class='sc'>The More Family Group</span> (Vol. i. pp. 291-302)</td>
-    <td class='c015'><a href='#app-I'>334</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'><span class='sc'>The Portrait of Sir Thomas More</span> (Vol. i. pp. 303-4)</td>
-    <td class='c015'><a href='#Page_340'>340</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>J.</td>
-    <td class='c014'><span class='sc'>Holbein’s Return to England in 1532</span> (Vol. i. p. 352)</td>
-    <td class='c015'><a href='#app-J'>340</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>K.</td>
-    <td class='c014'><span class='sc'>Lord Arundel and Rembrandt as Collectors of Holbein’s Pictures</span> (Vol. ii. p. <a href='#Page_66'>66</a>)</td>
-    <td class='c015'><a href='#app-K'>341</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'><span class='sc'>The Portraits of Sir Nicholas Poyntz</span> (Vol. ii. p. <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a>)</td>
-    <td class='c015'><a href='#Page_342'>342</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'><span class='pageno' id='Page_vi'>vi</span>L.</td>
-    <td class='c014'><span class='sc'>Holbein’s Visit to Joinville and Nancy in 1538</span> (Vol. ii. pp. <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>)</td>
-    <td class='c015'><a href='#app-L'>343</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>M.</td>
-    <td class='c014'><span class='sc'>Holbein’s Studio in Whitehall</span> (Vol. ii. p. <a href='#Page_185'>185</a>)</td>
-    <td class='c015'><a href='#app-M'>344</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'><span class='sc'>The Barber-Surgeons’ Picture</span> (Vol. ii. p. <a href='#Page_294'>294</a>)</td>
-    <td class='c015'><a href='#Page_346'>346</a></td>
-  </tr>
-</table>
-<table class='table1' summary=''>
-<colgroup>
-<col width='88%' />
-<col width='11%' />
-</colgroup>
-  <tr>
-    <td class='c016'>SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS</td>
-    <td class='c015'><a href='#Page_347'>347</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c016'>PICTURES BY AND ATTRIBUTED TO HOLBEIN, AND OF HIS SCHOOL AND PERIOD, EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912</td>
-    <td class='c015'><a href='#Page_359'>359</a></td>
-  </tr>
-</table>
-<table class='table2' summary=''>
-<colgroup>
-<col width='11%' />
-<col width='76%' />
-<col width='11%' />
-</colgroup>
-  <tr>
-    <td class='c013'>I.</td>
-    <td class='c014'><span class='sc'>The British Institution, 1846</span></td>
-    <td class='c015'><a href='#Page_359'>359</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>II.</td>
-    <td class='c014'><span class='sc'>Art Treasures of the United Kingdom Collected at Manchester in 1857</span></td>
-    <td class='c015'><a href='#Page_360'>360</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>III.</td>
-    <td class='c014'><span class='sc'>Special Exhibition of Works of Art, South Kensington Museum, June, 1862</span></td>
-    <td class='c015'><a href='#Page_361'>361</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>IV.</td>
-    <td class='c014'><span class='sc'>Special Exhibition of Portrait Miniatures on Loan at the South Kensington Museum, June, 1865</span></td>
-    <td class='c015'><a href='#Page_362'>362</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>V.</td>
-    <td class='c014'><span class='sc'>First Special Exhibition of National Portraits ending with the Reign of King James the Second on Loan to the South Kensington Museum, 1866</span></td>
-    <td class='c015'><a href='#Page_363'>363</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>VI.</td>
-    <td class='c014'><span class='sc'>Third and Concluding Exhibition of National Portraits on Loan to the South Kensington Museum, April, 1868</span></td>
-    <td class='c015'><a href='#Page_367'>367</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>VII.</td>
-    <td class='c014'><span class='sc'>Royal Academy of Arts, Winter Exhibitions of Works by the Old Masters, 1870-1912</span></td>
-    <td class='c015'><a href='#Page_368'>368</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>VIII.</td>
-    <td class='c014'><span class='sc'>Grosvenor Gallery, Winter Exhibition of Drawings by the Old Masters, 1878-79</span></td>
-    <td class='c015'><a href='#Page_374'>374</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>IX.</td>
-    <td class='c014'><span class='sc'>Exhibition of the Royal House of Tudor. New Gallery, 1890</span></td>
-    <td class='c015'><a href='#Page_374'>374</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>X.</td>
-    <td class='c014'><span class='sc'>Exhibition of the Royal House of Tudor. Corporation of Manchester Art Gallery, 1897</span></td>
-    <td class='c015'><a href='#Page_381'>381</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XI.</td>
-    <td class='c014'><span class='sc'>New Gallery, Winter Exhibition, 1901-2. Monarchs of Great Britain and Ireland</span></td>
-    <td class='c015'><a href='#Page_382'>382</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XII.</td>
-    <td class='c014'><span class='sc'>Loan Collection of Portraits of English Historical Personages who died prior to the Year 1625. Oxford, 1904</span></td>
-    <td class='c015'><a href='#Page_383'>383</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XIII.</td>
-    <td class='c014'><span class='sc'>Exhibition Illustrative of Early English Portraiture. Burlington Fine Arts Club, 1909</span></td>
-    <td class='c015'><a href='#Page_384'>384</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>XIV.</td>
-    <td class='c014'><span class='sc'>Pictures by or Attributed to Holbein, described by Dr. Waagen in his “Treasures of Art in Great Britain,” 1854</span></td>
-    <td class='c015'><a href='#Page_386'>386</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>A SHORT BIBLIOGRAPHY</td>
-    <td class='c015'><a href='#Page_390'>390</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>INDEX</td>
-    <td class='c015'><a href='#idx'>401</a></td>
-  </tr>
-</table>
-
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_vii'>vii</span>
-  <h2 class='c012'>ILLUSTRATIONS</h2>
-</div>
-<div class='fs80'>
-
-<table class='table1' summary=''>
-<colgroup>
-<col width='11%' />
-<col width='76%' />
-<col width='11%' />
-</colgroup>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>KING HENRY VIII<br />Reproduced in colour, by kind permission of Earl  Spencer, G.C.V.O.<br /><i>Althorp.</i></td>
-    <td class='c015'><a href='#frontis'><i>Frontispiece</i></a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>1.</td>
-    <td class='c014'>GEORG GISZE (1532)<br />Reproduced in colour.<br /> <i>Kaiser Friedrich Museum, Berlin.</i></td>
-    <td class='c015'><a href='#pl-01'>4</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>2.</td>
-    <td class='c014'>HANS OF ANTWERP (1532)<br /> Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-02'>8</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>3.</td>
-    <td class='c014'>HERMANN HILLEBRANDT WEDIG (1533)<br /> Reproduced in colour.<br /> <i>Kaiser Friedrich Museum, Berlin.</i></td>
-    <td class='c015'><a href='#pl-03'>17</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>4.</td>
-    <td class='c014'>(1) DERICH BORN (1533)<br /> Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-04a'>18</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>(2) DERICH TYBIS (1533)<br /> <i>Imperial Gallery, Vienna.</i></td>
-    <td class='c015'><a href='#pl-04b'>18</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>5.</td>
-    <td class='c014'>DERICH BERCK (1536)<br /> Reproduced by kind permission of Lord Leconfield. <i>Petworth, Sussex.</i></td>
-    <td class='c015'><a href='#pl-05'>22</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>6.</td>
-    <td class='c014'>THE TRIUMPH OF RICHES<br /> Design for the wall-decoration in the Guildhall of the London Steelyard Merchants. Pen-and-wash drawing heightened with white<br /> <i>Louvre, Paris.</i></td>
-    <td class='c015'><a href='#pl-06'>26</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>7.</td>
-    <td class='c014'>THE TRIUMPH OF POVERTY<br /> Seventeenth-century copy, by Jan de Bisschop, of the wall-decoration in the Guildhall of the London Steelyard Merchants.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-07'>27</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>8.</td>
-    <td class='c014'>APOLLO AND THE MUSES<br /> Design for the decoration of the Steelyard on the occasion of the coronation of Anne Boleyn. Pen-and-wash drawing touched with green.<br /> <i>Royal Print Room, Berlin.</i></td>
-    <td class='c015'><a href='#pl-08'>31</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>9.</td>
-    <td class='c014'>THE TWO AMBASSADORS: JEAN DE DINTEVILLE AND GEORGE DESELVE (1533)<br /> Reproduced in colour.<br /> <i>National Gallery, London.</i></td>
-    <td class='c015'><a href='#pl-09'>36</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'><span class='pageno' id='Page_viii'>viii</span>10.</td>
-    <td class='c014'>PORTRAIT OF A MUSICIAN<br /> Reproduced by kind permission of Sir John Ramsden, Bt.<br /> <i>Bulstrode Park, Bucks.</i></td>
-    <td class='c015'><a href='#pl-10'>52</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>11.</td>
-    <td class='c014'>ROBERT CHESEMAN (1533)<br /> Reproduced in colour.<br /> <i>Royal Picture Gallery, Mauritshuis, The Hague.</i></td>
-    <td class='c015'><a href='#pl-11'>54</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>12.</td>
-    <td class='c014'>CHARLES DE SOLIER, SIEUR DE MORETTE<br /> <i>Royal Picture Gallery, Dresden.</i></td>
-    <td class='c015'><a href='#pl-12'>63</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>13.</td>
-    <td class='c014'>TITLE-PAGE OF COVERDALE’S BIBLE (1535)<br /> Woodcut.<br /> <i>From a copy in the British Museum.</i></td>
-    <td class='c015'><a href='#pl-13'>76</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>14.</td>
-    <td class='c014'>SIR THOMAS WYAT<br /> Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-14'>79</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>15.</td>
-    <td class='c014'>PORTRAIT OF A LADY, PROBABLY MARGARET WYAT, LADY LEE<br /> Until recently in the collection of Major Charles Palmer, by whose kind permission it is reproduced.<br /> <i>Mr. Benjamin Altman’s Collection, New York.</i></td>
-    <td class='c015'><a href='#pl-15'>82</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>16.</td>
-    <td class='c014'>SIR RICHARD SOUTHWELL (1536)<br /> Reproduced in colour.<br /> <i>Uffizi Gallery, Florence.</i></td>
-    <td class='c015'><a href='#pl-16'>84</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>17.</td>
-    <td class='c014'>SIR NICHOLAS CAREW<br /> Drawing in black and coloured chalks. Reproduced in colour.<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-17'>87</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>18.</td>
-    <td class='c014'>HENRY VII AND HENRY VIII<br /> Cartoon for the Whitehall wall-painting. Reproduced by kind permission of the Duke of Devonshire, G.C.V.O.<br /> <i>Chatsworth, formerly at Hardwick Hall.</i></td>
-    <td class='c015'><a href='#pl-18'>97</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>19.</td>
-    <td class='c014'>HENRY VIII<br /> <i>National Gallery, Rome.</i></td>
-    <td class='c015'><a href='#pl-19'>102</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>20.</td>
-    <td class='c014'>QUEEN JANE SEYMOUR<br /> Reproduced in colour.<br /> <i>Imperial Gallery, Vienna.</i></td>
-    <td class='c015'><a href='#pl-20'>111</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>21.</td>
-    <td class='c014'>THE DUCHESS OF MILAN (1538)<br /> Reproduced in colour.<br /> <i>National Gallery, London.</i></td>
-    <td class='c015'><a href='#pl-21'>128</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>22.</td>
-    <td class='c014'>EDWARD VI WHEN PRINCE OF WALES (1538-9)<br /> Reproduced by kind permission of the Earl of Yarborough.<br /> <i>Earl of Yarborough’s Collection.</i></td>
-    <td class='c015'><a href='#pl-22'>165</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>23.</td>
-    <td class='c014'>EDWARD VI, WHEN PRINCE OF WALES<br /> Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-23'>167</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'><span class='pageno' id='Page_ix'>ix</span>24.</td>
-    <td class='c014'>QUEEN ANNE OF CLEVES (1539)<br /> Reproduced in colour.<br /> <i>Louvre, Paris.</i></td>
-    <td class='c015'><a href='#pl-24'>181</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>25.</td>
-    <td class='c014'>THOMAS HOWARD, DUKE OF NORFOLK<br /> Reproduced in colour, by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-25'>197</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>26.</td>
-    <td class='c014'>HENRY HOWARD, EARL OF SURREY<br /> Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-26'>200</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>27.</td>
-    <td class='c014'>PORTRAIT OF AN UNKNOWN YOUNG MAN (1541)<br /> Reproduced in colour.<br /> <i>Imperial Gallery, Vienna.</i></td>
-    <td class='c015'><a href='#pl-27'>202</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>28.</td>
-    <td class='c014'>PORTRAIT OF AN UNKNOWN YOUNG MAN WITH A FALCON (1542)<br /> Reproduced in colour.<br /> <i>Royal Picture Gallery, Mauritshuis, The Hague.</i></td>
-    <td class='c015'><a href='#pl-28'>203</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>29.</td>
-    <td class='c014'>(1) PORTRAIT OF AN UNKNOWN ELDERLY MAN<br /> <i>Kaiser Friedrich Museum, Berlin.</i></td>
-    <td class='c015'><a href='#pl-29a'>205</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>(2) PORTRAIT OF AN UNKNOWN ENGLISH LADY<br /> <i>Imperial Gallery, Vienna.</i></td>
-    <td class='c015'><a href='#pl-29b'>205</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>30.</td>
-    <td class='c014'>DR. JOHN CHAMBER<br /> <i>Imperial Gallery, Vienna.</i></td>
-    <td class='c015'><a href='#pl-30'>208</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>31.</td>
-    <td class='c014'>MINIATURES<br /> (1) <span class='sc'>Henry Brandon.</span><br /> (2) <span class='sc'>Charles Brandon.</span><br /> (3) <span class='sc'>Lady Audley.</span><br /> (4) <span class='sc'>Queen Catherine Howard.</span><br /> Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i><br /><br /> (5) <span class='sc'>Portrait of an Unknown Youth.</span><br /> Reproduced by gracious permission of H.M. the Queen of Holland.<br /> <i>Royal Palace, The Hague.</i><br /><br /> (6) <span class='sc'>Thomas Cromwell, Earl of Essex.</span><br /> Reproduced by kind permission of the late Mr. J. Pierpont Morgan.<br /> <i>New York.</i></td>
-    <td class='c015'><a href='#pl-31'>222</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>32.</td>
-    <td class='c014'>STUDY FOR THE PORTRAIT OF A FAMILY GROUP<br /> Indian-ink wash drawing with brush outline.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-32'>226</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>33.</td>
-    <td class='c014'>MINIATURES<br /> (1) <span class='sc'>Mrs. Robert Pemberton.</span><br /> Reproduced by kind permission of the late Mr. J. Pierpont Morgan.<br /> <i>New York.</i><br /><br /> (2) <span class='sc'>Hans Holbein: Self-Portrait.</span><br /> <i>Wallace Collection.</i></td>
-    <td class='c015'><a href='#pl-33'>228</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'><span class='pageno' id='Page_x'>x</span>34.</td>
-    <td class='c014'>(1) UNKNOWN ENGLISHMAN. (2) WILLIAM PARR, MARQUIS OF NORTHAMPTON<br /> Drawings in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-34a'>(1) 256</a><br /><a href='#pl-34b'>(2) 256</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>35.</td>
-    <td class='c014'>THOMAS, LORD VAUX<br /> Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-35'>257</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>36.</td>
-    <td class='c014'>(1) UNKNOWN MAN, SAID TO BE JEAN DE DINTEVILLE (2) MARY ZOUCH<br /> Drawings in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-36a'>(1) 257</a><br />(2) <a href='#pl-36b'>257</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>37.</td>
-    <td class='c014'>(1) LADY AUDLEY. (2) LADY MEUTAS<br /> Drawings in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-37a'>(1) 257</a><br /><a href='#pl-37b'>(2) 257</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>38.</td>
-    <td class='c014'>“THE LADY HENEGHAM”: POSSIBLY MARGARET ROPER<br /> Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-38'>258</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>39.</td>
-    <td class='c014'>PORTRAIT OF AN UNKNOWN YOUNG MAN<br /> Drawing in black and coloured chalks. Reproduced in colour.<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-39'>259</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>40.</td>
-    <td class='c014'>THE QUEEN OF SHEBA’S VISIT TO KING SOLOMON<br /> Silver-point drawing washed with colour.<br />Reproduced by gracious permission of H.M. the King.<br /> <i>Windsor Castle.</i></td>
-    <td class='c015'><a href='#pl-40'>262</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>41.</td>
-    <td class='c014'>QUEEN JANE SEYMOUR’S CUP<br /> Pen-and-ink drawing.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-41'>274</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>42.</td>
-    <td class='c014'>HANS OF ANTWERP’S CUP<br /> Pen-and-wash drawing.<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-42'>275</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>43.</td>
-    <td class='c014'>SIR ANTHONY DENNY’S CLOCK<br /> Indian-ink wash and pen drawing.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-43'>276</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>44.</td>
-    <td class='c014'>DESIGN FOR A DAGGER HILT AND SHEATH<br /> Pen-and-ink and Indian-ink wash drawing.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-44'>277</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'><span class='pageno' id='Page_xi'>xi</span>45.</td>
-    <td class='c014'>(1) DAGGER SHEATH WITH FOLIATED ORNAMENT (DATED 1529). (2) UPRIGHT BAND OF ORNAMENT: PIPER AND BEARS. (3) DAGGER SHEATH WITH THE “JUDGMENT OF PARIS”<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-45'>278</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>46.</td>
-    <td class='c014'>(1) DAGGER SHEATH WITH A DANCE OF DEATH. (2) DAGGER SHEATH WITH A ROMAN TRIUMPH. (3) DAGGER SHEATH WITH “JOSHUA’S PASSAGE OF THE JORDAN”<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-46'>278</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>47.</td>
-    <td class='c014'>FIVE DESIGNS FOR DAGGER HILTS<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-47'>278</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>48.</td>
-    <td class='c014'>EIGHT DESIGNS FOR PENDANTS AND ORNAMENTS<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-48'>279</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>49.</td>
-    <td class='c014'>NINE DESIGNS FOR PENDANTS<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-49'>279</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>50.</td>
-    <td class='c014'>NINE DESIGNS FOR MEDALLIONS OR ENSEIGNES<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-50'>280</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>51.</td>
-    <td class='c014'>(1) BAND OF ORNAMENT: CHILDREN AT PLAY.<br />(2) BAND OF ORNAMENT: CHILDREN AND DOGS HUNTING A HARE<br /> <i>Public Picture Collection, Basel.</i></td>
-    <td class='c015'><a href='#pl-51'>282</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>&nbsp;</td>
-    <td class='c014'>(3) DESIGN FOR A COLLAR, WITH NYMPHS AND SATYRS. (4) DESIGN FOR A CHAIN. (5) DESIGN FOR A BRACELET OR COLLAR WITH DIAMONDS AND PEARLS.<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-51'>282</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>52.</td>
-    <td class='c014'>DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS<br /> <i>British Museum.</i></td>
-    <td class='c015'><a href='#pl-52'>282</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>53.</td>
-    <td class='c014'>DESIGNS FOR MEDALLIONS, &amp;c.<br /> (1) <span class='sc'>Hagar and Ishmael.</span><br /> (2) <span class='sc'>The Last Judgment.</span><br /> (3) <span class='sc'>Icarus.</span><br /> (4) <span class='sc'>Diana and Actæon.</span><br /> (5) <span class='sc'>Cupid and Bees.</span><br /> (6) <span class='sc'>“I await the Hour.”</span><br /> (7) <span class='sc'>The Rape of Helen.</span><br /> Reproduced by kind permission of the Duke of Devonshire.<br /> <i>Chatsworth.</i></td>
-    <td class='c015'><a href='#pl-53'>285</a></td>
-  </tr>
-  <tr><td>&nbsp;</td></tr>
-  <tr>
-    <td class='c013'>54.</td>
-    <td class='c014'>HENRY VIII GRANTING A CHARTER TO THE BARBER-SURGEONS’ COMPANY<br /> Reproduced by kind permission of the Barber-Surgeons’ Company.<br /> <i>Barber-Surgeons’ Hall, London.</i></td>
-    <td class='c015'><a href='#pl-54'>288</a></td>
-  </tr>
-</table>
-
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_1'>1</span><span class='c006'>Hans Holbein the Younger</span></div>
-  </div>
-</div>
-
-<div class='chapter'>
-  <h2 id='ch-XVI' class='c012'>CHAPTER XVI<br /><span class='c017'>THE MERCHANTS OF THE STEELYARD</span></h2>
-</div>
-<p class='c018'>The German Steelyard in London, and Holbein’s connection with its
-members—Portraits of Georg Gisze—Hans of Antwerp—The Wedighs—Derich
-Born—Derich Tybis—Cyriacus Fallen—Derich Berck—“The Triumph of
-Riches”—“The Triumph of Poverty”—Triumphal arch designed by Holbein
-for the Steelyard on the occasion of Queen Anne Boleyn’s coronation.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-THERE is no record to show in what part of London
-Holbein took up his residence upon his return to England.
-Possibly he may have settled in the house in
-the parish of St. Andrew Undershaft, in Aldgate Ward,
-in which he was residing in 1541; or there may be some
-truth in the tradition recorded by Walpole<a id='r1' /><a href='#f1' class='c020'><b>[1]</b></a> that he
-lived for a time in a house on London Bridge, in close proximity to
-the Steelyard, where he was much occupied in painting various members
-of that colony of German merchants for the next year or two. There
-is nothing to indicate that he returned to Chelsea, for the purpose of
-finishing the More family picture, or that he received further commissions
-from Sir Thomas and his immediate circle of friends. During
-Holbein’s absence in Basel More had been made Lord Chancellor, but
-had resigned that office on May 16th, 1532, which was about the time
-of Holbein’s return to London. More, a generous man, had not
-amassed wealth in the public service, and on relinquishing office and
-the salary it carried with it, retired into private life on a modest income,
-not sufficient to permit a lavish patronage of art. Two other
-members of the More circle, and good friends to Holbein, Sir Henry
-Guldeford, and Archbishop Warham, died in the same year, the former
-in May and the latter in August, and thus the painter lost two other
-patrons immediately after his return. A certain John Wolf was the
-<span class='pageno' id='Page_2'>2</span>painter employed to provide the escutcheons, banners, and other
-decorations for Guldeford’s funeral.<a id='r2' /><a href='#f2' class='c020'><b>[2]</b></a></p>
-
-<div class='footnote c021' id='f1'>
-<p class='c022'><span class='label'><a href='#r1'>1</a>.&nbsp;&nbsp;</span><i>Anecdotes</i>, &amp;c., ed. Wornum, 1888, vol. i. 86, note.</p>
-</div>
-
-<div class='footnote c021' id='f2'>
-<p class='c022'><span class='label'><a href='#r2'>2</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, v. 1064.</p>
-</div>
-
-<p class='c023'>Whether Holbein’s appearance amid entirely new surroundings
-was due to these events is doubtful. It is natural to suppose that he
-would turn instinctively towards a society of fellow-countrymen,
-speaking the same language, and of similar habits and modes of
-thought, with whom he would feel most at home, men of comfortable
-fortunes, well able to afford the luxury of sitting for their
-portraits, and with the means also of finding him other remunerative
-work.</p>
-
-<p class='c023'>These merchants of the Hanseatic League in London formed a
-rich corporation of considerable numerical strength, whose beginnings
-went back to the very early days of English history. Some of its most
-valuable privileges and trading monopolies were granted it by Richard
-I and Edward III, in return for moneys lent, monopolies which
-hampered English trade for centuries afterwards. This colony had
-always occupied a part of the river bank above London Bridge, on the
-site of what is now the South-Eastern Railway Station in Cannon
-Street.<a id='r3' /><a href='#f3' class='c020'><b>[3]</b></a> Their buildings were surrounded by a turreted wall, which
-stretched from the river northward to Thames Street, and from Allhallows
-Street on the east to Cosin (Cousins) Lane on the west, their
-property extending towards Dowgate. Entrance in the principal
-front in Thames Street was by three fortified gateways, above which
-the Imperial double-eagle floated, and within stood their old stone
-Guildhall, with a pleasant garden planted on one side with fruit trees
-and vines after the fashion of their fatherland, and, to the west of the
-main gate, vaults where Rhenish wine and other foreign delicacies
-were sold, a favourite place of resort for English citizens as well as
-foreigners. It has been generally supposed that its name, the Steelyard,
-or <i>Stahlhof</i>, arose from the great weighing-machine or steelyard
-<span class='pageno' id='Page_3'>3</span>which stood within its entrance.<a id='r4' /><a href='#f4' class='c020'><b>[4]</b></a> The Guildhall and Council Chamber
-were situated in the western corner on Thames Street, and several
-passages, including Windgoose Alley, ran from that street to the river,
-giving access to the shops and small houses, the latter usually consisting
-of a bedroom and sitting-room for the merchant, and, at the back,
-stores and apartments for clerks and workmen. The corporation was
-a close one, and the rules by which its members were bound were as
-strict as those of a monastery. Within its precincts women were
-strictly forbidden; all married members had to live outside the walls,
-nor were guests allowed to lodge there unless also of the Hanseatic
-community. Each night at nine the gates were shut, and the Steelyard
-was then like a small walled German town in the midst of London.
-The breaking of its laws, or the practice of any bad habits, was followed
-by severe punishment. Its members, too, were obliged to take their
-share in the wider civic life of London. The Steelyard was represented
-by an Alderman and a Deputy, and, among other duties, each
-merchant had his allotted post in case of war, and was obliged to keep
-the necessary arms ready for the defence of the city.</p>
-
-<div class='footnote c021' id='f3'>
-<p class='c022'><span class='label'><a href='#r3'>3</a>.&nbsp;&nbsp;</span>The buildings of the Steelyard were finally pulled down
-in the autumn of 1863, and the ground was excavated immediately
-afterwards. The Cannon Street Railway Station covers approximately the
-whole site of the Steelyard except the strip on the north front cut
-off for the widening of Upper Thames Street. See Philip Norman, “Notes
-on the Later History of the Steelyard in London,” <i>Archæologia</i>,
-vol. lxi. pt. ii. (1909), pp. 389-426; Wykeham Archer, <i>Once a
-Week</i>, vol. v. (1861); J. E. Price, <i>Transactions of the London
-and Middlesex Archæological Society</i>, vol. iii. 67 (1870). See also
-for the whole history of the Steelyard, Lappenberg, <i>Urkundliche
-Geschichte des Hansischen Stahlhofes zu London</i>, Hamburg, 1851.</p>
-</div>
-
-<div class='footnote c021' id='f4'>
-<p class='c022'><span class='label'><a href='#r4'>4</a>.&nbsp;&nbsp;</span>Dr. Norman, however, considers that it has nothing to do
-with a weighing-machine, but that it is an Anglicised form of the
-German “Stahlhof.” See his paper in <i>Archæologia</i>, quoted on the
-preceding page.</p>
-</div>
-
-<p class='c023'>Their privileges were so great that they had always been unpopular,
-and this dislike grew in strength until the reign of Henry VIII, when
-the first attempts were made to break up their monopolies, which
-ended, some sixty years later, in their complete overthrow. When
-Holbein first came among them, however, they still occupied the foremost
-place in the commercial life of London, and were an exceedingly
-rich and prosperous community. They served the King and Court in
-more ways than one, for they were constantly made use of for the
-despatch of letters abroad and for the translation of communications
-received from foreign countries. They made arrangements with their
-agents in Europe for the payment of the diets and other expenses of
-Henry’s ambassadors and special messengers, and much confidential
-continental news was received through their business houses. Books,
-prints, and various rare and artistic objects were also forwarded to
-them for delivery to the English court. Thomas Cromwell, in particular,
-made much use of them in the sending and receiving of
-foreign correspondence. They also entertained all important visitors,
-<span class='pageno' id='Page_4'>4</span>artists, craftsmen, and others of their own countrymen who visited
-England.</p>
-
-<p class='c023'>Holbein, however, does not appear to have come into contact with
-them during his first visit to England; no portrait, at least, of a Steelyard
-merchant of that date has survived, though he painted Niklaus
-Kratzer, who must have known many of them intimately. Possibly
-his introduction to them in 1532 was due to his friendship with the
-German astronomer. In any case, between 1532 and 1536, he painted
-a considerable number of them, chiefly small half-length portraits, in
-which the sitter is shown in his own room or office, dressed in sober
-black, with the accessories of his work scattered round him, and with
-letters in front of him containing his name and his address at the
-Steelyard. These portraits were most probably painted for presentation
-by the sitters to the League of which they were leading members,
-to be hung on the walls of the Council Chamber of their Guildhall,
-rather than for the purpose of sending them to family relations abroad.
-This would account for the presence of several of them in England to-day,
-for when the Guild was finally broken up in 1598 and much of
-its property scattered far and wide, some of the portraits remained in
-this country while others found their way abroad.</p>
-
-<div id='pl-01'  class='figcenter id001'>
-<img src='images/pl-01.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 1</span><br />GEORG GISZE<br /><span class='sc'>Kaiser Friedrich Museum, Berlin</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF GEORG GISZE</div>
-<p class='c023'>The portrait of Georg Gisze, now in the Berlin Museum (No. 586)
-(<a href='#pl-01'>Pl. 1</a>),<a id='r5' /><a href='#f5' class='c020'><b>[5]</b></a> was one of the first, if not the first, of these likenesses of
-Steelyard merchants to be painted by Holbein. This portrait is not
-only the most elaborate work of the whole series, but the sitter was
-also one of the most important members of the League then in London.
-His name is spelt in more than one way on the picture itself, and other
-versions of it are to be found in the English State Papers. In the
-letter from his brother, which he holds in his hand, he is addressed,
-according to the Berlin Catalogue, as Jerg Gisze. The full address
-is “Dem erszamen Jergen Gisze to lunden in engelant mynen broder
-to handen.” Below the motto on the wall, beneath the shelf on
-the left—“Nulla sine merore voluptas”—in the sitter’s own handwriting,
-is the signature G. Gisze or Gyze. It has been read both
-ways, for the second letter may be taken either as an <i>i</i>
-followed by a long <i>s</i>, or, as two connected strokes representing
-the letter <i>y</i>. On other letters from foreign correspondents,
-tucked behind the wall-rails on the right, his name is also spelt
-Gisse and Ghisse, while in the
-<span class='pageno' id='Page_5'>5</span>distich inscribed on a cartellino fastened to the wall over his head
-it appears in its Latinised form of Gysen. This distich, which also
-contains the date and the sitter’s age, runs as follows:—</p>
-
-<div class='footnote c021' id='f5'>
-<p class='c022'><span class='label'><a href='#r5'>5</a>.&nbsp;&nbsp;</span>Woltmann, 115. Reproduced by Davies, p. 140; Knackfuss,
-fig. 117; Berlin Catg., p. 176; Ganz, <i>Holbein</i>, p. 95; and in
-colour by the Medici Society.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Δισυχι`ον ĭ Jmaginē Georgii Gysenii</div>
-      <div class='line in2'>Jsta refert vultus, qua cernis Jmago Georgi</div>
-      <div class='line in4'>Sic oculos viuos, sic habet ille Genas.</div>
-      <div class='line in6'>Anno ætatis suæ xxxiiij</div>
-      <div class='line in8'>Anno dom 1532.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c023'>In days when spelling was largely phonetic it is not surprising to
-find proper names spelt in a variety of ways, and the Hanse merchants,
-in particular, received letters from correspondents in all parts of the
-world, speaking a variety of languages and dialects. According to
-the Berlin Catalogue, Georg Gisze was born on 2nd April 1497, so that
-he was of Holbein’s own age, and died in February 1562, and was a
-member of a leading Danzig family. Woltmann regarded him as a
-Swiss, and states that there was a family called Gysin settled in the
-neighbourhood of Basel, and that the name is still to be seen on numerous
-sign-boards in the adjacent small town of Liestall.<a id='r6' /><a href='#f6' class='c020'><b>[6]</b></a> Miss Hervey,
-on the other hand, suggests that, however the name may be spelt, it
-was probably a variation of that of Gueiss, which was one of the most
-distinguished in the annals of the Steelyard.<a id='r7' /><a href='#f7' class='c020'><b>[7]</b></a> The family belonged
-to Cologne, and Albert von Gueiss was a representative of the Steelyard
-at the Conference held at Bruges in 1520. In at least one entry
-in the Steelyard records this name is spelt Gisse. She suggests, therefore,
-that Georg Gisze may have been a younger brother or a son of
-this Albert von Gueiss. In his book on Holbein’s “Ambassadors”
-picture, Mr. W. F. Dickes, who, in his anxiety to prove that Holbein
-was not in England in 1532, conveniently ignores the evidence of the
-letter which Gisze holds in his hand, addressed to him “in London,”
-conclusive proof that the portrait was produced in this country, is of
-opinion that it was painted in Basel.<a id='r8' /><a href='#f8' class='c020'><b>[8]</b></a> Little is known of its history
-since it left the walls of the Guildhall in Thames Street. It was in the
-Orleans Collection in 1727, and was purchased at the sale of that
-collection by Christian von Mechel.<a id='r9' /><a href='#f9' class='c020'><b>[9]</b></a> Various attempts to induce the
-<span class='pageno' id='Page_6'>6</span>Basel Library to buy it proved unavailing. It was afterwards for a
-time in Basel, and in 1821 was added to the Solly Collection, passing
-later into the Berlin Gallery.</p>
-
-<div class='footnote c021' id='f6'>
-<p class='c022'><span class='label'><a href='#r6'>6</a>.&nbsp;&nbsp;</span>Woltmann, i. 366.</p>
-</div>
-
-<div class='footnote c021' id='f7'>
-<p class='c022'><span class='label'><a href='#r7'>7</a>.&nbsp;&nbsp;</span><i>Holbein’s Ambassadors</i>, p. 240.</p>
-</div>
-
-<div class='footnote c021' id='f8'>
-<p class='c022'><span class='label'><a href='#r8'>8</a>.&nbsp;&nbsp;</span><i>Holbein’s “Ambassadors” Unriddled</i>, p. 2.</p>
-</div>
-
-<div class='footnote c021' id='f9'>
-<p class='c022'><span class='label'><a href='#r9'>9</a>.&nbsp;&nbsp;</span>See Ganz, <i>Holbein</i>, p. 240. It was brought to
-England with the Orleans pictures in 1792, and in the Sale-Catalogue
-was described as “Portrait of Gysset.” It fetched 60 guineas. See
-Waagen, <i>Treasures</i>, &amp;c., Vol. ii. p. 500.</p>
-</div>
-
-<p class='c023'>The first time the name of Georg Gisze occurs in the English State
-Papers is in 1522,<a id='r10' /><a href='#f10' class='c020'><b>[10]</b></a> when he was twenty-four years of age. The paper
-is an English translation of a protection, dated Lyon, 26 June 1522,
-granted by Francis I to Gerrard van Werden, George Hasse, Henry
-Melman, Geo. Gyse, Geo. Strowse, Elard Smetyng, Hans Colynbrowgh,
-and Perpoynt Deovanter, merchants of the Hanse, during the war
-between him, the Emperor, and England. They are forbidden to deal
-in wheat, salt, “ollrons,” harness, and weapons of war. Deovanter
-appears to have been one of the leading merchants. At this period
-he went as a representative of the Steelyard on several missions to
-Francis for the purpose of the recovery of goods taken from their ships
-by the Captain of Boulogne. During his absence he gave power of
-attorney in a suit of his against George Byrom, of Salford, to several
-friends and fellow-merchants, among them “George Guyse,” and,
-it is interesting to note, “Th. Crumwell, of London, gent.”<a id='r11' /><a href='#f11' class='c020'><b>[11]</b></a></p>
-
-<div class='footnote c021' id='f10'>
-<p class='c022'><span class='label'><a href='#r10'>10</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iii. pt. ii. 2350.</p>
-</div>
-
-<div class='footnote c021' id='f11'>
-<p class='c022'><span class='label'><a href='#r11'>11</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iii. pt. ii. 2446, 2447, 2754.</p>
-</div>
-
-<p class='c023'>The next reference to Gisze is at Michaelmas, 1533, in a letter from
-Thomas Houth to the Earl of Kildare in Ireland,<a id='r12' /><a href='#f12' class='c020'><b>[12]</b></a> respecting the death
-of a certain John Wolff, in which, speaking of some bills, he says,—“I
-ascertained at the Steelyard that the handwriting was his, by the
-evidence of Geo. Gyes, the alderman’s deputy, and others.” This
-letter proves that Gisze held an important position in the Steelyard,
-as Deputy to the Alderman, who was probably Barthold Beckman, of
-Hamburg.<a id='r13' /><a href='#f13' class='c020'><b>[13]</b></a> Possibly his appointment to this position occasioned the
-painting of his portrait.</p>
-
-<div class='footnote c021' id='f12'>
-<p class='c022'><span class='label'><a href='#r12'>12</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vi. 1170.</p>
-</div>
-
-<div class='footnote c021' id='f13'>
-<p class='c022'><span class='label'><a href='#r13'>13</a>.&nbsp;&nbsp;</span>Lappenberg, <i>Urkundliche Geschichte des Hansischen
-Stahlhofes zu London</i>, p. 157; Miss Hervey, <i>Holbein’s
-Ambassadors</i>, p. 239.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF GEORG GISZE</div>
-<p class='c023'>The portrait is life-size, and half-length, the sitter being turned
-to the right, the face towards the spectator, and the eyes turned slightly
-to the left. He is wearing a flat black cap over his fair hair, which is
-cut straight across the forehead and covers the ears; and a dress of
-rose-coloured silk with a sleeveless overcoat of black, and a fine white
-linen shirt. He is seated behind a table covered with a cloth of Eastern
-design, and is in the act of opening his brother’s letter. By him, on
-the table, stands a tall vase of Venetian glass with twisted handles,
-<span class='pageno' id='Page_7'>7</span>filled with carnations, and scattered in front of him are various objects
-used in his business, a seal, inkstand, scissors, quill pens, a leather case
-with metal bands and clasps, and a box containing money. From the
-shelves on the walls hang scales for weighing gold, a seal attached to
-a long chain, and a metal ball for string, with a damascened design and
-a band with the words “<span class='fss'>HEER EN</span>” repeated round it.<a id='r14' /><a href='#f14' class='c020'><b>[14]</b></a> Books
-and a box are upon the shelves, and tucked within the narrow wooden
-bars which run round the walls are parchment tags for seals and several
-letters with addresses in High German. On these occur the dates
-1528 and 1531, while the names of the correspondents with which they
-are endorsed can be more or less clearly discerned, as well as the word
-“England.” Woltmann reads the names as “Tomas Bandz,”
-“Jergen ze Basel,” and “Hans Stolten.” This last letter is marked
-with the writer’s particular device, which also occurs on a second letter,
-and is very similar to the device on the letter in the picture of Derich
-Tybis in Vienna. The walls of his room are painted in greyish green,
-the paint shown as rubbed and discoloured here and there, and along
-the bars and shelves, which have been worn by constant use.</p>
-
-<div class='footnote c021' id='f14'>
-<p class='c022'><span class='label'><a href='#r14'>14</a>.&nbsp;&nbsp;</span>In the inventory of the goods of John Wolff, attached to
-the letter mentioned above, a similar ball is included—“a round ball
-gilt for sealing thread to hang out of to seal withal.” <i>C.L.P.</i>,
-vol. vi. 1170.</p>
-</div>
-
-<p class='c023'>The painting of the numerous details is wonderful in its accurate
-realism, showing the closest observation and an evident delight in
-their perfect rendering. It has been suggested, as the picture contains
-many more accessories than in his other portraits of members of the
-Steelyard, that Holbein took particular pains with it as the first of a
-possible series, and that it was a kind of “show-piece,” in order that
-his clients might see of what he was capable. This superb portrait,
-which is in a better state of preservation than most of Holbein’s existing
-works, is finer in its clear, luminous colour and more delicate in
-its drawing than any other of his pictures of this period. It is almost
-Flemish in the minuteness and care of its finish and in its cool, clear
-tones. All the objects of still-life which surround the sitter, which
-are placed about him as naturally as though the artist had come upon
-him suddenly when engaged upon his daily business, and had there
-and then painted him, without arranging or posing, whether of silk,
-or linen, or gold, or steel, or glass, are painted with a fidelity to nature
-never excelled by the Dutchmen or Flemings of the following century,
-<span class='pageno' id='Page_8'>8</span>who devoted their whole career to the rendering of still-life. In
-Holbein’s portrait, however, all these carefully-wrought minor details,
-beautiful in themselves as they may be, in no way force themselves
-on the attention to the detriment of the portrait itself, which stands
-out as a vivid representation of the sitter’s personality, in which the
-essentials of his character have been seen with an unerring eye, and
-set down upon the panel with an unerring hand. We get here the
-young German merchant to the very life, precise, deliberate and orderly
-in the transaction of his affairs, with strongly-marked German features,
-long nose, and determined chin, a living presentment which only a
-master could have produced.</p>
-
-<p class='c023'>Ruskin’s glowing description of the picture is well known, but it
-is so true and so eloquent that a sentence from it may be quoted:—</p>
-
-<p class='c025'>“Every accessory is perfect with a fine perfection; the carnations
-in the glass by his side; the ball of gold, chased with blue enamel,
-suspended on the wall; the books, the steelyard, the papers on the
-table, the seal ring with its quartered bearings—all intensely there,
-and there in beauty of which no one could have dreamed that even
-flowers or gold were capable, far less parchment or steel. But every
-change of shade is felt, every rich and rubied line of petal followed,
-every subdued gleam in the soft blue of the enamel and bending of the
-gold touched with a hand whose patience of regard creates rather than
-paints. The jewel itself was not so precious as the rays of enduring
-light which form it, beneath that errorless hand. The man himself
-what he was—not more; but to all conceivable proof of sight, in all
-aspect of life or thought—not less. He sits alone in his accustomed
-room, his common work laid out before him; he is conscious of no
-presence, assumes no dignity, bears no sudden or superficial look of
-care or interest, lives only as he lived—but for ever. It is inexhaustible.
-Every detail of it wins, retains, rewards the attention with a
-continually increasing sense of wonderfulness. It is also wholly true.
-So far as it reaches, it contains the absolute facts of colour, form, and
-character, rendered with an unaccusable faithfulness.”<a id='r15' /><a href='#f15' class='c020'><b>[15]</b></a></p>
-
-<div class='footnote c026' id='f15'>
-<p class='c022'><span class='label'><a href='#r15'>15</a>.&nbsp;&nbsp;</span>Ruskin, “Sir Joshua and Holbein,” <i>Cornhill
-Magazine</i>, March 1860; reprinted in <i>On the Old Road</i>, vol. i.
-pt. i. pp. 221-236.</p>
-</div>
-
-<div id='pl-02'  class='figcenter id001'>
-<img src='images/pl-02.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 2</span><br />HANS OF ANTWERP<br />1532<br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF HANS OF ANTWERP</div>
-<p class='c023'>The portrait of Hans of Antwerp, in Windsor Castle (<a href='#pl-02'>Pl. 2</a>),<a id='r16' /><a href='#f16' class='c020'><b>[16]</b></a>
-<span class='pageno' id='Page_9'>9</span>belongs to the summer of the same year, 1532, and was one of the earliest
-of the Steelyard series. It is in oil on panel, and has darkened with age,
-and has suffered to some extent from repaintings. It represents the
-half-length figure of a middle-aged man, about three-quarters the size of
-life. He is turned to the right, seated at a table, upon which his elbows
-rest, and he is about to cut the string of a letter with a long knife. He
-has thick bushy hair and beard, brown in colour, and brown eyes, and
-is wearing a dark overcoat, which may have been originally dark green
-in colour, edged with a broad band of brown fur, and beneath it a brown
-dress and a white shirt with the collar embroidered with black Spanish
-work. On his head is a flat black cap. The table is covered with a
-dark green cloth, and upon it, in front of him, are placed a pad of paper
-with a quill pen resting on it, some coins and a seal engraved with the
-letter W. The head, strongly lightened, stands out against a background
-of grey-brown wall, with a strip of darker colour on the
-right-hand side of the panel. He wears a signet ring on the first
-finger of his left hand, and a smaller ring on the little finger of
-the right.</p>
-
-<div class='footnote c021' id='f16'>
-<p class='c022'><span class='label'><a href='#r16'>16</a>.&nbsp;&nbsp;</span>Woltmann, 265. Reproduced by Law, <i>Holbein’s Pictures
-at Windsor Castle</i>, Pl. ii.; Davies, p. 30; Knackfuss, fig. 119;
-Cust, <i>Royal Collection of Paintings, Windsor Castle</i>, 1906, Pl.
-46; Ganz, <i>Holbein</i>, p. 96.</p>
-</div>
-
-<p class='c023'>The letter which he holds in his hand has a superscription in
-crabbed Teutonic writing, which Woltmann, after careful examination,
-deciphered as follows:—</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“<i>Dem ersamen H[a]nnsen</i></div>
-      <div class='line in1'><i>Von Anwerpen ... lo [....] vpn</i></div>
-      <div class='line in1'><i>Stallhoff zv h[anden].</i>”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>The parts in brackets are hidden in the original by the knife, and have
-been added conjecturally by him, so that the whole inscription would
-run in English: “To the honourable Hans of Antwerp in London,
-in the Steelyard, these to hand.” The words “ersamen” and “Stallhoff”
-are distinct, but the “Anwerpen” is less clear, and only the first
-letter of the Christian name is certain.</p>
-<p class='c023'>The brown under-dress the sitter is wearing certainly has some
-appearance of the leather apron worn by goldsmiths which Woltmann
-declared it to be;<a id='r17' /><a href='#f17' class='c020'><b>[17]</b></a> and this, together with the gold coins on the table,
-such as goldsmiths were in the habit of exhibiting in their shops, he
-regarded as additional proof that the portrait represents the goldsmith,
-<span class='pageno' id='Page_10'>10</span>Hans of Antwerp, Holbein’s close friend and one of his executors.<a id='r18' /><a href='#f18' class='c020'><b>[18]</b></a>
-There is considerable probability that this ascription is correct, though
-it is by no means absolutely certain. On the paper-pad lying on the
-table there is an inscription, evidently in the sitter’s handwriting, giving
-his age and the date. Even this inscription is not absolutely clear.
-Woltmann reads it:—</p>
-
-<div class='footnote c021' id='f17'>
-<p class='c022'><span class='label'><a href='#r17'>17</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 368. An under-dress of similar fashion,
-however, is worn by nearly all Holbein’s Steelyard sitters.</p>
-</div>
-
-<div class='footnote c021' id='f18'>
-<p class='c022'><span class='label'><a href='#r18'>18</a>.&nbsp;&nbsp;</span>It should be noted, however, that similar coins appear in
-the box on the table in the portrait of Georg Gisze.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Anno dm. 1532 an. d. 26 Julii</div>
-      <div class='line in3'>Ætatis suæ ...”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>The second “<span class='fss'>A.D.</span>,” however, is evidently wrong. Mr. Law<a id='r19' /><a href='#f19' class='c020'><b>[19]</b></a> reads
-it as a possible “Aug.” for August, and is doubtful about the word
-“Julii.” Both these writers fail to decipher the sitter’s age, but it
-appears to be “53,” or, perhaps, “33,” the latter agreeing better with
-the apparent age of the sitter.</p>
-
-<div class='footnote c021' id='f19'>
-<p class='c022'><span class='label'><a href='#r19'>19</a>.&nbsp;&nbsp;</span>Law, <i>Holbein’s Pictures</i>, &amp;c., p. 5.</p>
-</div>
-<p class='c023'>The W. on the seal affords some evidence against the portrait being
-that of John of Antwerp. Woltmann calls it “the device of his trading
-house,” and in this Mr. Law follows him. It is much more probable,
-however, that it is the initial of his surname. The seal is of a similar
-shape to those in the portraits of Georg Gisze and Derich Tybis. In the
-former the lettering is illegible, but in the latter it is plainly “D. T.”
-Before Hans of Antwerp’s surname was known, Woltmann’s suggestion
-was not out of place, but Mr. Lionel Cust<a id='r20' /><a href='#f20' class='c020'><b>[20]</b></a> has recently discovered
-it to have been Van der Gow, which does not accord with the letter on
-the seal. Among the numerous references to John of Antwerp in the
-State Papers and elsewhere he is never once spoken of as belonging to
-the Steelyard, whereas the picture in question is in all probability a
-portrait of some merchant of the Hanseatic League. More than one
-German merchant of the Steelyard whose surname began with W is
-mentioned in the records, such as Gerard van Werden and Ulric Wise,
-while one of the leading jewellers of Henry’s reign was Morgan Wolf,
-though he was almost certainly a Welshman. However, until further
-evidence is forthcoming, the name Hans of Antwerp must stand as
-the sitter for this portrait, and it has much in its favour.</p>
-
-<div class='footnote c021' id='f20'>
-<p class='c022'><span class='label'><a href='#r20'>20</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. viii. No. <span class='fss'>XXXV</span>.
-(Feb. 1906), pp. 356-60.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF HANS OF ANTWERP</div>
-<p class='c023'>As the friend and witness and administrator of Holbein’s will, the
-question of the true portrait of John of Antwerp is of unusual interest.
-<span class='pageno' id='Page_11'>11</span>The two men appear to have been closely associated, and there is no
-doubt that Holbein supplied him with designs. One such design is
-well known—the drawing for a beautiful drinking-cup in the Basel
-Gallery upon which is inscribed the name “Hans Von Ant....”
-(<a href='#pl-42'>Pl. 42</a>).<a id='r21' /><a href='#f21' class='c020'><b>[21]</b></a> Mr. Lionel Cust conjectures that the cup given by Cromwell
-to the King on New Year’s Day, 1539, made by John of Antwerp, was
-this identical cup; but it hardly appears probable that an object made
-for such a purpose would have the maker’s name placed upon it so
-prominently on a broad band running round its centre. It may be
-suggested that it is more likely to have been intended by the maker
-for presentation to the Hanseatic League to form part of the corporation
-plate of that body kept in the Guildhall of the Steelyard.</p>
-
-<div class='footnote c021' id='f21'>
-<p class='c022'><span class='label'><a href='#r21'>21</a>.&nbsp;&nbsp;</span>Woltmann, 110 (104). See p. <a href='#Page_275'>275</a>.</p>
-</div>
-
-<p class='c023'>John of Antwerp’s name occurs frequently in the private accounts
-of Thomas Cromwell for the years 1537-39, and Mr. Lionel Cust has
-gathered together much interesting information about him. In a
-letter from Cromwell to the Goldsmiths’ Company we learn that he
-had been settled in London since 1515, but the first reference to him
-Mr. Cust finds is in March 1537, in the Privy Purse Expenses of the
-Princess Mary, which runs: “Item payed for goldsmythes workes for
-my ladies grace to John of Andwarpe iiij <i>li</i>, xvij <i>s</i>, vij <i>d</i>.” There is,
-however, an earlier reference, and one of considerable interest, in the
-State Papers, in a letter from one Richard Cavendish to the Duke of
-Suffolk, dated Norton, 5th June 1534, which shows that John Van
-Andwerp was at that time employed with a certain Hans De Fromont
-in searching for a gold mine at Norton. “They are,” says Cavendish,
-“applying themselves with diligence to find the mine. Here is the
-greatest diversity of earth and stones, for the stones in the gravel in
-most places appear to be very gold. Many assays have been made
-to prove it, but nothing found as yet, and it is believed the glitter ‘is
-but the scum of the metal which groweth beneath the ground.’ They
-have now begun to dig pits to get at the principal vein. The people
-are as glad as ever he saw to further the matter, for in old evidences
-the place is called Golden Norton, which proves that gold may be
-found there. He sees no great forwardness as yet, but prays God they
-may find some.”<a id='r22' /><a href='#f22' class='c020'><b>[22]</b></a></p>
-
-<div class='footnote c021' id='f22'>
-<p class='c022'><span class='label'><a href='#r22'>22</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vii. 800.</p>
-</div>
-
-<p class='c023'>Cromwell employed him in a number of ways. In December 1537<a id='r23' /><a href='#f23' class='c020'><b>[23]</b></a>
-<span class='pageno' id='Page_12'>12</span>he received 15<i>s.</i> for setting a great ruby, and 29<i>s.</i> for
-the gold in the ring.
-In November 1538<a id='r24' /><a href='#f24' class='c020'><b>[24]</b></a> he was at work on the cup already mentioned for
-a New Year’s Gift to Henry, for which purpose he received 52 oz. of
-gold, and was paid nearly £20. Other work during these years consisted
-in making a George, setting stones in rings, making chains and
-trenchers, and repairing various Georges, Garters, and other jewellery
-belonging to the Lord Privy Seal, full details of which will be found in
-Mr. Cust’s paper, the last entry being dated 15th December 1539.<a id='r25' /><a href='#f25' class='c020'><b>[25]</b></a></p>
-
-<div class='footnote c021' id='f23'>
-<p class='c022'><span class='label'><a href='#r23'>23</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 782, ii. (p. 333).</p>
-</div>
-
-<div class='footnote c021' id='f24'>
-<p class='c022'><span class='label'><a href='#r24'>24</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 782, ii. (p. 338).</p>
-</div>
-
-<div class='footnote c021' id='f25'>
-<p class='c022'><span class='label'><a href='#r25'>25</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, under various dates.</p>
-</div>
-
-<p class='c023'>An entry in the Book of Payments of the Treasurer of the Chamber
-for April 1539<a id='r26' /><a href='#f26' class='c020'><b>[26]</b></a> shows him in another capacity, one, as already noted,
-in which the foreign traders in England were frequently employed by
-the Court. He received one shilling from the King’s purse for forwarding
-letters of importance to Christopher Mount and Thomas Panell,
-“his gracis servauntes and oratours in Jarmayne.”<a id='r27' /><a href='#f27' class='c020'><b>[27]</b></a></p>
-
-<div class='footnote c021' id='f26'>
-<p class='c022'><span class='label'><a href='#r26'>26</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 781 (p. 309).</p>
-</div>
-
-<div class='footnote c021' id='f27'>
-<p class='c022'><span class='label'><a href='#r27'>27</a>.&nbsp;&nbsp;</span>Mr. Cust suggests that this message was addressed to
-Holbein. He says: “At Lady Day, 1539, he (Holbein) seems to have been
-still absent (in Basel), though he was back in England before
-Midsummer.” (<i>Burlington Magazine</i>, February 1906, p. 359.) This,
-however, is not probable. Holbein was certainly back from Basel by
-December 1538, when he received £10 for his journey to Upper Burgundy,
-and he presented a portrait of Prince Edward to the King on New Year’s
-Day, 1539. He received no salary on Lady Day, 1539, because he had
-already received a year’s wages in advance at Midsummer, 1538, to date
-from the previous Lady Day, and not because he was out of England. At
-this period messages and money were being constantly sent to
-Christopher Mount, who was much abroad on missions to the German
-Protestant princes, and the question of the marriage with Cleves was
-only one of the many affairs, and one of the least important, upon
-which he was then engaged.</p>
-</div>
-
-<p class='c023'>In 1537 Hans of Antwerp’s name occurs in the return for Subsidies of
-Aliens in England, among foreigners dwelling in the parish of St.
-Nicholas Acon, as “John Andwarpe, straunger, xxx <i>li.</i>, xxx
-<i>s.</i>” In a similar list for the same parish in 1541 he is given
-for the first time his proper name: “John Vander Gow, <i>alias</i>
-John Andwerp, in goodes, xxx <i>li.</i>, xxx <i>s.</i>” Mr. Cust
-suggests that his name may have been Van der Goes. This assessment of
-his goods at £30 and the tax on it of thirty shillings was the
-customary rate for foreigners. Nicholas Lyzarde, Elizabeth’s
-serjeant-painter,<a id='r28' /><a href='#f28' class='c020'><b>[28]</b></a> was assessed to the same amount—but Holbein was
-taxed at the higher rate of £3 on his salary of £30, as it was the
-custom to tax “lands, fees and annuities” at double the rate of goods.</p>
-
-<div class='footnote c021' id='f28'>
-<p class='c022'><span class='label'><a href='#r28'>28</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_309'>309</a>.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF HANS OF ANTWERP</div>
-<p class='c023'>In April of the same year Van der Gow was anxious to obtain the
-<span class='pageno' id='Page_13'>13</span>freedom of the Goldsmiths’ Company as a step towards being admitted
-to the right of citizenship in London. Cromwell’s letter, recommending
-him to the Company “most hartely,” states that he had already lived
-twenty-six years in London, had married an Englishwoman, by whom
-he had many children, and purposed continuing in London for the rest
-of his life. This desire to become a naturalised Englishman might be
-taken as some evidence that he was not a member of the Steelyard
-confraternity.</p>
-
-<p class='c023'>From the register of the church of St. Nicholas Acon, in Lombard
-Street, where the goldsmiths have always congregated, we learn that
-he had a son, Augustine Anwarpe, baptized on 27th November 1542,
-and a second son, Roger, on 10th December 1547; that on three
-successive days in September 1543 three of his servants, John
-Ducheman, Jane, his maid, and Richard, were buried; that a fourth
-servant was buried on the 10th August 1548; and that his son Augustine
-was buried on 1st July 1550.<a id='r29' /><a href='#f29' class='c020'><b>[29]</b></a> There can be little doubt that the
-three servants died of the plague which was raging in London in
-September 1543. Holbein was almost certainly another of its victims,
-and Mr. Cust suggests that he may very probably have caught the
-infection in John Van der Gow’s house.</p>
-
-<div class='footnote c021' id='f29'>
-<p class='c022'><span class='label'><a href='#r29'>29</a>.&nbsp;&nbsp;</span>These facts are taken from Mr. Cust’s paper.</p>
-</div>
-
-<p class='c023'>The portrait, it is to be supposed, like Holbein’s other representations
-of Steelyard merchants, was very possibly presented to the Guild,
-and would remain hanging in their Guildhall until they were expelled
-by Elizabeth in 1598. “When in 1606,” says Woltmann, quoting
-from Lappenberg, “under James I, the Steelyard was given back to
-its possessors, the rooms were found in an evil condition, and all
-movables, such as tables, seats, bedsteads, and even panels and glass
-windows, were almost entirely stolen. That under such circumstances
-a sparing hand watched over the pictures is scarcely to be expected.”<a id='r30' /><a href='#f30' class='c020'><b>[30]</b></a>
-The portrait of Hans of Antwerp, whatever its earlier adventures may
-have been, was in the collection of Charles I, in which it was No. 29,
-and is described in his catalogue as: “Done by Holbein. <i>Item.</i>
-Upon a cracked board, the picture of a merchant, in a black cap and
-habit having a letter with a knife in his hand cutting the seal thread
-of the letter; a seal lying by on a green table; bought by Sir Harry
-Vane and given to the King.” The crack in the panel is still plainly
-<span class='pageno' id='Page_14'>14</span>visible. It was valued by the Commonwealth Commissioners at £100,
-and sold for that sum. It reappears, however, in James II’s catalogue,
-No. 499: “By Holbein. A man’s head, in a black cap, with a
-letter and penknife in his hand.” It is possible that it is the picture
-by “Holbin” of “a Dutchman sealing a letter,” which was in the Duke
-of Buckingham’s collection at York House in 1635,<a id='r31' /><a href='#f31' class='c020'><b>[31]</b></a> from which it
-may have passed into that of Charles I. The picture, though it has
-not the richness and transparency of colour of the “Gisze,” or its
-extreme delicacy of execution and luxuriance of detail, is a vigorous
-and life-like representation of a somewhat stolid German, painted with
-the truth and sincerity which Holbein brought to everything he
-touched.</p>
-
-<div class='footnote c021' id='f30'>
-<p class='c022'><span class='label'><a href='#r30'>30</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 381. See also Norman, <i>Archæologia</i>,
-vol. lxi. pt. ii. p. 394.</p>
-</div>
-
-<div class='footnote c021' id='f31'>
-<p class='c022'><span class='label'><a href='#r31'>31</a>.&nbsp;&nbsp;</span>See Randall Davies, “Inventory of the Duke of
-Buckingham’s Pictures,” &amp;c., <i>Burlington Magazine</i>, March 1907,
-p. 382.</p>
-</div>
-
-<div class='sidenote'>PORTRAITS OF TWO OF THE WEDIGHS</div>
-<p class='c023'>The two small roundels, which hitherto have always been regarded
-as likenesses of Holbein himself, undoubtedly represent, as
-Dr. Ganz has recently pointed out, the same individual as the
-sitter in the Windsor picture, who, until his identity is finally
-settled, it is most convenient to call Hans of Antwerp. The first
-is the beautiful little painting on oak in the Salting collection,<a id='r32' /><a href='#f32' class='c020'><b>[32]</b></a> in
-which the sitter is shown in full-face, with a flat black cap, a gown
-lined with light-coloured fur, and a dark under-coat or vest, cut straight
-across the top, as in most of Holbein’s other Steelyard portraits. The
-left hand only is shown, with a ring on the first finger. On the background
-on either side of the head is the faded inscription “<span class='fss'>ETATIS
-SVÆ 35</span>.” It was possibly painted a year or two later than the
-Windsor portrait, to which the likeness is very marked. If, however,
-the sitter really represents Hans of Antwerp, and he was painted a
-second time by Holbein about 1534-5, when 35 years of age, he must
-have been only a boy when he settled in London in 1515. The second
-roundel is in Lord Spencer’s collection at Althorp,<a id='r33' /><a href='#f33' class='c020'><b>[33]</b></a> and this, too, has
-always been regarded as a portrait of Holbein by himself. Here again
-the likeness to the Windsor picture is a strong one, though the opposite
-side of the face is seen, as he is shown in three-quarters profile to the
-spectator’s left. There are slight variations in the dress, the undervest
-being lower, and disclosing more of the white shirt. Some critics
-<span class='pageno' id='Page_15'>15</span>regard it as a genuine work by Holbein, but Dr. Ganz places it among
-the doubtful and wrongly-attributed pictures. He suggests that it
-is probably one of the two roundels considered to be self-portraits by
-Holbein which C. van Mander saw in Amsterdam in 1604, and was
-engraved by A. Stock as such in 1612 and published by H. Hondius.
-There is a replica of it in the Provinzial Museum in Hanover.<a id='r34' /><a href='#f34' class='c020'><b>[34]</b></a> All
-three works evidently represent the same man, and at about the same
-age.</p>
-
-<div class='footnote c021' id='f32'>
-<p class='c022'><span class='label'><a href='#r32'>32</a>.&nbsp;&nbsp;</span>Exhibited Burlington Fine Arts Club, 1909, Case D, No. 1,
-and reproduced in the Catalogue, Pl. xxxiv.; also by Ganz,
-<i>Holbein</i>, p. 114.</p>
-</div>
-
-<div class='footnote c021' id='f33'>
-<p class='c022'><span class='label'><a href='#r33'>33</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 226.</p>
-</div>
-
-<div class='footnote c021' id='f34'>
-<p class='c022'><span class='label'><a href='#r34'>34</a>.&nbsp;&nbsp;</span>See Ganz, <i>Holbein</i>, p. 253.</p>
-</div>
-
-<p class='c023'>In the same year, 1532, he painted another goldsmith, Hans von
-Zürich, but the picture has disappeared, and is now only known from
-the engraving Hollar made of it in 1647, when it was in the Arundel
-collection. In the engraving he is shown at half-length, full-face,
-the body turned slightly to the left, and is a thin man, with a pleasant
-expression. It is inscribed on the top: “Hans von Zürch, Goltshmidt.
-Hans Holbein, 1532,” and below, “W. Hollar fecit, 1647, ex collectione
-Arundeliana,” and has a dedication by the publisher, H. Vander Borcht,
-to Matthäus Merian.<a id='r35' /><a href='#f35' class='c020'><b>[35]</b></a> The date indicates that Hans von Zürich must
-have been living in London at that time, though his name does not
-occur in the State Papers.</p>
-
-<div class='footnote c021' id='f35'>
-<p class='c022'><span class='label'><a href='#r35'>35</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 197 (i.). Parthey,
-No. 1411.</p>
-</div>
-
-<p class='c023'>One other portrait of a German merchant by Holbein was painted
-in the year 1532.<a id='r36' /><a href='#f36' class='c020'><b>[36]</b></a> It is in the collection of Count von Schönborn in
-Vienna, and is one of a pair of portraits of brothers or near relations,
-members of the Wedigh family of Cologne.<a id='r37' /><a href='#f37' class='c020'><b>[37]</b></a> They hung together until
-1865, in which year the finer one of the two, dated 1533, was acquired
-by Herr B. Suermondt, of Aix-la-Chapelle, and is now in the Berlin
-Gallery, having been purchased in 1874, together with another fine
-portrait by Holbein of an unknown young man, from the Suermondt
-collection. The close relationship of the two sitters is proved by the
-exactly similar coat of arms on the enamelled ring each one is wearing.
-In the first edition of his book Woltmann gave it as his opinion that
-they were Englishmen, but afterwards came to the conclusion that
-both portraits represented German Steelyard merchants. The belief
-that they were Englishmen was afterwards strengthened by a communication
-to the Berlin authorities from Privy Councillor Dielitz, who,
-from the coat of arms on the rings, held that the pictures represented
-<span class='pageno' id='Page_16'>16</span>two members of the English family of Trelawney. This ascription,
-however, has been proved to be wrong, and it may be pointed out
-that the motto inscribed on the paper projecting from the book in
-the Vienna portrait,—“Veritas odium parit” (“Truth brings hatred”),
-is not the present motto of the Trelawney family. On the side of the
-same book, painted on the edges of the leaves, are the letters “<span class='fss'>H E R.
-W I D.</span>,” and more recent research has established the fact that the
-two men were members of the Wedigh family. Members of this patrician
-family of Cologne had been connected with the London Steelyard
-since 1480. In this connection it is interesting to note that the seal
-in the so-called “Hans of Antwerp” picture is engraved with the
-letter “W,” which suggests some possibility that he, too, may have
-been a Wedigh.</p>
-
-<div class='footnote c021' id='f36'>
-<p class='c022'><span class='label'><a href='#r36'>36</a>.&nbsp;&nbsp;</span>Woltmann, 262. Reproduced by Knackfuss, fig. 118; Ganz,
-<i>Holbein</i>, p. 97.</p>
-</div>
-
-<div class='footnote c021' id='f37'>
-<p class='c022'><span class='label'><a href='#r37'>37</a>.&nbsp;&nbsp;</span>Both portraits are mentioned in an inventory of 1746.</p>
-</div>
-
-<p class='c023'>The 1532 picture in the Schönborn collection is a small half-length.
-The subject, who is seated at the back of a table, is turned to the right,
-with head almost full-front and looking at the spectator. His right
-arm rests on the table, and he holds his gloves in his left hand. His
-hair, cut straight across his forehead, covers his ears, and he is clean-shaven.
-He is wearing the usual dark overcoat with deep fur collar,
-and an inner collar or lining of lighter fur, opened sufficiently to show
-a part of his embroidered under-dress, the sleeves of which are of watered
-or patterned silk, and a white pleated shirt gathered round the neck
-in a small frill. The customary flat black cap is on his head. On the
-table to the left is a leather-bound book with two clasps, with the
-artist’s initials on the cover, and a piece of paper projecting from
-between the leaves on which is written the Latin motto already quoted.
-On the plain blue background is inscribed on either side of the head,
-“<span class='fss'>ANNO. 1532.</span>” and “<span class='fss'>ÆTATIS.SVÆ. 29.</span>” It is a sympathetic and
-simple rendering of a young man of serious expression, in which both
-the beardless face, of a somewhat reddish complexion, and the two
-hands are very finely painted. Woltmann conjectured that the Latin
-motto indicated that the book on the table might be one of those writings
-which the German reformers were at that time busily engaged
-in smuggling into England, the secret dissemination of which neither
-Wolsey or More could stay, in spite of the drastic methods they employed
-to stamp it out. Although possessing many privileges, the men
-of the Steelyard were by no means free from persecutions of this nature.</p>
-
-<div class='sidenote'>PORTRAIT OF HERMANN WEDIGH</div>
-<p class='c023'>The companion picture, in the Berlin Gallery (No. 586<span class='fss'>B</span>) (<a href='#pl-03'>Pl. 3</a>),
-<span class='pageno' id='Page_17'>17</span>represents Hermann Hillebrandt Wedigh.<a id='r38' /><a href='#f38' class='c020'><b>[38]</b></a> Like that of his brother, it is
-a small half-length. He stands directly facing the spectator, the left
-hand holding his buff-coloured gloves, and the right half hidden by the
-heavy dark-brown cloak, with black velvet collar and velvet at the
-wrists, the folds of which are finely arranged and painted. This cloak
-lacks the customary fur collar. The white shirt, partly open and showing
-the bare chest beneath, is tied in the front by long strings passed
-through a white button, and the embroidered collar is almost hidden
-by his beard. A flat black cap is on his head, of the type worn by all
-the Steelyard merchants in Holbein’s portraits. The hair, beard, and
-long moustache are fair, the separate hairs being indicated with almost
-microscopic care. The eyes are brown, the left one being decidedly
-smaller than the right, and there is a corresponding difference in the
-development of the two sides of the face. There are no accessories
-of any kind, and upon the plain blue background, on either side of
-the head, is inscribed, in gold letters: “<span class='fss'>ANNO. 1533</span>.” and “<span class='fss'>ÆTATIS
-SVÆ. 39</span>.” The gold ring is enamelled in red, white and black, and
-in the circle round the coat of arms there are some letters now undecipherable.
-This is one of the finest and most sympathetic portraits
-ever painted by Holbein. The face, in spite of its slight irregularity,
-is one of great charm and much sweetness of expression. The drawing
-of the hands and mouth is particularly fine.<a id='r39' /><a href='#f39' class='c020'><b>[39]</b></a></p>
-
-<div class='footnote c021' id='f38'>
-<p class='c022'><span class='label'><a href='#r38'>38</a>.&nbsp;&nbsp;</span>Woltmann, 116. Reproduced by Dickes, p. 79; Knackfuss,
-fig. 121; Ganz, <i>Holbein</i>, p. 98; and in colour in <i>Early
-German Painters</i>, folio v.</p>
-</div>
-
-<div class='footnote c021' id='f39'>
-<p class='c022'><span class='label'><a href='#r39'>39</a>.&nbsp;&nbsp;</span>Mr. Dickes, who does not hesitate to suggest that a date
-has been tampered with if it suits his argument to do so, regards this
-picture as “an unmistakable portrait of the second person” in the
-“Ambassadors” picture, such person being, in his opinion Philipp,
-Count Palatine. This picture, he says, “has a damaged date, catalogued
-as 1533, and a more clear “ætatis 34,” which is no doubt correct, for
-the moustache shows five years’ more growth” (<i>i.e.</i> than in the
-“Ambassadors”). “No one who compares the two faces can doubt the
-identity, or that if of Philipp—born November 12, 1503, as indicated
-in our picture—its correct date is 1538.” It requires a very vivid
-imagination to see a likeness between Wedigh and the portrait of the
-Bishop of Lavaur in the National Gallery group; but Mr. Dickes sees
-Philipp and Otto Henry in so many portraits scattered about Europe,
-having but the faintest resemblance to one another, and gives to
-Holbein so many pictures he never painted, and takes from him at least
-one of his finest works (the Morette in Dresden, which he calls Otto
-Henry and attributes to Amberger) that his attribution with regard to
-the Wedigh portrait is not worth serious consideration. The date upon
-it is plainly enough 1533. At the time he was writing his book the age
-of the sitter appeared to be “34,” but recent cleaning shows it to be
-“39.” (Dickes, <i>Holbein’s “Ambassadors” Unriddled</i>, p. 81.)</p>
-</div>
-
-<p class='c023'>Three other portraits of Steelyard merchants bear the date 1533:
-Derich Born at Windsor, Derich Tybis at Vienna, and Cyriacus Fallen
-<span class='pageno' id='Page_18'>18</span>at Brunswick. The portrait of Derich Born (<a href='#pl-04a'>Pl. 4 (1)</a>),<a id='r40' /><a href='#f40' class='c020'><b>[40]</b></a> in the royal
-collection at Windsor Castle, painted when he was twenty-three, is,
-after the “Gisze” and “Hermann Wedigh” portraits, perhaps the
-most attractive of the Steelyard series. It is slightly under life-size,
-the figure shown nearly to the waist, turned to the right, and the head,
-upon which the light falls strongly from above on the right, nearly
-in full-face. His right elbow rests on a stone ledge or parapet which
-runs across the picture, the left hand placed across the right wrist, and
-a gold signet-ring with a coat of arms on his forefinger. He wears a
-flat black cap, black silk dress, and a white shirt with a collar of so-called
-Spanish work of black silk thread, very delicately painted. He
-is beardless, and has chestnut-brown hair, cut straight across the forehead
-and hiding the ears in the customary fashion.</p>
-
-<div class='footnote c021' id='f40'>
-<p class='c022'><span class='label'><a href='#r40'>40</a>.&nbsp;&nbsp;</span>Woltmann, 266. Reproduced by Law, Pl. 3; Davies, p. 154;
-Ganz, <i>Holbein</i>, p. 100; Cust, <i>Royal Collection of Paintings,
-Windsor Castle</i>, 1906, No. 45.</p>
-</div>
-
-<p class='c023'>On the flat stonework below the ledge on which his arm rests is
-inscribed, in large Roman letters as though cut in the stone, the following
-Latin couplet:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Derichvs si vocem addas ipsissimvs hic sit</div>
-      <div class='line in1'>Hvnc dvbites pictor fecerit an genitor.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>(“If you were to add a voice this would be Derich, his very self; and
-you would doubt whether a painter or a parent had produced him.”)</p>
-
-<p class='c027'>Below this runs, in slightly smaller letters of the same type:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“<span class='fss'>DER. BORN ETATIS SVÆ 23 ANNO 1533.</span>”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c023'>The background is of a dark greenish blue against which stand out
-some branches and leaves of a vine or fig tree. It is painted in cool and
-delicate tones, with flesh tints of a pale brown, in which it bears a
-close resemblance to the portrait of Georg Gisze. It is marked, too,
-by the same simplicity and restraint, and air of quiet and dignified
-repose, and searching truth and insight in the rendering of what must
-have been a very attractive nature, qualities which make Holbein’s
-portraiture so great.</p>
-
-<div id='pl-03'  class='figcenter id001'>
-<img src='images/pl-03.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 3</span><br />HERMANN HILLEBRANDT WEDIG<br /><span class='sc'>Kaiser Friedrich Museum, Berlin</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-04a'  class='figcenter id001'>
-<img src='images/pl-04a.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 4a</span><br />DERICH BORN<br />1533<br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF DERICH BORN</div>
-<p class='c023'>This is the only one of several portraits of the series without letters
-or papers bearing the name and address of the sitter which can be
-said with absolute certainty to represent one of the London Steelyard
-merchants. Mr. W. F. Dickes suggests that it represents the eldest
-son and successor of Theodorichus de Born, the printer, of Deventer
-<span class='pageno' id='Page_19'>19</span>and Nimeguen, who issued the Netherland New Testament in 1532,
-and he quotes a reference to a Theodorichus de Born de Novimagio
-acting as Secretary to the Faculty of Arts at Cologne University, and
-also to a Derichus de Born who had a licence to preach. “Remembering,”
-he says, “that Erasmus spent his schooldays at Deventer,
-and that Holbein owed to him several of his introductions, I think my
-suggestion deserves to be considered. At any rate, there is no necessity
-to assume, as is done without a tittle of evidence, that this young
-scholar was a member of the Stahlhof! Nor does the presence of this
-portrait at Windsor prove that it was painted in England.”<a id='r41' /><a href='#f41' class='c020'><b>[41]</b></a></p>
-
-<div class='footnote c021' id='f41'>
-<p class='c022'><span class='label'><a href='#r41'>41</a>.&nbsp;&nbsp;</span>Dickes, <i>Holbein</i>, &amp;c., p. 6.</p>
-</div>
-
-<p class='c023'>Mr. Dickes, whose chief object is to prove, for the purposes of his
-theory about the “Ambassadors,” that none of these Steelyard portraits
-was painted in England, starts by misquoting the inscription
-on the picture, which he gives as “Derichus si vocem addas de Born,”
-an extraordinary mixing of the first and third lines. There is no “de
-Born” in it, it is distinctly “Der. Born,” and though the young man
-depicted may have been a member of Theodorichus de Born’s family,
-as he suggests, he was certainly a member of the Steelyard, and known
-in London as Derich Born. In the Calendars of Letters and Papers,
-under the heading of “Ordnance,” a paper is printed which gives a
-list of “payments made by Erasmus Kyrkenar, the King’s armourer,
-by his Majesty’s command, from 15th Sept, to 13th Oct. 28 Hen.
-VIII” (1536), for wages of armourers, and the providing of armour,
-harness, &amp;c., in connection with the Rebellion in the North. Among
-the items included in his account is the following:</p>
-
-<p class='c023'>“For various bundles of harness bought of Mr. Locke, merchant
-of London, and of <i>Dyrycke Borne, merchant of the Steelyard</i>,” &amp;c.<a id='r42' /><a href='#f42' class='c020'><b>[42]</b></a>
-This, though it does not actually prove him to have been in London
-in 1533, shows that he was most certainly here three years later as a
-member of the Steelyard. Evidence of his presence in London in the
-years 1542-49 is to be found in the <i>Inventare hansischer Archive
-des 16. Jahrhunderts, I</i>, quoted by Dr. Ganz,<a id='r43' /><a href='#f43' class='c020'><b>[43]</b></a> who states that he was
-a merchant of Cologne.</p>
-
-<div class='footnote c021' id='f42'>
-<p class='c022'><span class='label'><a href='#r42'>42</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xi. 686.</p>
-</div>
-
-<div class='footnote c021' id='f43'>
-<p class='c022'><span class='label'><a href='#r43'>43</a>.&nbsp;&nbsp;</span><i>Holbein</i>, p. 240.</p>
-</div>
-
-<p class='c023'>The picture is on oak, 1 ft. 11½ in. high by 1 ft. 7¼ in. wide. It
-was at one time in the Arundel collection, and is entered in the 1655
-inventory as “Derichius a Born.” It is possible that the earl owned
-more than one of the Steelyard portraits, for there are two entries of
-<span class='pageno' id='Page_20'>20</span>portraits of men with black birettas. On the back is the brand of
-Charles I, “C.R.” crowned, though it is not described in his catalogue.
-There is a second portrait of Derich Born by Holbein, a small oval
-of about 3 in. high (9 × 8 mm.), on paper, in the Alte Pinakothek at
-Munich, giving the head and shoulders only.<a id='r44' /><a href='#f44' class='c020'><b>[44]</b></a> It is painted in oil on
-paper, and has suffered somewhat from retouching, but is still an
-excellent example of the small portraits in oil on wood or paper, usually
-enclosed in a case of wood or ivory, which Holbein was fond of painting
-at this period, closely akin to his true miniatures of a rather later
-date. In the Munich version the position is reversed, the sitter being
-turned to the right, and the face not quite so fully to the front. The
-workmanship, more particularly of the collar, is as fine as in the larger
-Windsor portrait. His name and age and the date are given, but the
-last figures and letters have been cut away, probably when fitting it
-into the frame, so that all that is left of the inscription on the background,
-on either side of the head, now reads:</p>
-
-<div class='footnote c021' id='f44'>
-<p class='c022'><span class='label'><a href='#r44'>44</a>.&nbsp;&nbsp;</span>Woltmann, 220. Reproduced by Ganz, <i>Holbein</i>, p. 147.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“DEBOR . . &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  .   .</div>
-      <div class='line in1'>TATIS &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SVÆ   .   .</div>
-      <div class='line in1'>M. D. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;XXX   .   .   .”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>There is every probability that the completed date was 1533, and
-that the little picture was produced at about the same time as the
-Windsor version, though the sitter looks slightly younger, and while
-the more important work was painted for a place on the walls of the
-Hanse Guildhall, the lesser one may well have been done for sending
-to the sitter’s relations abroad. The Munich catalogue states that it
-is from the Elector Palatine’s palace at Mannheim, but otherwise
-nothing is known of its history.</p>
-<div id='pl-04b'  class='figcenter id001'>
-<img src='images/pl-04b.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 4b</span><br />DERICH TYBIS<br />1533<br /><span class='sc'>Imperial Gallery, Vienna</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF DERICH TYBIS</div>
-<p class='c023'>The half-length portrait of Derich Tybis, of Duisburg (<a href='#pl-04b'>Pl. 4 (2)</a>), about
-half the size of life, in the Vienna Gallery (No. 1485), is of the same
-date, 1533.<a id='r45' /><a href='#f45' class='c020'><b>[45]</b></a> It is a full-face representation of a young man, with dark
-brown eyes and hair, his double chin and upper lip being clean-shaven
-and tinged with blue. In his hands, which rest on a table in front of
-him, he is holding a letter which he is about to open. He wears the
-usual heavy, black, sleeveless cloak or overcoat, with a deep collar
-of fur, and a smaller inner collar of lighter fur. The fore-sleeves of his
-<span class='pageno' id='Page_21'>21</span>under-dress are of dark-brown velvet. The open fur collar allows a
-glimpse of a finely-pleated white shirt, with a neck-band of a conventional
-design of holly leaves worked in gold thread in place
-of the more usual black Spanish embroidery. He wears two rings
-on the forefinger of his left hand, one with an oval green stone in a claw
-setting. The table is covered with an olive-green cloth, and lying upon
-it are a second letter, a paper with an inscription, a seal, quill-pen,
-sealing-wax, and a circular inkstand in two divisions, with an ink-well
-in one half and some gold coins in the other.</p>
-
-<div class='footnote c021' id='f45'>
-<p class='c022'><span class='label'><a href='#r45'>45</a>.&nbsp;&nbsp;</span>Woltmann, 251. Reproduced by Knackfuss, fig. 120; Ganz,
-<i>Holbein</i>, p. 101; and in colour in <i>Early German Painters</i>,
-folio ii.</p>
-</div>
-
-<p class='c023'>The picture has suffered some damage, more particularly in the
-colour. The ground, which was originally azure blue, has turned to
-a greenish tone, and the shadows of the flesh are now too grey; but the
-masterly draughtmanship is still there and the extraordinary insight
-into character. Here again the fine and expressive hands at once
-attract attention.</p>
-
-<p class='c023'>The letter he holds in his hands is from his father, and is addressed
-“Dem ersamen Deryck tybis von Duysburch alwyl London vff wi ...
-dgyss mynem lesten Sun....” (“To the honourable Derich Tybis of
-Duisburg, at the time in London, in Windgyss, my dear son”). This
-address shows that Tybis was living in Windgoose Alley, one of the
-passage-ways running through the Steelyard, with the houses and
-shops of the members on either side.</p>
-
-<p class='c023'>On the open paper lying on the table is inscribed, in imitation of
-the sitter’s handwriting:</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c029'>
-    <div>“<i>Jesus Christus.</i></div>
-  </div>
-</div>
-
-<p class='c030'>“Da ick was 33 jar alt was ick Deryck Tybis to London dyser gestalt en hab dyser
-gelicken den mark gesch[rieben] myt myner eigenen Hant en was Holpein malt anno 1533.
-per my Deryck [device here] Tybis fan Drys[burch].”</p>
-
-<p class='c030'>(“When I was 33 years old, I, Deryck Tybis, in London, had this appearance, and
-I have marked this portrait with my device in my own hand, and it was painted by
-Holbein in the year 1533, by me Deryck (here stands the device) Tybis von Drys....”)</p>
-
-<p class='c027'>The device, a combination of crosses, is repeated on the seal on
-the table, with the letters D.T., reversed, on either side of it. There
-is a somewhat similar device on some of the letters in Georg Gisze’s
-portrait. The address on the second letter, lying in front of him, is
-now almost illegible. There is no inscription on the background.
-The writer has found no reference to Tybis in the English State
-Papers.</p>
-
-<p class='c023'><span class='pageno' id='Page_22'>22</span>The fourth Steelyard portrait of 1533, that of Cyriacus Fallen, in
-the Brunswick Gallery,<a id='r46' /><a href='#f46' class='c020'><b>[46]</b></a> is also a half-length, about half the size of
-life. Like Derich Tybis, the sitter is shown full-face, looking at the
-spectator. His hair is cut in the customary Steelyard fashion, and he
-is clean-shaven. His black cap is set rather jauntily on one side, and
-his black overcoat has a very heavy fur collar, while his fore-sleeves
-are of brown silk with a pattern, as in the Wedigh portrait. The neck
-of his white embroidered shirt is just visible over the collar. In his
-hands he holds his gloves and two letters, superscribed with his name
-and address in London. These addresses are not very legible. Dr.
-Woltmann at first supposed the Christian name to be Ambrose, but
-further examination proved it to be Cyriacus. One of the inscriptions
-is: “Dem Ersamen syryacussfalen zu luden vp Stalhoff sy disser
-briff”; and the other: “Dem Ersamen f. ... syriakus fallenn in
-Lunde ... stalhuff sy dies....”</p>
-
-<div class='footnote c021' id='f46'>
-<p class='c022'><span class='label'><a href='#r46'>46</a>.&nbsp;&nbsp;</span>Woltmann, 126. Reproduced in <i>The Masterpieces of
-Holbein</i> (Gowan’s Art Books, No. 13), p. 34; Ganz, <i>Holbein</i>,
-p. 99. Reinach gives the surname as Kale, <i>Répertoire des
-Peintures</i>, Vol. ii. p. 518.</p>
-</div>
-
-<p class='c023'>On the green background, on either side of the sitter’s head, is
-inscribed his motto, “Patient in all things,” his age, and the date:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>IN ALS GEDOLTIG&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SIS ALTERS. 32.</div>
-      <div class='line in4'>· ANNO ·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;· 1533 ·</div>
-    </div>
-  </div>
-</div>
-
-<p class='c023'>Fallen has a broad face, and a somewhat stolid expression; like
-his fellow merchants, he has been placed upon the panel with absolute
-truth and precision, without a touch of flattery. The eyes, hands, and
-dress are still in excellent condition, but the head, unfortunately, has
-suffered greatly in the course of time, and has been much rubbed and
-overcleaned, and retouched in numerous places.<a id='r47' /><a href='#f47' class='c020'><b>[47]</b></a></p>
-
-<div class='footnote c021' id='f47'>
-<p class='c022'><span class='label'><a href='#r47'>47</a>.&nbsp;&nbsp;</span>Restored in 1892 by Hauser.</p>
-</div>
-
-<div id='pl-05'  class='figcenter id001'>
-<img src='images/pl-05.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 5</span><br />DERICH BERCK<br />1536<br />Lord Leconfield’s collection<br /><span class='sc'>Petworth</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF DERICH BERCK</div>
-<p class='c023'>There is a gap of three years before the next and last of this series
-of portraits of Hanse merchants is reached, that of Derich Berck or
-Berg of Cologne, in Lord Leconfield’s collection at Petworth (#Pl. 5#),<a id='r48' /><a href='#f48' class='c020'><b>[48]</b></a>
-which is dated 1536. He is represented life-size, at half-length, and full
-face, with brown hair and beard, and black dress and cap. Both hands
-are shown, and the left, resting on a table with a red cover, holds a
-letter addressed:—“Dem Ersame’ v[n]d fromen Derich berk i. London
-upt. Stalhoff,” together with the motto <i>besad dz end</i> (“Consider the
-<span class='pageno' id='Page_23'>23</span>end”), and the trade-mark of his business house. On the table is a
-slip of paper with the Latin motto, “Olim meminisse juvabit,” selected
-by Berck, says Dr. Ganz, to indicate that Holbein’s brush will secure
-him immortality.<a id='r49' /><a href='#f49' class='c020'><b>[49]</b></a> In the top right-hand corner are the date and the
-sitter’s age, “<span class='fss'>AN. 1536. ÆTA: 30</span>” twice over, a later inscription
-being painted over the faded original one. The background is blue,
-with a green curtain on the left.</p>
-
-<div class='footnote c021' id='f48'>
-<p class='c022'><span class='label'><a href='#r48'>48</a>.&nbsp;&nbsp;</span>Woltmann, 241. First published by Dr. Ganz in
-<i>Burlington Magazine</i>, October 1911, vol. xx. p. 33; Ganz,
-<i>Holbein</i>, p. 107.</p>
-</div>
-
-<div class='footnote c021' id='f49'>
-<p class='c022'><span class='label'><a href='#r49'>49</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. xx. p. 32.</p>
-</div>
-
-<p class='c023'>The writer has not seen this picture, but it is described as follows
-by Dr. Ganz in the <i>Burlington Magazine</i>:—“The merchant’s cloth
-and cap are black, but not dark; the heavy silk reflects the light in a
-greenish colour finely observed. The background is blue, of the same
-blue as in the portrait of Richard Southwell at Florence executed in
-the same year. It is enriched by a green curtain with red strings,
-giving an opportunity for the artist—like the red cloth on the table—for
-introducing other tones into his composition, such as black, besides
-the main notes of blue and flesh colour. The brightest point in this
-profound harmony of colours, a part of the white shirt with black
-embroidery, is placed just under the face and makes the fresh and lively
-expression of it stronger. The light shines with a rare splendour over
-this man’s healthy face and is reflected in the grey-blue eyes, which
-look so frank and kindly.” This picture has suffered from over-painting,
-but it remains a splendid and virile example of Holbein’s portraiture.
-There is a poor copy of it in the Alte Pinakothek at Munich,<a id='r50' /><a href='#f50' class='c020'><b>[50]</b></a>
-purchased in 1899 from a local picture-dealer. It had come originally
-from France, and was regarded as an unfinished portrait by Holbein
-of an unknown man. The Munich catalogue describes it as a school-replica.</p>
-
-<div class='footnote c021' id='f50'>
-<p class='c022'><span class='label'><a href='#r50'>50</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 219.</p>
-</div>
-
-<p class='c023'>To Holbein the Steelyard proved to be in all ways a fruitful source
-of income. Not only was he busily engaged for some years in painting
-individual members of the League, but he was also employed by
-them in their corporate capacity upon an important work of decoration
-for their Guildhall, and in at least one other direction. This
-decoration consisted of two large allegorical paintings in tempera
-representing “The Triumph of Riches” and “The Triumph of
-Poverty.” No record exists as to the date of this work, but it is
-reasonable to suppose that the commission was given him in 1532 or
-1533, at the time when he was in constant attendance within the
-<span class='pageno' id='Page_24'>24</span>precincts of the Steelyard for the purpose of painting some of its
-leading members in the midst of their daily occupations.</p>
-
-<p class='c023'>These decorative paintings have long since disappeared, but the
-original design for “The Triumph of Riches” exists, as well as numerous
-copies of both compositions, so that it is possible to gain some
-idea of their beauty and importance. These allegories, which contained
-many life-size figures, were not painted on the walls, but on
-canvas, and so easily removable. They added greatly to the artist’s
-reputation in this country, and before the close of the sixteenth century
-they were celebrated throughout Europe among artists and connoisseurs
-of painting. Carel von Mander says that Federigo Zuccaro,
-about the year 1574, made two drawings from them, and declared
-them to be equal to anything accomplished by Raphael, and that after
-his return to Italy he told Goltzius the painter that they were even
-finer than any wall-paintings from Raphael’s brush.</p>
-
-<p class='c023'>The two pictures remained in the Guildhall of the Steelyard
-until 1598, when it was closed by Queen Elizabeth, who at the same
-time expelled the Germans from their houses. For some years the
-place remained desolate, and when, in 1606, under James I, the buildings
-were restored to the League, most of the property left behind
-was found to have been stolen or badly damaged. The glory and
-prosperity of the Steelyard, indeed, had completely vanished, never
-to be fully restored again, and when the affairs of the Company in
-London were finally wound up, the two pictures were presented by
-the League, through their representative, the house-master, Holtscho,
-on January 22nd, 1616 (old style) to Henry, Prince of Wales, like his
-brother, Charles I, a patron of the fine arts. Holtscho, in describing the
-event, says: “I cannot, also, leave it unnoticed, that although these
-works are old, and have lost their freshness, yet His Highness, as a lover
-of painting, and as the works of the master, specially this work, have
-been highly commended, has taken great pleasure in them, as I have
-myself perceived, and have also heard from himself.”<a id='r51' /><a href='#f51' class='c020'><b>[51]</b></a> The researches
-of Dr. Lappenberg have placed these facts beyond doubt, thus disproving
-the old legend that the pictures were destroyed when still
-hanging on the walls of the banqueting-hall of the Easterlings during
-the Great Fire in 1666.</p>
-
-<div class='footnote c021' id='f51'>
-<p class='c022'><span class='label'><a href='#r51'>51</a>.&nbsp;&nbsp;</span>Woltmann, i. 381, quoting from Lappenberg, <i>Urkundliche
-Geschichte des hansischen Stahlhofes zu London</i>, 1851, pp. 82-87.</p>
-</div>
-
-<div class='sidenote'>THE TWO “TRIUMPHS”</div>
-<p class='c023'><span class='pageno' id='Page_25'>25</span>It has been generally supposed that on the death of Prince Henry,
-two years after they were presented to him, the pictures passed into
-the possession of Charles I; and as they were not included among
-the pictures of that King’s collection sold by order of the Commonwealth
-in 1648-53, Dr. Lappenberg concluded that they must have
-remained at Whitehall until destroyed in the fire at that palace in
-1698. Further evidence, however, appears to contradict this conclusion.
-In Van der Doort’s carefully-prepared catalogue of Charles I’s
-collection, although several less important works by Holbein are included,
-among them two miniatures, these two celebrated pictures are
-not mentioned. Again, Sandrart, in his autobiography, describes the
-two compositions in some detail, after seeing them in 1627 in the Earl
-of Arundel’s possession, in the long garden gallery in Arundel House.
-He does not say whether they were pictures or drawings, so that they
-may have been only the original designs; it is much more probable,
-however, that they were the large paintings, as Sandrart speaks of
-them first of all, as the chief of Holbein’s works belonging to the Earl,
-and afterwards describes three of his best known portraits, hanging in
-the same gallery, those of Erasmus, Sir Thomas More, and a “Princess
-of Lorraine” (the Duchess of Milan), which seems to indicate that
-Lord Arundel possessed the large works. It has been suggested that
-they may have been presented by Charles I to the Earl; but it is more
-likely that they were obtained by exchange with that monarch. Later
-on they were taken abroad with the rest of the collection by the Countess
-of Arundel, and were in Amsterdam at the time of her death in
-1654. In the inventory then drawn up they are merely described as
-“Triumpho della Richezza” and “Triumpho della Poverta.” Probably
-they were among the pictures hastily sold by Lord Stafford in
-that town immediately after his mother’s decease.<a id='r52' /><a href='#f52' class='c020'><b>[52]</b></a> The last trace
-of their history to be found is in a paragraph in Félibien’s <i>Entretiens
-sur les Vies et sur les Ouvrages des plus excellents Peintres anciens et
-modernes</i>, published in 1666, in which he speaks of them as having
-been brought from Flanders to Paris: “Il y avait encore dans la
-maison des Ostrelins, dans la salle du Convive, deux tableaux à détrempe,
-qu’on a veûs icy depuis quelques années, et qu’on avait envoyez
-de Flandres.”<a id='r53' /><a href='#f53' class='c020'><b>[53]</b></a></p>
-
-<div class='footnote c021' id='f52'>
-<p class='c022'><span class='label'><a href='#r52'>52</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, August 1911, vol. xix.
-pp. 282-6.</p>
-</div>
-
-<div class='footnote c021' id='f53'>
-<p class='c022'><span class='label'><a href='#r53'>53</a>.&nbsp;&nbsp;</span>Quoted by Woltmann, i. p. 382.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_26'>26</span>If Félibien is correct, the pictures had once more come into the
-possession of the Hanseatic League. They were, no doubt, purchased
-in Amsterdam by that body, and forwarded to Paris. No further
-record of them has been discovered, and as they were already in a
-damaged state when presented to the Prince of Wales, the probability
-is that they have perished.</p>
-
-<div id='pl-06'  class='figcenter id001'>
-<img src='images/pl-06.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 6</span><br />THE TRIUMPH OF RICHES<br />Design for the wall-decoration in the Guildhall of the London Steelyard Merchants <i>Pen-and-wash drawing heightened with white</i><br /><span class='sc'>Louvre, Paris</span></p>
-</div>
-</div>
-
-<div class='sidenote'>THE TWO “TRIUMPHS”</div>
-<p class='c023'>Holbein’s original sketch for “The Triumph of Riches,” a masterly
-pen drawing washed with Indian-ink, and touched with white in the
-high lights, is in the Louvre (#Pl. 6#).<a id='r54' /><a href='#f54' class='c020'><b>[54]</b></a> A similar drawing in the British
-Museum, purchased in 1854, which at one time was attributed to
-Holbein himself, is said by Woltmann to be a tracing of the Louvre
-example; but it has no appearance of being traced, and is certainly
-a copy, perhaps by an Italian.<a id='r55' /><a href='#f55' class='c020'><b>[55]</b></a> The heads and attributes are given
-a Raphaelesque air, strikingly different from the Flemish style of a
-second drawing in the Museum, of the second composition, “The
-Triumph of Poverty.”<a id='r56' /><a href='#f56' class='c020'><b>[56]</b></a> This latter is in black and red chalks and
-pen, washed with Indian-ink, and heightened with white, on a blue
-background, and was acquired in 1894 from the Eastlake collection.
-Lady Eastlake possessed a similar drawing of the “Riches.” Both
-are in all probability by Lucas Vorsterman the younger, and were
-purchased by Sir Charles Eastlake from the Walpole sale in 1842 for
-sixteen guineas. They appear to be copies, as Vertue suggested, made
-for engraving purposes by Lucas Vorsterman from the drawings done
-by Zuccaro in 1574; or possibly from the original paintings when in
-Amsterdam. Vorsterman certainly engraved one, if not both subjects,
-though only his engraving of the “Poverty” is known. These
-drawings,<a id='r57' /><a href='#f57' class='c020'><b>[57]</b></a> at one time in the Lely collection, were in Buckingham
-House, before it was purchased for a royal palace, and were sold as
-allegorical works by Van Dyck, and bought by Horace Walpole, who
-regarded the “Riches” as by Vorsterman, and the “Poverty” as by
-Zuccaro; but the latter, like the former, is decidedly Flemish in style.<a id='r58' /><a href='#f58' class='c020'><b>[58]</b></a>
-<span class='pageno' id='Page_27'>27</span>Sandrart possessed copies, in all probability those made by Zuccaro,
-which were afterwards in the Crozat collection, and when that collection
-was sold passed into that of Privy Councillor Fleischmann, of
-Strasburg, and while in his possession were engraved for Von Mechel’s
-“œuvres de Jean Holbein,” and inscribed “Zuccari delin. 1574.”
-All further traces of these Zuccaro drawings have now been lost.</p>
-
-<div class='footnote c021' id='f54'>
-<p class='c022'><span class='label'><a href='#r54'>54</a>.&nbsp;&nbsp;</span>Woltmann, 233. Reproduced by Ganz, <i>Hdz. von H. H. dem
-Jüng.</i>, Pl. <a href='#pl-31'>31</a>; Woltmann, i. p. 384.</p>
-</div>
-
-<div class='footnote c021' id='f55'>
-<p class='c022'><span class='label'><a href='#r55'>55</a>.&nbsp;&nbsp;</span>British Museum Catalogue of Drawings, &amp;c., Binyon, ii. p.
-342.</p>
-</div>
-
-<div class='footnote c021' id='f56'>
-<p class='c022'><span class='label'><a href='#r56'>56</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, p. 342.</p>
-</div>
-
-<div class='footnote c021' id='f57'>
-<p class='c022'><span class='label'><a href='#r57'>57</a>.&nbsp;&nbsp;</span>The Vorsterman copies are reproduced in outline in
-Waagen’s edition of Kugler’s <i>German, &amp;c., Schools of Painting</i>,
-from drawings made by Sir George Scharf when they were in the Eastlake
-collection.</p>
-</div>
-
-<div class='footnote c021' id='f58'>
-<p class='c022'><span class='label'><a href='#r58'>58</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, &amp;c., ed. Wornum, i. p. 89. Dr.
-Ganz, however, regards the “Poverty” as Zuccaro’s copy. See
-<i>Holbein</i>, p. 248.</p>
-</div>
-
-<p class='c023'>The British Museum possesses a very rare and interesting
-engraving, dated 1561,<a id='r59' /><a href='#f59' class='c020'><b>[59]</b></a> and inscribed “Faicte par Maistre Hans
-Holbeyn tres excellent pointre. Et imprime par Johan Borg<b>ni</b> Floret<b>o</b>
-en Anuers lan <span class='fss'>M·D·LXI</span>.” It is evidently taken from Holbein’s
-original design, which must have been in Antwerp at that date. Larger
-copies of both paintings are also in the British Museum; they are by
-Jan de Bisschop, a Dutch artist who died in 1686, and were probably
-made from the original large compositions when they were in Amsterdam.
-They are pen drawings washed with bistre, and are executed
-with great detail (#Pl. 7#).<a id='r60' /><a href='#f60' class='c020'><b>[60]</b></a> The “Riches” shows several minor
-differences and some additions when compared with the Louvre
-drawing. Two new characters are introduced, <i>Phileas</i> and <i>Leo Pisanus</i>,
-their heads appearing before and behind the charioteer, as well as
-<i>Heliogabalus</i> and some unnamed persons; there is a parrot on the tree
-in the background (as in the Vorsterman drawing), while the tree itself
-is much larger and more finished. All goes to prove, in short, that the
-Louvre drawing and the copy of it in the British Museum represent
-Holbein’s study for the painting, while the Bisschop drawings were
-made from the paintings themselves, and the Vorsterman drawings
-either from the finished works or from Zuccaro’s copies of them, and
-represent the final designs.<a id='r61' /><a href='#f61' class='c020'><b>[61]</b></a> The British Museum possesses a third
-copy of the “Triumph of Poverty,” made by Matthäus Merian the
-Younger in 1640, when the picture was still in London.<a id='r62' /><a href='#f62' class='c020'><b>[62]</b></a></p>
-
-<div class='footnote c021' id='f59'>
-<p class='c022'><span class='label'><a href='#r59'>59</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 175.</p>
-</div>
-
-<div class='footnote c021' id='f60'>
-<p class='c022'><span class='label'><a href='#r60'>60</a>.&nbsp;&nbsp;</span>Both reproduced by Ganz, <i>Holbein</i>, pp. 176-7.</p>
-</div>
-
-<div class='footnote c021' id='f61'>
-<p class='c022'><span class='label'><a href='#r61'>61</a>.&nbsp;&nbsp;</span>See the British Museum Catalogue, i. p. 343.</p>
-</div>
-
-<div class='footnote c021' id='f62'>
-<p class='c022'><span class='label'><a href='#r62'>62</a>.&nbsp;&nbsp;</span>A small version of the “Riches” until recently belonged
-to Mr. Edwin Seward, F.R.I.B.A., of Cardiff.</p>
-</div>
-
-<p class='c023'>It has been noted in an earlier chapter that Holbein, in his wall-paintings,
-was influenced by the example of Andrea Mantegna, whose
-“Triumph of Cæsar” had a European reputation. The Steelyard
-allegories were compositions of a similar nature, though in no sense
-copies of any earlier Italian work. The “Triumph of Riches” represents
-a crowded procession moving towards the spectator’s left. The
-<span class='pageno' id='Page_28'>28</span>magnificent chariot of Plutus, drawn by four white horses, is followed
-and surrounded by the most famous men of wealth of antiquity. The
-god of riches himself, old, bent, and bald, is seated on a high seat at
-the back of the car, with his feet on a sack of gold. In front of him
-sits Fortune on a globe, blindfolded,<a id='r63' /><a href='#f63' class='c020'><b>[63]</b></a> her veil blown out like a sail,
-and stooping down to scatter gold among the crowd; and in front of
-her sits the Charioteer, named <i>Ratio</i>, holding the reins, which are
-labelled <i>Notitia</i> and <i>Voluntas</i>. The two near horses,
-<i>Impostura</i> and <i>Contractus</i>, are led by <i>Bona Fides</i>
-and <i>Justitia</i>, two finely designed figures of women, while two
-other women, <i>Liberalitas</i> and <i>Æqualitas</i>,
-are mounted on the off horses, <i>Avaritia</i> and <i>Usura</i>, which they urge
-along with short whips. On either side of the chariot walk Simonides,
-Sichaeus, Leo Byzantius, Bassa, Themistocles, Pythius, Crispinus,
-Ventidius, who holds up his toga to catch the coins Fortune is scattering,
-Gadareus and others, some of them bent down with the weight of
-gold they are carrying in sacks or large purses. Behind the car rides
-Crœsus, a majestic, crowned figure, his horse led by Narcissus, with
-Cleopatra, Midas, Tantalus, and other riders bringing up the rear.
-On the extreme right of the composition <i>Nemesis</i> hovers over them in
-the clouds. To each figure a label with the name is attached, all of
-which are not given on the Louvre drawing, but are found in the
-Vorsterman and Bisschop copies. On the extreme left, in the sky, is a
-large cartellino,<a id='r64' /><a href='#f64' class='c020'><b>[64]</b></a> with a Latin inscription of two lines in Roman
-characters:—</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Avrvm blanditiæ pater est natvsq. doloris</div>
-      <div class='line in1'>Qvi caret hoc moeret qvi tenet hic metvit.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>This sentence was also written up over the central door of the Steelyard
-Guildhall, and has been ascribed, according to Walpole, to Sir
-Thomas More, but this appears to be a legend without any real foundation
-in fact.</p>
-<div class='footnote c021' id='f63'>
-<p class='c022'><span class='label'><a href='#r63'>63</a>.&nbsp;&nbsp;</span>In the original drawing. In the Bisschop copy her head is
-raised, and she is not blindfolded.</p>
-</div>
-
-<div class='footnote c021' id='f64'>
-<p class='c022'><span class='label'><a href='#r64'>64</a>.&nbsp;&nbsp;</span>Not shown in the Louvre drawing.</p>
-</div>
-
-<div id='pl-07'  class='figcenter id001'>
-<img src='images/pl-07.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 7</span><br />THE TRIUMPH OF POVERTY<br />Seventeenth-century copy of the wall-decoration in the Guildhall of the London Merchants of the Steelyard<br />By <span class='sc'>Jan de Bisschop</span><br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<div class='sidenote'>THE “TRIUMPH OF POVERTY”</div>
-<p class='c023'>Both compositions were of the same height, but the “Triumph of
-Riches” was much the longer of the two, so that they must have been
-painted to fill particular and prescribed wall-spaces in the Hall. Probably
-the “Riches” occupied the place of honour on one of the long
-walls, opposite the windows, with the “Poverty” at one of the ends
-of the room. The latter, according to Dr. Ganz, came first, as the
-<span class='pageno' id='Page_29'>29</span>heads of a number of the figures in the foreground are turned
-backwards as though looking across the room at the other procession
-following them. In the “Triumph of Poverty,” in which the procession
-moves in the same direction, from right to left, the central figure is
-Poverty, an old woman, lean, and bare to the waist, seated in a rough
-waggon with upright poles bearing a canopy of straw. Over her head is
-a label with the Greek title “Πενια.” Behind her sits
-<i>Infortunium</i>, striking with a rod at the heads of the crowd of
-poverty-stricken, half-naked figures following the cart, among whom
-are an old man, <i>Mendicitas</i>, and an old woman, <i>Miseria</i>.
-In front of Poverty sits <i>Industria</i>, distributing instruments of
-labour, hammers, chisels, flails, squares, and other tools to the poor
-workmen walking below, and she is supported by <i>Usus</i> and
-<i>Memoria</i>. The cart is driven by <i>Spes</i>, who looks up
-towards heaven, and is drawn by two oxen, <i>Negligentia</i> and
-<i>Pigritia</i>, in the shafts, and two asses, <i>Stupiditas</i> and
-<i>Ignavia</i>, as leaders. These steeds are led by four finely
-designed female figures, <i>Moderatio</i>, with a whip,
-<i>Diligentia</i>, <i>Solicitudo</i>, and <i>Labor</i>, the last
-carrying a heavy spade. Behind <i>Labor</i> walks a young man with a
-basket of carpenter’s tools, and a flail over his shoulder. On a tree
-in the left background hangs a large wooden tablet with a long Latin
-inscription, also attributed to Sir Thomas More, beginning:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Mortalivm jvcvnditas volvcris et pendvla</div>
-      <div class='line in1'>Movetvr instar tvrbinis quam nix agit sedvla,” &amp;c.<a id='r65' /><a href='#f65' class='c020'><b>[65]</b></a></div>
-    </div>
-  </div>
-</div>
-
-<div class='footnote c021' id='f65'>
-<p class='c022'><span class='label'><a href='#r65'>65</a>.&nbsp;&nbsp;</span>The lines are quoted in full by Wornum, p. 265, and
-Woltmann, i. p. 385.</p>
-</div>
-
-<p class='c023'>From the Louvre sketch in particular, but also from the numerous
-more or less faithful copies, sufficient evidence of the fine decorative
-character of the originals, their sense of rhythmic movement, their
-creative power and imagination, and the nobility of their design, can be
-obtained. The allegories they set forth were plain enough to read.
-They pointed out the instability of fortune and glory, and the virtue
-to be found in honest poverty, and warned the merchants who daily
-looked upon them, and whose avocations were the making of money,
-against undue arrogance in prosperity or needless despondency in
-adversity. “Both pieces,” says Van Mander, who describes them
-with some care, “were excellently arranged, freely drawn, and well
-delineated.” The colour-scheme appears to have matched the fine
-decorative qualities of the design. The compositions were not carried
-<span class='pageno' id='Page_30'>30</span>out in natural colours as in a picture. They were painted in greyish
-monochrome, with colour sparingly used. The background was blue,
-green was used in the trees, and the horses which drew the chariot of
-Plutus were white. The flesh tints of the numerous figures were
-rendered naturally, but the garments they wore were in monochrome,
-ornamented at the borders with gold, which was also used in other
-parts of the canvas with excellent effect, so that the paintings, when
-in position on the walls, must have added to the rich and brilliant
-appearance of the room, with its sideboards covered with silver plate
-and pewter ware.</p>
-
-<p class='c023'>We have one other record of a commission given to Holbein by the
-Steelyard. This was the design for the triumphal arch which they
-erected on Saturday, May 31st, 1533, when Anne Boleyn rode in procession
-from the Tower through the City to Westminster for her coronation.
-From a letter written by Chapuys, the Imperial Ambassador
-in London, to Charles V, dated May 18th in that year, it is evident that
-the Germans were not anxious to incur the cost of this decoration;
-but the Londoners, who had contributed 5000 ducats towards the
-festivities, of which 3000 were for a present to the new Queen, were
-determined to make all the inhabitants, irrespective of nationality,
-pay their due share.</p>
-
-<p class='c023'>“The Easterlings,” says Chapuys, “as being subjects of your
-Majesty, would like to be excused, but the great privileges they enjoy
-here prevent them from objecting.”<a id='r66' /><a href='#f66' class='c020'><b>[66]</b></a></p>
-
-<div class='footnote c021' id='f66'>
-<p class='c022'><span class='label'><a href='#r66'>66</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vi. 508.</p>
-</div>
-
-<div class='sidenote'>“APOLLO AND THE MUSES”</div>
-<p class='c023'>Having determined to do it, however, they did it well, as contemporary
-records bear witness. Stow tells us that Anne, after
-being greeted at Fenchurch Street by the children of the City Schools,
-was still more splendidly welcomed at the corner of Gracechurch
-Street, “where was a costly and marvellous cunning pageant made by
-the merchants of the Stilyard: therein was the Mount Parnassus,
-with the Fountaine of Helicon, which was of white marble, and four
-streames without pipe did rise an ell high, and mette together in a little
-cup above the fountaine, which fountaine ranne abundantly with
-Reynish wine till night. On the mountaine sat <i>Apollo</i>, and at his feete
-sate <i>Caliope</i>; and on every side of the mountaine sate four Muses,
-playing on severell sweet instruments, and all their jestes, epigrams,
-and poesies were wrytten in golden letters, in the which every Muse,
-<span class='pageno' id='Page_31'>31</span>according to her property, praysed the Queene.” Camusat, in his
-narrative, says: “In all open places were scaffolds, on which mysteries
-were played; and fountains poured forth wine. Along the streets all
-the merchants were stationed.”</p>
-
-<p class='c023'>This triumphal arch was designed by Holbein. His original sketch
-for it, formerly in the Crozat collection, and more recently in that of the
-late Herr Rudolph Weigel, of Leipzig, is now in the Berlin Print Room
-(#Pl. 8#).<a id='r67' /><a href='#f67' class='c020'><b>[67]</b></a> In its details it corresponds almost exactly with Stow’s
-description. In the centre Apollo is seated on a rock, beneath a slight
-bower or baldachin consisting of thin pillars supporting slender arches
-wreathed with leaves, across which hangs a scroll-shaped tablet for
-an inscription, the whole surmounted by a two-headed Imperial eagle.
-Apollo holds a small harp on his left knee, and with his right hand
-directs the music of the attendant Muses, who are grouped beneath
-him, five on the left hand and four on the right, on either side of a
-fountain of fine Renaissance design, in which the wine is falling from
-the smaller upper basin into the larger one beneath. The two front
-figures, Calliope and Polyhymnia, are seated, with lute and viol. Four
-of the others are singing, and the remainder playing various musical
-instruments, one with both a trumpet and a small drum. Apollo,
-crowned with a wreath, is clad in classical costume, but the ladies are
-wearing dresses of Holbein’s day. On either side of the group rise
-two tall candelabra, with blank shields for coats of arms, surmounted
-with royal crowns. In the background rocky mountains are indicated.
-The whole composition is supported by a central arch, of rich Renaissance
-design, shown in perspective, with a large blank tablet, to
-contain words of welcome, at its crown, and there are indications of
-smaller arches on either side. Thus it is evident that the decoration
-was not a painted one, but was a solid structure built across the street,
-under which the royal carriage would pass, and that Apollo and the
-Muses were represented by living persons, who played their instruments
-as the procession went by, while the white marble fountain splashed
-its Rhenish wine.</p>
-
-<div class='footnote c021' id='f67'>
-<p class='c022'><span class='label'><a href='#r67'>67</a>.&nbsp;&nbsp;</span>Woltmann, 175. Reproduced by Ganz, <i>Hdz. von H. H. dem
-Jüng.</i>, Pl. 30, and in <i>Holbein</i>, p. 178; Davies, p. 146; His,
-Pl. 51.</p>
-</div>
-
-<p class='c023'>The sketch is a very hasty one, but would be quite sufficient to
-indicate to the Steelyard the artist’s intentions. Holbein himself, no
-doubt, superintended the erection of the archway. Slight as it is, it
-<span class='pageno' id='Page_32'>32</span>is masterly in draughtsmanship, displaying Holbein’s delicacy and
-certainty of touch in every stroke. The two seated figures, more
-particularly the one on the right, are rapidly drawn with the greatest
-grace and charm. According to Woltmann the Imperial eagle on the
-summit has only one head; the drawing is rubbed at the top, but there
-seem to be indications that the split or two-headed bird, which was
-then customary, was intended. Mr. W. F. Dickes denies that this
-drawing was intended for the Steelyard arch; he considers it to be a
-sketch for one of the Apollo musical festivals of Holbein’s Guild
-“zum Himmel” at Basel, and uses it as a proof that the painter had
-returned to his adopted city in 1533.<a id='r68' /><a href='#f68' class='c020'><b>[68]</b></a> He bases this on an entry in
-the Banner Book of the Guild, dated November 23rd, 1533, which he
-reads as a payment to Holbein for banners painted for some festivity.<a id='r69' /><a href='#f69' class='c020'><b>[69]</b></a>
-The symbol of the Basel Painters’ Guild was a pigeon with outstretched
-wings, within a wreath or bower, and Mr. Dickes sees in the eagle of
-the Berlin drawing, which is not within a bower, the pigeon of the
-Guild. He states, too, that as the Hanseatic League included merchants
-of other than German nationality they would have been unwilling to
-use an emblem so limiting as the Imperial bird. This statement is,
-however, incorrect. No doubt exists as to the use of the eagle on this
-particular occasion. It was, indeed, viewed with extreme distaste
-by the new Queen. Eustace Chapuys, writing to Charles V on July
-11th, less than six weeks after the event, says: “I understand the
-lady (<i>i.e.</i>, Anne) complains daily of the Easterlings, who on the day of
-her entry had set the Imperial eagle predominant over the King’s
-arms and hers.... This may serve as an indication of her perverse
-and malicious nature.”<a id='r70' /><a href='#f70' class='c020'><b>[70]</b></a> And again, on the 30th of the same month,
-he returns to the same subject: “... the Lady who, as I am told,
-was not at all pleased with the Easterlings and other Germans for
-bringing me to see their fleet, which is greater than any that has been
-seen here for a long time; or that, at a solemn banquet which they
-made, the ships did march with their artillery. She is in a still worse
-humour because this was done near Greenwich park; and this has
-renewed the regret she felt for the eagle which the Easterlings carried
-in triumph the day of her entry here.”<a id='r71' /><a href='#f71' class='c020'><b>[71]</b></a> These letters afford additional
-<span class='pageno' id='Page_33'>33</span>evidence that Holbein made this drawing for the occasion of Anne’s
-coronation, and that it has nothing to do with Basel or the Zunft zum
-Himmel.</p>
-
-<div class='footnote c021' id='f68'>
-<p class='c022'><span class='label'><a href='#r68'>68</a>.&nbsp;&nbsp;</span>Dickes, <i>Holbein’s “Ambassadors” Unriddled</i>, p. 3.</p>
-</div>
-
-<div class='footnote c021' id='f69'>
-<p class='c022'><span class='label'><a href='#r69'>69</a>.&nbsp;&nbsp;</span>This point is dealt with in a later chapter. See pp. <a href='#Page_157'>157</a>-<a href='#Page_158'>158</a>.</p>
-</div>
-
-<div class='footnote c021' id='f70'>
-<p class='c022'><span class='label'><a href='#r70'>70</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vi. 805.</p>
-</div>
-
-<div class='footnote c021' id='f71'>
-<p class='c022'><span class='label'><a href='#r71'>71</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vi. 918.</p>
-</div>
-
-<div id='pl-08'  class='figcenter id001'>
-<img src='images/pl-08.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 8</span><br />APOLLO AND THE MUSES<br />Design for the Decoration of the Steelyard on the occasion of the Coronation of Anne Boleyn<br /><i>Pen-and-wash drawing touched with green</i><br /><span class='sc'>Royal Print Room, Berlin</span></p>
-</div>
-</div>
-
-<div class='sidenote'>“APOLLO AND THE MUSES”</div>
-<p class='c023'>The Imperial two-headed eagle was also carved in stone over the
-principal entrance to the Steelyard. The old device had disappeared
-in the course of time, but in 1670 a new one was placed in position.
-The following item occurs in a series of accounts still extant in connection
-with the Steelyard buildings of that period: “December 31st,
-1670. To Gabriel Cibbert, stone-cutter,—for the eagle put on over
-the gate from Thames Street, fixed on John Balls buildings, £5.”
-Caius Gabriel Cibber, a native of Holstein, and father of Colley Cibber,
-was a sculptor of some merit who practised in London. This sculptured
-shield-shaped stone, bearing an eagle displayed with a crowned
-collar and two heads, surrounded by an inscription, was also removed
-in course of time, and was recently found by Mr. Lawrence Weaver in
-the garden of Bickley Hall, Kent.<a id='r72' /><a href='#f72' class='c020'><b>[72]</b></a></p>
-
-<div class='footnote c021' id='f72'>
-<p class='c022'><span class='label'><a href='#r72'>72</a>.&nbsp;&nbsp;</span>See Dr. Philip Norman’s paper, already quoted, in
-<i>Archæologia</i>, vol. lxi. pt. 2, p. 406, in which the shield is
-reproduced.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_34'>34</span>
-  <h2 id='ch-XVII' class='c012'>CHAPTER XVII<br /><span class='c017'>“THE TWO AMBASSADORS,” 1533</span></h2>
-</div>
-<p class='c018'>Holbein receives the offer of a yearly pension from the Basel Town
-Council—“The Two Ambassadors”—The identity of the sitters—History and
-description of the picture—Other portraits of Dinteville and the
-members of his family—Félix Chrétien—Mr. Dickes’ theory that the
-picture represents the Princes Palatine Otto Henry and Philipp—The
-“Portrait of a Musician” at Bulstrode Park.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-THROUGHOUT the earlier years of Holbein’s second
-sojourn in England, though he was busily occupied on
-work for the German merchants of the Steelyard, his
-time was by no means completely taken up with the
-commissions they gave him both individually and as
-a corporate body. During the same period he painted
-the portraits of more than one Englishman and several foreigners of
-distinction.</p>
-
-<div class='sidenote'>LETTER OF RECALL FROM BASEL</div>
-<p class='c023'>As already pointed out, he probably returned to England during
-the first months of 1532. It is to be presumed that he arrived thus
-early—or even in the late autumn of the previous year—or otherwise
-it is difficult to account for the letter of recall, dated 2nd September
-1532, which was sent to him in England by the Burgomaster of Basel,
-Jakob Meyer—not his old patron, Meyer zum Hasen, but Jakob Meyer
-zum Hirschen—on behalf of the Council. Such a letter would hardly
-have been written if he had been absent from Basel for only a month
-or two. It is probable that the best part of a year would be allowed
-to elapse before a recall was sent to him. It runs as follows:</p>
-
-<p class='c023'>“Master Hans Holbein, the painter, now in England.</p>
-
-<p class='c023'>“We, Jacob Meiger, Burgomaster, and the Council of the City of
-Basel, send greeting to our dear citizen, Hans Holbein, and let you
-herewith know that it would please us if you would repair home as
-soon as possible. In that case, in order that you may the better stay
-at home and support your wife and children, we will furnish you yearly
-with thirty pieces of money, until we are able to take care of you better.</p>
-
-<p class='c023'><span class='pageno' id='Page_35'>35</span>We have wished to inform you of this, in order that you may conform
-to our desire. Dated Monday, 2nd September 1532.”<a id='r73' /><a href='#f73' class='c020'><b>[73]</b></a></p>
-
-<div class='footnote c021' id='f73'>
-<p class='c022'><span class='label'><a href='#r73'>73</a>.&nbsp;&nbsp;</span>Woltmann, English translation, p. 336. Original text in
-Woltmann, i. 363, and Wornum, p. 265.</p>
-</div>
-
-<p class='c023'>The offer contained in this letter, which, though its terms were
-not lavish, was a proof that his fellow-citizens appreciated his art and
-were anxious to induce him to reside permanently in Basel, was not
-tempting enough to induce Holbein to leave England. Whatever
-his answer may have been—for it is to be presumed that he received
-the letter, though there is no actual evidence to show that he did so—the
-Council’s request proved ineffectual. He must have felt that it
-would be folly to abandon regular and remunerative employment in
-London for doubtful and ill-paid municipal commissions in Switzerland,
-more particularly as he had so recently formed a new and lucrative
-connection with the Steelyard, while memories of the bad times
-lately encountered in Basel were still vivid.</p>
-
-<p class='c023'>As already pointed out, the only three portraits by him bearing
-the date 1532 are of German merchants. In the following year, however,
-more than one fine work affords proof that the Steelyard was by
-no means his only source of income. His most important undertaking
-in 1533 was the large double portrait generally known as “The Two
-Ambassadors,” now in the National Gallery, for which it was purchased,
-in 1890, with two other pictures, from the fifth Earl of Radnor, for
-£55,000, of which £25,000 was contributed by the State, and £30,000
-by Messrs. Nathaniel Rothschild &amp; Sons, Lord Iveagh, and Mr. Charles
-Cotes. The addition of this great painting to the national collections,
-in which, until then, Holbein had been unrepresented, aroused much
-curiosity as to the personality of the two sitters. Many attempts
-were made to identify them, and numerous solutions of the riddle
-were suggested in letters to the <i>Times</i> and other papers and reviews.
-Magazine articles were written about it, and, lastly, two volumes of
-considerable size were published with this picture as their sole subject.
-Probably no other painting in the world has produced so great
-a mass of literature.</p>
-
-<p class='c023'>The two men represented are Frenchmen: Jean de Dinteville,
-Lord of Polisy, and Bailly of Troyes, and, at the time the picture was
-painted, resident French ambassador in London, and his close friend
-George de Selve, afterwards Bishop of Lavaur, who came over to
-<span class='pageno' id='Page_36'>36</span>England in the spring of 1533 on a short visit to the Bailly. The
-painting (#Pl. 9#),<a id='r74' /><a href='#f74' class='c020'><b>[74]</b></a> which is on ten vertical panels of oak, is 6 ft.
-10 in. high by 6 ft. 10¼ in. wide, and is thus described in the National
-Gallery catalogue:</p>
-
-<div class='footnote c021' id='f74'>
-<p class='c022'><span class='label'><a href='#r74'>74</a>.&nbsp;&nbsp;</span>Woltmann, 215. Reproduced by Davies, p. 152; Miss Hervey,
-<i>Holbein’s Ambassadors</i>, frontispiece; Dickes, frontispiece;
-Ganz, <i>Holbein</i>, p. 103; and elsewhere.</p>
-</div>
-
-<div id='pl-09'  class='figcenter id001'>
-<img src='images/pl-09.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 9</span><br />THE TWO AMBASSADORS<br />Jean de Dinteville and George de Selve<br />1533<br /><span class='sc'>National Gallery, London</span></p>
-</div>
-</div>
-
-<p class='c023'>“The scene is a chamber paved with inlaid marbles, and hung
-with green damask, which in the upper left-hand corner partly reveals
-a silver crucifix attached to the wall behind. In the centre of the
-composition is a wooden stand, having an upper and a lower shelf. To
-the left of this, leaning his arm upon it, stands Jean de Dinteville, a
-young man with dark-brown eyes and beard, in a rich costume of the
-period of Henry VIII, wearing a heavy gold chain with the badge of
-the French order of Saint-Michel, and, on his right side, depending
-from his girdle, a dagger with wrought gold hilt and sheath: on the
-sheath the inscription—<span class='fss'>ÆT. SVÆ 29.</span> in relief. In his black bonnet
-is a jewel formed of a silver skull set in gold. To the right, George
-de Selve, dark-eyed, with a close beard, also leans upon the stand, or,
-more immediately, on a clasped book, the edges of which are inscribed:
-<span class='fss'>ÆTATIS SVÆ 25.</span> He wears a four-cornered black cap, and a loose,
-long-sleeved gown of mulberry and black brocade, lined with sable,
-and reaching to the ground. Both these persons regard the spectator.
-The upper shelf of the stand is covered with a Turkish rug, on which
-are several mathematical and astronomical instruments, and, close to
-the principal personage, a celestial globe. The lower shelf bears a
-case of flutes, a lute, an open music-book containing part of the score
-and words of the Lutheran hymn, ‘Komm, heiliger Geist,’ a smaller
-book, on arithmetic, kept partly open by a small square, a pair of
-compasses, and a terrestrial hand-globe, which is in a direct line below
-the other globe. Under the stand lies the lute-case. Conspicuous
-in the foreground is the <i>anamorphosis</i>, or perspectively distorted
-image, of a human skull, which, touching the floor on the left, stretches
-obliquely upwards towards the right. In the shadow cast on the
-floor by the chief personage is the inscription—‘<span class='fss'>JOANNES HOLBEIN
-PINGEBAT 1533</span>’ in sloping Roman letters.” To this it should be
-added that Dinteville’s dress consists of a slashed doublet of rose-coloured
-satin, and a black surcoat. The latter is lined with ermine,
-with which the shoulder-puffs, further adorned with gold tags, are
-<span class='pageno' id='Page_37'>37</span>piped. A large gold and green silk tassel, of very fine execution, hangs,
-with the dagger, from his girdle, and he also wears a sword, only the
-hilt and sheathed point of which are seen.</p>
-
-<div class='sidenote'>HISTORY OF THE PICTURE</div>
-<p class='c023'>All that was known about the picture at the time of its purchase
-for the National Gallery was that at the end of the eighteenth century
-it was in the possession of Jean Batiste Pierre Le Brun, the Parisian
-picture-dealer, and husband of the well-known portrait-painter,
-Madame Vigée Le Brun. Le Brun issued a very indifferent engraving
-of it by J. A. Pierron in Part XII (dated 1790) of his “Galerie des
-Peintres Flamands, Hollandais et Allemands.” In the index it was
-described as representing “MM. de Selve et d’Avaux; l’un, Ambassadeur
-à Venise, l’autre, dans les pays du Nord, avec les attributs des
-Arts qu’ils cultivaient; on voit à terre une Tête de Mort en perspective,
-à prendre de l’angle gauche, qui de face ressemble à un poisson.”
-When the publication was issued in volume form in 1792, with text,
-Le Brun slightly amplified this note, and added “J’ai depuis vendu
-ce tableau pour l’Angleterre, où il est maintenant; les figures sont de
-grandeur naturelle.” He gives no information as to the source from
-which he obtained the picture. It is stated in the National Gallery
-catalogue that it is probable that it came into the hands of the dealer
-Vandergucht, and that from him it was purchased by the second Earl
-of Radnor, about 1790 or 1795; but from the account books of Longford
-Castle it would appear that it was sold to the Earl by the dealer
-Buchanan, who received one thousand guineas for it, the payments
-being made in 1808 and 1809.</p>
-
-<p class='c023'>During the years the picture remained in Longford Castle many
-guesses were made as to the identity of the personages. Le Brun’s
-title, which, after all, contained half the truth, was not accepted by
-the leading critics, largely owing, no doubt, to the fact that the title
-of Avaux did not exist until more than a hundred years after the
-picture was painted, so that, the one name being impossible, the other
-was included in the same category. In the end, a suggestion that
-the man on the left of the picture was Sir Thomas Wyat was regarded
-as a very possible solution. Mr. Wornum, in his book published in
-1867, gave this attribution a qualified acceptance—“the subject is
-doubtful, but it is supposed to represent Sir Thomas Wyatt, the poet
-and diplomatist, and some learned friend”<a id='r75' /><a href='#f75' class='c020'><b>[75]</b></a>—and Dr. Woltmann
-<span class='pageno' id='Page_38'>38</span>followed suit, but went a step further, suggesting John Leland, the
-antiquary, as the second figure.<a id='r76' /><a href='#f76' class='c020'><b>[76]</b></a> Both identifications, however, were
-shown to be inaccurate by Mr. J. Gough Nichols in a paper contributed
-to <i>Archæologia</i> in 1873;<a id='r77' /><a href='#f77' class='c020'><b>[77]</b></a> but he could offer no name in substitution,
-and so the matter stood until the purchase of the picture for the
-nation.</p>
-
-<div class='footnote c021' id='f75'>
-<p class='c022'><span class='label'><a href='#r75'>75</a>.&nbsp;&nbsp;</span>Wornum, p. 275.</p>
-</div>
-
-<div class='footnote c021' id='f76'>
-<p class='c022'><span class='label'><a href='#r76'>76</a>.&nbsp;&nbsp;</span>Woltmann, i. 374.</p>
-</div>
-
-<div class='footnote c021' id='f77'>
-<p class='c022'><span class='label'><a href='#r77'>77</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xliv. pt. ii. pp. 450-55.</p>
-</div>
-
-<div class='sidenote'>THE IDENTITY OF THE SITTERS</div>
-<p class='c023'>The public exhibition of this splendid example of Holbein’s art
-produced a long and interesting correspondence in the <i>Times</i> newspaper.
-Sir J. C. Robinson upheld Dr. Woltmann’s belief that the two
-men were Wyat and Leland, but Sir Sidney Colvin,<a id='r78' /><a href='#f78' class='c020'><b>[78]</b></a> by means of convincing
-proofs, showed that this attribution was untenable, as also
-that of Le Brun. He gave, at the same time, four reasons for supposing
-that the personage on the left was really a Frenchman and an
-ambassador—(1) the traditional title; (2) its having been sold into this
-country from France; (3) the wearing of the French order of Saint-Michel;
-and (4) the close resemblance in dress and fashion of the personage
-in question and the portrait of another French Ambassador,
-the “Morette” at Dresden. He proposed, as a probable solution, the
-name of Jean de Dinteville—a suggestion which afterwards proved
-to be the correct one. When, in August 1891, the picture was cleaned,
-and the name of Polisy, Dinteville’s birthplace, an obscure village in
-Burgundy, was discovered on the terrestrial globe, the only other
-French towns upon it being Paris, Lyon and Bayonne, the identity
-of the left-hand figure was placed almost beyond doubt. Sir Sidney
-also suggested that the second person might be Nicolas Bourbon, the
-French poet.</p>
-
-<div class='footnote c021' id='f78'>
-<p class='c022'><span class='label'><a href='#r78'>78</a>.&nbsp;&nbsp;</span><i>The Times</i>, September 1890.</p>
-</div>
-
-<p class='c023'>Other attempted identifications included such divers personages
-as Lord Rochford, brother of Anne Boleyn; Count Balthazar Castiglione,
-who came to England to receive the Order of the Garter for the
-Duke of Urbino; and Guillaume and Jean du Bellay. The last-named
-solution was published in a pamphlet in 1890 by Mr. Elias Dexter,
-under the title of <i>Holbein’s Ambassadors Identified</i>. The writer sought
-to prove that the National Gallery picture and the one engraved for
-Le Brun were not the same, and that there must be two versions of
-the subject in existence. This contention he based on a number of
-slight differences between the accessories in the picture and in Pierron’s
-<span class='pageno' id='Page_39'>39</span>print, but such differences may be easily explained by the inferiority
-of the engraver’s work and the unusual complexity of the many
-details. To prove the identity of the two sitters with the brothers Du
-Bellay, who in 1533 were about 42 and 41 years of age respectively,
-he was obliged to declare the inscriptions on the dagger and the book
-to be forgeries. It is true that Jean du Bellay was in England in that
-year for a short time, and this is Mr. Dexter’s sole evidence, though
-he professes to see a strong likeness between the two ambassadors and
-the portraits of the brothers Du Bellay engraved on the same plate
-in the ninth volume of the <i>Versailles Gallery</i>.</p>
-
-<p class='c023'>A much more elaborate theory was advanced by Mr. W. F. Dickes
-in three articles in the <i>Magazine of Art</i>, and in several letters to the
-<i>Times</i> in answer to critics unfriendly to his attempted solution of the
-riddle. His contention is that the picture was painted as a memorial
-of the Treaty of Nuremberg between the Catholics and Protestants
-in 1532, and that the two persons represented are the brothers Otto
-Henry and Philipp of Neuburg, Counts Palatine of the Rhine. This
-theory he still further elaborated in a book published in 1903 under
-the title of <i>Holbein’s Ambassadors Unriddled</i>. His arguments, however,
-are singularly unconvincing, and have failed to obtain the support
-of any serious student of Holbein. Before dealing with them,
-however, it will be better to give a brief account of the discoveries of
-Miss Mary F. S. Hervey, by means of which the identity of Holbein’s
-two sitters was finally set at rest. Her account of her discovery of a
-document which provided conclusive evidence that the two Ambassadors
-were Jean de Dinteville and George de Selve was communicated
-to the <i>Times</i>,<a id='r79' /><a href='#f79' class='c020'><b>[79]</b></a> and this, together with further corroborative evidence,
-was embodied in a book, <i>Holbein’s Ambassadors: the Picture and the
-Men</i>, published in 1900.</p>
-
-<div class='footnote c021' id='f79'>
-<p class='c022'><span class='label'><a href='#r79'>79</a>.&nbsp;&nbsp;</span><i>The Times</i>, December 7, 1895.</p>
-</div>
-
-<p class='c023'>In 1895 Miss Hervey happened to come across a copy of the <i>Revue
-de Champagne et de Brie</i> for 1888, which gave a short notice of a picture
-formerly preserved at Polisy, containing the portraits of Jean de
-Dinteville and George de Selve. This paragraph was based on a catalogue
-published in March 1888 by M. Saffroy, an antiquarian bookseller
-of Pré-Saint-Gervais, in which a seventeenth-century parchment,
-describing the picture, was offered for sale. Miss Hervey hastened
-to communicate with M. Saffroy, and by one of those happy chances
-<span class='pageno' id='Page_40'>40</span>which seldom occur, the document was still in his possession, and
-proved to contain exactly the information which had so long been
-sought in vain. The following is a translation of its complete text
-as given by Miss Hervey:—</p>
-
-<p class='c023'>“[Remarks on the subject of an excellent picture of the Sieurs
-d’Inteville Polizy, and George de Selve Bishop of Lavour, showing the
-offices they held, and the time of their decease.]</p>
-
-<p class='c023'>“In this picture is represented, life-size, Messire Jean de DIntevile
-chevalier Sieur de Polizy, near Bar-sur-Seyne, Bailly of Troyes, who
-was Ambassador in England for King Francis I in the years 1532 [O.S.]
-and 1533 and since Gouverneur of Monsieur Charles de France, second
-son (<i>sic</i>) of the said King; the said Charles died at Forest Monstier in the
-year 1545, and the said Sr. de DIntvile in the year 1555. Interred in the
-Church of the said Polizy. There is also represented in the said picture
-Messire George de Selve, Bishop of Lavaur, a personage of great learning
-and virtue, who was Ambassador with the Emperor Charles V;
-the said Bishop was the son of Messire Jean de Selve, Premier President
-of the Parliament of Paris; the said Bishop died in 1541, having in
-the above-mentioned year 1532, or 1533, gone to England by permission
-of the King, to visit the said Sieur de DIntevile, his intimate
-friend, and also of all his family; and they two having met in England
-an excellent Dutch painter, employed him to make this picture, which
-has been carefully preserved at the same place, Polizy, up to the
-year 1653.”</p>
-
-<p class='c023'>The manuscript consists of an oblong piece of parchment which
-may have been cut from an inventory, but it is more probable that it
-was written as a descriptive label to be attached to the picture-frame,
-after the picture’s removal from Polisy in 1653. The latter supposition
-would account for the fact that no mention is made of the place
-where the picture then was, which would, of course, be unnecessary.
-The authenticity of this document has been pronounced by the
-British Museum authorities to be indisputable. The body of it was
-written just after the middle of the seventeenth century, while the
-heading was added at a slightly later date, at a time, no doubt, when
-the label had become separated from the picture.</p>
-
-<div class='sidenote'>THE PICTURE AT POLISY</div>
-<p class='c023'>In her book Miss Hervey gives a long and interesting account of
-the lives of the two men. It is sufficient to state here that Jean de
-Dinteville was born in September 1504, and was therefore in his twenty-ninth
-<span class='pageno' id='Page_41'>41</span>year when he came to England as resident French ambassador
-in February 1533; and that the name “Polisy” is given a prominent
-place on the terrestrial globe placed near him in the picture. The
-second sitter, George de Selve, was appointed to the see of Lavaur in
-1526, when he was in his eighteenth year, but was only consecrated
-in 1534, when he was in his twenty-sixth year, which exactly agrees
-with the inscription on the picture, which states that he was then in
-his twenty-fifth year.<a id='r80' /><a href='#f80' class='c020'><b>[80]</b></a> Further evidence exists in the shape of a grant
-from the Pope to De Selve, dated May 1526, permitting him to hold
-several benefices “although only seventeen years old.” The fact
-that he was not consecrated until the year after the picture was painted,
-although appointed to the see of Lavaur in 1526, explains why Holbein
-has not represented him in episcopal robes.</p>
-
-<div class='footnote c021' id='f80'>
-<p class='c022'><span class='label'><a href='#r80'>80</a>.&nbsp;&nbsp;</span>See <i>Gallia Christiana</i> (Lutetiæ, 1715), vol. xiii.
-(1722), p. 344. <i>Ecclesia Vaurensis</i>, No. xxi., Georgius de
-Selve. (Quoted by Miss Hervey, p. 13.)</p>
-</div>
-
-<p class='c023'>This document is confirmed by a further discovery by Miss Hervey
-of a <i>Mémoire</i> preserved in the Bibliothèque de l’Institut at Paris,
-which gives a summary of three letters concerning the picture. The
-letters themselves, which so far, with possibly one exception, have not
-yet been discovered, were addressed by Nicolas Camusat, the antiquary,
-canon of Troyes, and an intimate friend of the Dinteville
-family for many years, to his friends the Godefroy brothers, to
-whom and to others he constantly supplied antiquarian and genealogical
-information. His letters relating to Polisy extended from
-1607 to 1655.</p>
-
-<p class='c023'>The following is a translation of the memorandum:</p>
-
-<p class='c025'>“Memoir in explanation of three letters sent by Monsr. Camusat,
-Canon of St. Pierre at Troyes, [touching a picture made in England
-of George de Selve, Bp. of Lavaur, who had gone thither to visit the
-Bailly of Troies, Sr. de Polizi, Jean d’Inteville, at that time the King’s
-ambassador].</p>
-
-<p class='c030'>“There are two relating to the Bishop of Lavaur, George de Selve,
-son of Mr. le Premier President de Selve, which Bishop had been invited
-by Mr. de Polizy, bailly of Troyes, ambassador in England in the
-years 1532 [O.S.] and 1533, to visit him in England, which he did,
-having first taken leave of the King. And being in England, they had
-made the excellent picture by a Dutch painter, Holben, which picture
-was preserved in the House of Polizy, distant but one league from
-<span class='pageno' id='Page_42'>42</span>Bar-sur-Seine, a hundred and forty [<i>sic</i>] years and more, as belonging
-to the Seigneur of the place, Sr. de Sessac, until the year 1653, when he
-had it removed to Paris, to his house near the parish of St. Sulpice;
-the said picture representing the said Sr. de Polizy, Jean de d’Inteville,
-and the said Sr. Bishop of Lavaur, who was afterwards ambassador
-with Charles V; and the said Bishop died in 1541. The said picture
-is considered the finest piece of painting in France in the opinion of
-the best painters. M. le Mareschal du Plessis-Praslain not long since
-bought the estate of Polisy for three hundred thousand livres from
-the said Sr. de Sessac.</p>
-
-<p class='c030'>“Mr. de Vic, garde des sceaux, formerly said that it was the most
-beautiful piece of painting in France.</p>
-
-<p class='c030'>“Mr. George de Selve, and his brothers, worthily served France in
-various embassies and legations.”</p>
-
-<p class='c027'>In this document the name of the painter, “Holben,” is given;
-it is inserted between the lines, but is in the same hand and of the same
-date as the writing which surrounds it. The portion at the head of
-the memorandum between brackets is by another hand. It is interesting
-to note that not only is the name of the painter given but that in
-the seventeenth century Holbein’s work was considered, both by
-painters and amateurs, to be the finest picture then in France. There
-is in the Godefroy collection a second paper, a copy, dated 1654, of a
-memorandum drawn up by Camusat, in which there is further reference
-to the picture. It need not be quoted here, but it speaks of the figures
-as life-size, and concludes by saying that “the piece is esteemed the
-richest and best wrought that is to be found in France.”<a id='r81' /><a href='#f81' class='c020'><b>[81]</b></a></p>
-
-<div class='footnote c021' id='f81'>
-<p class='c022'><span class='label'><a href='#r81'>81</a>.&nbsp;&nbsp;</span>See Miss Hervey, <i>Holbein’s Ambassadors</i>, p. 18
-<i>et seq.</i>, where both documents are reproduced in facsimile.</p>
-</div>
-
-<p class='c023'>Thus the identity of Holbein’s sitters is irrefutably established,
-and the picture’s history can now be traced almost without a break.
-Dinteville, who had already been in England on a short mission in 1531,
-reached London at the beginning of February 1533, and was lodged
-in the royal palace of Bridewell, by the Thames. The exact date of
-George de Selve’s visit to him is not known, but it was between February
-and Easter in that year; he was back in France before the end of
-May. There appears to have been some secrecy in connection with the
-latter’s journey to England, for though he had the permission of Francis
-I, for some reason Montmorency, the Grand Master, was, if possible,
-<span class='pageno' id='Page_43'>43</span>to be kept in ignorance of it. In a letter, dated 23rd May, to his
-brother, the Bishop of Auxerre, Dinteville says: “Monsr. de Lavor
-m’a fait cest honneur que de me venir veoir, qui ne m’a esté petit
-plaisir. Il n’est point de besoing que Mr. le grant maistre en entende
-rien.”<a id='r82' /><a href='#f82' class='c020'><b>[82]</b></a></p>
-
-<div class='footnote c021' id='f82'>
-<p class='c022'><span class='label'><a href='#r82'>82</a>.&nbsp;&nbsp;</span>From a letter in the Dupuy Collection, Paris, Bibl. Nat.,
-vol. 726, f. 46, quoted by Miss Hervey, p. 80.</p>
-</div>
-
-<div class='sidenote'>JEAN DE DINTEVILLE AND HOLBEIN</div>
-<p class='c023'>It is impossible to say in what way Dinteville became acquainted
-with Holbein, or to whose offices the introduction between ambassador
-and painter was due. Dinteville counted among his friends more than
-one of Holbein’s sitters, while he was, no doubt, well acquainted with
-Niklaus Kratzer through his keen interest in mechanics and the various
-astronomical and mathematical sciences. He had thus more than
-one opportunity of seeing examples of Holbein’s skill in portraiture,
-and it is to be gathered that he conceived a great admiration for it, for
-otherwise he would not have ordered so large and important a portrait
-group of himself and his friend. With the exception of the “Duchess
-of Milan,” the More family group, and the now lost “Fitzwilliam,
-Earl of Southampton,” of which there is a good copy in the Fitzwilliam
-Museum, Cambridge, the “Ambassadors” is the only portrait-panel
-painted by Holbein in England of which there is any record in
-which the figures are shown both life-size and at full-length. As there
-is no reference in the State papers of England or France to the semi-secret
-business which brought George de Selve over to London, the
-suggestion may be hazarded that he came for the express purpose of
-having his portrait painted, Dinteville urging him to do so on account
-of the excellent painter he had discovered. The picture, crowded as
-it is with intricate accessories, must have taken a considerable time to
-complete. It was, no doubt, painted in the Ambassador’s own room
-in Bridewell Palace, and the sitter and the painter must have spent
-long hours in planning out and arranging the many mathematical and
-scientific instruments which form so important a feature of the panel,
-some of which may have been lent by or purchased from Kratzer.
-The visit of the future Bishop of Lavaur was so short that he can
-hardly have seen more than the beginning of the work and the finishing
-of his own head and hands. No doubt Holbein followed his usual
-practice and made preliminary studies of the two heads, but these
-drawings have not been traced, although there is a very fine unnamed
-<span class='pageno' id='Page_44'>44</span>study in the Windsor collection (<a href='#pl-36a'>Pl. 36 (1)</a>)<a id='r83' /><a href='#f83' class='c020'><b>[83]</b></a> which is supposed to
-represent Jean de Dinteville, the features showing sufficient resemblance
-to those of the Bailly of Troyes to induce the suggestion that it represents
-him at a later date. Both Sir Sidney Colvin and Miss Hervey hold this
-opinion, as did the late Sir Frederick Burton; but it must be confessed
-that the resemblance is not very striking.<a id='r84' /><a href='#f84' class='c020'><b>[84]</b></a> The Windsor drawing is
-of a man considerably older than the Dinteville of the picture; but
-the Bailly, after his residence in this country throughout the greater
-part of 1533, paid only three short visits to London between the years
-1535 and 1537. Even if the drawing had been made by Holbein in the
-last-named year he would only have been in his thirty-third year. A
-miniature or portrait, painted by Holbein from this drawing, was in
-the Arundel Collection, and was engraved by Hollar. It is highly
-improbable, too, that after he had been so elaborately painted
-Dinteville would have sat again for his portrait a few years later, so
-that, all things considered, this attribution can only be accepted with
-caution. There is, however, an undoubted portrait of Dinteville at
-Chantilly, forming part of the collection of drawings of the ladies and
-gentlemen of the Court of Francis I, by Jean Clouet and his school,
-which was formerly at Castle Howard. This portrait was identified
-by Miss Hervey in 1904.<a id='r85' /><a href='#f85' class='c020'><b>[85]</b></a> The likeness is very marked, though the
-drawing lacks the strength and fine draughtsmanship to be found in
-similar portrait-studies by Holbein, and it appears to have been done
-within a few years of the picture itself.</p>
-
-<div class='footnote c021' id='f83'>
-<p class='c022'><span class='label'><a href='#r83'>83</a>.&nbsp;&nbsp;</span>Woltmann, 345; Wornum, i. 12; Holmes, i. 52; engraved by
-Hollar, 1649 (Parthey, 1547). Reproduced by Miss Hervey, p. 110; Ganz,
-<i>Hdz. von H. H. dem Jüng.</i>, No. 33; Mantz, p. 177. Hollar’s
-engraving reproduced by Ganz, <i>Holbein</i>, p. 199 (i.).</p>
-</div>
-
-<div class='footnote c021' id='f84'>
-<p class='c022'><span class='label'><a href='#r84'>84</a>.&nbsp;&nbsp;</span>The drawing was conjectured at one time to represent
-Charles Brandon, Duke of Suffolk, and it has also been suggested that
-it is a likeness of Edward Stafford, Duke of Buckingham. It is
-described on p. 257.</p>
-</div>
-
-<div class='footnote c021' id='f85'>
-<p class='c022'><span class='label'><a href='#r85'>85</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. v. No. xvi. (July 1904),
-where the drawing is reproduced.</p>
-</div>
-
-<div class='sidenote'>“THE COURT OF FRANCIS II”</div>
-<p class='c023'>The picture was taken back to France by Dinteville, and remained
-at Polisy until the middle of the seventeenth century. By the
-marriage, in 1562, of Dinteville’s niece, Claude, with François de
-Cazillac, Baron de Cessac, the family estates, and with them the picture,
-passed into the possession of the latter house, a distinguished family
-in the south of France. In 1654 a later François de Cazillac sold Polisy,
-and permanently removed to the Château of Milhars in Languedoc,
-his chief residence. From the second document quoted above we
-learn that De Cessac removed the picture to his town house in Paris
-<span class='pageno' id='Page_45'>45</span>in 1653. This house was in the Rue du Four, St. Germain des Prez,
-behind the house known as Chapeaufort, in the parish of St. Sulpice.<a id='r86' /><a href='#f86' class='c020'><b>[86]</b></a>
-From 1653 onwards there is no actual evidence as to the whereabouts
-of the picture until it turned up one hundred and twenty years later
-in the Beaujon sale in Paris in 1787. During his researches into its
-past history Mr. W. F. Dickes discovered this sale-catalogue in the
-Cabinet des Estampes in Paris.<a id='r87' /><a href='#f87' class='c020'><b>[87]</b></a> Nicolas Beaujon, a rich financier
-and collector of pictures and objects of art, died without heirs in 1786,
-leaving all his money to charities. His pictures were sold in the following
-spring, and among them were two attributed to Holbein. These
-two works were not, apparently, part of Beaujon’s collection, but were
-put into the sale by some other person.<a id='r88' /><a href='#f88' class='c020'><b>[88]</b></a> The first, which, according
-to the sale-catalogue, represented the Court of Francis II, has recently
-come to light again;<a id='r89' /><a href='#f89' class='c020'><b>[89]</b></a> the second was the “Ambassadors” picture.
-The two were sold together in one lot for the insignificant sum of 602
-francs, and the purchaser was evidently Le Brun. The description
-of the picture in the sale-catalogue tallies almost exactly with Le
-<span class='pageno' id='Page_46'>46</span>Brun’s description which accompanied Pierron’s engraving. From
-the sale-catalogue he obtained the supposed names of the sitters,
-“MM. de Selve et d’Avaux,” and he evidently endorsed, without
-troubling to make a careful examination of his own, the further statement
-of the catalogue that there was no date upon it. Probably the
-picture was in need of cleaning, so that both signature and date were
-obscured. Mr. Wornum discovered them in 1865, and they had been
-noted by others before that date. When the picture was acquired
-for the National Gallery, however, the signature had again become
-obscured by dirt, after the passage of some thirty years, and was only
-deciphered after re-cleaning.</p>
-
-<div class='footnote c021' id='f86'>
-<p class='c022'><span class='label'><a href='#r86'>86</a>.&nbsp;&nbsp;</span>See Miss Hervey, <i>Holbein’s Ambassadors</i>, pt. i.
-chap. ii. p. 21.</p>
-</div>
-
-<div class='footnote c021' id='f87'>
-<p class='c022'><span class='label'><a href='#r87'>87</a>.&nbsp;&nbsp;</span>Dickes, p. 9.</p>
-</div>
-
-<div class='footnote c021' id='f88'>
-<p class='c022'><span class='label'><a href='#r88'>88</a>.&nbsp;&nbsp;</span>See below, p. <a href='#Page_46'>46</a>.</p>
-</div>
-
-<div class='footnote c021' id='f89'>
-<p class='c022'><span class='label'><a href='#r89'>89</a>.&nbsp;&nbsp;</span>This picture, which is the subject of a very interesting
-article by Miss Mary F. S. Hervey and Mr. R. Martin-Holland in the
-<i>Burlington Magazine</i> for April 1911 (vol. xviii. No. xcvii. pp.
-48-55), where it is reproduced, together with other works of its
-author, a forgotten French painter named Félix Chrétien, was described
-in the Beaujon catalogue as “The Court of Francis II and the principal
-nobles of that time, with the attributes of Moses and Aaron, who
-present themselves before the King of Egypt, who is Francis II
-himself; their names are written on the different contours of their
-robes,” &amp;c. It further stated that it was “by the famous Holbein,
-towards 1552.” From the time of the Beaujon sale in 1787 all traces of
-this large panel painting—5 ft. 9 in. high by 6 ft. 2 in. wide—were
-lost, until it suddenly reappeared in Messrs. Christie’s saleroom on
-February 26, 1910, in company with the big group of Sir Thomas More
-and Family. In the catalogue it was given to Holbein, and was
-described as “Moses and Aaron before Pharaoh” (“a group of figures,
-said to represent King Henry VIII as Pharaoh,” &amp;c.), and as formerly
-in the collection of the Prince de Cerny. The mystery of the picture’s
-meaning was cleared up, and the name of its painter discovered, by
-Miss Hervey and Mr. Martin-Holland, and will be found in their paper.
-It contains portraits of a number of the members of the Dinteville
-family, including the Bailly of Troyes, who appears as Moses, and his
-brother, François II, Bishop of Auxerre, as Aaron. The Pharaoh is
-evidently Francis I, though the likeness is by no means a good one.
-The names of most of the figures are given on the hems of their robes.
-The picture affords valuable additional proof of the identity of the
-personage on the spectator’s left in the “Ambassadors” with Jean de
-Dinteville, for the likeness is striking. The picture was painted in
-1537, and remained in the possession of the Dinteville family,
-together with the greater work by Holbein, for exactly two hundred and
-fifty years. The identity of the picture with the one in the Beaujon
-sale was first pointed out by Mr. P. G. Konody (<i>Burlington
-Magazine</i>, vol. xix. No. xcviii., May 1911, p. 106). Félix
-Chrétien, the painter of it, was a chorister, and afterwards a canon
-of Auxerre, of which town he was probably a native. He was a protégé
-of the Bishop’s, and no doubt owed his training in art to him. Several
-of his pictures, considerably damaged, remain in the immediate
-district of Auxerre.</p>
-</div>
-
-<p class='c023'>Although no actual proofs can be produced as to the whereabouts of
-the picture between 1653 and 1787, Miss Hervey, in the course of her researches
-into the history of the De Cessac family, discovered sufficient
-evidence to point to the probability that M. de Cessac took it with him
-to Milhars when he finally settled there a few years later, and that it remained
-there until shortly before the Beaujon sale. The Milhars
-estate descended from heir to heir of the house of Dinteville until 1765,
-when it was sold by the Marquis de Basville, who then represented
-the family. He was the intimate friend of Beaujon, who made him his
-executor, in which capacity he drew up the inventory of all the banker’s
-pictures and art objects. In this inventory, however, there is no trace
-of Holbein’s “Ambassadors” to be found, and the inference is that as it
-was included in the Beaujon sale three months later it was put into
-that sale by the executor himself. It seems certain, therefore, that
-from the time when the picture was taken from England by Dinteville
-in 1533 until it was sent back again by Le Brun more than two hundred
-and fifty years later it never once left France, but remained as a
-treasured possession in the family for whose ancestor it was painted.<a id='r90' /><a href='#f90' class='c020'><b>[90]</b></a></p>
-
-<div class='footnote c021' id='f90'>
-<p class='c022'><span class='label'><a href='#r90'>90</a>.&nbsp;&nbsp;</span>See Miss Hervey, pt. i. chap. ii.</p>
-</div>
-
-<div class='sidenote'>THE THEORIES OF MR. DICKES</div>
-<p class='c023'>In spite of the conclusive proof brought forward by Miss Hervey,
-Mr. W. F. Dickes, in his book devoted to the unriddling of the “Ambassadors,”
-refused to abandon his theory of the Nuremberg Treaty,
-and still pinned his faith to his Princes Palatine Otto Henry and Philipp.
-It is essential to his theory that Holbein should be proved to have been
-absent from England in 1533, and he, therefore, gives it as his opinion
-that the Steelyard portraits of that year, and the Cheseman portrait,<a id='r91' /><a href='#f91' class='c020'><b>[91]</b></a>
-were most probably painted abroad. He cites, as actual proof that
-<span class='pageno' id='Page_47'>47</span>Holbein was in Basel in 1533, in addition to the extract from the
-“Banner Book” referred to in the preceding chapter,<a id='r92' /><a href='#f92' class='c020'><b>[92]</b></a> the “Wheel of
-Fortune” picture in distemper at Chatsworth, which is dated 1533,
-with the arms of Basel on the post supporting the wheel. “No one can
-doubt,” he says, “that it was painted by Holbein at Basel in 1533;”<a id='r93' /><a href='#f93' class='c020'><b>[93]</b></a>
-but, as a matter of fact, it is not by Holbein at all, being far too poor
-a work to be from his hand, but by Hans Schaeufelin, and the initials
-“H. H.” on it are of later date. The monogram and the well-known
-mark, in the form of a shovel, of the latter painter, which have been
-tampered with, are still clearly discernible beneath the letters.<a id='r94' /><a href='#f94' class='c020'><b>[94]</b></a></p>
-
-<div class='footnote c021' id='f91'>
-<p class='c022'><span class='label'><a href='#r91'>91</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_54'>54</a>-<a href='#Page_56'>56</a>.</p>
-</div>
-
-<div class='footnote c021' id='f92'>
-<p class='c022'><span class='label'><a href='#r92'>92</a>.&nbsp;&nbsp;</span>Page 32. See also pp. <a href='#Page_157'>157</a>-<a href='#Page_178'>178</a>.</p>
-</div>
-
-<div class='footnote c021' id='f93'>
-<p class='c022'><span class='label'><a href='#r93'>93</a>.&nbsp;&nbsp;</span>Dickes, p. 6.</p>
-</div>
-
-<div class='footnote c021' id='f94'>
-<p class='c022'><span class='label'><a href='#r94'>94</a>.&nbsp;&nbsp;</span>As pointed out by Mr. S. Arthur Strong in his preface to
-<i>The Masterpieces of the Duke of Devonshire’s Collection of
-Pictures</i>, 1901, and republished in <i>Critical Studies and
-Fragments</i>, 1905, p. 92, and Pl. viii. 1.</p>
-</div>
-
-<p class='c023'>In his book Mr. Dickes abandons, or at least does not reprint, some
-of the more fantastic theories he advanced in his magazine articles; but
-in all that he has published on the subject his method of procedure is
-the simple one of denying the authenticity of all evidence which is destructive
-of his theory. Thus, he does not hesitate to declare the
-first document discovered by Miss Hervey to be an eighteenth-century
-forgery, and the two confirmatory papers amongst the Godefroy correspondence
-he places in the same category. With regard to the date and
-Holbein’s signature, he accepts as a fact the “staggering statement” of
-the Beaujon sale-catalogue that in 1787 the picture was unsigned and
-undated; and he infers that the inscription was added by Le Brun,
-and that the three documents discovered by Miss Hervey were all
-forgeries due to the same unscrupulous dealer. Why such an elaborate
-falsification should be thought necessary, and what purpose it served,
-unless merely to display the genealogical learning of the forger, Mr.
-Dickes fails to explain. When Le Brun issued his engraving in 1792,
-with a descriptive note lifted bodily from the Beaujon catalogue, and
-retaining the same title, “MM. de Selve et d’Avaux,” he had already
-sold the picture into England, so that to elaborate a series of forgeries in
-connection with it, and then scatter them about France and get them
-inserted among the papers of learned antiquaries, after the picture
-had left the country, would seem to be a very futile proceeding; and if
-he had added the date 1533 and a false signature to it before selling it he
-would surely have refrained from stating in his printed description of
-<span class='pageno' id='Page_48'>48</span>it that it was painted in “la manière dont il a marqué ses ouvrages
-<span class="lig">HB</span>. <span class="lig">BH</span>.
-1515.” The
-whole theory, in fact, is absurd, as is Mr. Dickes’ further
-declaration that the name “Policy” on the globe is also a forgery due
-to Le Brun. The inscription on the book giving the age of George de
-Selve, “ætatis suæ 25,” is also a forgery according to the same
-authority, or rather, he holds that the last figure was originally an
-8, but that it became damaged, and that when repaired it was altered
-to a 5 through the ignorance of the restorer. The alteration of the
-age from 25 to 28, it should be noted, is vital to Mr. Dickes’
-argument, for otherwise the second figure cannot represent Count
-Philipp. Even this change, however, is not sufficient to put matters
-right, and so he assumes arbitrarily that although the picture was
-painted in 1533 (in spite of its forged date!) the ages of the sitters
-inscribed on the dagger and the book were purposely calculated from
-the previous year, in order to indicate that the painting was a
-memorial of the Nuremberg Treaty of 1532. Mr. Dickes professes to find
-further proofs of the ages of the sitters from the numerous
-accessories on the table. The cylindrical sundial is so arranged that
-it informs us that the sitter against whom it is placed was born on
-April 10th, about 10.30 <span class='fss'>P. M.</span>, in the latitude of Neuburg,
-which exactly agrees with the birth of Otto Henry, and this
-information is confirmed by the decagonal sundial further along the
-table. With respect to the second figure, the instruments are still
-more explicit, for the date, November 12th, is repeated no less than
-four times on Apian’s Torquetum, the astrolabe, and the quadrant, with
-the additional information that the hour of birth was between five and
-six, which exactly agrees with the day of the month and the hour of
-the birth of Philipp.<a id='r95' /><a href='#f95' class='c020'><b>[95]</b></a></p>
-
-<div class='footnote c021' id='f95'>
-<p class='c022'><span class='label'><a href='#r95'>95</a>.&nbsp;&nbsp;</span>The present writer, although he has made a careful study
-of Mr. Dickes’ readings of the instruments, has not sufficient
-scientific knowledge to speak with authority as to the correctness or
-otherwise of the results he obtains, which, if true, provide by far
-the most ingenious and, indeed, the only plausible evidence he has
-brought forward in favour of his theory. This evidence, however, is
-not always as convincing as he would have us to believe. Thus, the
-decagonal sundial, which on two of its sides gives the time as 10.30
-(the hour of Otto Henry’s birth), very clearly indicates 9.30 on its
-third and most prominent side, while it almost touches the elbow of
-the second figure, and so should refer, if to any one, to Philipp. Mr.
-Dickes gets over this difficulty by the statement that the sundial,
-“presenting three circles to be read, naturally devotes the two chief
-dials to the principal person. These are—the dial with the wire stile,
-in front, and the dial beneath the magnet on the top;” but he offers
-no suggestion as to whose birth the third and most prominent dial
-refers.</p>
-</div>
-
-<div class='sidenote'>THE ACCESSORIES OF THE PICTURE</div>
-<p class='c023'>Space does not permit even a brief reference to further erroneous
-inferences which Mr. Dickes draws from other parts of the picture, all of
-which were fully and finally dealt with by Sir Sidney Colvin in a review
-<span class='pageno' id='Page_49'>49</span>of the book.<a id='r96' /><a href='#f96' class='c020'><b>[96]</b></a> Mr. Dickes by no means strengthens his case by reproducing
-a number of portraits, selected from various European galleries, in
-which he sees likenesses to his two heroes, though they bear but the
-faintest resemblance either to genuine portraits of the Counts Palatine
-or to the sitters in the “Ambassadors” picture.<a id='r97' /><a href='#f97' class='c020'><b>[97]</b></a></p>
-
-<div class='footnote c021' id='f96'>
-<p class='c022'><span class='label'><a href='#r96'>96</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, August 1903, pp. 367-69.</p>
-</div>
-
-<div class='footnote c021' id='f97'>
-<p class='c022'><span class='label'><a href='#r97'>97</a>.&nbsp;&nbsp;</span>The two most glaring examples of this, which show to what
-lengths a fixed idea can carry one, are the splendid portrait by
-Holbein of the Sieur de Morette, which he declares to be painted by
-Amberger, and to represent Otto Henry at some date after 1556, when he
-was Elector Palatine; and the beautiful little portrait of Hermann
-Wedigh, of the Steelyard, dated 1533, which, as already noted, he
-holds to be an unmistakable portrait of Philipp.</p>
-</div>
-
-<p class='c023'>The book, in spite of the false theory on which it is based, displays
-much careful if misplaced research, and as, for this reason, it is apt to
-mislead those who have made no serious study of Holbein’s work, its
-arguments have been briefly dealt with here. Mr. Dickes, however,
-is not alone in refusing to accept Jean de Dinteville and George de Selve
-as the two ambassadors. Mrs. G. Fortescue, in her book on the painter,<a id='r98' /><a href='#f98' class='c020'><b>[98]</b></a>
-holds that both Miss Hervey and Mr. Dickes are wrong; but she brings
-forward no names to take the place of those she condemns, and merely
-suggests, somewhat mysteriously, that later on she will produce facts
-which will provide the correct solution.</p>
-
-<div class='footnote c021' id='f98'>
-<p class='c022'><span class='label'><a href='#r98'>98</a>.&nbsp;&nbsp;</span><i>Holbein</i> (“Little Books on Art”), 1904, p. 149.</p>
-</div>
-
-<p class='c023'>Turning again to the picture itself, it is evident that the accessories,
-with which the table is crowded, both from their unusual number
-and character, were not collected at haphazard merely to afford an
-opportunity for displaying Holbein’s skill in depicting minutiæ, but
-that they represent the tastes and learned pursuits of the two sitters,
-and were selected and arranged by Dinteville himself. The prevailing
-love of allegory and symbolism, of the emblem or “devise,” which was
-a marked characteristic of that age, is apparent in many of the picture’s
-details, in some of them to be read plainly, in others so obscurely that it
-is now impossible to explain them satisfactorily. Miss Hervey has
-described them with care, and has elucidated much of their meaning and
-purpose. The appearance of the Death’s-head twice over in the
-picture—in the hat-medal worn by Dinteville and in the distorted skull
-in the foreground—seems to indicate that the ambassador had adopted
-it as his personal badge or <i>devise</i>. The picture, indeed, in its general
-arrangement bears considerable likeness to the woodcut in the “Dance
-of Death” series known as “The Arms of Death” (“Die Wappen des
-Todes”), as was first pointed out by Mr. Wornum.<a id='r99' /><a href='#f99' class='c020'><b>[99]</b></a> This suggests the
-<span class='pageno' id='Page_50'>50</span>possibility that Dinteville had been shown, perhaps by Holbein himself,
-a proof set of the “Dance of Death” woodcuts, and that he had been
-greatly impressed by them. He suffered much from ill-health while in
-England, which may have had something to do with his choice of a
-device of so gloomy a nature.</p>
-
-<div class='footnote c021' id='f99'>
-<p class='c022'><span class='label'><a href='#r99'>99</a>.&nbsp;&nbsp;</span>Wornum, p. 181.</p>
-</div>
-
-<p class='c023'>Certain of the instruments depicted are apparently set to indicate
-various dates, such as the birthdays of the sitters or important events in
-their lives, as pointed out by Mr. Dickes. The same instruments, together
-with the other objects, also represent certain of the Seven Liberal
-Arts—Music, Arithmetic, Geometry and Astronomy. The terrestrial
-globe is copied from Johann Schöner’s globe of 1523, to which about
-twenty names of towns have been added by Holbein, chiefly in France
-and Spain, selected by Dinteville as an epitome of the foreign relations
-of France in shaping which he had taken some share, the most important
-of these additions, as elucidating the identity of the chief sitter, being, of
-course, Polisy. The Lutheran hymn-book and the crucifix may be
-taken as symbolical of France’s religious diplomacy and the opinions
-of the two friends. The hope of religious union between the Roman
-Catholic and the Reformed Churches played a large part in the life of
-the Bishop of Lavaur. “To find means to promote that end was the
-object of his most earnest thought; to see it accomplished, the dearest
-wish of his heart.”<a id='r100' /><a href='#f100' class='c020'><b>[100]</b></a> Dinteville, too, belonged to the liberal Catholic
-party in France, and shared the Bishop’s views. Mr. Barclay Squire
-first pointed out that the hymn-book in the picture was painted from
-a copy of Johann Walther’s <i>Geystliche Gesangbüchlein</i>, published at
-Wittemberg in 1524. The German arithmetic book was copied from
-a manual, <i>The Merchant’s Arithmetic Book</i>, by Peter Apian, published
-at Ingoldstadt in 1527. The badge of the order of St. Michael is
-worn by Dinteville without the collar of scallop-shells, and merely
-suspended from his neck by a gold chain. This was in accordance with
-the rules of the Order, which permitted it to be so worn when under
-arms, or when travelling, hunting, or when at home in private, or in
-other places where there was no company. Other details of the picture
-are equally interesting, more particularly the elaborate mosaic pavement,
-which Miss Hervey discovered to be an accurate copy of the
-well-known paved floor in the Sanctuary of Westminster Abbey, for the
-construction of which marbles and workmen were brought from Italy
-<span class='pageno' id='Page_51'>51</span>by Abbot Richard Ware in the reign of Henry III. This interesting
-discovery affords additional proof that the “Ambassadors” was
-painted in England.</p>
-
-<div class='footnote c021' id='f100'>
-<p class='c022'><span class='label'><a href='#r100'>100</a>.&nbsp;&nbsp;</span>Miss Hervey, p. 221.</p>
-</div>
-
-<div class='sidenote'>THE ACCESSORIES OF THE PICTURE</div>
-<p class='c023'>The picture, which in point of size and in the elaboration of its
-many details is the most important work by Holbein remaining in
-England, is a brilliant example of the painter’s technical abilities,
-though as a composition it is less successful than certain other less
-ambitious portraits from his brush. The accessories, on account of
-their number, variety, and brilliance of execution, and the central
-position given to them—so that the two figures have something of the
-appearance of the supporters to a coat of arms, as in some of Holbein’s
-designs for glass—to some extent distract the attention from the
-ambassadors themselves. Dinteville appears to have selected them
-with great care, and evidently attached great importance to them and
-the meanings they were intended to convey; while the painter carried
-out his wishes so admirably that they remain to-day almost as important
-a part of the picture as they did in the opinion of the man for whom
-the work was painted. The distorted skull, in particular, which at once
-catches the eye, however entertaining or clever a rebus or emblematic
-puzzle the Bailly may have thought it, holds far too prominent a
-position in the composition for the painting to be regarded as a picture
-in the highest sense of the word. It is, nevertheless, a work possessing
-very great qualities, and, in many respects, must be placed in the forefront
-of Holbein’s achievement. The faces of the two men are finely
-and delicately modelled, though their character is not quite so subtly
-expressed as in such a portrait as that of the “Duchess of Milan.” The
-dark, penetrating eyes and well-chiselled mouth of Dinteville give
-vitality to his intellectual face, in which can be traced some indications
-of the delicate constitution which was so ill suited to the climate of
-England. De Selve is grave in contrast, with dark eyebrows and a
-more pallid complexion, and his countenance has less expression and
-vitality than is to be found in that of his companion. It has been suggested
-that this contrast between the two figures is so great that it
-indicates the fact proved by Dinteville’s letter, that the future Bishop’s
-stay in this country was of limited duration, and that his portrait was
-probably not completed from life.</p>
-
-<div id='pl-10'  class='figcenter id001'>
-<img src='images/pl-10.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 10</span><br />PORTRAIT OF A MUSICIAN<br /><span class='sc'>Sir John Ramsden, Bulstrode Park</span></p>
-</div>
-</div>
-
-<div class='sidenote'>“PORTRAIT OF A MUSICIAN”</div>
-<p class='c023'>In concluding this account of Dinteville’s connection with Holbein
-reference must be made to a portrait in the possession of Sir John
-<span class='pageno' id='Page_52'>52</span>Ramsden, Bt., of Bulstrode Park, Buckingham, recently published and
-described for the first time by Dr. Ganz in the <i>Burlington Magazine</i>,<a id='r101' /><a href='#f101' class='c020'><b>[101]</b></a>
-which represents a man with a book of music and a lute (<a href='#pl-10'>Pl. 10</a>). This
-“Portrait of a Musician” he regards as an undoubted likeness of the
-Bailly of Troyes from Holbein’s brush. He describes it as follows: “The
-man is sitting behind a table, and holds in his right hand a roll of paper,
-in the left a guitar. Two books in red bindings with green ribbons are
-placed, one open, one closed, on the red tablecloth, and this group of
-colours forms the contrast to the green curtain of the background. The
-cap and the black coat with large facings and white shirt-ruffles hanging
-down are decorated with golden buttags of a longish form, after the
-French fashion of the time. The blue eyes, looking with a sharp and cold
-glance, give the impression of a man of great reflection and prudence;
-and the beautiful, carefully tended hands belong to a gentleman of the
-Court.... Round the neck he wears a small golden chain and a
-black silk ribbon, to which is attached an object of a very singular form,
-executed in gold and embellished with precious stones. This cannot be
-a simple jewel, intended merely to hang on the gold chain, but it seems to
-be a kind of whistle used in place of a tuning-fork.”<a id='r102' /><a href='#f102' class='c020'><b>[102]</b></a> This portrait is
-said to represent Lord Vaux of Harrowden, from its supposed resemblance
-to the two drawings by Holbein of that personage at Windsor,
-but Dr. Ganz holds that it bears a much closer resemblance to Dinteville
-as he is shown in the “Ambassadors,” and still more so to the
-drawing found by Miss Hervey at Chantilly. He considers that the
-longer beard indicates that it was painted two years later than the
-National Gallery picture. “The technical execution,” he says, “confirms
-a later date of origin; the blending of the colours and the brilliancy
-are in the well-preserved parts like the finest enamel. The right
-hand, which has a smooth appearance, is retouched; but the extraordinary
-quality of Holbein’s art in modelling the flesh without any
-contrast is to be found in the face and in the execution of the left hand.
-His attention was not limited to creating a portrait with the exactness
-of a looking-glass; he tried to give the man in his intimacy by obtaining
-a spacious effect. He placed the figure between two objects and painted
-<span class='pageno' id='Page_53'>53</span>the shadows in their real values.” While admitting that the likeness
-between this Musician and Dinteville is a strong one, the present
-writer is of opinion that the picture at Bulstrode Park does not represent
-the French ambassador. As already pointed out,<a id='r103' /><a href='#f103' class='c020'><b>[103]</b></a> Dinteville’s subsequent
-visits to England were all short ones, of only a few weeks’ duration,
-during which time there would be little opportunity for sitting for his
-portrait, nor is it very probable that he would want a second likeness
-of himself so shortly after the big work was finished. Little is known
-of the history of Sir John Ramsden’s picture, but it is probably the
-<i>ritratto d’un Musico</i> of the Arundel inventory. It is said to have been
-purchased in 1860 from a sale in Scotland. Either this picture, or a
-replica of it, was in the Ralph Bernal sale, 1855, when it was sold to
-Mr. Morant for one hundred guineas. It was described in the sale
-catalogue as: “Portrait of Nicholas, Lord Vaux, the poet and
-musician, in a black dress and cap, seated at a table, an open book
-before him, he holds a viol de gambe in his left hand, green drapery
-behind, 17½ × 17, a most beautiful portrait of the highest interest.”</p>
-
-<div class='footnote c021' id='f101'>
-<p class='c022'><span class='label'><a href='#r101'>101</a>.&nbsp;&nbsp;</span>Vol. xx., October 1911, pp. 31-2. Also reproduced in
-<i>Holbein</i>, p. 137.</p>
-</div>
-
-<div class='footnote c021' id='f102'>
-<p class='c022'><span class='label'><a href='#r102'>102</a>.&nbsp;&nbsp;</span>This object is in reality “a penknife containing also
-tooth-picks and ear-spoons or other little instruments such as
-tweezers or awls.” See letter from Mr. Sydney J. A. Churchill in
-<i>Burlington Magazine</i>, vol. xx., January 1912, p. 239, who calls
-attention to a similar penknife in the Figdor Collection, and to an
-engraving by Aldegrever of a like object dated 1539.</p>
-</div>
-
-<div class='footnote c021' id='f103'>
-<p class='c022'><span class='label'><a href='#r103'>103</a>.&nbsp;&nbsp;</span>See above, p. <a href='#Page_44'>44</a>.</p>
-</div>
-
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_54'>54</span>
-  <h2 id='ch-XVIII' class='c012'>CHAPTER XVIII<br /><span class='c017'>PORTRAITS OF 1533-1536</span></h2>
-</div>
-
-<p class='c018'>Portraits of Robert Cheseman—Thomas Cromwell—Lord Abergavenny—Charles
-de Solier, Sieur de Morette—The Earl of Arundel’s collection of
-pictures—Roundels of a man and his wife at Vienna—Portraits of members
-of the Poyntz family—Nicolas Bourbon—His verses in praise of
-Holbein—Design for the title-page of Coverdale’s Bible—Other woodcut
-designs produced in England—Hall’s Chronicle—Portraits of Sir Thomas
-Wyat—Margaret Wyat, Lady Lee—Sir Richard Southwell—Sir Thomas le
-Strange—Lady Vaux—Sir Nicholas Carew.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-THERE is only one portrait by Holbein bearing the date
-1533 which can be said with any certainty to represent
-an Englishman. This is the very beautiful one of
-Robert Cheseman, now in the Hague Gallery, which
-has been known for so long under the erroneous title of
-“Henry VIII’s Falconer” (<a href='#pl-11'>Pl. 11</a>).<a id='r104' /><a href='#f104' class='c020'><b>[104]</b></a> It represents
-a man holding a much higher social position than that of a mere keeper
-of hawks. Henry’s falconers were paid at a rate which did not permit
-them to employ the services of the leading artist of the day should
-they wish—which is not at all probable—to have their portraits painted.
-Their wages, in fact, ranged between fifty and twenty shillings a
-month. Cheseman, in common with other gentlemen of that period,
-chose to be painted with his favourite hawk upon his wrist, for the
-same reason that the country squires of the eighteenth century were
-so often depicted with their favourite dogs. Another example of this
-habit is to be seen in the equally fine portrait by Holbein of an unknown
-man, also in the Hague Gallery, dated 1542, who is evidently a gentleman,
-and not a professional falconer.<a id='r105' /><a href='#f105' class='c020'><b>[105]</b></a></p>
-<div class='footnote c021' id='f104'>
-<p class='c022'><span class='label'><a href='#r104'>104</a>.&nbsp;&nbsp;</span>Woltmann, 159. Reproduced by Davies, p. 158; Knackfuss,
-fig. 122; Ganz, <i>Holbein</i>, p. 102; and elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f105'>
-<p class='c022'><span class='label'><a href='#r105'>105</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_203'>203</a>.</p>
-</div>
-
-<div id='pl-11'  class='figcenter id001'>
-<img src='images/pl-11.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 11</span><br />ROBERT CHESEMAN<br />1533<br /><span class='sc'>Royal Picture Gallery, Mauritshuis, The Hague</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF ROBERT CHESEMAN</div>
-<p class='c023'>Robert Cheseman, of Dormanswell, near Norwood, in Middlesex,
-and Northcote, in Essex, was a man of wealth, and one of the leading
-commoners of the first-named county. He was born in 1485, son and
-heir of Edward Cheseman, Cofferer and Keeper of the Wardrobe to
-<span class='pageno' id='Page_55'>55</span>Henry VII, and succeeded to the family estates in 1517. His father
-is mentioned in a pardon granted on March 2nd, 1486,<a id='r106' /><a href='#f106' class='c020'><b>[106]</b></a> “to Edward
-Cheseman of London, gentleman, of all fines, forfeitures, etc., due to
-the King or to Richard III, late, in deed and not of right, King of
-England,” which was granted him as one of the executors of the will
-of Thomas Windesore, Constable of Windsor Castle. There was also
-a William Cheseman, probably an uncle of Robert, who in 1485 and
-1486 received grants of the offices of bailiff of the rapes of Lewes and
-of Braneburgh, and of Clerk of the Market of the town of Lewes, “in
-consideracion of the true and feithfulle service that our welbeloved
-servaunt and true liegeman William Cheseman hathe doone unto
-us, as well in the parties of beyonde the see, as at oure late victorious
-felde within this oure royaume.”<a id='r107' /><a href='#f107' class='c020'><b>[107]</b></a></p>
-
-<div class='footnote c021' id='f106'>
-<p class='c022'><span class='label'><a href='#r106'>106</a>.&nbsp;&nbsp;</span>Rev. William Campbell, <i>Materials for a History of the
-Reign of Henry VII</i>, Rolls Publications, 1873, p. 336.</p>
-</div>
-
-<div class='footnote c021' id='f107'>
-<p class='c022'><span class='label'><a href='#r107'>107</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, p. 345.</p>
-</div>
-
-<p class='c023'>On August 30th, 1523, Robert Cheseman was appointed Commissioner
-for Essex to collect the subsidy,<a id='r108' /><a href='#f108' class='c020'><b>[108]</b></a> and in December 1528
-was placed upon the commission of the peace for Middlesex. In 1530
-he represented the same county on a commission “to make inquisition
-in different counties concerning the possessions held by Thomas
-Cardinal Archbishop of York (Wolsey) on 2 Dec. 15 Hen. VIII, when
-the Cardinal committed certain offences against the Crown for which
-he was attainted.”<a id='r109' /><a href='#f109' class='c020'><b>[109]</b></a> During his life he served on a number of commissions
-for collecting tithes, subsidies, and the like, including one in
-1533, the year in which he sat to Holbein. In 1536 his name appears
-among a list of people from whom money is due to the King by obligations,<a id='r110' /><a href='#f110' class='c020'><b>[110]</b></a>
-while in the same year he supplied thirty men for the army
-against the Northern rebels, which proves him to have been a man of
-considerable substance.<a id='r111' /><a href='#f111' class='c020'><b>[111]</b></a> He served on the Grand Jury at the trials
-of Sir Geoffrey Pole, Sir Edward Neville, and others, in 1538,<a id='r112' /><a href='#f112' class='c020'><b>[112]</b></a> and of
-Thomas Culpeper and Francis Dereham for treason in connection with
-the trial of Queen Catherine Howard in 1541.<a id='r113' /><a href='#f113' class='c020'><b>[113]</b></a> He was among the
-“squires” selected to welcome Anne of Cleves when she first landed
-in England, and was, in fact, one of some half-dozen men of position
-who represented Middlesex on all such public occasions. In 1543 he
-supplied ten footmen for the army going into Flanders “for the
-<span class='pageno' id='Page_56'>56</span>defence of the Emperor’s Low Countries,<a id='r114' /><a href='#f114' class='c020'><b>[114]</b></a> and in the following year he
-himself appears to have gone with the English army into France, and
-it is noted against his name in the muster book that he had “10 footmen
-already beyond the seas.” He married Alice, daughter of Henry
-Dacres, of Mayfield, Staffordshire, a merchant-tailor and alderman of
-Fleet Street, London. She died on July 31st, 1547, and was buried
-at Norwood. His daughter and heir, Anne Cheseman, married Francis
-Chamberlayne.</p>
-
-<div class='footnote c021' id='f108'>
-<p class='c022'><span class='label'><a href='#r108'>108</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iii. pt. ii. 3282.</p>
-</div>
-
-<div class='footnote c021' id='f109'>
-<p class='c022'><span class='label'><a href='#r109'>109</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. iii. 6516, 6598.</p>
-</div>
-
-<div class='footnote c021' id='f110'>
-<p class='c022'><span class='label'><a href='#r110'>110</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. x. 1257.</p>
-</div>
-
-<div class='footnote c021' id='f111'>
-<p class='c022'><span class='label'><a href='#r111'>111</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xi. 580.</p>
-</div>
-
-<div class='footnote c021' id='f112'>
-<p class='c022'><span class='label'><a href='#r112'>112</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 986.</p>
-</div>
-
-<div class='footnote c021' id='f113'>
-<p class='c022'><span class='label'><a href='#r113'>113</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvi. 1395 (p. 645).</p>
-</div>
-
-<div class='footnote c021' id='f114'>
-<p class='c022'><span class='label'><a href='#r114'>114</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xviii. pt. i. 832 (p. 467).</p>
-</div>
-
-<p class='c023'>The portrait of Cheseman is a half-length, facing the spectator,
-the head and eyes turned to the left. He wears a purplish red silk
-doublet, and a black cloak trimmed with fur, and the customary black
-cap. On his left hand, which is gloved, he carries a hooded hawk,
-with a bell on its claw, and with the other hand strokes its feathers.
-He is clean-shaven, and his long hair, which is beginning to turn grey,
-covers his ears. Across the plain blue background, which has turned
-green through the discoloration of the varnish, on either side of the
-sitter’s head, runs the inscription in Roman lettering:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“ROBERTVS CHESEMAN. ETATES SVÆ XLVIII · ANNO DM. M D XXXIII.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>The painting of the beautiful plumage of the bird is a most masterly
-piece of work, and the keen, piercing eyes and clean-cut face of its
-master are rendered with that unerring truth and wonderful insight
-which give Holbein his foremost place among the supreme painters of
-portraits.</p>
-<div class='sidenote'>PORTRAIT OF ROBERT CHESEMAN</div>
-<p class='c023'>This picture was seen by Sir Joshua Reynolds during his tour
-through Flanders and Holland in 1781, and in his diary he describes
-it as:—“A portrait by Holbein; admirable for its truth and precision
-and extremely well coloured. The blue flat ground which is behind
-the head gives a general effect of dryness to the picture: had the
-ground been varied, and made to harmonize more with the figure, this
-portrait might have stood in competition with the works of the best
-portrait painters.”<a id='r115' /><a href='#f115' class='c020'><b>[115]</b></a> This accusation of a slight “dryness” is to some
-extent true of certain, though by no means all, of the portraits painted
-by Holbein in England, when compared with some of his earlier work
-done in Basel. It has been suggested that this may have been due to
-a growing habit, caused by the increasing demands made upon his time,
-<span class='pageno' id='Page_57'>57</span>of placing greater reliance on his preliminary chalk studies in painting
-a portrait, and thereby reducing the number of sittings given him by
-the actual model.<a id='r116' /><a href='#f116' class='c020'><b>[116]</b></a></p>
-
-<div class='footnote c021' id='f115'>
-<p class='c022'><span class='label'><a href='#r115'>115</a>.&nbsp;&nbsp;</span><i>A Journey to Flanders and Holland in the year
-1781.</i> Works, vol. ii.</p>
-</div>
-
-<div class='footnote c021' id='f116'>
-<p class='c022'><span class='label'><a href='#r116'>116</a>.&nbsp;&nbsp;</span>Wornum, p. 251-2.</p>
-</div>
-
-<p class='c023'>An old copy of this portrait was lent to the Tudor Exhibition,
-1890 (No. 173<span class='fss'>A</span>), by the Rev. Charles Shepherd. The original picture
-was once in the royal collections of England. It was No. 8 on the list
-of objects of art which Queen Anne reclaimed from the Dutch States
-at the death of William III as having formed part of the collection
-belonging to the English royal house. Her claim was unsuccessful, and
-the picture remained in Holland. On the back of the panel are the
-letters <span class='fss'>W.E.H.P.L.C.</span> and the seal of Johan Willem Friso, Prince of
-Orange-Nassau, in whose collection it was, and afterwards in that of
-William V. The second fine portrait of a man with a hawk in the
-Hague Gallery,<a id='r117' /><a href='#f117' class='c020'><b>[117]</b></a> dated 1542, was another of the pictures claimed by
-Anne, and was No. 21 in her list. A third picture in the Hague,
-the beautiful portrait of a young woman<a id='r118' /><a href='#f118' class='c020'><b>[118]</b></a> (No. 275), now considered
-to represent Holbein’s wife, has been already described. The Cheseman
-and the 1542 portrait were evidently taken over to Holland,
-with other paintings, by William III during one of his visits to the
-Hague.</p>
-
-<div class='footnote c021' id='f117'>
-<p class='c022'><span class='label'><a href='#r117'>117</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_203'>203</a>.</p>
-</div>
-
-<div class='footnote c021' id='f118'>
-<p class='c022'><span class='label'><a href='#r118'>118</a>.&nbsp;&nbsp;</span>See Vol. i. p. 106.</p>
-</div>
-
-<p class='c023'>A small round portrait on wood, in the collection of Frau L. Goldschmidt-Przibram
-in Brussels,<a id='r119' /><a href='#f119' class='c020'><b>[119]</b></a> is dated 1533. According to both
-Woltmann and Zahn it is in a very damaged condition, but is a genuine
-work of Holbein. It represents a young man at half-length, facing
-the spectator, but with the head slightly turned to the left. He is
-clean-shaven, with bushy hair half hiding his ears, and wears the small
-flat black cap and costume of the German merchants of the Steelyard,
-and he was probably a member of that body. The right hand only is
-shown, holding a carnation. Across the plain background, on either
-side of the head, is inscribed “<span class='fss'>ANNO 1533</span>.” The face is a very
-attractive one, and the portrait has for years been regarded as representing
-the painter himself. Dr. Woltmann so included it in his book,
-but it bears little resemblance to the genuine portraits of Holbein.
-It was previously in the Jäger, Gsell, and Fräulein Gabriele Przibram
-collections in Vienna.</p>
-
-<div class='footnote c021' id='f119'>
-<p class='c022'><span class='label'><a href='#r119'>119</a>.&nbsp;&nbsp;</span>Woltmann, 261. Reproduced by Ganz, <i>Holbein</i>, p.
-104. Exhibition of Miniatures at Brussels, 1912, No. 855<i>a</i>.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF THOMAS CROMWELL</div>
-<p class='c023'><span class='pageno' id='Page_58'>58</span>During 1533, or in the first months of 1534, Holbein painted Thomas
-Cromwell. The future Earl of Essex and “viceregent of the King in
-all his ecclesiastical jurisdiction within the realm” was then only at
-the beginning of his political career, and filled the minor post of Master
-of the Jewel House. The portrait of him in the possession of the Earl
-of Caledon,<a id='r120' /><a href='#f120' class='c020'><b>[120]</b></a> at Tyttenhanger Park, St. Albans, which is evidently the
-original of several versions still in existence, although it has suffered
-greatly in the course of time, must be regarded as a genuine work of
-Holbein’s brush. The face has undergone severe repainting, but in
-many of the details his hand can be clearly traced. On one of the
-papers on the table in front of the sitter is the following address: “To
-our trusty and right wellbiloved Counsailler Thomas Cromwell, Maister
-of o<b>r</b> Jewelhouse,” which proves that it cannot have been painted later
-than the first months of 1534, for early in that year Cromwell was
-promoted to be First Secretary of State and Master of the Rolls. He
-must, therefore, have sat to Holbein at some date between the latter
-half of 1532 and the spring of 1534, having been appointed to the
-Jewel House on the 12th April 1532 in place of Robert Amadas, the
-jeweller. If done after his advancement, his higher titles would have
-been noted in the inscription.</p>
-
-<div class='footnote c021' id='f120'>
-<p class='c022'><span class='label'><a href='#r120'>120</a>.&nbsp;&nbsp;</span>Woltmann, 249. Reproduced by Davies, p. 159; Pollard,
-<i>Henry VIII</i>, p. 180; Cust, <i>Burlington Magazine</i>, vol. xx.
-p. 7; Ganz, <i>Holbein</i>, p. 106.</p>
-</div>
-
-<p class='c023'>It is very possible that Cromwell first made the acquaintance of
-Holbein through their common friends, the merchants of the Steelyard,
-with whom the future Lord Privy Seal was closely allied in more
-than one business transaction, more particularly in connection with
-the wool trade, of which the Hanse merchants then had a monopoly.
-He also made constant use of their services later on in his career for
-the collection of continental news, the forwarding of diets to various
-English ambassadors abroad, the translating of foreign letters, and so
-on.</p>
-
-<p class='c023'>Eustace Chapuys, the Spanish Ambassador in London, in reply
-to a query from his Imperial master as to the character of Henry’s
-new minister, sent, in November 1535, a short and amusing biographical
-sketch of his career, interesting as showing how Cromwell appeared
-in the eyes of a foreigner.</p>
-
-<p class='c023'>“The Secretary, Cromwell,” he wrote, “is the son of a poor farrier,
-who lived in a little village a league and a half from here (London), and
-<span class='pageno' id='Page_59'>59</span>is buried in the parish graveyard. His uncle, father of the cousin
-whom he has already made rich, was cook (<i>cousinier</i>) of the late archbishop
-of Canterbury. Cromwell was ill-behaved when young, and
-after an imprisonment was forced to leave the country. He went to
-Flanders, Rome, and elsewhere in Italy. When he returned he married
-the daughter of a shearman, and served in his house; he then became
-a solicitor. The cardinal of York, seeing his vigilance and diligence,
-his ability and promptitude, both in evil and good, took him into his
-service, and employed him principally in demolishing five or six good
-monasteries. At the Cardinal’s fall no one behaved better to him than
-Cromwell. After the Cardinal’s death Wallop attacked him with insults
-and threats, and for protection he procured an audience of the King,
-and promised to make him the richest king that ever was in England.
-The King immediately retained him on his Council, but told no one for
-four months. Now he stands above everyone but the Lady (Anne
-Boleyn), and everyone considers he has more credit with his master
-than Wolsey had—in whose time there were others who shared his
-credit, as Maistre Conton (Compton), the duke of Suffolk, and others,
-but now there is no one else who does anything. The Chancellor is
-only his minister. Cromwell would not accept the office hitherto,
-but it is thought that soon he will allow himself to be persuaded to
-take it. He speaks well in his own language, and tolerably in Latin,
-French and Italian; is hospitable, liberal both with his property and
-with gracious words, magnificent in his household and in building.”<a id='r121' /><a href='#f121' class='c020'><b>[121]</b></a></p>
-
-<div class='footnote c021' id='f121'>
-<p class='c022'><span class='label'><a href='#r121'>121</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. ix. 862.</p>
-</div>
-
-<p class='c023'>This is the man whom Holbein painted when he was merely Master
-of the Jewel House and Clerk of the Hanaper of Chancery. He is
-shown, in Lord Caledon’s picture, at half-length, seated in a high-backed
-wooden seat, his head and body turned to the left, looking
-towards a window, only a small part of which is seen, with a small
-table beneath it covered with a Turkish cloth, on which papers are
-placed. He is dressed in a black surcoat with a deep fur collar, and a
-black cap. He rests his left elbow on another table in front of him,
-and holds a paper in his left hand, on the first finger of which is a heavy
-signet ring. The right hand is not shown. He is clean-shaven, and
-his bushy hair almost covers his ears and falls on the back of his neck.
-On the table are pen and ink, a richly-bound book with jewelled clasps,
-and several papers, on one of which is the inscription already quoted.
-<span class='pageno' id='Page_60'>60</span>On a second paper the word “Counseilor” can be deciphered at the
-head. The face, with its small eyes set closely together, its thin, compressed
-lips and double chin, and its sinister expression of cold determination,
-is a far from attractive one, and lays bare that side of Cromwell’s
-character for which he was so heartily hated by the Catholic
-party. In it is to be seen little of that other side of him, of which,
-after his downfall, Cranmer spoke, when writing to Henry on behalf
-of his old minister. “Cromwell,” he said, “was such a servant in my
-judgment, in wisdom, diligence, faithfulness, and experience, as no
-prince in this realm ever had.” A large scroll stretching across the
-top of the picture, evidently added after Cromwell’s death, contains a
-Latin inscription in his praise. The portrait is on panel, 30 in. × 24 in.</p>
-
-<div class='sidenote'>PORTRAITS OF THOMAS CROMWELL</div>
-<p class='c023'>A smaller portrait of Cromwell, a circular painting with a green
-background, and enclosed in a painted square stone frame, showing
-the head only, is described by Wornum and Woltmann.<a id='r122' /><a href='#f122' class='c020'><b>[122]</b></a> It was at
-that time in the possession of Captain Ridgway, of Waterloo Place,
-London.<a id='r123' /><a href='#f123' class='c020'><b>[123]</b></a> It is 12 in. square, and differs in some details from the
-Tyttenhanger portrait. Both writers appear to regard it as a genuine
-work by Holbein. A portrait of Cromwell was one of the few works
-mentioned by name by Van Mander when describing De Loo’s collection
-of Holbein’s works:—“the old Lord Crauwl, about a foot and a
-half high, taken unusually artistically by Holbein.” Although the
-dimensions do not quite agree, Woltmann suggests that Captain
-Ridgway’s little picture was the one thus described. According to
-Mr. Lionel Cust,<a id='r124' /><a href='#f124' class='c020'><b>[124]</b></a> the few portraits of Cromwell which have any claim
-to authenticity are all traceable to Holbein, and fall into two groups,
-or at most three, each group deriving from an original portrait by him.
-In the first class are the Tyttenhanger picture and others based directly
-upon it. This portrait, he says, descends direct from Sir Thomas
-Pope, one of Cromwell’s instruments in the suppression of the
-monasteries. The second group includes such pictures as the one in
-the National Portrait Gallery (No. 1683, 16¾ in. × 13 in.),<a id='r125' /><a href='#f125' class='c020'><b>[125]</b></a> purchased
-in 1897, of which there are several versions in existence, though there
-<span class='pageno' id='Page_61'>61</span>is no portrait of this type so far traced which can be attributed to Holbein
-himself. The pictures in this group show the head and shoulders
-only, and differ in minor details from the Tyttenhanger type. The
-look of craftiness is accentuated, and he is shown with a slight grey
-whisker, and the pointed arch of the eyebrows is more strongly marked.
-The third group, which is closely allied to the second, includes the
-recently-discovered miniature in the late Mr. J. Pierpont Morgan’s collection,<a id='r126' /><a href='#f126' class='c020'><b>[126]</b></a>
-and the medal in the British Museum, of the date 1538, which,
-according to Mr. Cust, is evidently based on a drawing by Holbein.<a id='r127' /><a href='#f127' class='c020'><b>[127]</b></a>
-There was a portrait of Cromwell in the Arundel collection, which
-is entered in the inventory as “ritratto de Cromwell.” This was
-evidently the one in the possession of De Loo, which afterwards
-passed, with other works by Holbein, from that dealer’s collection
-into that of the Earl. Hollar’s engraving,<a id='r128' /><a href='#f128' class='c020'><b>[128]</b></a> which is not signed
-or dated, does not appear to have been taken from the portrait at
-Tyttenhanger, but was most probably based upon the Arundel
-picture; but whether that picture was an original by Holbein, now
-lost, or one of the numerous versions now in existence, it is impossible
-to say. One of these versions is in the collection of M. Ch. Léon
-Cardon, Brussels.</p>
-
-<div class='footnote c021' id='f122'>
-<p class='c022'><span class='label'><a href='#r122'>122</a>.&nbsp;&nbsp;</span>Woltmann, 212, and i. 376; Wornum, p. 287.</p>
-</div>
-
-<div class='footnote c021' id='f123'>
-<p class='c022'><span class='label'><a href='#r123'>123</a>.&nbsp;&nbsp;</span>Now, according to Dr. Ganz (<i>Holbein</i>, p. 241) in
-that of M. Kleinberger, Paris.</p>
-</div>
-
-<div class='footnote c021' id='f124'>
-<p class='c022'><span class='label'><a href='#r124'>124</a>.&nbsp;&nbsp;</span>In an interesting paper on “A newly-discovered miniature
-of Thomas Cromwell,” <i>Burlington Magazine</i>, vol. xx., October
-1911, pp. 5-7.</p>
-</div>
-
-<div class='footnote c021' id='f125'>
-<p class='c022'><span class='label'><a href='#r125'>125</a>.&nbsp;&nbsp;</span>Reproduced in Mr. Cust’s illustrated catalogue of the
-National Portrait Gallery, vol. i. p. 19, and in the <i>Burlington
-Magazine</i>, vol. xx. p. 7.</p>
-</div>
-
-<div class='footnote c021' id='f126'>
-<p class='c022'><span class='label'><a href='#r126'>126</a>.&nbsp;&nbsp;</span>Described in chapter <a href='#ch-XXV'>xxv</a>. See p. <a href='#Page_231'>231</a> and <a href='#pl-31'>Pl. 31 (6)</a>.</p>
-</div>
-
-<div class='footnote c021' id='f127'>
-<p class='c022'><span class='label'><a href='#r127'>127</a>.&nbsp;&nbsp;</span>Reproduced in <i>Burlington Magazine</i>, vol. xx. p. 7.</p>
-</div>
-
-<div class='footnote c021' id='f128'>
-<p class='c022'><span class='label'><a href='#r128'>128</a>.&nbsp;&nbsp;</span>Parthey, 1386.</p>
-</div>
-
-<p class='c023'>Several portraits of Cromwell were included in the Tudor Exhibition,
-1890, wrongly attributed to Holbein. Among them was a bust
-portrait, to the right, with a jewel in the cap, and the Garter George
-suspended from a black ribbon, lent by the Duke of Sutherland (No.
-39, 20 in. × 17 in.); a small half-length, to the left, wearing both collar
-and George of the Garter, from Corpus Christi College, Cambridge
-(No. 160, 22½ in. × 17 in.); and versions of the Tyttenhanger picture
-lent by Mr. Charles Penruddocke (No. 162, 18 in. × 16 in.), and the
-Duke of Manchester (No. 163, 14 in. × 11½ in.).<a id='r129' /><a href='#f129' class='c020'><b>[129]</b></a> In addition to the
-Hollar print, engravings were made, from one or other of the copies
-of the original picture, by Houbraken for his <i>Heads of Illustrious
-Persons</i>, 1745, from a picture in the possession of Mr. Edward
-Southwell, and by Freeman for Lodge’s <i>Portraits</i>, 1835, the latter from
-a picture in the possession of Sir Thomas Constable, Bt., at Tixall.
-Probably both engravings were done from the same painting.</p>
-
-<div class='footnote c021' id='f129'>
-<p class='c022'><span class='label'><a href='#r129'>129</a>.&nbsp;&nbsp;</span>A portrait of Cromwell, attributed to Holbein, the
-property of the late Mr. J. P. Hardy, was sold at Christie’s on 13th
-December 1912.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_62'>62</span>There is a magnificent drawing, one of the most powerful studies
-Holbein ever accomplished, in the collection of the Earl of Pembroke
-and Montgomery at Wilton House,<a id='r130' /><a href='#f130' class='c020'><b>[130]</b></a> which until recently has been
-generally regarded as a portrait of the Lord Privy Seal—though it
-bears little likeness to the Tyttenhanger panel—because the words
-“Lord Cromwell” and “Holbein” have been inscribed in the bottom
-corners by a later hand than the painter’s. It is in black and red chalk
-on paper tinted pink, with slight touches of colour on the fur of the
-gown and the jewel in the cap. The outlines of the features have
-been reinforced in ink, but this, in contradistinction to some of the
-drawings in the Windsor collection, where such retouching is evidently
-from a later hand, has been carried out with such power combined with
-delicacy that it seems certain that it was done by Holbein himself.
-The drawing evidently at one time formed part of the Windsor series,
-at the date when the latter was given by Charles I to an earlier Earl
-of Pembroke in exchange for the little “St. George” by Raphael,
-which is now in the Hermitage. This book of drawings was afterwards
-given by Pembroke to the Earl of Arundel, and it is most probable
-that the so-called “Cromwell” drawing remained behind, perhaps
-by accident. Quite recently it has been definitely identified as the
-portrait of George Nevill, third Lord Abergavenny, by means of a
-miniature in the possession of the Duke of Buccleuch, in water-colours,
-on a playing card, which is based on Holbein’s drawing, and is inscribed
-“G. Abergaveny.”<a id='r131' /><a href='#f131' class='c020'><b>[131]</b></a> It bears a very strong likeness to the drawing,
-and is attributed to Holbein himself. Further proof of identity is
-obtained from a picture, which agrees with the miniature but does
-not show the hands, in the collection of the Marquis of Abergavenny
-at Edridge Castle, Kent. Both the Wilton drawing and the miniature
-were included in the Burlington Fine Arts Club Exhibition, 1909
-(No. 70 and Case C. No. 22), and the former was in the Tudor Exhibition,
-1890 (No. 1414).</p>
-
-<div class='footnote c021' id='f130'>
-<p class='c022'><span class='label'><a href='#r130'>130</a>.&nbsp;&nbsp;</span>Woltmann, 263. Reproduced by Davies, p. 162; Vasari
-Society, pt. v. No. 28; <i>Catalogue of Burlington Fine Arts Club
-Exhibition</i>, 1909, Pl. xxviii.</p>
-</div>
-
-<div class='footnote c021' id='f131'>
-<p class='c022'><span class='label'><a href='#r131'>131</a>.&nbsp;&nbsp;</span>Reproduced in <i>The Connoisseur</i>, vol. xviii. No. 71,
-July 1907, frontispiece (in colour); and in the <i>Illustrated
-Catalogue of the Burlington Fine Arts Exhibition</i>, Pl. xxxiii.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF MORETTE</div>
-<p class='c023'>Singularly few examples remain of work executed by Holbein in
-1534 and 1535. There are no dated portraits from his brush of the
-former year, with the exception of the two small roundels in Vienna,
-and none of the latter year, for the date on the beautiful miniature of
-<span class='pageno' id='Page_63'>63</span>little Henry Brandon at Windsor, usually given as 1535, has been
-misread.<a id='r132' /><a href='#f132' class='c020'><b>[132]</b></a> There are one or two portraits which must have been done
-during this period, among them the Morette, the drawing of Nicolas
-Bourbon, and a portrait of Nicholas Poyns the younger; but there
-are so few examples which can be definitely given to these two years
-that the writer hazards the conjecture that for a part of the time
-Holbein was out of England. Throughout his too short career the
-painter seems never to have severed his connection with Basel, nor to
-have broken the friendly relationships which existed between him and
-its Council. He remained a citizen of his adopted city, and apparently
-retained his membership of the Painters’ Guild, until his death. To
-do so he must have paid some heed to the somewhat strict laws as to
-the duties of citizenship then in force. The customary leave of absence
-was about two years, and Holbein may well have returned to Basel
-more often than is generally supposed. He did not accede to the
-Council’s request contained in their letter of September 2nd, 1532, but
-at the end of two years, in the summer of 1534, he may possibly have
-paid a visit of some duration to Switzerland, returning to England in
-the summer or autumn of 1535. This is only conjecture, for there
-is no evidence of his presence in Basel during that period, but it would
-account for the lack of English portraits of that date, and would also
-help to explain the fact—in some ways inexplicable—that he did not
-enter the service of the royal house of England until about 1536.
-Against this assumption it must be noted that when he paid his well-known
-visit to Basel in September 1538 he was feasted and fêted by
-his fellow-citizens in a way which seems to indicate that he had been
-absent for a longer period than three years. Still, it is not impossible that
-he was there in 1534-5, and that he even paid a final visit home, about
-the winter of 1540-41, before his death in 1543, in this way retaining
-until the end his citizenship and the pension paid by the Basel
-authorities to his wife.</p>
-
-<div class='footnote c021' id='f132'>
-<p class='c022'><span class='label'><a href='#r132'>132</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_225'>225</a>.</p>
-</div>
-
-<div id='pl-12'  class='figcenter id001'>
-<img src='images/pl-12.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 12</span><br />CHARLES DE SOLIER, SIEUR DE MORETTE<br /><span class='sc'>Royal Picture Gallery, Dresden</span></p>
-</div>
-</div>
-
-<p class='c023'>The wonderful portrait of Morette in the Dresden Gallery (<a href='#pl-12'>Pl. 12</a>)<a id='r133' /><a href='#f133' class='c020'><b>[133]</b></a>
-must certainly have been painted during the period under discussion.
-Charles de Solier, Sieur de Morette, a well-known French diplomatist
-and fighting man of his day, who had paid more than one earlier visit
-to England, in each case of short duration, arrived in London as French
-<span class='pageno' id='Page_64'>64</span>resident ambassador in place of Castillon, on Good Friday, April 3rd,
-1534, and returned to France on July 26th, 1535. This was his last
-and longest sojourn in this country, and Holbein must have painted
-him between these two dates. Even though the painter may have
-paid a visit to Basel as suggested, it would still leave ample time for
-the portrait to have been taken in the summer of either year. Probably
-Holbein’s introduction to Morette was brought about through
-the good offices of Jean de Dinteville. Though the Bailly of Troyes
-had left England in the previous November, Morette may have seen
-the “Ambassadors” picture in France in the interval, or have heard
-of it from Castillon, who succeeded Dinteville in London. In any
-case, Morette, who was one of the special ambassadors who came over
-for the signing of the treaty in the spring of 1528, was acquainted with
-at least one work of Holbein, the “Battle of Spurs,” in the temporary
-banqueting-hall at Greenwich, to which the King had drawn the
-particular notice of the envoys.</p>
-
-<div class='footnote c021' id='f133'>
-<p class='c022'><span class='label'><a href='#r133'>133</a>.&nbsp;&nbsp;</span>Woltmann, 145. Reproduced by Davies, p. 156; Knackfuss,
-fig. 128; Ganz, <i>Holbein</i>, p. 116.</p>
-</div>
-
-<div class='sidenote'>THE ARUNDEL COLLECTION</div>
-<p class='c023'>The first known reference to the portrait of Morette occurs in the
-correspondence of Thomas Howard, Earl of Arundel and Surrey, the
-great collector of Holbein’s work, who employed friends and agents
-on the Continent to hunt up and buy everything from his brush that
-they could discover. He got together a remarkably fine series of
-pictures and drawings by Holbein, which, on his death at Padua, 1646,
-came into the possession of his widow, then residing in Holland. Upon
-her decease in 1654, at Amsterdam, her youngest son, Lord Stafford,
-who was living with her, propounded a nuncupative will in his own
-favour, and began as quickly as he could to sell the pictures, which
-it had been the intention of the Earl should become heirlooms, but
-the deed had never been executed. The sale, however, was stopped
-by other representatives of the Arundel family, and a lawsuit resulted.
-Among the documents in connection with these proceedings was one
-of very great interest, an inventory of the pictures and objects of art
-in the possession of the Countess at the time of her death. The original
-list, which was in Italian, and probably drawn up for the Earl in Padua,
-has disappeared, but a copy of it has been recently discovered by Miss
-Mary L. Cox in the Record Office. This valuable document was evidently
-copied from the original by some clerk in Amsterdam ignorant
-of the Italian language, for it is full of mistakes. The complete inventory
-was published by Miss Cox, with an introduction by Mr.
-<span class='pageno' id='Page_65'>65</span>Lionel Cust, in the <i>Burlington Magazine</i>.<a id='r134' /><a href='#f134' class='c020'><b>[134]</b></a> From it we learn that
-Lord Arundel possessed no less than forty-one works by or attributed
-to Holbein, in addition to the drawings, which are not included in the
-inventory. Among the portraits, some of which have been already
-noted, were those of the Duchess of Milan, Jane Seymour, Anne of
-Cleves, Edward VI, the Duke of Norfolk and his son the Earl of Surrey,
-Sir Thomas Wyat, Cromwell, Erasmus, the Earl of Southampton,
-Thomas and John Godsalve, Sir Edward Gage, Sir Henry and Lady
-Guldeford, Archbishop Warham, Dr. John Chamber, Derich Born,
-and Sir Thomas More and his family, as well as several unnamed portraits,
-to all of which reference will be found in these pages. Very
-possibly some few of these pictures, such as the full-length of the Earl
-of Surrey, were not by Holbein, though given to him in the list. Lord
-Arundel also possessed several works which so far have not been traced,
-though the titles may help towards their future rediscovery. Among
-them is a portrait said to be of Holbein’s wife, which is most probably
-the picture at the Hague;<a id='r135' /><a href='#f135' class='c020'><b>[135]</b></a> one of a lady “con gli mani giunti e un
-agato atacato al beretino”; another of a lady, aged 40, with the inscription,
-“In all things, Lord, thy wilbe fulfilled”; the portrait of a
-musician;<a id='r136' /><a href='#f136' class='c020'><b>[136]</b></a> one of an armed man, which may possibly be the portrait
-of Sir Nicholas Carew; the portrait of the goldsmith Hans of Zürich; the
-Death’s-head and bones already referred to in speaking of Ambrosius
-Holbein; a picture of gamblers or people playing games (“un quadretto
-con divers figure Jocatori, &amp;c.”); another with the title “Legge
-Vecchio &amp; Nove” (ancient and modern law); and the Arms of England
-in water-colours. Before his relations could interfere Lord
-Stafford had sold a number of pictures to the Spanish Ambassador in
-London, to Eberhard Jabach, of Cologne, and to the agent of the Archduke
-Leopold, and this may account for the fact that certain of them
-remained abroad, such as the Jane Seymour and Dr. Chamber in
-Vienna, and the Thomas and John Godsalve in Dresden.</p>
-
-<div class='footnote c021' id='f134'>
-<p class='c022'><span class='label'><a href='#r134'>134</a>.&nbsp;&nbsp;</span>Vol. xix., August and September 1911, and vol. xx.,
-January 1912, from which the above facts are taken.</p>
-</div>
-
-<div class='footnote c021' id='f135'>
-<p class='c022'><span class='label'><a href='#r135'>135</a>.&nbsp;&nbsp;</span>See Vol. i. p. 106.</p>
-</div>
-
-<div class='footnote c021' id='f136'>
-<p class='c022'><span class='label'><a href='#r136'>136</a>.&nbsp;&nbsp;</span>See above, p. <a href='#Page_52'>52</a>.</p>
-</div>
-
-<p class='c023'>In a letter from Turin, dated November 26th, 1628, from Sir Isaac
-Wake to William Boswell, the former states: “The picture after
-which you do seem to inquire was made by Hans Holbein in the time
-of Henry VIII, and is of a Count of Moretta. My Lord of Arundel
-<span class='pageno' id='Page_66'>66</span>doth desire it, and if I can get it at any reasonable price he must and
-shall have it.”<a id='r137' /><a href='#f137' class='c020'><b>[137]</b></a> The picture was evidently then in the market, under
-the true names of both sitter and painter, but apparently the price was
-too high, and so Arundel, who possessed the original drawing for it,
-was not able to secure it. It was eventually bought by the Marquis
-Massimiliano Montecucculi, ambassador of the house of Este at Parma
-and Rome, and presented by him to the Duke Francesco d’Este, and
-so passed into the Modena gallery. According to Venturi, the portrait
-was at that time attributed by the Marquis Montecucculi to “Gio.
-Olben.” Some thirty years after the date of Wake’s letter, Scannelli,
-in his <i>Microcosmo</i>,<a id='r138' /><a href='#f138' class='c020'><b>[138]</b></a> describes, under the name of “Olbeno,” a picture
-in the Modena collection which can be no other than the “Morette.”
-He says: “There was also lately among ultramontane painters a
-certain Olbeno, a highly qualified master, and in painting individual
-portraits verily stupendous. It is true in his execution there is something
-of that native hardness which belongs to his country in other
-respects; yet through his extreme diligence and truthful fidelity to
-nature it shows a high degree of perfection. As we see, for example,
-in the already noticed gallery of H.S.H. the Duke of Modena, where
-there is a half-length portrait by him which in its exact imitation of
-nature is quite wonderful.”</p>
-
-<div class='footnote c021' id='f137'>
-<p class='c022'><span class='label'><a href='#r137'>137</a>.&nbsp;&nbsp;</span>For this and other letters see Sainsbury, <i>Original Unpublished
-Papers</i>, &amp;c., 1859, Appendix, Nos. 44, 53, 55, 57. See also
-Appendix (<a href='#app-K'>K</a>).</p>
-</div>
-
-<div class='footnote c021' id='f138'>
-<p class='c022'><span class='label'><a href='#r138'>138</a>.&nbsp;&nbsp;</span>Ed. 1657, Vol. ii. p. 265. See also Vol. i. p. 306.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF MORETTE</div>
-<p class='c023'>At a later date the true name of the sitter appears to have become
-lost. It has been suggested<a id='r139' /><a href='#f139' class='c020'><b>[139]</b></a> that, owing to the similarity of the sound,
-the name Morette was first changed to Morus, as the name of Sir Thomas
-More would naturally suggest itself in connection with Holbein. In
-Italy, Morus, again naturally, would become Moro, and so in course
-of time the picture was said to represent Lodovico Sforza, familiarly
-known as Il Moro. There is no need, however, to bring in the name
-of Sir Thomas More at all. The change must have been directly from
-Morette to Maurus, which was Sforza’s second name, from which his
-popular nickname “Il Moro” was taken.<a id='r140' /><a href='#f140' class='c020'><b>[140]</b></a> Holbein’s name in connection
-with the picture having been by this time forgotten, the title
-“Maurus,” combined with the beauty of the work, gave rise to the
-supposition that it could only be from the hand of Sforza’s great
-<span class='pageno' id='Page_67'>67</span>countryman, Leonardo da Vinci; and it was as a portrait of Il Moro
-by Leonardo that it was purchased by Augustus III, King of Poland
-and Elector of Saxony, from the Duke Francesco of Este-Modena in
-1746. It formed part of a collection of about one hundred pictures,
-known as the “Modena Gallery,” some of which are now among the
-chief masterpieces of the Dresden Gallery, which, after long and
-secret negotiations, the Elector procured for his own collection at the
-cost of one hundred thousand sequins and very liberal largesse to
-various agents and go-betweens. For the next hundred years it
-remained at Dresden as a portrait of Lodovico and a masterpiece
-by Da Vinci. Then Rumohr, the critic, pointed out that the style
-and quality of the painting proved it to be an undoubted work by
-Holbein, while at the same time Von Quandt produced evidence to
-show that it did not represent Il Moro, but a certain jeweller
-employed by Henry VIII named Hubert Morett. The paper he contributed
-to the <i>Kunstblatt</i> in 1846 was accompanied by a reproduction
-of Hollar’s engraving of the original drawing of the picture,
-upon which his case was based. This engraving is inscribed “Mr.
-Morett” and “W. Hollar fecit, ex Collectione Arundeliana. A<b>o</b> 1647.
-31 Decē.” In spite of Rumohr’s criticism, however, the picture continued
-to be described in the official catalogues as by Leonardo, the
-authorities, it is said, objecting to the change of name, as in so doing
-the collection would be robbed of its sole work by Da Vinci; and it
-was not until the death of King Frederick Augustus that Holbein was
-allowed to come into his own again. There was considerable opposition,
-too, to the change from Il Moro to Mr. Morett, the goldsmith,
-Hollar’s engraving being a poor one, and not very much like the picture.
-The title was not changed, nor was the final restitution made to Holbein
-until 1860, in which year Holbein’s original drawing for the portrait
-made its appearance in London, in the sale of Samuel Woodburne, the
-art dealer, when it fetched £43, and was purchased immediately afterwards
-for the Saxon Government by Herr L. Gruner, the director of
-the Dresden Gallery.<a id='r141' /><a href='#f141' class='c020'><b>[141]</b></a> For the next twenty-five years the picture
-was known as “Mr. Hubert Morett, goldsmith to Henry VIII,” who
-was considered by all writers to be an Englishman, his sumptuous
-apparel, quite unlike the sober garments worn by jewellers in those
-days, being explained away by a reference to the tradition that in the
-<span class='pageno' id='Page_68'>68</span>sixteenth century all Englishmen, of whatever class of society, had a
-passion for finery in dress.</p>
-
-<div class='footnote c021' id='f139'>
-<p class='c022'><span class='label'><a href='#r139'>139</a>.&nbsp;&nbsp;</span>Wornum, p. 301, and Dresden Catalogue, 1884.</p>
-</div>
-
-<div class='footnote c021' id='f140'>
-<p class='c022'><span class='label'><a href='#r140'>140</a>.&nbsp;&nbsp;</span>See <i>Milan under the Sforza</i>, by C. M. Ady, p. 124.</p>
-</div>
-
-<div class='footnote c021' id='f141'>
-<p class='c022'><span class='label'><a href='#r141'>141</a>.&nbsp;&nbsp;</span>Woltmann, 146. Reproduced by Wornum (photograph), p. 300.</p>
-</div>
-
-<p class='c023'>As a matter of fact Hubert Morett was not an Englishman at all,
-nor could he be rightly described as “goldsmith” to Henry VIII.
-He was a Frenchman, one of several jewellers of Paris, who paid
-periodical visits to London for the purpose of selling their wares to
-the King and Court. Thus, in August 1536, in Gostwick’s accounts, is
-the entry: “Hubbert Morret, jeweller of Paris, for jewels bought by
-the King £282, 6<i>s.</i> 8<i>d.</i>,”<a id='r142' /><a href='#f142' class='c020'><b>[142]</b></a> while in January 1532 he
-received 242 crowns, or £56, 9<i>s.</i> 4<i>d.</i>, for similar
-goods.<a id='r143' /><a href='#f143' class='c020'><b>[143]</b></a> Granger’s statement that Morett “did many curious works
-after Holbein’s designs” has no foundation
-in fact. Hollar’s engraving<a id='r144' /><a href='#f144' class='c020'><b>[144]</b></a> simply calls the subject “Mr. Morett,”
-though Parthey, in a second edition of his book, cites a second state
-of the engraving, sold in 1844, with the added words, “Jeweller to
-Henry VIII”; no one, however, has so far succeeded in discovering
-a proof of this state, and, in all probability, these words were merely
-written on this particular proof by someone who had noted the reference
-to Morett in the <i>Privy Purse Expenses of Henry VIII</i>, published
-by Nicolas in 1827. This, no doubt, was the source of the legend,
-adopted at Dresden, that the picture represented a court jeweller.</p>
-
-<div class='footnote c021' id='f142'>
-<p class='c022'><span class='label'><a href='#r142'>142</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xi. 381.</p>
-</div>
-
-<div class='footnote c021' id='f143'>
-<p class='c022'><span class='label'><a href='#r143'>143</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. v., Privy Purse Expenses of Henry
-VIII, under January 1532.</p>
-</div>
-
-<div class='footnote c021' id='f144'>
-<p class='c022'><span class='label'><a href='#r144'>144</a>.&nbsp;&nbsp;</span>Parthey, No. 1470.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF MORETTE</div>
-<p class='c023'>It remained for a Swedish critic, M. S. Larpent, finally to re-establish
-the identity of the sitter as that Count of Moretta mentioned in
-Wake’s letter in the seventeenth century. In a pamphlet published
-in Christiania in 1881, <i>Sur le Portrait de Morett</i>, he proved conclusively
-that the Dresden picture represents Charles de Solier, Sieur de Morette.
-M. Larpent drew attention to the fact that the drawing for the head
-was once in the possession of Richardson, the painter, and that at his
-sale in 1746 it was included in his catalogue as “One Holbein, sieur de
-Moret, one of the French hostages in England,” this, no doubt, being
-the traditional title which had remained with the drawing since it
-was in the Arundel collection. It has been suggested that Hollar’s
-engraving was done neither from the Dresden picture nor from the
-drawing, as it shows considerable differences in the dress and details,
-and is circular in shape, while the inscription is “Holbein pinxit”
-not “delineavit,” indicating that it was done from a painting and not
-a drawing, and thus proving that the Earl of Arundel possessed another
-<span class='pageno' id='Page_69'>69</span>portrait of Morette, which has disappeared. In this connection Sir
-Sidney Colvin draws attention to the print by Hollar of an unknown
-man after a painting by Holbein formerly in the Earl of Arundel’s
-collection, which he thinks represents Jean de Dinteville.<a id='r145' /><a href='#f145' class='c020'><b>[145]</b></a> “Now,
-this print of Hollar’s,” he says, “is an exact companion to his other
-print from the ‘Mr. Morett’ in the Arundel collection. Both are
-small rounds, apparently taken from paintings of almost miniature
-size, such as Holbein is in several instances known to have made of
-persons who had also sat to him for full-sized portraits. I conclude
-that he had painted two such companion miniatures, besides his larger
-pictures, of the two successive French envoys, Dinteville and Morette,
-and that both came into the possession of the Earl of Arundel.”<a id='r146' /><a href='#f146' class='c020'><b>[146]</b></a></p>
-
-<div class='footnote c021' id='f145'>
-<p class='c022'><span class='label'><a href='#r145'>145</a>.&nbsp;&nbsp;</span>This is the print, already mentioned (see p. 44), in
-connection with the fine Windsor drawing to which Miss Hervey first
-drew attention as a possible likeness of Dinteville.</p>
-</div>
-
-<div class='footnote c021' id='f146'>
-<p class='c022'><span class='label'><a href='#r146'>146</a>.&nbsp;&nbsp;</span>In a letter to <i>The Times</i>, 11th September 1890.</p>
-</div>
-
-<p class='c023'>The identity of the sitter was established beyond all possibility
-of doubt in 1903 by the late Mr. Max Rosenheim’s discovery of a fine
-contemporary medallion portrait of the same personage, carved in boxwood,
-with his name and titles in full, and on the back his device of a
-seaport, a horse, and a dolphin.<a id='r147' /><a href='#f147' class='c020'><b>[147]</b></a> Charles de Solier was born in 1480,
-and was fifty-four years old when resident ambassador in England
-in 1534, the year in which Holbein painted him. He represented
-him life-size and half-length, standing facing the spectator, dressed
-in a doublet of black satin, the sleeves of which, from the elbow downwards,
-are slashed with white silk. His surcoat is of the same black
-material, with a heavy collar and lining of fur. Both dress and black
-cap are decorated with gold tags, and in the latter he wears a circular
-gold enseigne with a figure of Fortune. Round his neck hangs a gold
-chain to which is suspended a medallion or watch-case of open-work.
-In his right hand he holds a glove, and his left, which is gloved, grasps
-the gilt and elaborately chased sheath of a dagger, suspended from his
-girdle by a chain with a large tassel, such as the one worn by Dinteville.
-His long beard of a reddish colour is touched here and there
-with grey. The background consists of a curtain of green damask.
-It is about 3 ft. 1 in. high by 2 ft. 6½ in. wide.</p>
-
-<div class='footnote c021' id='f147'>
-<p class='c022'><span class='label'><a href='#r147'>147</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. ii., August 1903, p.
-369. The medallion is in the Salting Collection, and the costume is
-the same as in the picture. The inscription runs: “<span class='sc'>Carolvs · de ·
-Solario · Dns · Morety · Anno · Agens · L.</span>”</p>
-</div>
-
-<p class='c023'>Holbein’s art, both in the subtle insight it displays into character
-and in its technical achievement, is seen in its highest manifestation
-<span class='pageno' id='Page_70'>70</span>in this superb and nobly-dignified portrait, which bears the stamp of
-truth in every touch. The handling is both brilliant and delicate in
-all the accessories, in the fine modelling of the flesh, and in the wonderful
-draughtsmanship of the right hand grasping the glove. As a likeness
-of a living man and as an expression of the most intimate traits
-of his character, it holds its own with any piece of portraiture in the
-world, and is, indeed, complete in every respect, displaying the finest
-taste in conception combined with consummate skill and unerring
-accuracy in execution, and most harmonious colour. The original
-study for it, which, no doubt, once formed a part of the Windsor collection,
-and now hangs by the side of the picture in Dresden, is
-unsurpassed for its truth and force, and the subtlety with which the
-likeness is expressed by the simplest means, eye and hand acting in
-perfect accord and allowing nothing essential to escape them.</p>
-
-<div class='sidenote'>ROUNDELS OF ENGLISHMAN AND WIFE</div>
-<p class='c023'>The two small roundels, about six inches in diameter, portraits of
-a man, probably an Englishman, and his wife, in the Vienna Gallery<a id='r148' /><a href='#f148' class='c020'><b>[148]</b></a>
-(Nos. 1482, 1484), formerly in the Schloss Ambras collection, are dated
-1534. They are fine works, almost in miniature, though they do not
-show Holbein at his highest point of achievement. The man, who has
-a dark-brown beard, wears a black cap and a scarlet surcoat on which
-the letters H. &amp; R. are embroidered in black and gold, indicating
-that he was in the service of Henry VIII. Across the background
-is inscribed: “<span class='fss'>ETATIS SVÆ 30. ANNO 1534.</span>” The woman, of a very
-homely type of face, is wearing a dark-brown and black dress, and a
-white head-dress, which hides her hair and falls on her shoulders in
-the form of a cape. This head-dress is identical with the one worn
-by the unknown lady in the Windsor collection (Holmes No. 10),
-which Sir Richard Holmes thought might be a portrait of “Mother
-Jack,” nurse to Edward VI. It is inscribed: “<span class='fss'>ETATIS SVÆ 28. ANNO
-1534.</span>” Both portraits have now a very dark blue-green background
-with a small circular ring of gold round the outer edge. The two are
-evidently husband and wife, and the latter has more the appearance
-of a German than an Englishwoman. It may be suggested, therefore,
-though with diffidence, that it is not impossible that these two small
-portraits represent Susanna Hornebolt and her husband, John
-Parker, the King’s bowman and a yeoman of the robes. Dürer speaks
-<span class='pageno' id='Page_71'>71</span>of Susanna as being “about eighteen” in 1521, which does not quite
-tally with the age of the sitter in the Vienna roundel, who was twenty-eight
-in 1834, but it is again not impossible that Dürer imagined the
-young lady to be two or three years older than she was in reality.
-Dr. Ganz draws attention to the close likeness between this portrait
-and the one of an unknown man, also a small roundel, in the possession
-of Herr F. Engel-Gros, at Château de Ripaille near Thonon,<a id='r149' /><a href='#f149' class='c020'><b>[149]</b></a> which he
-reproduces for the first time. The sitter is clean-shaven, facing three-quarters
-to the right, with a small flat red cap, elaborate black and white
-Spanish work on his shirt collar, and a red livery coat, lined with blue,
-with black bands and the initials “H. R.” embroidered on it. He
-considers him to be either a Netherlander or a German, and suggests
-that he was possibly a painter in Henry VIII’s service. It may be
-permitted to go a step further and to suggest that we have here a portrait
-of Susanna’s brother, Lucas Hornebolt. It was first exhibited
-in Basel in 1891, and nothing of its earlier history is known. It bears
-no signature or date, but is evidently of the same period as the two
-Vienna roundels. There is an excellent old copy on copper of this
-roundel in the Fitzwilliam Museum, Cambridge (No. 537),<a id='r150' /><a href='#f150' class='c020'><b>[150]</b></a> in which,
-however, the cap and coat are black, while no trace of the royal
-initials on the latter can be discerned.</p>
-
-<div class='footnote c021' id='f148'>
-<p class='c022'><span class='label'><a href='#r148'>148</a>.&nbsp;&nbsp;</span>Woltmann, 256, 257. Reproduced in <i>Magazine of Art</i>,
-March 1897, p. 279; <i>Masterpieces of Holbein</i> (Gowan’s Art Books,
-No. 13), pp. 46, 47; Ganz, <i>Holbein</i>, p. 105.</p>
-</div>
-
-<div class='footnote c021' id='f149'>
-<p class='c022'><span class='label'><a href='#r149'>149</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 115. Purchased by
-the present owner in Paris.</p>
-</div>
-
-<div class='footnote c021' id='f150'>
-<p class='c022'><span class='label'><a href='#r150'>150</a>.&nbsp;&nbsp;</span>Reproduced in F. R. Earp’s <i>Descriptive Catalogue of
-the Pictures in the Fitzwilliam Museum</i>, 1902, and in <i>The
-Principal Pictures in the Fitzwilliam Museum</i>, Gowans &amp; Gray, Ltd.,
-1913, p. 86.</p>
-</div>
-
-<p class='c023'>Among the Windsor drawings there are three, two of them very
-fine, which represent members of the Poyns or Poyntz family—John
-Poyns,<a id='r151' /><a href='#f151' class='c020'><b>[151]</b></a> of North Wokendon, Essex, a member of the royal household
-and one of Wyat’s most intimate friends, in which the face is almost
-in profile to the right, with the eyes turned upwards, and a small round
-black cap which only covers the hair in part; and two of Nicholas
-Poyntz, of the Gloucestershire branch of the family.<a id='r152' /><a href='#f152' class='c020'><b>[152]</b></a> Both are inscribed
-“N. Poines Knight,” and they are generally regarded as portraits
-of a father and son, and are described as Sir Nicholas Poyntz
-the Elder, and Sir Nicholas Poyntz the Younger. In the one he is
-<span class='pageno' id='Page_72'>72</span>represented almost full-face, with beard and bare head, a free drawing
-without the black lines, and somewhat rubbed. The other is a small
-head in profile to the left, with a short beard and moustache, wearing
-a round cap with white feather, and a gold chain on his shoulders.
-There seems to be no great difference between the ages of the two, and
-as Nicholas Poyntz’s father was named Anthony, probably the inscription
-on the first-named drawing is incorrect, and the sitter is not
-a member of this family. There are various portraits based upon the
-second drawing, all apparently contemporary copies of a lost original.<a id='r153' /><a href='#f153' class='c020'><b>[153]</b></a>
-One of them was lent by the Marquis of Bristol to the Tudor Exhibition,
-1890 (No. 79). It is a life-size portrait, half-length, in a black
-dress, on panel, 24 × 17 in. Another is described by Woltmann, who
-saw it in the possession of the Marquis de la Rosière in Paris.<a id='r154' /><a href='#f154' class='c020'><b>[154]</b></a> It was
-photographed by Braun, but since then has disappeared. It agrees
-with the drawing and Lord Bristol’s picture. Both are inscribed on
-the right-hand side of the blue background:—“<span class='fss'>ETATIS SVÆ 25.
-ANNO 1535</span>,” and above, a three-lined French motto—“<span class='fss'>IE OBAIS
-A QVI IE DOIS. IE SERS A QVI ME PLAIST. ET SVIS A QVI ME
-MERITE</span>.” Woltmann regarded the Paris example as a fine and
-genuine work by Holbein,<a id='r155' /><a href='#f155' class='c020'><b>[155]</b></a> but it is only an old copy. There is another
-in the possession of Lord Spencer at Althorp. Wornum notes a miniature
-on vellum, with a plain blue background, then in the possession
-of Mr. R. S. Holford, of Dorchester House, which corresponds with the
-Windsor drawing.<a id='r156' /><a href='#f156' class='c020'><b>[156]</b></a> Sir Nicholas Poyntz was the eldest son of Anthony
-Poyntz, of Iron Acton, Gloucestershire, and Elizabeth, daughter and
-heir of William Hudson, of Devonshire. He does not appear to have
-held any office in connection with the Court. He married Joan,
-daughter of Thomas, Lord Berkeley, and died in 1557.</p>
-
-<div class='footnote c021' id='f151'>
-<p class='c022'><span class='label'><a href='#r151'>151</a>.&nbsp;&nbsp;</span>Woltmann, 301; Wornum, i. 9; Holmes, i. 47. Reproduced by
-Davies, p. 220; and in <i>Drawings of Hans Holbein</i> (Newnes), Pl.
-xx. A fine head of “John Poines,” on a reddish ground, was in the
-recently dispersed collection of Mr. J. P. Heseltine.</p>
-</div>
-
-<div class='footnote c021' id='f152'>
-<p class='c022'><span class='label'><a href='#r152'>152</a>.&nbsp;&nbsp;</span>Woltmann, 299, 300; Wornum, i. 19, 36; Holmes, i. 37, ii.
-26; reproduced in <i>Drawings of Hans Holbein</i>, Pl. xxii. xxv.</p>
-</div>
-
-<div class='footnote c021' id='f153'>
-<p class='c022'><span class='label'><a href='#r153'>153</a>.&nbsp;&nbsp;</span>This original is in Lord Harrowby's collection. See Appendix (<a href='#app-K'>K</a>).</p>
-</div>
-
-<div class='footnote c021' id='f154'>
-<p class='c022'><span class='label'><a href='#r154'>154</a>.&nbsp;&nbsp;</span>Woltmann, 239. Reproduced by Ganz, <i>Holbein</i>, p.
-217. There was a portrait of the “Cavaglier Points” in the Arundel
-Collection.</p>
-</div>
-
-<div class='footnote c021' id='f155'>
-<p class='c022'><span class='label'><a href='#r155'>155</a>.&nbsp;&nbsp;</span>Woltmann, i. pp. 408-9.</p>
-</div>
-
-<div class='footnote c021' id='f156'>
-<p class='c022'><span class='label'><a href='#r156'>156</a>.&nbsp;&nbsp;</span>Wornum, p. 404. It was included in the Exhibition of
-Miniatures held at South Kensington in 1865, No. 763.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF NICOLAS BOURBON</div>
-<p class='c023'>Another portrait painted by Holbein in 1535 was that of the French
-poet, Nicolas Bourbon de Vandœuvre, who was in England during
-that year. Bourbon was court-poet to Francis I, but eventually fell
-into disgrace owing to certain passages in his poems. In 1534 he was
-thrown into prison, from which he was finally released through the
-intervention of Henry VIII, whose interest in him had been aroused
-both by Anne Boleyn, who had made his acquaintance during her
-<span class='pageno' id='Page_73'>73</span>residence at the French Court in her younger days, and also by Henry’s
-physician, Dr. Butts. To show his gratitude he came over to England
-in 1535, and found plenty of employment in court circles as an instructor
-of youth. He returned to France in 1536, leaving many friends behind
-him. While in London he appears to have lodged with Cornelis
-Hayes, one of the chief goldsmiths employed by the King. Among
-his more intimate friends were Kratzer and Holbein, as may be gathered
-from a letter which he wrote after his return to France to Thomas
-Solimar, the King’s secretary, in which he says:—“I have yet to beg
-you to greet in my name as heartily as you can all with whom you know
-me connected by intercourse and friendship: Mr. Thomas Cranmer,
-the Archbishop of Canterbury ... Mr. Cornelius Heyss, my host,
-the King’s goldsmith; Mr. Nicolaus Kratzer, the King’s astronomer,
-a man who is brimful of wit, jest, and humorous fancies; and Mr.
-Hans, the royal painter, the Apelles of our time. I wish them from my
-heart all joy and happiness!”<a id='r157' /><a href='#f157' class='c020'><b>[157]</b></a></p>
-
-<div class='footnote c021' id='f157'>
-<p class='c022'><span class='label'><a href='#r157'>157</a>.&nbsp;&nbsp;</span>Quoted by Woltmann, i. p. 404.</p>
-</div>
-
-<p class='c023'>Bourbon held Holbein’s art in the greatest admiration, and more
-than one reference to it, couched in terms of high praise, appears in
-his printed works. The original study for the portrait Holbein painted
-of him is among the Windsor drawings,<a id='r158' /><a href='#f158' class='c020'><b>[158]</b></a> but the picture itself has disappeared.
-In the sketch he is represented turned to the left, with a
-pen in his hand, as though in the act of composing. He has a small
-beard, and wears a black cap over his long hair, and looks thoughtfully
-in front of him, the right arm and hand being only roughly indicated.
-It is inscribed “Nicholas Borbonius Poeta,” and is a fine drawing,
-in excellent condition, but some doubts have been expressed as to
-whether it really represents the poet. Bourbon was delighted with the
-portrait Holbein painted of him, and sings its praises in an epigram on
-the “incomparable painter” Hans Holbein, which he published in his
-<i>Nugae</i>. It runs:</p>
-<div class='footnote c021' id='f158'>
-<p class='c022'><span class='label'><a href='#r158'>158</a>.&nbsp;&nbsp;</span>Woltmann, 311; Wornum, i. 30; Holmes, i. 54. Reproduced
-by Knackfuss, fig. 123; <i>Drawings of Hans Holbein</i>, Pl. xxxv.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Dum divina meos vultus mens exprimit Hansi,</div>
-      <div class='line in1'>Per tabulam docta præcipitante manu,</div>
-      <div class='line in1'>Ipsum et ego interea sic uno carmine pinxi:</div>
-      <div class='line in1'>Hansus me pingens major Apelle fuit.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>(“While the divine genius of Hans immortalises my features, tracing
-them on the panel with skilful hand, I also have painted him thus in
-verse; Hans, thus painting me, was greater than Apelles.”)</p>
-
-<p class='c027'><span class='pageno' id='Page_74'>74</span>Holbein made a smaller drawing of the portrait, which was produced
-as a woodcut for the 1538 edition of Bourbon’s poems, the
-<i>Nugae</i>. In this also the poet is engaged in writing, but the position
-is reversed. It is inscribed “Nic. Borbonius Vandop. Anno
-Aetatis xxxii. 1535.” The portrait is circular, within a square,
-the corners being filled in with Renaissance ornament, and below two
-naked boys supporting a shield with Bourbon’s coat of arms, a swan
-surmounted by a cross. On the last page is printed the following:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;“<span class='sc'>In Imaginem Svi.</span></div>
-      <div class='line'>Corporis effigiem pictor saepe exprimit arte:</div>
-      <div class='line in2'>Forma animi nulla pingier arte potest.</div>
-      <div class='line'>Corpora corporeo mortalia lumine cernis,</div>
-      <div class='line in2'>O homo: noto Deus pectora solus habet.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c023'>Both his friendship for Holbein and his admiration for his art find
-expression in a further poem or epigram printed in the <i>Nugae</i>,
-headed “In picturam Hansi regii apud Britannos pictoris et amici.”
-The verses describe a miniature painting by Holbein:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Sopitum in tabula puerum meus Hansus eburna</div>
-      <div class='line in3'>Pinxerat, et specie qua requiescit Amor:</div>
-      <div class='line in1'>Ut vidi, obstupui, Chaerintumque esse putavi,</div>
-      <div class='line in3'>Quo mihi res non est pectore chara magis</div>
-      <div class='line in1'>Accessi propius, mox saevis ignibus arsi;</div>
-      <div class='line in3'>Osculaque ut coepi figere, nemo fuit.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>(My Hans has painted on an ivory panel a slumbering boy, looking like a reposing
-Cupid; I see him, I am astonished, I regard him as Charintus, whom my heart loves most
-warmly; I approach burning with passion, yet as I kiss him, it is only a semblance.)</p>
-
-<p class='c027'>All traces of this miniature, which Bourbon extols so highly, have
-disappeared. Two other laudatory references to Holbein occur in
-the <i>Nugae</i>. In the 1538 edition, which was published in Lyon in
-the same year as the “Dance of Death” cuts and the Old Testament
-illustrations, the following lines have reference to the former designs:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;“<i>De morte picta a Hanso pictore nobili.</i></div>
-      <div class='line'>Dum mortis Hansus pictor imaginem exprimit,</div>
-      <div class='line'>Tanta arte mortem retulit, ut mors vivere</div>
-      <div class='line'>Videatur ipsa: et ipse se immortalibus</div>
-      <div class='line'>Parem Diis fecerit operis huius gloria.”</div>
-    </div>
-  </div>
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c029'>
-    <div>(On the picture of Death by the noble painter Hans.</div>
-  </div>
-</div>
-
-<p class='c030'>Painter Hans has expressed the image of Death with so much art, that Death himself now
-seems a living being, and he by the glory of his work has made himself the compeer of the
-immortal gods.)</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>NICOLAS BOURBON AND HOLBEIN</div>
-<p class='c023'><span class='pageno' id='Page_75'>75</span>These verses read as though they were written to accompany the
-first edition of the “Dance of Death” woodcuts, but for some reason
-were never used. They are interesting, too, as containing the only
-contemporary reference to Holbein as the actual designer of the series.
-In the same edition occur the following lines:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Videre qui vult Parrhasium cum Zeuxide,</div>
-      <div class='line in2'>Accersat a Britannia</div>
-      <div class='line in1'>Hansum Ulbium et Georgium Reperdium</div>
-      <div class='line in2'>Lugduno ab urbe Galliae.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>which may be paraphrased as—“Whoever wishes to see the painter
-equal to Parrhasius or Zeuxis must call Hans Holbein from England
-and Georgius Reperdius from the French town of Lyon.” Reperdius
-was the Italian engraver Reverdino, about whom little is known,
-except that much of his engraved work was after Primaticcio. The
-latter was working at Fontainebleau at this period, and, if Bourbon is
-to be believed, Reperdius was settled in Lyon, where the poet probably
-met him when visiting that town for the purpose of making
-arrangements for the republishing of his <i>Nugae</i>.</p>
-<p class='c023'>For the second edition of the “Old Testament” illustrations,
-published in 1539, Bourbon furnished, as already noted,<a id='r159' /><a href='#f159' class='c020'><b>[159]</b></a> a Latin poem
-in which Holbein, as the designer of the woodcuts, is compared with
-and placed above the greatest painters of antiquity. It describes a
-scene in Elysium, in which the three great Greek painters, Apelles,
-Zeuxis and Parrhasius appear:</p>
-
-<div class='footnote c021' id='f159'>
-<p class='c022'><span class='label'><a href='#r159'>159</a>.&nbsp;&nbsp;</span>See Vol. i. p. 227.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Nuper in Elysio cum forte erraret Apelles</div>
-      <div class='line in1'>Una aderat Zeuxis, Parrhasiusque comes.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>Apelles breaks forth into a lament over the eclipse of their fame brought
-about by Holbein, and exclaims:</p>
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Holbius est homini nomen, qui nomina nostra</div>
-      <div class='line in1'>Obscura ex claris ac prope nulla facit.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>The verses are too long for quotation. Bourbon has added to them
-a Greek distich, with its translation into Latin:</p>
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Cernere vis, hospes, simulacra simillima vivis?</div>
-      <div class='line in1'>Hoc opus Holbinae nobile cerne manus.”</div>
-    </div>
-  </div>
-</div>
-
-<div id='pl-13'  class='figcenter id001'>
-<img src='images/pl-13.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 13</span><br />TITLE-PAGE OF COVERDALE’S BIBLE<br />1535<br /><i>From a copy in the British Museum</i></p>
-</div>
-</div>
-
-<p class='c023'>No other portrait by Holbein can be definitely attributed to the
-year 1535. It was in this year that he lost two of his first English
-<span class='pageno' id='Page_76'>76</span>patrons, and both on the scaffold—Sir Thomas More and Bishop
-Fisher, and his distress must have been keen, more particularly over
-the death of the former, who had done so much for him when he first
-arrived in London, a practically unknown foreign painter, with no
-knowledge of the English language. One other work of his, however,
-the design for the title-page of Coverdale’s Bible, in the publication of
-which Thomas Cromwell was greatly interested, was issued in this
-year, and possibly it was he who placed the commission in Holbein’s
-hands. It is interesting to note that Holbein, who illustrated the
-first translations of the Bible into German in Switzerland, also supplied
-a design for its first complete rendering into English, which was published
-under the title of “Biblia. The Bible, that is, the holy Scripture
-of the Olde and New Testament, faithfully and truly translated out
-of Douche and Latyn in to Englishe, <span class='fss'>M.D.XXV.</span>” This fine folio was
-printed in Zürich by Froschover, and no doubt Holbein’s title-page<a id='r160' /><a href='#f160' class='c020'><b>[160]</b></a>
-(<a href='#pl-13'>Pl. 13</a>) was also cut abroad, for there was no one in England at
-that time capable of producing so excellent an engraving. The design
-is divided into six little pictures which surround the title. The one
-across the top contains the Fall and the Redemption; on the left
-Adam and Eve stand under the Tree, and on the right Christ rises
-from the tomb, triumphant over Death and Hell. On the left-hand
-side of the page Moses is shown on Mount Sinai receiving the Tables of
-the Law, and beneath him is a representation of Ezra reading the
-Old Law to the Jews on their return from the Captivity. On the
-opposite side, in the upper picture, Christ is sending forth His disciples
-into the world to preach the gospel, and in the lower Paul is seen
-preaching. In the panel across the bottom of the page Henry VIII
-is seated on his throne under a canopy, with a sword of state in one
-hand and a Bible in the other, which he presents to the high dignitaries
-of the Church and the nobles of his Court, who kneel below him. On
-either side within arched niches are the figures of King David playing
-the harp, and the Apostle Paul. The King is represented with a beard,
-which became the fashion in the year Coverdale’s Bible was published,
-but in facial likeness there is little resemblance to Henry, due, possibly,
-to the fact that the block was cut in Switzerland. The design, as a
-whole, is a particularly fine and effective one, and has not suffered
-to any great extent from the cutting, which is good, though not
-<span class='pageno' id='Page_77'>77</span>the handiwork of a Lützelburger. Certain of the figures are of great
-beauty, in particular those of the risen Christ, the Adam and Eve,
-and the Paul. The resemblance, in facial type and movements,
-between the figure of the Saviour sending forth His disciples to
-preach and the Christ in the “Noli me Tangere” picture at
-Hampton Court, has been already noted.<a id='r161' /><a href='#f161' class='c020'><b>[161]</b></a></p>
-
-<div class='footnote c021' id='f160'>
-<p class='c022'><span class='label'><a href='#r160'>160</a>.&nbsp;&nbsp;</span>Woltmann, 237. Reproduced by Woltmann, i. dedication;
-Davies, p. 192.</p>
-</div>
-
-<div class='footnote c021' id='f161'>
-<p class='c022'><span class='label'><a href='#r161'>161</a>.&nbsp;&nbsp;</span>See Vol. i. p. 97.</p>
-</div>
-
-<p class='c023'>The few designs which Holbein made for woodcuts while in England
-appear to have been all done at about this time, when the abuses of
-the Church were being attacked most severely and the monasteries
-were being swept away; though some of them were not actually published
-until some years later. In them Holbein, just as he had done
-in his woodcuts produced in Basel, in no way attempts to disguise his
-adherence to the reformed religion. This feeling was shown very
-strongly in a series of twenty-two small satirical drawings of the
-Passion which appear to have been preserved in a little book, now
-unfortunately lost. At one time it was in the possession of the Earl
-of Arundel, and was shown by him to Sandrart as a work of Holbein’s.
-The latter mentions it in his <i>Teutsche Akademie</i>, stating that each sheet
-was full of little figures of every kind, that of the Redeemer always
-appearing under the form of a monk attired in black. Sixteen of these
-designs were engraved in the seventeenth century, no doubt while in
-the Arundel collection, and most probably by Hollar, though they are
-unsigned and have not the customary “Ex Collec. Arundell:” beneath
-them. In them “the enemies of Christ are represented in the dress
-of monks and friars, and instead of weapons they bear croziers, large
-candlesticks, and other church ornaments; Judas appears as a capucin,
-Annas as a cardinal, and Caiaphas as a bishop. In the subject of
-Christ’s Descent to Hades the gates are hung with papal bulls and
-dispensations; above them are the Pope’s arms, and the devil as keeper
-of the gate wears a triple crown.”<a id='r162' /><a href='#f162' class='c020'><b>[162]</b></a></p>
-
-<div class='footnote c021' id='f162'>
-<p class='c022'><span class='label'><a href='#r162'>162</a>.&nbsp;&nbsp;</span>Chatto, <i>Treatise on Wood Engraving</i>, p. 378, note.
-Described more fully by Woltmann, i. 395-7. See also Walpole,
-<i>Anecdotes</i>, ed. Wornum, i. p. 98.</p>
-</div>
-
-<p class='c023'>Woltmann describes a second title-page, very finely cut, which he
-considers to have been produced during Holbein’s sojourn in England.
-So far it has not been discovered in any published book, but there is
-a fine proof of it in the Munich Print Room. On either side stand St.
-Peter and St. Paul, the latter pointing upwards, two tall slender figures.
-<span class='pageno' id='Page_78'>78</span>They appear as pillars of the church, and are represented as supporting
-the blank title itself, which is in the form of a paper scroll. In an arch
-above is Christ risen from the Tomb, trampling upon Death and Satan,
-and below are the arms of Henry VIII supported by two heraldic
-beasts.<a id='r163' /><a href='#f163' class='c020'><b>[163]</b></a></p>
-
-<div class='footnote c021' id='f163'>
-<p class='c022'><span class='label'><a href='#r163'>163</a>.&nbsp;&nbsp;</span>Woltmann, 238.</p>
-</div>
-
-<p class='c023'>Something of the same satirical feeling shown in the lost drawings
-of the Passion is to be seen in two or three small woodcuts of this period,
-which, from the inferiority of the cutting, were very probably produced
-in England. Two of them appeared among the twenty-six
-little cuts in <i>Cranmer’s Catechism</i>, a small octavo volume published
-in 1548, the full title being, “Catechismus, that is to say, a shorte
-instruction into Christian religion for the singular commoditie and profyte
-of childrē and yong people. Set forth by the mooste reverende
-father in God, Thomas Archbyshop of Canterbury, primate of all
-Englande and Metropolitane.—Gualterus Lynne excudebat, 1548.”
-The first of Holbein’s two small pictures (folio CL) represents the parable
-of the Pharisee and the Publican,<a id='r164' /><a href='#f164' class='c020'><b>[164]</b></a> the scene taking place in a
-church, with the Pharisee as a monk, kneeling at an altar, whom Christ
-points out to His disciples, while the Publican stands with head bent
-in front of them. On the edge of a book on the altar steps are the
-initials “H. H.” The subject of the second cut (folio CCI) is Christ
-casting out the Devil from the possessed man,<a id='r165' /><a href='#f165' class='c020'><b>[165]</b></a> which, in spite of the
-unsatisfactory cutting, is very dramatic and retains much of the
-beauty and individuality of Holbein’s design. The Pharisees and
-others who stand behind are represented as bishops, monks and
-priests. It is signed in full “<span class='fss'>HANS HOLBEN</span>.” A third woodcut, very
-similar to these, but still more feeble in execution, represents Christ
-as the Good Shepherd,<a id='r166' /><a href='#f166' class='c020'><b>[166]</b></a> surrounded by His disciples, and pointing to
-the “hired servant,” here again dressed as a monk, who is flying
-before the wolf which scatters his frightened flock. This also is
-signed in full “<span class='fss'>HANS HOLBEIN</span>.” It appears in a small English
-pamphlet, “A lytle treatise after the manner of an Epystle,
-wryten by the famous clerk Doctor Vrbanus Regius,” which was
-<span class='pageno' id='Page_79'>79</span>also published by Walter Lynne, in the same year, 1548, as the
-Catechism.</p>
-
-<div class='footnote c021' id='f164'>
-<p class='c022'><span class='label'><a href='#r164'>164</a>.&nbsp;&nbsp;</span>Woltmann, 198. Reproduced by Chatto, p. 380; and in
-<i>Hans Holbein</i> (Great Engravers Series), ed. A. M. Hind.</p>
-</div>
-
-<div class='footnote c021' id='f165'>
-<p class='c022'><span class='label'><a href='#r165'>165</a>.&nbsp;&nbsp;</span>Woltmann, 199. Reproduced by Woltmann, i. p. 391; Chatto,
-p. 381; Wornum, p. 191; and in <i>Hans Holbein</i> (Great Engravers
-Series), ed. A. M. Hind.</p>
-</div>
-
-<div class='footnote c021' id='f166'>
-<p class='c022'><span class='label'><a href='#r166'>166</a>.&nbsp;&nbsp;</span>Woltmann, 200. Reproduced by Woltmann, i. p. 399.</p>
-</div>
-
-<p class='c023'>A third, and more important, publication of 1548, <i>Hall’s Chronicle</i>,
-contains a large folio woodcut representing King Henry VIII in Council,<a id='r167' /><a href='#f167' class='c020'><b>[167]</b></a>
-which Woltmann regarded as undoubtedly of Holbein’s design. The
-scene takes place in a magnificent chamber hung with tapestries, with
-the King, his legs apart in his characteristic attitude, seated on a
-throne beneath a baldachin bearing his arms. He is surrounded by
-his councillors, twenty-seven in number, some listening, others lost
-in thought, and others again whispering among themselves. The
-cutting is excellent, and was probably done in Switzerland. The
-socle with the framework enclosing the inscription “King Henry
-the eyght,” and the two supporting sirens, are almost identical with
-the socle and supports in the beautiful woodcut of Erasmus with the
-figure of Terminus already described. These, with the small portraits
-of Wyat and Bourbon, and the “Charitas” device for Reinhold
-Wolfe, constitute almost the whole of Holbein’s work as a book-illustrator
-while in England.</p>
-
-<div class='footnote c021' id='f167'>
-<p class='c022'><span class='label'><a href='#r167'>167</a>.&nbsp;&nbsp;</span>Woltmann, 210. Reproduced by Dibdin, <i>Typographical
-Antiquities</i>, vol. iii. It bears the engraver’s initials, “I. F.,”
-possibly Faber.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF SIR THOMAS WYAT</div>
-<p class='c023'>There are several undated portraits and studies for portraits which
-must have been produced between the years 1535 and 1537, among
-them the likeness of Sir Thomas Wyat, the famous poet and courtier,
-whose father, Sir Henry Wyat, had been painted by Holbein during
-his first English visit. Wyat was about the Court during the period
-under discussion; a few years later he was often absent from England
-on foreign embassies. There is a study for his portrait among the
-Windsor drawings (<a href='#pl-14'>Pl. 14</a>)<a id='r168' /><a href='#f168' class='c020'><b>[168]</b></a> which is one of the finest in the collection,
-though considerably rubbed and stained, and also a good, possibly contemporary,
-copy.<a id='r169' /><a href='#f169' class='c020'><b>[169]</b></a> He is represented nearly full-face, wearing a cap,
-and with a long flowing beard, both hair and beard being modelled
-with the brush. The portrait which must have been painted from this
-singularly attractive study is not now known to exist; a small painting
-in oils corresponding to the drawing, but not by Holbein, was exhibited
-by Mr. Bruce at the National Portrait Exhibition in 1866. A
-second portrait of Sir Thomas was drawn by Holbein at a somewhat
-later date, which was reproduced as a woodcut, shortly after the poet’s
-<span class='pageno' id='Page_80'>80</span>death, in the little book entitled <i>Næniæ in Mortem Thomæ Viati
-Equitis Incomparabilis</i>, written by John Leland, the antiquary, in
-honour of his memory, and published in 1542. The portrait,<a id='r170' /><a href='#f170' class='c020'><b>[170]</b></a> which
-is a small roundel in the style of the circular portraits in wax or boxwood
-which were at that time much in vogue, may have been drawn
-by Holbein himself on the block. The engraving itself is somewhat
-crudely done, but was, no doubt, the best that could be procured at
-that time in London; yet in spite of its roughness the little portrait
-is a true likeness, full of character, such as no one in England but
-Holbein could have produced. Wyat is represented almost in profile
-to the right, with a long beard and a high bare forehead, bearing out
-Leland’s description in his panegyric that “nature had given the youth
-dark auburn hair, but this gradually disappeared and left him bald,
-but the thick forest of his flowing beard increased more and more.”
-The neck is bare, and bounded by a slight drapery in the classical
-manner, giving it the appearance of a medallion. Underneath the
-woodcut, which is printed on the reverse of the title, are the following
-lines in praise of both painter and poet:</p>
-
-<div class='footnote c021' id='f168'>
-<p class='c022'><span class='label'><a href='#r168'>168</a>.&nbsp;&nbsp;</span>Woltmann, 289; Wornum, i. 18; Holmes, i. 32. Reproduced
-by Knackfuss fig. 139, and elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f169'>
-<p class='c022'><span class='label'><a href='#r169'>169</a>.&nbsp;&nbsp;</span>Woltmann, 290; Wornum, i. 40; Holmes, not numbered.</p>
-</div>
-
-<div class='footnote c021' id='f170'>
-<p class='c022'><span class='label'><a href='#r170'>170</a>.&nbsp;&nbsp;</span>Woltmann, 209; reproduced by him, i. 364.</p>
-</div>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;“<i>In Effigiem Thomæ Viati.</i></div>
-      <div class='line'>“Holbenus nitida pingendi Maximus arte</div>
-      <div class='line in1'>Effigiem expressit graphice; sed nullus Apelles</div>
-      <div class='line in1'>Exprimet ingenium felix animumque Viati.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c025'>(Holbein, the greatest in the magnificent art of painting, has sketched this portrait, yet
-no Apelles can express in painting Wyat’s mind and happy genius.)</p>
-
-<div id='pl-14'  class='figcenter id001'>
-<img src='images/pl-14.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 14</span><br />SIR THOMAS WYAT<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div  class='c000'></div>
-<div class='sidenote'>PORTRAIT OF SIR THOMAS WYAT</div>
-<p class='c023'>The drawing, no doubt, was made by Holbein on purpose for the
-book, but whether it was an original study from memory, or was based
-on a portrait of Wyat he had painted some little time previously, is
-uncertain. Several circular oil paintings exist which are either founded
-upon the <i>Næniæ</i> woodcut, or are contemporary copies of a portrait
-by Holbein which cannot now be traced. The latter is the more probable
-supposition, as in all the paintings the head is turned to the left,
-whereas in the woodcut it faces to the right, not having been reversed
-when drawn on the block. One of these versions, formerly in the
-collection of the Marquis of Hastings, who lent it to the National
-Portrait Exhibition, 1866, is now in the National Portrait Gallery
-(No. 1035);<a id='r171' /><a href='#f171' class='c020'><b>[171]</b></a> a second, apparently a copy from the former, is in the
-<span class='pageno' id='Page_81'>81</span>Bodleian Library at Oxford. This latter was in the Tudor Exhibition,
-1890 (No. 169), the Oxford Exhibition of Historical Portraits, 1904
-(No. 24), and the Burlington Fine Arts Club Exhibition, 1909 (No. 50).
-It is a bust, three-quarters to left, with dark hair, beard, and moustache,
-and bald forehead, red drapery round the shoulders, and a plain
-brown background; and is inscribed “<span class='fss'>SYR·THOMAS·WYAT</span>.” A smaller
-circular portrait, also on an oak panel, belonging to the Countess of
-Romney, showing Wyat in the same position, but dressed in the costume
-of his day, with a black coat lined with white fur, is attributed to Lucas
-Cornelisz.<a id='r172' /><a href='#f172' class='c020'><b>[172]</b></a> It is inscribed, “Sir Thomas Wiat. B.1503. D.1541.
-Lucas Cornelii,” but this is of a later period than the painting, and
-the date of Wyat’s death is given wrongly. The head is in the same
-position as in the <i>Næniæ</i> woodcut. On the back of this portrait was
-at one time another panel, which now hangs by it in Lady Romney’s
-collection, representing Wyat’s “Maze,” and painted as a record of
-an amusing incident in his diplomatic mission to Italy in 1527. In
-the centre of the maze is shown a falling centaur with the Pope’s triple
-crown on his head. There was a portrait of a Wyat in the Arundel
-collection (<i>il ritratto del Cavaglier Wyat</i>), but whether this was one of
-Sir Thomas, or the one of his father, now in the Louvre, is uncertain.</p>
-
-<div class='footnote c021' id='f171'>
-<p class='c022'><span class='label'><a href='#r171'>171</a>.&nbsp;&nbsp;</span>Reproduced in Mr. Cust’s illustrated catalogue of
-National Portrait Gallery, vol. i. p. 20.</p>
-</div>
-
-<div class='footnote c021' id='f172'>
-<p class='c022'><span class='label'><a href='#r172'>172</a>.&nbsp;&nbsp;</span>Reproduced in <i>Burlington Magazine</i>, vol. xvi.,
-December 1909, p. 155.</p>
-</div>
-
-<p class='c023'>There are two very similar circular portraits in existence of Wyat’s
-son, Sir Thomas Wyat, the younger, which bear so strong a likeness to
-the portraits of his father that at first sight they appear to have been
-painted from the same original. One of them was lent to the Burlington
-Fine Arts Club, 1909 (No. 48), by the Rt. Hon. Lewis Fry, and the
-other belongs to Lady Romney.<a id='r173' /><a href='#f173' class='c020'><b>[173]</b></a> He is shown in profile, to the left,
-looking upwards, the neck cut off at the beginning of the shoulders, as in
-the portraits of his father, and wearing a slight, light brown moustache,
-pointed beard, and short hair. Lady Romney’s version is of the same
-size as the Cornelisz portrait, while Mr. Fry’s more nearly approaches
-that of the National Portrait Gallery and Oxford portraits of his father.
-Mr. Fry’s panel was once in the collection of Charles I, having his
-brand on the back, and it is possibly the portrait which was in the
-possession of John, Lord Lumley, in 1590. The “classical” treatment
-followed in the cutting short of the bare neck has led to the erroneous
-<span class='pageno' id='Page_82'>82</span>supposition that the portrait has reference to Wyat’s decapitation in
-1554 for rebellion against Queen Mary. It is possible that these
-portraits of the younger Wyat are based on a lost original by Holbein.
-He was born in 1521, so that he would have been twenty-two at the
-time of Holbein’s death. Mr. Roger E. Fry sees in Mr. Lewis Fry’s
-version a predominant Flemish influence. “It remains,” he says,
-“one of the most inscrutable riddles of the exhibition. It is a work
-of such great technical excellence that its authorship ought to be discoverable.
-It seems probable that it was painted in England and
-from life.”<a id='r174' /><a href='#f174' class='c020'><b>[174]</b></a></p>
-
-<div class='footnote c021' id='f173'>
-<p class='c022'><span class='label'><a href='#r173'>173</a>.&nbsp;&nbsp;</span>Both reproduced in <i>Burlington Magazine</i>, vol. xvi.,
-December 1909, p. 158; and the former in the illustrated edition of
-the Exhibition Catalogue, Pl. xvi.</p>
-</div>
-
-<div class='footnote c021' id='f174'>
-<p class='c022'><span class='label'><a href='#r174'>174</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xv., May 1909, p. 75.</p>
-</div>
-
-<p class='c023'>The very interesting and beautiful portrait of a lady lent by Major
-Charles Palmer to the Royal Academy Winter Exhibition, 1907 (No. 13),
-and to the Burlington Fine Arts Club, 1909 (No. 64) (<a href='#pl-15'>Pl. 15</a>),<a id='r175' /><a href='#f175' class='c020'><b>[175]</b></a> is now
-identified, with some degree of certainty, as a portrait of Sir Thomas
-Wyat the elder’s sister, Margaret Wyat, Lady Lee. This identification
-is based upon an enlarged version of the portrait in the possession
-of Viscount Dillon at Ditchley, Oxfordshire, which, according to family
-tradition, is said to represent that lady, who was the wife of Sir Anthony
-Lee, and the mother of Sir Henry Lee, K.G. She is shown at three-quarters
-length, three-quarters to the left. Her hair, of reddish gold,
-is almost hidden by her black and white French hood decorated with
-a band of pearls arranged in groups of four, alternating with small
-panels of gold filigree work. Her dress is of dark-brown damask,
-puffed at the shoulders, and ornamented with numerous gold tags or
-points, and a rose-coloured petticoat. Her hands are clasped in front
-of her, and she holds by a short ribbon a circular gold medallion on
-which is a figure of Lucrece above a dark oblong stone. On her right
-hand are two signet rings, one with a red and one with a dark stone.
-The dress, open at the neck, shows a white collar or lining, and white
-ruffles cover her wrists. A rose in red enamel is at her breast, and a
-gold chain round her neck. Across the plain dark green background
-is inscribed, “<span class='fss'>ETATIS·SVÆ·34</span>.” It is on panel, 16½ in. ×
-12½ in. Her long, very sharp nose resembles that of her brother,
-and her complexion is of a somewhat unpleasant reddish tone. The
-drawing of the face, and particularly of the hands, is very delicate.
-It is now in the Collection of Mr. Benjamin Altman, New York.</p>
-
-<div class='footnote c021' id='f175'>
-<p class='c022'><span class='label'><a href='#r175'>175</a>.&nbsp;&nbsp;</span>Reproduced in <i>Burlington Magazine</i>, vol. xv., June
-1909, frontispiece; illustrated catalogue of Burlington Fine Arts Club
-Exhibition, Pl. xxii.; and Ganz, <i>Holbein</i>, p. 143.</p>
-</div>
-
-<div id='pl-15'  class='figcenter id001'>
-<img src='images/pl-15.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 15</span> PORTRAIT OF A LADY<br />(Probably Margaret Wyat, Lady Lee)<br /><span class='sc'>Until recently in the Collection of Major Charles Palmer, now in that of Mr. Benjamin Altman, New York</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF MARGARET WYAT, LADY LEE</div>
-<p class='c023'><span class='pageno' id='Page_83'>83</span>Opinion, so far, is divided as to whether this fine work is by Holbein
-or not. The first impression received is that it is certainly not by him,
-from the flatness of the modelling of the face, a certain hardness in
-the execution, and the rather unpleasant red tone of the complexion;
-but further examination considerably modifies this opinion. It is
-difficult, if the attribution to Holbein is rejected, to suggest the name
-of any other artist then practising in England, who possessed the ability
-to produce a portrait as fine and as remarkable as this one is. To
-Sir Martin Conway “it appears to be obviously and all over Holbein.”<a id='r176' /><a href='#f176' class='c020'><b>[176]</b></a>
-Mr. Roger E. Fry says that “opinion is so divided that it would be
-rash to dogmatize. The picture is in wonderful condition and is entirely
-in Holbein’s manner. Indeed, it must in any case be derived
-directly from a drawing by Holbein. The only question to be settled
-is whether the master himself ever became so entirely the craftsman
-absorbed in the technical perfection of his work to the exclusion of the
-larger issues of expression; whether he could have ever so far lost his
-sense of relief, treated line so entirely as a matter of edge with so little
-sense of the mass it should define. Such questions can only be decided
-by a gradual consensus of opinion. My own belief is that it will be
-decided ultimately against Holbein’s having actually executed the
-painting, though I am bound to admit no other known imitator comes
-as near to Holbein himself as does the author of this.”<a id='r177' /><a href='#f177' class='c020'><b>[177]</b></a> Dr. Ganz
-regards it as a genuine work by Holbein, and dates it 1540, drawing
-attention to the similarity of the enamelled rose fastened to her dress
-to the one worn by Lady Butts, who was painted by Holbein at about
-that date.<a id='r178' /><a href='#f178' class='c020'><b>[178]</b></a> It will be seen that the critics are divided; and it is certainly
-by no means easy to arrive at a definite conclusion. It is interesting
-to note, as a minor point, that the gold tags with which Lady
-Lee’s dress is decorated are very similar to those on the surcoat of
-Sir Thomas Wyat in the Lucas Cornelisz portrait, and are arranged
-in much the same manner.</p>
-
-<div class='footnote c021' id='f176'>
-<p class='c022'><span class='label'><a href='#r176'>176</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xvi., December 1909, p. 159.</p>
-</div>
-
-<div class='footnote c021' id='f177'>
-<p class='c022'><span class='label'><a href='#r177'>177</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, vol. xv., May 1909, pp. 74-5.</p>
-</div>
-
-<div class='footnote c021' id='f178'>
-<p class='c022'><span class='label'><a href='#r178'>178</a>.&nbsp;&nbsp;</span>See Ganz, <i>Holbein</i>, p. 245.</p>
-</div>
-
-<p class='c023'>The dated portraits of the year 1536 are only three, one of which,
-the Steelyard merchant, Derich Berck, has been already described.<a id='r179' /><a href='#f179' class='c020'><b>[179]</b></a>
-The second is the portrait of Sir Richard Southwell in the Uffizi Gallery,
-Florence (<a href='#pl-16'>Pl. 16</a>),<a id='r180' /><a href='#f180' class='c020'><b>[180]</b></a> of which there is an excellent replica in the Louvre.
-<span class='pageno' id='Page_84'>84</span>It was finished on the 10th July 1536, when Southwell was thirty-three
-years old. It is a small half-length figure, the face three-quarters to
-the right, wearing a black dress, open at the neck, with black satin
-sleeves, and a black cap with a circular gold medallion with a negro’s
-head carved in cornelian. His hands are folded, and he is wearing a
-gold ring with a green stone, and a gold chain round his neck. He is
-closely shaven, and his black hair, which partly covers his ears, is cut
-straight across the forehead. Across the plain dark green background
-is inscribed on either side of the head in gold lettering:</p>
-
-<div class='footnote c021' id='f179'>
-<p class='c022'><span class='label'><a href='#r179'>179</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_22'>22</a>-<a href='#Page_23'>23</a>.</p>
-</div>
-
-<div class='footnote c021' id='f180'>
-<p class='c022'><span class='label'><a href='#r180'>180</a>.&nbsp;&nbsp;</span>Woltmann, 149. Reproduced by Ganz, <i>Holbein</i>, p. 108.</p>
-</div>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“<span class='sc'>· X<b>o</b> · IVLII · ANNO&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ETATIS · SVÆ</span></div>
-      <div class='line in1'><span class='sc'>· H · VIII · XXVIII&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ANNO XXXIII.</span>”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c022'>It is on an oak panel about 19 in. high × 14 in. wide. This is one of
-Holbein’s finest portraits of his second English period, and displays a
-very subtle insight into what must have been an unattractive and in
-many ways despicable nature. The small brown eyes have a look of
-cunning, and the face with its smooth fat cheeks has few pretensions to
-comeliness. Southwell was heir to great wealth, and was brought up
-with Henry Howard, Earl of Surrey, and was intimate with the family
-of the Duke of Norfolk. In 1531 he was obliged to pay a fine of £1000
-before he could obtain pardon for being concerned in a murder, yet
-three years later he was Sheriff of Norfolk. From 1535 onwards he
-took an active share in the dissolution of the monasteries, and was
-in all ways a willing and able tool of his royal master. His treachery
-helped to bring Sir Thomas More to the scaffold, and, later on, he played
-an even more treacherous part at the trial of his early companion, the
-Earl of Surrey. He was knighted in 1542, and appointed one of the
-King’s executors, and under Queen Elizabeth he became Master of
-Ordnance. Something of his unsavoury character is suggested by
-Holbein in his portrait, which is distinguished by its remarkable
-individuality and its fine technical qualities both in the flesh painting,
-more particularly in the hands and the eyes, and in all the details of
-the costume. Nothing is known of the history of the picture except
-that it belonged to the Earl of Arundel, who presented it to
-Cosimo II, Grand Duke of Tuscany, in 1620,<a id='r181' /><a href='#f181' class='c020'><b>[181]</b></a> as one of the best
-Holbeins in his collection. It is still in its seventeenth-century
-frame, with a silver tablet engraved with the arms of England and
-<span class='pageno' id='Page_85'>85</span>the Medici, and an inscription, “Effigies domini Ricardi Southwelli
-Equitis aurati, consiliarii privati Henrici VIII, Regis Angliae.—Opus
-celeberrimi artificis Johannis Holbieni pictoris Regis Henrici VIII.”</p>
-<div class='footnote c021' id='f181'>
-<p class='c022'><span class='label'><a href='#r181'>181</a>.&nbsp;&nbsp;</span>See <i>Rivista d’Arte</i>, vi. 5, 6, 1909.</p>
-</div>
-
-<div id='pl-16'  class='figcenter id001'>
-<img src='images/pl-16.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 16</span><br />SIR RICHARD SOUTHWELL<br />1536<br /><span class='sc'>Uffizi Gallery, Florence</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF SIR RICHARD SOUTHWELL</div>
-<p class='c023'>The replica in the Louvre (No. 2719)<a id='r182' /><a href='#f182' class='c020'><b>[182]</b></a> corresponds in all its details
-with the Florence picture, and appears to be only a good old copy.
-It has on the back the seal of the Newton family, and was brought
-by Napoleon from Germany in 1806. Another copy was lent to the
-National Portrait Exhibition at South Kensington, 1866, by Mr. H. E.
-Chetwynd Stapylton. A portrait of Southwell, apparently based on
-Holbein’s picture, was lent to the Tudor Exhibition, 1890 (No. 217),
-by Mr. W. H. Romaine Walker. In this version Southwell’s coat of
-arms and the inscription “Copley Stili” are on the right-hand side of
-the background, and on the left “Richd. Southwell of Horsham St.
-Faith’s in Norfolk <span class='fss'>ÆT.95</span>.” The age in this inscription is altogether
-wrong, for Southwell was fifty-seven at his death in 1561.</p>
-
-<div class='footnote c021' id='f182'>
-<p class='c022'><span class='label'><a href='#r182'>182</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 218.</p>
-</div>
-
-<p class='c023'>Holbein’s study for the portrait is one of the most remarkable
-among the Windsor drawings.<a id='r183' /><a href='#f183' class='c020'><b>[183]</b></a> The head and shoulders only are
-shown, but otherwise it is almost identical with the Uffizi panel; even
-the four black buttons which stand out against the white shirt are
-indicated in the same position as in the finished work. It is inscribed
-“<span class='fss'>[A]NNO ETTATIS SVÆ 33</span>,” and bears the note in Holbein’s own
-handwriting, “die augen ein wenig gelbass” (the eyes a little
-yellowish). This study, which is about 16 in. × 11 in., is in
-excellent condition.</p>
-
-<div class='footnote c021' id='f183'>
-<p class='c022'><span class='label'><a href='#r183'>183</a>.&nbsp;&nbsp;</span>Woltmann, 304; Wornum, i. 20; Holmes, i. 34. Reproduced
-by Davies, p. 180; Ganz, <i>Hdz. von H. H. dem Jüng.</i>, Pl. 37;
-<i>Drawings of Hans Holbein</i>, Pl. xlvi; and elsewhere.</p>
-</div>
-
-<p class='c023'>The third portrait of 1536 represents Sir Thomas le Strange. It
-is on panel, 15¼ × 10½ in., and was exhibited at the Tudor Exhibition,
-1890 (No. 113), and at the Burlington Fine Arts Club Exhibition,
-1909 (No. 41), lent by Mr. Hamon le Strange.<a id='r184' /><a href='#f184' class='c020'><b>[184]</b></a> It is a bust portrait,
-three-quarters to the left. The sitter has greyish hair cut straight
-across the forehead, and a short brown beard and moustache. His
-black cap has a number of gold tags and a medallion, and he wears
-a gown with a brown fur collar over a black dress, a pleated white
-collar from which long tags hang down, and a long gold chain over his
-shoulders. Across the top, on the green-blue background, is the repainted
-inscription “<span class='fss'>ANNO D<b>E</b> 1536 ÆTATIS SVÆ 43</span>.” It has suffered
-<span class='pageno' id='Page_86'>86</span>considerable repainting about the face, but it is a picture of much
-interest, and since it was last exhibited has been acknowledged by most
-of the leading critics to be a genuine work by Holbein. The original
-drawing for this picture, which shows some slight differences, is in the
-Windsor collection.<a id='r185' /><a href='#f185' class='c020'><b>[185]</b></a> Sir Thomas Strange or le Strange, of Hunstanton,
-Norfolk, was born in 1493, and entered the service of Henry VIII as
-esquire of the body, was knighted, and accompanied the king to the
-Field of the Cloth of Gold. He was High Sheriff of Norfolk in 1532,
-and died in 1545.</p>
-
-<div class='footnote c021' id='f184'>
-<p class='c022'><span class='label'><a href='#r184'>184</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 109, and in the
-illustrated catalogue of the Burlington Fine Arts Club Exhibition, Pl.
-xii.</p>
-</div>
-
-<div class='footnote c021' id='f185'>
-<p class='c022'><span class='label'><a href='#r185'>185</a>.&nbsp;&nbsp;</span>Woltmann, 294; Wornum, i. 32; Holmes, ii. 6.</p>
-</div>
-
-<p class='c023'>A small, undated bust portrait of Lady Vaux, wife of Thomas,
-second Lord Vaux, of Harrowden, the poet, has every appearance of
-belonging to this period. There are two versions of it, one in the
-Prague Gallery (No. 608),<a id='r186' /><a href='#f186' class='c020'><b>[186]</b></a> and one at Hampton Court (No. 591 (337)).<a id='r187' /><a href='#f187' class='c020'><b>[187]</b></a>
-Dr. Ganz regards both as old copies, but Sir Claude Phillips considers
-the former to be the original work by Holbein, and A. von Zahn says
-that it is indubitably original, but has suffered so severely and has
-been so heavily over-painted that little of Holbein’s handiwork is left.
-The Hampton Court version is the better of the two, and is apparently
-an excellent copy, though in technique of a somewhat later date.<a id='r188' /><a href='#f188' class='c020'><b>[188]</b></a> It
-has been held, nevertheless, by most English writers to be a genuine
-but badly-damaged work of Holbein. The head has been repainted,
-which gives it that faded appearance noted by Mr. Wornum<a id='r189' /><a href='#f189' class='c020'><b>[189]</b></a> and Dr.
-Waagen,<a id='r190' /><a href='#f190' class='c020'><b>[190]</b></a> though the latter attributed it to “the attempt to give the
-refinements of the modelling in grey half-tones,” in doing which
-Holbein “sacrificed the warm local colours observable in his earlier
-pictures.” On the other hand, many of the accessories, such as the
-gold-and-enamel medallion, the chain round her neck, the ring, and the
-cuffs, display a delicacy of execution not easily attributable to anyone
-but Holbein. She is represented to the waist, almost full-face, the body
-turned slightly to the spectator’s left, and is dressed in black, with
-ermine upon the sleeves, and the customary diamond-shaped hood,
-edged with pearls, and with a black fall. She wears a thin black chain
-round her neck, and at her breast a circular brooch with a figure of the
-<span class='pageno' id='Page_87'>87</span>Virgin enthroned. Her hands rest in her lap, and in her right she holds
-a pink. It is on panel, 1 ft. 3 in. high by 11¼ in. wide. Mr. Law
-suggests that it is identical with “The picture of Madame de Vaux,
-by Holbein,” which was among the Duke of Buckingham’s pictures
-sent to be sold at Antwerp, whence it presumably returned with the
-“Dutch Gift,” and may, perhaps, be identified with No. 410 in James
-I’s catalogue, described as “One of King Henry VIII’s Queens, holding
-a gillyflower.”<a id='r191' /><a href='#f191' class='c020'><b>[191]</b></a> There is a study for the head among the Windsor
-drawings,<a id='r192' /><a href='#f192' class='c020'><b>[192]</b></a> in which the strengthening lines are exceptionally hard
-and pronounced, and mar an otherwise fine drawing. Holbein also
-painted her husband, though the picture has been lost, but the very
-beautiful drawing for it, described in a later chapter,<a id='r193' /><a href='#f193' class='c020'><b>[193]</b></a> remains at
-Windsor. There is a second study of Lord Vaux by Holbein in the
-same collection.</p>
-
-<div class='footnote c021' id='f186'>
-<p class='c022'><span class='label'><a href='#r186'>186</a>.&nbsp;&nbsp;</span>Woltmann, 243. Reproduced by Ganz, <i>Holbein</i>, p.
-220.</p>
-</div>
-
-<div class='footnote c021' id='f187'>
-<p class='c022'><span class='label'><a href='#r187'>187</a>.&nbsp;&nbsp;</span>Woltmann, 163. Reproduced by Law, <i>Royal Gallery of
-Hampton Court</i>, p. 212; Ganz, <i>Holbein</i>, p. 221.</p>
-</div>
-
-<div class='footnote c021' id='f188'>
-<p class='c022'><span class='label'><a href='#r188'>188</a>.&nbsp;&nbsp;</span>See Ganz, <i>Holbein</i>, p. 252.</p>
-</div>
-
-<div class='footnote c021' id='f189'>
-<p class='c022'><span class='label'><a href='#r189'>189</a>.&nbsp;&nbsp;</span>Wornum, p. 411.</p>
-</div>
-
-<div class='footnote c021' id='f190'>
-<p class='c022'><span class='label'><a href='#r190'>190</a>.&nbsp;&nbsp;</span><i>Treasures of Art in Great Britain</i>, vol. ii. p.
-361.</p>
-</div>
-
-<div class='footnote c021' id='f191'>
-<p class='c022'><span class='label'><a href='#r191'>191</a>.&nbsp;&nbsp;</span>Law, <i>Royal Gallery of Hampton Court</i>, p. 213.</p>
-</div>
-
-<div class='footnote c021' id='f192'>
-<p class='c022'><span class='label'><a href='#r192'>192</a>.&nbsp;&nbsp;</span>Woltmann, 321; Wornum, ii. 30; Holmes, i. 24. Reproduced
-by Davies, p. 218; Ganz, <i>Holbein</i>, p. xxxvii.; and elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f193'>
-<p class='c022'><span class='label'><a href='#r193'>193</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_257'>257</a>. See also pp. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a> with reference to the
-“Portrait of a Musician” at one time considered to represent Lord
-Vaux.</p>
-</div>
-
-<div id='pl-17'  class='figcenter id001'>
-<img src='images/pl-17.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 17</span><br />SIR NICHOLAS CAREW<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Basel Gallery</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF SIR NICHOLAS CAREW</div>
-<p class='c023'>The portrait of Sir Nicholas Carew, Henry’s Master of the Horse,
-was probably painted during the earlier years of Holbein’s second
-residence in London. It could not have been done later than 1537,
-for in 1538 Carew was thrown into prison for supposed connection
-with the conspiracy of Cardinal Pole and the Marquis of Exeter, and
-was beheaded on March 3rd, 1539. There is a brilliant study for this
-portrait in the Basel Gallery (<a href='#pl-17'>Pl. 17</a>), a drawing in black and coloured
-chalks.<a id='r194' /><a href='#f194' class='c020'><b>[194]</b></a> He is wearing body armour, and has a short beard and
-moustache; his hair is concealed by a close-fitting coif, and there are
-an octagonal medallion and a white feather in his black cap. It is
-one of the most masterly drawings Holbein ever made, searching in
-its truth, and of exact and delicate draughtsmanship.<a id='r195' /><a href='#f195' class='c020'><b>[195]</b></a> As it was
-included among the collection of works by Holbein formed by his
-friend and admirer, Bonifacius Amerbach, it may have been presented
-to the latter by the artist himself when he was in Basel in 1538.</p>
-
-<div class='footnote c021' id='f194'>
-<p class='c022'><span class='label'><a href='#r194'>194</a>.&nbsp;&nbsp;</span>Woltmann, 31. Reproduced by Davies, p. 212; Ganz, <i>Hdz.
-Schwz. Mstr.</i>, iii. 40, and <i>Holbein</i>, p. xxxiii. Dr. Ganz is
-of the opinion that this drawing is of Holbein’s first English period,
-and that the finished portrait was painted in 1527 or 1528. See
-<i>Holbein</i>, p. 238.</p>
-</div>
-
-<div class='footnote c021' id='f195'>
-<p class='c022'><span class='label'><a href='#r195'>195</a>.&nbsp;&nbsp;</span>It has been suggested that the fine drawing of an English
-lady in the same collection is a portrait of Lady Carew, but it more
-probably represents Lady Guldeford. See Vol. i. p. 321.</p>
-</div>
-
-<p class='c023'>The oil painting done from this study is in the collection of the
-<span class='pageno' id='Page_88'>88</span>Duke of Buccleuch and Queensberry, K.G.,<a id='r196' /><a href='#f196' class='c020'><b>[196]</b></a> and was last publicly
-exhibited at the Burlington Fine Arts Club in 1909 (No. 45). It is
-a three-quarters length, turned to the left as in the drawing. The
-beard is brown, and the coif below the black hat is of cloth of gold.
-The octagonal gold badge represents a tree stem raguly and a banderole
-inscribed “<span class='fss'>SOLA</span>.” He is wearing full plate-armour, and brown
-trunks slashed with cloth of gold. With his right hand he holds a
-white truncheon against his hip, and with the other grasps his sword
-by the scabbard. The background is a green damask curtain, and on
-a small cartellino in the left-hand bottom corner is inscribed in a
-cursive hand “<span class='fss'>SR NICHOLAS CAREWE, MASTER OF THE HORSE TO
-KING HENRY YE 8</span>.” It is on a panel of unusual shape, being 36 in.
-high by 40 in. wide. This picture, as a whole, is a fine and interesting
-example of Tudor portraiture, but parts of it are certainly not
-by Holbein. The head is good, but the armour and many of the
-details are by some other, and possibly a later, hand. The probabilities
-are that it was begun by Holbein and finished by someone
-else; perhaps the arrest of Carew may have brought the completion
-of the work to an abrupt conclusion as far as Holbein was concerned.
-The fact that his name is given on the cartellino suggests that the
-portrait may be a posthumous one. It was not the usual custom at
-that time to place more than the date and the age of the person
-depicted upon the panel. Except in the form of a superscription to
-a letter held by the sitter, as in the Kratzer, Cromwell, and some of
-the Steelyard portraits, Holbein was not in the habit of adding the
-name to the pictures he painted in England. The “Duchess of Milan”
-is an exception,<a id='r197' /><a href='#f197' class='c020'><b>[197]</b></a> but even here there is every probability that the
-cartellino was painted in at a later date. It is difficult to decide
-whether the Carew portrait was begun by Holbein and finished by some
-other hand, or whether it is an almost contemporary copy from some
-lost original. The head follows the Basel drawing closely, but as the
-latter was owned by Amerbach it is improbable that a copyist could have
-made use of it; so that, taking all things into consideration, it is safer to
-assume that Holbein himself had a share in its painting.<a id='r198' /><a href='#f198' class='c020'><b>[198]</b></a> This portrait
-was in the possession of John, Lord Lumley, in 1590, and was
-<span class='pageno' id='Page_89'>89</span>sold from Lumley Castle in 1785 for ten guineas. In the inventory
-of 1590 it is described as “Of S<b>r</b> Nichls Carewe M<b>r</b> of the horse to
-K:H:8”; and it is interesting to note that the words “drawne by
-Haunce Holbyn” are not added, as they are after several other works
-by the master which Lord Lumley possessed. It has been suggested
-that this portrait is the “Ritratto d’homo armato” of the Arundel
-inventory of 1655, but if the picture remained in the possession of the
-Lumley family until 1785 this supposition cannot be correct. Symonds,
-in his Note-Books, has an entry of “A Ritratto of an English knight
-by Holbein who sits in a chayre and a table by him,” in the collection
-of the Earl of Northumberland in Suffolk House, which seems to
-refer to this picture.<a id='r199' /><a href='#f199' class='c020'><b>[199]</b></a></p>
-
-<div class='footnote c021' id='f196'>
-<p class='c022'><span class='label'><a href='#r196'>196</a>.&nbsp;&nbsp;</span>Woltmann, 142. Reproduced in illustrated catalogue of
-Burlington Fine Arts Club Exhibition, 1909, Pl. xv.; Ganz,
-<i>Holbein</i>, p. 77.</p>
-</div>
-
-<div class='footnote c021' id='f197'>
-<p class='c022'><span class='label'><a href='#r197'>197</a>.&nbsp;&nbsp;</span>Also the Cheseman portrait.</p>
-</div>
-
-<div class='footnote c021' id='f198'>
-<p class='c022'><span class='label'><a href='#r198'>198</a>.&nbsp;&nbsp;</span>Dr. Ganz, as already noted, considers it to be a genuine
-work of 1527-8.</p>
-</div>
-
-<div class='footnote c021' id='f199'>
-<p class='c022'><span class='label'><a href='#r199'>199</a>.&nbsp;&nbsp;</span>Quoted by Mr. C. H. Collins Baker in <i>Lely and the Stuart Portrait
-Painters</i>, Vol. ii. p. <a href='#Page_184'>184</a>.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_90'>90</span>
-  <h2 id='ch-XIX' class='c012'>CHAPTER XIX<br /><span class='c017'>“SERVANT OF THE KING’S MAJESTY”</span></h2>
-</div>
-
-<p class='c018'>Holbein’s entry into Henry VIII’s service—Painting of “Adam and
-Eve”—Portraits of Henry VIII—The Whitehall fresco—Van Leemput’s copies
-of it—The life-size cartoon of Henry VII and Henry VIII—Drawing at
-Munich—Portraits of the King at Belvoir Castle, Petworth, St.
-Bartholomew’s Hospital, Chatsworth, Warwick Castle, Hampton Court,
-Windsor, Rome, and elsewhere—The portrait at Althorp—Portraits and
-miniatures of Jane Seymour.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-THE exact date of Holbein’s entry into the royal service
-is unknown. Three records of the household expenditure
-of the King are in existence: the Accounts
-of Bryan Tuke, Treasurer of the Chamber, which
-extend from 1st October, 20th Hen. VIII (1528) to
-May, 23rd Hen. VIII (1531), during which period
-Holbein was out of England; the Privy Purse Expenses of the King,
-from November 1529 to December 1532; and further Accounts of
-Tuke, as Treasurer, from Lady Day, 29th Hen. VIII (1538) to Midsummer,
-33rd Hen. VIII (1541). Although Holbein was in England
-during the latter half of 1532, his name does not occur in the Privy
-Purse expenses, as it certainly would have done had he then been
-in the King’s employment. Unfortunately, no accounts have been
-preserved for the period between 1533 and 1537, and so it is not until
-1538 that we have definite proof that the painter was in receipt of a
-regular salary from the royal purse. The first entry referring to him
-is at Lady Day, 1538, when the following occurs: “Item, for Hans
-Holben, paynter, vii<i>li.</i> x<i>s.</i>” As his salary of £30 a
-year, paid quarterly, was not as a rule paid in advance, he must have
-already been in the royal service at least three months earlier, that
-is in December 1537.</p>
-
-<div class='sidenote'>HOLBEIN’S ENTRY INTO ROYAL SERVICE</div>
-<p class='c023'>The first actual reference to him as painter to the King is contained
-in the letter of Nicolas Bourbon, already quoted, written
-early in 1536, in which he speaks of him as the “royal painter,” and
-it is to be inferred from it that Holbein already held that position in
-1535, when the poet was in England and made his acquaintance. The
-circular miniature of Jane Seymour by Hilliard in the Windsor
-<span class='pageno' id='Page_91'>91</span>Collection, apparently copied from an original by Holbein, is inscribed
-“<span class='sc'>Anō Dnī 1536 ætatis svæ 27</span>”; and the great painting of
-Henry VII, Henry VIII, Elizabeth of York, and Jane Seymour, with
-which Holbein covered one of the walls of the Privy Chamber at
-Whitehall, was done in 1537. None of the earlier portraits of Henry
-or of his two first queens, usually ascribed to Holbein, are authentic
-works of his, which affords some proof that he did not enter the royal
-service until after Jane Seymour had been crowned Queen in 1536,
-or, if Bourbon is to be believed, that at least he did not do so until
-towards the end of Anne Boleyn’s life. The small portrait of
-Henry VIII on the frontispiece of Coverdale’s Bible, printed in 1535,
-bears little real likeness to the King, and may well have been designed
-by Holbein without any sitting from him; though, on the other hand,
-it may also be taken as some indication that he was already the King’s
-servant in that year. It is safer, however, to assume, as the evidence
-for an earlier year is so scant, that he received his first pay from the
-royal purse in the autumn of 1536.</p>
-
-<p class='c023'>It is extraordinary, and indeed almost inexplicable, that Holbein
-was at work for so long a time in England before he received royal
-recognition. That this did not happen during his first sojourn in
-London is surprising enough, but that on his return he should remain
-for three or four years busily employed in painting portraits of people
-about Henry’s court, some of which the King must have seen, is still
-more difficult of explanation. Henry entered into keen but friendly
-rivalry with Francis I in his patronage of art, and was anxious at all
-times to induce good foreign artists to settle in England; and yet
-here was a painter of gifts which placed him high above his fellows, who,
-apparently, went quite unrecognised. This is the more remarkable
-when it is remembered that the King was well acquainted with, and
-had expressed his delight in, at least one work of Holbein done
-during his first English visit—“The Battle of Spurs,” which decorated
-the back of the arch of the temporary Banquet Hall at
-Greenwich. It is hardly possible that it was owing to any disinclination
-on Holbein’s own part, however anxious he may have been to
-retain his rights as a citizen of Basel. He could have entered Henry’s
-service for a year or two without renouncing his burghership, or
-becoming a naturalised English subject, and that he did obtain the
-post in the end seems to indicate that the obstacle, whatever it may
-<span class='pageno' id='Page_92'>92</span>have been, was not one of his own making. It was, on the other
-hand, an honour to which he would aspire, and the possibility of
-holding some such position must have been one of the reasons which
-induced him to visit this country, as it was with all the foreign artists
-and craftsmen who made London their temporary home. A satisfactory
-explanation of this mystery is hard to find, and unless further
-evidence is discovered, it must remain unsolved.</p>
-
-<p class='c023'>That there is some possibility that Holbein was indirectly employed
-by the Crown even earlier than 1535 is suggested by an interesting
-memorandum dealing with goldsmiths’ work published in the
-Calendars of Letters and Papers. The paper is undated, but is placed by
-the editor under the year 1534. It is an account rendered to the
-King’s Secretary, Thomas Cromwell, by the Dutchman Cornelis
-Hayes, one of the leading foreign goldsmiths in London during Henry’s
-reign, who was constantly employed by the King and the court.
-The articles supplied were apparently for the royal service, the chief
-among them being an elaborately decorated silver cradle, which may
-possibly have been for the use of the Princess Elizabeth, who was
-born on the 7th September 1533. The document runs as follows:</p>
-
-<p class='c023'>“Parcels delivered to Mr. Secretary by me, Cornelys Hayes, goldsmith.
-A silver cradle, price 16<i>li.</i> For making a silver plate,
-altering the images, making the roses underneath the cradle, the roses
-about the pillars, and new burnishing, 13<i>s.</i> 4<i>d.</i> For the
-stones that were set in gold in the cradle, 15<i>s.</i>; for fringes,
-the gold about the cushions, tassels, white satin, cloth of gold,
-lining, sypars, and swadyl-bands, 13<i>s.</i> 6<i>d.</i> Total,
-18<i>li.</i> 1<i>s.</i> 10<i>d.</i> The silver that went to the
-dressing of the Adam and Eve, the making of all the apples, the
-gilding of the foot and setting of the currall (coral), 33<i>s.</i>
-4<i>d.</i> To Hance, painter, for painting the same Adam and Eve,
-20<i>s.</i>”<a id='r200' /><a href='#f200' class='c020'><b>[200]</b></a> Other items are included in the account which need not
-be quoted.</p>
-
-<div class='footnote c021' id='f200'>
-<p class='c022'><span class='label'><a href='#r200'>200</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. vii. 1668.</p>
-</div>
-
-<p class='c023'>The “Hance, painter,” who supplied this picture of “Adam and
-Eve,” was undoubtedly Holbein, who was acquainted with Hayes,
-as we learn from Bourbon’s letter, and for whom he almost certainly
-provided designs for jewellery.<a id='r201' /><a href='#f201' class='c020'><b>[201]</b></a> The document is not very clear,
-<span class='pageno' id='Page_93'>93</span>and on a first reading it would appear that the “Adam and Eve”
-formed part of the decoration of the cradle; but it is more probable
-that it had nothing to do with it, but was a separate piece of work,
-either a picture or a carving in wood, honestone, or alabaster, which
-Holbein was employed to colour; possibly the latter, as the fee paid,
-twenty shillings, was a small one for an original painting from his
-brush. Whether picture or carving, it was evidently set in a very
-elaborate silver frame, decorated with silver apples in relief, as appropriate
-to the subject it contained, and with coral inset. No trace
-of this work remains, but the possibility that Holbein’s share in it was
-a small picture recalls that earlier “Adam and Eve” of the first Basel
-years, which, as already noted,<a id='r202' /><a href='#f202' class='c020'><b>[202]</b></a> bears a considerable resemblance to
-the heads in the picture of the same subject by Mabuse in Hampton
-Court.</p>
-
-<div class='footnote c021' id='f201'>
-<p class='c022'><span class='label'><a href='#r201'>201</a>.&nbsp;&nbsp;</span>The same paper contains an item for “the garnishing of
-two books with silver-gilt, 66 oz. at 6<i>s.</i>,” which recalls
-Holbein’s designs in the British Museum for work of a similar kind.
-The velvet for covering them was supplied by William Lock, the leading
-London mercer, at a cost of 43<i>s.</i> 9<i>d.</i></p>
-</div>
-
-<div class='footnote c021' id='f202'>
-<p class='c022'><span class='label'><a href='#r202'>202</a>.&nbsp;&nbsp;</span>See Vol. i. p. 56.</p>
-</div>
-
-<div class='sidenote'>PORTRAITS OF HENRY VIII</div>
-<p class='c023'>Among the numerous portraits of Henry VIII to be met with in
-so many of the great houses of this country and in several European
-museums, which, in almost all cases, are attributed by their owners
-to Holbein, only three<a id='r203' /><a href='#f203' class='c020'><b>[203]</b></a> can be ascribed to him with any certainty.
-These are the large cartoon for the left-hand half of the Whitehall
-wall-painting, belonging to the Duke of Devonshire; the beautiful
-little panel portrait in Earl Spencer’s collection at Althorp; and the
-crayon study in the Munich Gallery. The greater number of the
-remaining portraits of him, most of them based on the Whitehall
-likeness, are merely inferior copies, and copies of copies, “shop”
-pieces supplied to order by Henry’s painters for presentation to foreign
-potentates and ambassadors, and to his own statesmen and courtiers
-as a reward for faithful service. Less frequently one is met with which
-is a good and original work by some painter of lower rank than Holbein,
-and such portraits, in their turn, have been multiplied by assistants in
-order to meet the constant demand for the King’s likeness.</p>
-
-<div class='footnote c021' id='f203'>
-<p class='c022'><span class='label'><a href='#r203'>203</a>.&nbsp;&nbsp;</span>A fourth work, the portrait in the National Gallery,
-Rome, is, however, considered by Dr. Ganz and other critics to be an
-original work by Holbein.</p>
-</div>
-
-<p class='c023'>The great Whitehall fresco was painted in 1537, and was the
-first work of importance which Holbein undertook for the Crown.
-It achieved immense popularity, and for one hundred and fifty years
-or so every foreign visitor of distinction was taken to see it, while all
-artists who had an opportunity of examining it spoke loudly in its
-<span class='pageno' id='Page_94'>94</span>praises. It covered one of the walls in the Privy Chamber at Whitehall,
-and was painted on either side and over the top of a window, or,
-more probably, the fireplace, and consisted of four great figures,
-Henry VIII and his father, Henry VII, on one side, and his mother,
-Elizabeth of York, and his third wife, Jane Seymour, on the other,
-arranged within an elaborately designed architectural setting. This
-great work, which added so much to Holbein’s fame among his contemporaries,
-was destroyed in the fire at Whitehall in January 1698;
-but happily, owing to the foresight of Charles II, we still possess, in
-the small copy of it by the Flemish artist Remigius van Leemput,
-in Hampton Court<a id='r204' /><a href='#f204' class='c020'><b>[204]</b></a> (No. 601 (308)), a very valuable record of the
-composition of the work. The copy is evidently a very faithful one,
-and though, of course, it lacks all the greatness of style, the vividness
-of character, and the beauty of colour of the original—for Remée was
-a poor artist—it reproduces the composition with some exactitude, and
-so is invaluable to students of the master. This copy was made by
-Van Leemput in 1667, the probable reason being that the fresco was
-then beginning to show signs of decay, and that Charles was anxious
-to retain an accurate record of it before it was ruined. Patin, who
-visited England about 1670, and saw both the painting and the copy,
-said that the latter was ordered by the King “pour en estendre la
-posterité s’il faut ainsi dire, et n’abandonner pas une si belle chose à
-la fortune des temps.”<a id='r205' /><a href='#f205' class='c020'><b>[205]</b></a> Walpole says that Remée, as he was familiarly
-called here, received £150 for his work,<a id='r206' /><a href='#f206' class='c020'><b>[206]</b></a> which was a very large fee for
-those days, and shows how highly the King valued the original.</p>
-
-<div class='footnote c021' id='f204'>
-<p class='c022'><span class='label'><a href='#r204'>204</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 179, from Vertue’s
-engraving.</p>
-</div>
-
-<div class='footnote c021' id='f205'>
-<p class='c022'><span class='label'><a href='#r205'>205</a>.&nbsp;&nbsp;</span>Patin, <i>Relations historiques</i>, Basel, 1673, p. 211
-<i>et seq.</i></p>
-</div>
-
-<div class='footnote c021' id='f206'>
-<p class='c022'><span class='label'><a href='#r206'>206</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, 1888, i. p. 82.</p>
-</div>
-
-<div class='footnote c021' id='f207'>
-<p class='c022'><span class='label'><a href='#r207'>207</a>.&nbsp;&nbsp;</span>“Zo wel getroffen, dat het den beschouwer met
-verbaastheid aandoet.”</p>
-</div>
-
-<div class='sidenote'>THE WHITEHALL WALL-PAINTING</div>
-<p class='c023'>The wall-painting itself was still in perfect condition when Van
-Mander saw it in 1604. He was deeply impressed by this “over-heerlijk
-Portret” of Henry, which, he wrote, was so true to life that it
-filled the spectator with dismay.<a id='r207' /><a href='#f207' class='c020'><b>[207]</b></a> “The King, as he stood there,
-majestic in his splendour, was so life-like, that the spectator felt
-abashed, annihilated, in his presence.” Earlier travellers who saw it
-and praised it were Johann Fischart, in 1576,<a id='r208' /><a href='#f208' class='c020'><b>[208]</b></a> and Hentzner, who
-visited England in 1598; while Duke Johann Ernst of Saxony, who
-was here in 1613, was also taken to see it; it is noted in the records
-<span class='pageno' id='Page_95'>95</span>of his journey, “upon this his Royal Highness was conducted into
-the King’s apartment; it was small but hung with beautiful tapestries
-on all sides. In this room were the full-length portraits of Henrici
-VIII, and his father, Henrici VII. They were regarded as special
-works of art, and similar works are said not to be seen throughout
-England.” Both Pepys and Evelyn mention it in their diaries. The
-latter, under the date 11th February 1656, says he was glad to find,
-on revisiting Whitehall for the first time for many years, that “they
-had not much defac’d that rare piece of Hen. VII, &amp;c., don on the
-walles of the King’s privy chamber.” This entry proves that ten or
-eleven years before Charles II ordered the copy to be made the
-fresco was beginning to show signs of decay. It narrowly escaped destruction
-in the earlier fire at Whitehall in 1691, but the conflagration
-of 1698 was a much more serious one. It burnt down the entire Palace,
-with the exception of the Banqueting House and a few buildings adjoining
-it. More than a thousand apartments perished in the flames,
-and a number of pictures in the Matted Gallery and elsewhere, mentioned
-by Evelyn, were destroyed. “This terrible conflagration,
-which broke out about four in the afternoon and lasted upwards of
-seventeen hours, originated through the neglect and carelessness of a
-laundress, a Dutch woman, who had left some linen to dry in front of
-a fire, in the lodging of a certain Colonel Stanley. She and twelve
-other persons, so it is reported, perished in the flames.”<a id='r209' /><a href='#f209' class='c020'><b>[209]</b></a></p>
-
-<div class='footnote c021' id='f208'>
-<p class='c022'><span class='label'><a href='#r208'>208</a>.&nbsp;&nbsp;</span>Quoted by Ganz, <i>Holbein</i>, p. xxxviii.</p>
-</div>
-
-<div class='footnote c021' id='f209'>
-<p class='c022'><span class='label'><a href='#r209'>209</a>.&nbsp;&nbsp;</span>Dr. Sheppard, <i>The Old Royal Palace of Whitehall</i>,
-1901, pp. 385-6. According to Scharf, <i>Old London</i>, p. 322, the
-fresco was destroyed in the fire of 1691.</p>
-</div>
-
-<p class='c023'>By the aid of the large cartoon and Van Leemput’s copy a very
-good idea of the general effect and composition of the picture can be
-obtained. It is divided into two stages. On the spectator’s left
-hand stands Henry VIII, turned fully to the front, with arms akimbo,
-and legs stretched widely apart, and opposite him, on the other side
-of the picture, is Jane Seymour. Behind and above the King, and to
-the right of him, on a raised step or low platform, stands his father,
-Henry VII, and in a corresponding position on the other side, his
-mother, Elizabeth of York. Henry was very proud of his legs, and
-Holbein has depicted him in his favourite attitude. He holds a glove
-in his right hand, and with the left the cord of his dagger, gold hilted,
-with a gold and blue velvet sheath. His gold-brown doublet is richly
-jewelled, and his red surcoat is trimmed with fur and elaborately
-brocaded with gold thread; a heavy jewelled chain crosses his
-<span class='pageno' id='Page_96'>96</span>shoulders, and from another hangs a pendant. His flat black bonnet
-is ornamented with pearls, devices in gold, and white feathers. The
-figure is rather larger than life-size, but looks colossal. His shoulders
-appear enormous, partly owing to the dress, and partly, no doubt,
-through some exaggeration on the artist’s part to flatter the vanity
-of his royal sitter. Henry VII is shown in simpler costume; with his
-right hand he holds together the folds of his long ermine-trimmed gown,
-his left elbow resting on the marble pedestal which Van Leemput
-has placed in the centre in lieu of the window or chimney-piece which
-occupied the same position in the wall itself. He holds his gloves in
-his left hand, and has the Garter collar across his breast. Unlike his
-son, he is beardless, and his long hair falls to his shoulders. Jane
-Seymour is wearing a dress of tawny gold, full ermine sleeves, and
-several necklaces of pearls. Her hands are clasped in front of her,
-and a small white dog is lying on the long skirt of her gown. Behind
-her, Elizabeth of York stands with her arms crossed, and holding up
-her dress with her right hand. The floor is covered with a Turkey
-carpet, and the background consists of richly-decorated pilasters and
-capitals, niches, and a frieze, in various coloured marbles, in the
-Renaissance style of which Holbein made such brilliant use. In the
-frieze on either side are figures supporting a shield. The shield shown
-in the cartoon bears the initials H and J; the other, no doubt, gave
-the date. In Van Leemput’s copy the initials have been changed to
-“AN<b>o</b>. Dō.” with “1537” in the corresponding
-panel, while the centre of the picture is filled with a high marble
-pedestal, with two cushions
-on the top, and on the front of it a long Latin inscription in praise of
-the two monarchs. Below this is inscribed: “Prototypvm Magnitvdinis
-Ipso Opere Tectorio Fecit Holbenivs Ivbente Henrico VIII,”
-and a little below, on a plinth: “Ectypvm A Remigio Van Leempvt
-Breviora Tabella Describi Volvit Carolus II. M.B.F.E.H.R. A°.
-<span class='sc'>Dni. m.dclxvii</span>.”</p>
-
-<div id='pl-18'  class='figcenter id003'>
-<img src='images/pl-18.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 18</span><br />HENRY VII AND HENRY VIII<br /><i>Cartoon</i><br />Duke of Devonshire’s collection<br /><span class='sc'>Until recently at Hardwick Hall, now at Chatsworth</span></p>
-</div>
-</div>
-
-<div class='sidenote'>CARTOON OF HENRY VII &amp; HENRY VIII</div>
-<p class='c023'>Van Leemput’s inferiority as an artist is shown most clearly in
-his rendering of the faces. In that of Henry VIII, in particular, the
-drawing is weak and lacking in character, and as a likeness it bears no
-close resemblance to the many portraits still existing which were
-copied or adapted from the fresco. It must be regarded, therefore,
-as a not very reliable record of the facial appearance of the four sitters
-as Holbein painted them.</p>
-
-<p class='c023'><span class='pageno' id='Page_97'>97</span>The pedestal was, no doubt, Van Leemput’s own invention, and
-the Latin verses must have been specially written for the purpose of
-his copy. As already pointed out, the wall on which the fresco was
-painted contained either a window or a fireplace. Charles Patin
-describes it as “sur le pignon de la croisée”; but it has been suggested
-that “croisée” is a typographical error for “cheminée.” Patin,
-however, was not a very careful observer, for he speaks of the subject
-as “de la main d’Holbein, le portrait d’Henry huit et des Princes
-ses enfants.”<a id='r210' /><a href='#f210' class='c020'><b>[210]</b></a> In this, nevertheless, he may not be so completely
-wrong as at first sight appears. In 1897 Mr. Ernest Law, the historian
-of Hampton Court Palace, discovered another copy of the great wall-painting,
-also by Van Leemput, and of the same size and scale as the
-Hampton Court example, but with one important difference. In
-the middle foreground the copyist has placed a standing figure of
-Edward VI. This interesting little picture belongs to Lord Leconfield,
-and is in one of the private bedrooms at Petworth, Sussex. Patin
-may have seen this copy, and afterwards may have confused it with
-the wall-painting; or again, he may have confused the fresco with
-the picture of Henry VIII and his family, by an unknown artist of the
-school of Holbein, now in Hampton Court, No. 340 (510), but probably
-in Patin’s day hanging in Whitehall.<a id='r211' /><a href='#f211' class='c020'><b>[211]</b></a></p>
-
-<div class='footnote c021' id='f210'>
-<p class='c022'><span class='label'><a href='#r210'>210</a>.&nbsp;&nbsp;</span>Patin, <i>Relations historiques</i>, Basel, 1673, p. 211
-<i>et seq.</i></p>
-</div>
-
-<div class='footnote c021' id='f211'>
-<p class='c022'><span class='label'><a href='#r211'>211</a>.&nbsp;&nbsp;</span>It is hardly possible that the figure of Edward VI was
-added to the wall-painting itself after the death of Holbein, or
-otherwise it would appear in both Van Leemput’s copies. It was, no
-doubt, taken from some independent portrait of the young king then
-hanging in Whitehall.</p>
-</div>
-
-<p class='c023'>The life-size cartoon of Henry VIII and his father, belonging to the
-Duke of Devonshire, until recently at Hardwick Hall (<a href='#pl-18'>Pl. 18</a>),<a id='r212' /><a href='#f212' class='c020'><b>[212]</b></a> is, though
-only a working drawing, a superb example of Holbein’s mastery of
-composition on a monumental scale. It is the original design for the
-left-hand part of the Whitehall fresco, and along its outlines the
-prickings are still visible by means of which the design was pounced
-on the wall. It provides evidence that Van Leemput’s copy was a
-faithful one, for, with one important exception, the two agree in all
-points. The exception is in the position of the King’s head. In the
-cartoon it is about three-quarters to the right, but in the copy it has
-been turned so that the monarch is looking directly at the spectator.
-Woltmann is, no doubt, right when he suggests that the change was
-<span class='pageno' id='Page_98'>98</span>made by the express wish of Henry himself while the wall-painting
-was in progress.<a id='r213' /><a href='#f213' class='c020'><b>[213]</b></a> He desired to be shown full-fronted to the world,
-for he was proud of his appearance, more particularly of his calves, as
-more than one contemporary anecdote shows. In his younger days,
-at the beginning of his reign, he was the most commanding figure at
-the English court, praised by all for his good looks, and celebrated for
-his great bodily strength and for his proficiency in all manly sports and
-exercises. He is thus described by the Venetian ambassador Pasqualigo
-in 1515; “His Majesty is the handsomest potentate I ever
-set eyes on; above the usual height, with an extremely fine calf to
-his leg; his complexion very fair and bright, with auburn hair combed
-straight and short in the French fashion; and a round face so very
-beautiful, that it would become a pretty woman, his throat being
-rather long and thick.”<a id='r214' /><a href='#f214' class='c020'><b>[214]</b></a></p>
-
-<div class='footnote c021' id='f212'>
-<p class='c022'><span class='label'><a href='#r212'>212</a>.&nbsp;&nbsp;</span>Now (1913) at Chatsworth. Woltmann, 167. Reproduced by
-Davies, p. 168; Ganz <i>Holbein</i>, p. 180; <i>Burlington Fine Arts
-Club Exhibition</i>, 1909, <i>Catalogue</i>, Pl. i.</p>
-</div>
-
-<div class='footnote c021' id='f213'>
-<p class='c022'><span class='label'><a href='#r213'>213</a>.&nbsp;&nbsp;</span>Woltmann, i. 421.</p>
-</div>
-
-<div class='footnote c021' id='f214'>
-<p class='c022'><span class='label'><a href='#r214'>214</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. ii. pt. i. 411.</p>
-</div>
-
-<p class='c023'>When Holbein painted him he was forty-six years old, and his
-face had coarsened and had lost all its youthful freshness and good
-looks, but his figure was still erect and kingly, and retained much of
-its earlier vigour. In the cartoon he stands boldly and firmly on his
-legs, active and alert, though massive in build, and made still broader
-in appearance by his rich apparel, heavily padded about the shoulders.
-It is in the face that his age and the habits of his life are beginning to
-leave ugly indications, though this is not to be gathered from the
-cartoon, in which his features, badly rubbed, are now barely discernible.
-This, however, may not be entirely due to the accidents
-of time, for as the cartoon was made for the purpose of transferring
-the leading lines of the composition to the wall, Holbein possibly only
-indicated the main outlines, leaving the more careful modelling to be
-done on the wall itself. Sadly damaged as the cartoon is, a mere
-fragment of the first conception of a great masterpiece, it nevertheless
-remains a remarkable and precious work of art, doubly valuable in
-that it not only shows us Holbein’s methods of work, but is also the
-only record from his own hand we possess to-day in this country of the
-most important and celebrated painting he produced while in England.
-The whole composition is drawn in with the point of the brush, in the
-manner, as Mr. S. Arthur Strong points out, at once broad and minute,
-of which Holbein seems to have been the solitary master. In this
-crowd of particulars almost everyone else would have lost sight of
-<span class='pageno' id='Page_99'>99</span>the whole, and given us a map instead of a view.<a id='r215' /><a href='#f215' class='c020'><b>[215]</b></a> Mr. Roger E. Fry
-speaks of it as one of Holbein’s greatest creations. “It has all the
-grandeur of style, the lucidity and ease of arrangement of the greatest
-monumental design of Italy, together with a particularity and minuteness
-which would seem incompatible with those greater qualities of
-style had they not been thus wonderfully united. In all the decorative
-details, too, this great work gives us a measure of Holbein’s
-impeccable taste at a time when taste was by no means as universal
-as it had been in earlier centuries.”<a id='r216' /><a href='#f216' class='c020'><b>[216]</b></a></p>
-
-<div class='footnote c021' id='f215'>
-<p class='c022'><span class='label'><a href='#r215'>215</a>.&nbsp;&nbsp;</span>S. Arthur Strong, <i>Reproductions of Drawings by the Old
-Masters at Chatsworth</i>, 1902; republished in <i>Critical Studies
-and Fragments</i>, 1905, p. 132.</p>
-</div>
-
-<div class='footnote c021' id='f216'>
-<p class='c022'><span class='label'><a href='#r216'>216</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xv., May 1909, p. 74.</p>
-</div>
-
-<div class='sidenote'>DRAWING OF THE KING AT MUNICH</div>
-<p class='c023'>This cartoon was in 1590 in the possession of John, Lord Lumley,
-at Lumley Castle, and is entered in the inventory of the pictures as
-“The Statuary of King Henry the Eight and his father Kinge Henry
-the Seventh Joyned together, doone in white and black by Haunce
-Holbyn.” It passed subsequently into the collection of the Duke of
-Devonshire, and has been preserved ever since at Hardwick Hall.<a id='r217' /><a href='#f217' class='c020'><b>[217]</b></a></p>
-
-<div class='footnote c021' id='f217'>
-<p class='c022'><span class='label'><a href='#r217'>217</a>.&nbsp;&nbsp;</span>See p. 97, note 3.</p>
-</div>
-
-<p class='c023'>When it was decided to change the position of the face, it became
-necessary for the King to give the painter another sitting, and the
-full-face drawing now in the Munich Gallery<a id='r218' /><a href='#f218' class='c020'><b>[218]</b></a> is, no doubt, the very
-study Holbein made for the purpose. This is not only evident from
-its agreement with Van Leemput’s copy, but also from its dimensions.
-It is life-size, and thus considerably bigger than any other preliminary
-portrait-study by Holbein which has survived. It is in black and red
-chalks, on paper prepared with body-colour in the manner practised
-by the painter at that period. The study is of the face alone, part of
-the hat, the collar, and a small portion of fur on the shoulders being
-roughly indicated. The short, scanty beard and the still scantier
-whiskers do not conceal the shape of the massive, almost square face,
-with its thin eyebrows, fat, heavy cheeks, which from their size make
-the mouth look small. He gazes in front of him, his eyes unconscious
-of the spectator, as though the thoughts of the sitter were entirely
-given to himself. The modelling is masterly, and is obtained by the
-simplest means; but the sketch, simple as it appears to be, produces
-a wonderful effect of perfect truth to life. Here is the King exactly as
-he was, as none other but Holbein could have drawn him. He has
-<span class='pageno' id='Page_100'>100</span>given not only an absolutely faithful rendering of the face itself, but
-has laid bare much of the complex character which lurked behind it,
-and the drawing must always remain both one of the artist’s very
-finest portrait-studies and also a living document of the utmost value
-in the history of Tudor England. How this drawing came to be in
-Munich is not known. It was discovered among a number of other
-drawings, put aside as of no particular value, by Herr J. H. von
-Hefner-Alteneck when he was keeper of the Print Room. It does
-not appear to have ever formed a part of the Windsor series of
-drawings.</p>
-
-<div class='footnote c021' id='f218'>
-<p class='c022'><span class='label'><a href='#r218'>218</a>.&nbsp;&nbsp;</span>Woltmann, 221. Reproduced by Davies, p. 166; Knackfuss,
-fig. 125; A. F. Pollard, <i>Henry VIII</i>, p. 220.</p>
-</div>
-
-<p class='c023'>The Whitehall painting became the prototype of nine-tenths of
-the very numerous portraits of Henry which were produced during his
-reign and for some little time afterwards. With one possible exception,
-these works are not from Holbein’s own hand; they were all the work
-of the less important artists attached to the English court. These,
-again, are of very varying degrees of skill, some being but coarse and
-common productions, while others have considerable artistic merits.
-There is great probability that some of the best of them were from the
-workshop of Gerard and Lucas Hornebolt, more particularly those
-half-lengths of which the portrait in Warwick Castle is perhaps the
-finest example. All, however, had their real origin in the Whitehall
-painting; in every one of them the King is shown full-face, and in
-the same characteristic attitude.</p>
-
-<div class='sidenote'>OTHER PORTRAITS OF THE KING</div>
-<p class='c023'>Interesting as the subject is, the scope of this book does not permit
-any attempt to describe, or even to compile a list of, all the portraits
-of Henry VIII still remaining in England. A few of the principal
-ones may be mentioned briefly. Several of them are full-lengths.
-Among these one of the most interesting is in Belvoir Castle.<a id='r219' /><a href='#f219' class='c020'><b>[219]</b></a> It was
-purchased by the fourth Duke of Rutland at Lord Torrington’s sale
-in 1787 for £211. Except in some minor details of the dress, it follows
-the Whitehall painting very closely. The King is wearing “white
-hose, with the Garter on his left leg; a gold chain round his neck with
-the letter H, with a pendant circular gold case without any device;
-another gold chain or collar across the shoulder over the surcoat is
-mounted in jewels set in gold-and-enamel. The whole of the dress and
-ornaments is most elaborately painted and gilded, and in excellent
-effect of light and colour, being in an absolutely perfect state of
-preservation.”<a id='r220' /><a href='#f220' class='c020'><b>[220]</b></a>
-<span class='pageno' id='Page_101'>101</span>The copyist has made the face younger and more
-handsome, and much more lacking in expression than the Munich
-sketch. The background is a curtain with an elaborate design in
-panels, each one surmounted by a crown. Dr. Waagen thought
-it to be a genuine work by Holbein. “Although painted on canvas,”
-he says, “the picture is of such truth, delicacy, and transparency,
-that I consider it an original.” A similar whole-length on wood,
-belonging to the Seymour family, is described by Dr. Woltmann, who
-regarded it as an excellently painted contemporary copy, which very
-possibly came into the possession of that family through their connection
-with Jane Seymour.<a id='r221' /><a href='#f221' class='c020'><b>[221]</b></a> There is a far finer example at Petworth,
-much more transparent and delicate in its tones, which Wornum describes
-as “really magnificent.”<a id='r222' /><a href='#f222' class='c020'><b>[222]</b></a> This work is by no means an exact
-copy; it differs in various details, more particularly in the dress, which
-is of silver brocade with a blue mantle lined with ermine. It is
-possibly the work of a Fleming. The background is architectural.
-There is another full-length version at St. Bartholomew’s Hospital,
-with a further variation of the background and the floor. Other
-repetitions are at Chatsworth,<a id='r223' /><a href='#f223' class='c020'><b>[223]</b></a> Trinity College, Cambridge, and in
-the possession of Viscount Dillon at Ditchley, Enstone.<a id='r224' /><a href='#f224' class='c020'><b>[224]</b></a></p>
-
-<div class='footnote c021' id='f219'>
-<p class='c022'><span class='label'><a href='#r219'>219</a>.&nbsp;&nbsp;</span>Reproduced in <i>The Connoisseur</i>, vol. vi. No. 22,
-June 1903, frontispiece.</p>
-</div>
-
-<div class='footnote c021' id='f220'>
-<p class='c022'><span class='label'><a href='#r220'>220</a>.&nbsp;&nbsp;</span><i>The Connoisseur</i>, vol. vi. No. 22, June 1903, p. 68
-(quotation from Radford’s catalogue of the collection).</p>
-</div>
-
-<div class='footnote c021' id='f221'>
-<p class='c022'><span class='label'><a href='#r221'>221</a>.&nbsp;&nbsp;</span>Woltmann, ii. 20.</p>
-</div>
-
-<div class='footnote c021' id='f222'>
-<p class='c022'><span class='label'><a href='#r222'>222</a>.&nbsp;&nbsp;</span>Wornum, p. 308.</p>
-</div>
-
-<div class='footnote c021' id='f223'>
-<p class='c022'><span class='label'><a href='#r223'>223</a>.&nbsp;&nbsp;</span>Described by Mr. S. Arthur Strong as “one of the best of
-the royal effigies that are all probably based in common upon the
-Hardwick cartoon. The artist, whoever he was, had a manner of his own,
-and was more than a mere copyist. The cold grey scheme of colour is a
-contrast to the depth and richness at which Holbein aimed, and is more
-akin to what we afterwards appreciate as characteristic in Honthorst
-and Mytens.”—<i>Critical Studies and Fragments</i>, p. 91. The figure
-is evidently copied directly from the wall-painting. The position and
-the details of the dress agree exactly with the Hardwick cartoon. It
-is reproduced by Dr. Ganz, <i>Holbein</i>, p. 181.</p>
-</div>
-
-<div class='footnote c021' id='f224'>
-<p class='c022'><span class='label'><a href='#r224'>224</a>.&nbsp;&nbsp;</span>Reproduced by A. F. Pollard, <i>Henry VIII</i>, p. 150.</p>
-</div>
-
-<p class='c023'>The half-length and three-quarter-length versions, of which the
-portraits at Rome and in Warwick Castle are, perhaps, the most
-important, are still more numerous. In these the King is shown in
-the same position, and apparently several years older, the cheeks
-fatter and more shapeless, and with greyer beard, while in a number of
-them, instead of holding his dagger, he has a stick in his left hand.
-The Warwick picture, which is life-size, to the knees, and full-front,
-was considered by Dr. Waagen to be a genuine work by Holbein of
-about the date 1530, but more recent criticism has shown him to be
-<span class='pageno' id='Page_102'>102</span>wrong in both these assertions. “The square face is so fat,” he says,
-“that the several parts are quite indistinct. There is in these features
-a brutal egotism, an obstinacy, and a harshness of feeling, such as I
-have never yet seen in any human countenance. In the eyes, too,
-there is the suspicious watchfulness of a wild beast, so that I became
-quite uncomfortable from looking at it a long time; for the picture,
-a masterpiece of Holbein, is as true in the smallest details as if the king
-himself stood before you. In the very splendid dress much gold is
-employed. The under-sleeves are of gold, with brown shadows; the
-hands most strikingly true to nature; in the left he has a cane, and
-in the right a pair of gloves; on his head a small cap. The background
-is bright green. The want of simplicity of the forms, the little rounding
-of the whole, notwithstanding the wonderful modelling of all the
-details, the brownish red local tone of the flesh, the grey of the shadows,
-and the very light general effect, show this picture to be a transition
-from the second to the third manner of Holbein, and that it may have
-been painted about 1530.”<a id='r225' /><a href='#f225' class='c020'><b>[225]</b></a></p>
-
-<div class='footnote c021' id='f225'>
-<p class='c022'><span class='label'><a href='#r225'>225</a>.&nbsp;&nbsp;</span>Waagen, <i>Treasures of Art in Great Britain</i>, iii. p. 215.</p>
-</div>
-
-<p class='c023'>It is, however, impossible that the portrait can have been painted
-in that year, when Henry was not forty. He appears to be at least
-fifteen years older than this. The head and hands are good, but the
-style of painting has little in common with that of Holbein, while the
-details of the dress lack the beauty, delicacy, and truth of draughtsmanship
-which are to be found in his work. There is a portrait in the
-collection of the Marquis of Bute, which, according to Dr. Waagen, is
-“exactly like the picture by Holbein at Warwick Castle, only less
-finished.”<a id='r226' /><a href='#f226' class='c020'><b>[226]</b></a> When he saw it, as far back as 1854, it was ascribed to
-“Gerard Horebout,” and there is every probability that this attribution
-is the correct one, for it is not to be expected that the almost
-forgotten name of Hornebolt would have been substituted for the
-much better known one of Holbein, and the fact that the former name
-has clung to the picture for so long is strong evidence in favour of
-the contention that Hornebolt was the painter of it. For this reason
-the Warwick portrait, and others like it, are now tentatively attributed
-by most modern writers to the workshop of Gerard and Luke
-Hornebolt.</p>
-
-<div class='footnote c021' id='f226'>
-<p class='c022'><span class='label'><a href='#r226'>226</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, vol. iii. p. 482.</p>
-</div>
-
-<div id='pl-19'  class='figcenter id001'>
-<img src='images/pl-19.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 19</span><br />HENRY VIII<br /><span class='sc'>National Gallery, Rome</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF HENRY VIII AT ROME</div>
-<p class='c023'>The portrait in the National Gallery, Rome (<a href='#pl-19'>Pl. 19</a>),<a id='r227' /><a href='#f227' class='c020'><b>[227]</b></a> which was
-<span class='pageno' id='Page_103'>103</span>formerly in the Corsini Collection, is a three-quarter length, and is
-inscribed across the plain background, on either side of the head,
-“<span class='sc'>Anno · ætatis · svæ · xlix</span>,” and was, therefore, painted in 1539 or
-1540. In dress and position it closely follows Van Leemput’s copy, and
-the Windsor and other versions, in which the left hand holds the dagger-cord.
-With the exception of the substitution of brown fur for ermine,
-and different embroidery on the upper sleeves, the Rome and the
-Windsor portraits are in exact agreement as to the costume. The
-face in the Rome portrait is decidedly younger than in the Warwick
-and Windsor versions, as the date would indicate, so that it is
-possibly one of the earliest of the contemporary copies, taken directly
-from the wall-painting under Holbein’s own supervision. It is
-undoubtedly the best of the later portraits of the King, the face
-being full of character finely rendered, and it is regarded by a number
-of modern critics, including Dr. Ganz, as a work from Holbein’s own
-brush.</p>
-
-<div class='footnote c021' id='f227'>
-<p class='c022'><span class='label'><a href='#r227'>227</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 125.</p>
-</div>
-
-<p class='c023'>An important example of this type of the portraits of Henry VIII
-is the three-quarter length belonging to St. Bartholomew’s Hospital,
-London, which was last exhibited at the Burlington Fine Arts Club
-in 1909 (No. 23). The dress is very similar to the Warwick portrait.
-The King is grasping in his left hand a black staff mounted in gold.
-The background is dark, and on it is inscribed: “<span class='sc'>Anno [~d][~n]i 1544.
-ætatis svæ 55</span>,” which is incorrect, as Henry did not enter his fifty-fifth
-year until 1545.<a id='r228' /><a href='#f228' class='c020'><b>[228]</b></a> The portrait in Windsor Castle,<a id='r229' /><a href='#f229' class='c020'><b>[229]</b></a> which, as
-Mr. Ernest Law points out, is the only contemporary likeness of Henry
-in the whole of the royal collections which has anything of an Holbeinesque
-character, was evidently copied from the Whitehall fresco. In
-the attitude and in the details of the dress it follows the original with
-considerable closeness, though slight differences are to be noted, as
-in the position of the right hand, which is here placed over the sword-belt,
-<span class='pageno' id='Page_104'>104</span>instead of below it as in Van Leemput’s copy. Its agreement
-with the Rome portrait has been already pointed out. The face,
-however, more closely resembles the Warwick portrait. Mr. Ernest
-Law suggests that it was executed several years later than the Holbein
-prototype, by some pupil or imitator, such as Guillim Stretes, after
-the master’s death,<a id='r230' /><a href='#f230' class='c020'><b>[230]</b></a> the general attitude, pose, dress, and accessories
-of the original being carefully adhered to, but the features modified,
-and the beard shown as thinner and turning grey, to suit his added
-years, though in outline they still closely resemble Holbein’s drawing
-at Munich. The size of the panel is 3 ft. 3¾ in. high × 2 ft. 5½ in.
-wide. It may be the picture which was No. 866 in James II’s catalogue:
-“King Henry VIII at half-length, with gloves in his right
-hand”; though this description suits equally well the smaller portrait
-(18 in. × 16 in.) at Hampton Court, No. 606.</p>
-
-<div class='footnote c021' id='f228'>
-<p class='c022'><span class='label'><a href='#r228'>228</a>.&nbsp;&nbsp;</span>There is another version of this portrait with the black
-staff in the left hand at Chatsworth, in which, Mr. S. Arthur Strong
-says, “the drawing of the features is masterly, and the detail is
-minute and searching without being petty; but here again the effect is
-flat, and we feel that Holbein himself would have better conveyed the
-sense of roundness and depth.... On the whole, there is a French
-rather than a German look about this picture, which suggests the
-possibility that it may have been painted at the time of the Field of
-the Cloth of Gold.”—<i>Critical Studies and Fragments</i>, p. 91, and
-Pl. ix. i.</p>
-</div>
-
-<div class='footnote c021' id='f229'>
-<p class='c022'><span class='label'><a href='#r229'>229</a>.&nbsp;&nbsp;</span>Reproduced by Law, <i>Holbein’s Pictures</i>, &amp;c., Pl.
-v.; Davies, p. 165; Knackfuss, fig. 126; Pollard, <i>Henry VIII</i>,
-frontispiece (in colour); Cust, <i>Royal Collection of Paintings,
-Windsor Castle</i>, Pl. 49; Ganz, <i>Holbein</i>, p. 222.</p>
-</div>
-
-<div class='footnote c021' id='f230'>
-<p class='c022'><span class='label'><a href='#r230'>230</a>.&nbsp;&nbsp;</span><i>Holbein’s Pictures</i>, &amp;c., p. 13.</p>
-</div>
-
-<p class='c023'>Another good version of this portrait, with the left hand on the
-dagger-cord, is the half-length belonging to the Earl of Yarborough,
-while an excellent example of the Warwick Castle type, with a cane
-substituted for the dagger, was lent by Lord Sackville to the Burlington
-Fine Arts Club in 1909 (No. 21).</p>
-
-<p class='c023'>There is also an excellent portrait of the Warwick type in the
-collection of the Duke of Manchester at Kimbolton Castle.<a id='r231' /><a href='#f231' class='c020'><b>[231]</b></a> It is on
-panel, 35 in. × 25 in., and closely resembles the picture in the National
-Portrait Gallery (No. 496) (35⅛ in. × 26¼ in.), which is attributed to
-Luke Hornebolt.<a id='r232' /><a href='#f232' class='c020'><b>[232]</b></a> The latter had at one time a coat of arms on the
-frame indicating that it belonged at some period to the Nassau family.
-It may have been taken over to Holland at the time of the marriage
-of Princess Mary, daughter of Charles I, to William of Orange, in 1641.
-There are three other portraits of the King in the National Portrait
-Gallery, while other versions or old copies exist at Castle Howard,
-and at Serlby, the seat of Viscount Galway. The latter (35 in. × 27 in.)
-has an inscription on the background giving the King’s titles and the
-date 1547, the year of his death. Another (36 in. × 30 in.), at one time
-in the collection of Mr. Henry Willett, and now in the Brighton Art
-Gallery, is said to have been taken from a wainscot in King’s Walden
-House, Herts, formerly the residence of Anne Boleyn.</p>
-
-<div class='footnote c021' id='f231'>
-<p class='c022'><span class='label'><a href='#r231'>231</a>.&nbsp;&nbsp;</span>Tudor Exhibition, 1890, No. 97, and reproduced in the
-Catalogue, p. 48.</p>
-</div>
-
-<div class='footnote c021' id='f232'>
-<p class='c022'><span class='label'><a href='#r232'>232</a>.&nbsp;&nbsp;</span>Reproduced in Mr. Cust’s illustrated Catalogue of
-<i>National Portrait Gallery</i>, vol. i. p. 23.</p>
-</div>
-
-<div class='sidenote'>“HENRY VIII WITH A SCROLL”</div>
-<p class='c023'><span class='pageno' id='Page_105'>105</span>All these portraits, whether by the Hornebolts or less important
-copyists attached to Henry’s court, are based on Holbein’s Whitehall
-painting. There is, however, one other representation of Henry VIII,
-of about the date of Holbein’s first entry into the royal service, which
-is of a very different character, and was not painted under the influence
-of the great German. This is the fine picture at Hampton
-Court (No. 563 (313)), generally known as “King Henry VIII with a
-Scroll.”<a id='r233' /><a href='#f233' class='c020'><b>[233]</b></a> He is seen at half-length, with head turned slightly to the
-right, but eyes to the front. He has reddish hair, and a small thin
-beard and moustache, and his eyes are dark grey. He wears a doublet
-of cloth of gold, cut square across the chest, covered with strings of
-pearls, and slashed with rows of white puffs, above which his white
-frilled shirt is seen. Over this is a sable-furred cloak. His black
-cap has a medallion, with figures of the Virgin and Infant Christ in
-enamel, and a white jewelled feather. In front of him is a table or ledge
-with a crimson cushion, on which his right hand is placed, and a scroll
-of white paper, one end of which he holds between the thumb and
-forefinger of his left. On it is inscribed a sentence from the Gospel of
-St. Mark in Roman lettering: “Marci—16. Ite in Mũdvm Vniversṽ
-et predicate Evangelivm omni creatvræ.” The background is a rich
-green. It is on panel, 2 ft. 4 in. high × 1 ft. 10 in. wide.</p>
-
-<div class='footnote c021' id='f233'>
-<p class='c022'><span class='label'><a href='#r233'>233</a>.&nbsp;&nbsp;</span>Reproduced by Law, <i>Royal Gallery at Hampton Court</i>,
-p. 204.</p>
-</div>
-
-<p class='c023'>The probable authorship of this painting has given rise to much
-discussion and difference of opinion. It has been attributed at
-different times to Holbein, Janet, Joos van Cleve, and Girolamo da
-Treviso, and even to Toto or Penni. Dr. Woltmann considered it
-to be the work of a Frenchman, whereas Mr. Wornum was inclined
-to attribute it to an Italian hand, possibly Da Treviso. The one
-thing certain about it is that it is not by Holbein. There is an equal
-difference of opinion as to the date. The King has so youthful a
-look, as compared with the Hardwick cartoon and the Munich drawing,
-that some writers hold that he cannot have been more than thirty-eight—certainly
-not more than forty—when it was painted. This
-would make the date about 1529, in which year Holbein was in
-Switzerland. On the other hand, there are two facts which point to
-a later date—the arrangement of the hair and beard, and the text
-on the scroll, which, taken together, make it highly probable that the
-portrait was painted in 1536. It was on the 8th of May 1535 that
-<span class='pageno' id='Page_106'>106</span>Henry, in imitation of Francis I, ordered all about his court to cut their
-hair short and to grow their beards—“the King commanded all
-about his court to poll their heads; and to give them example he
-caused his own head to be polled, and from thenceforth his beard to
-be knotted and no more shaven.”<a id='r234' /><a href='#f234' class='c020'><b>[234]</b></a> In the picture both hair and beard
-are treated in the new fashion. Again, on October 4th of the same
-year the printing of Coverdale’s English version of the whole Bible,
-for which Holbein designed the title-page, was finished, and in 1536
-Henry ordered a copy of it to be laid in the choir of every church,
-“for every man that will to look and read therein; and shall discourage
-no man from reading any part of the Bible, but rather comfort,
-exhort, and admonish every man to read the same.” To this the
-text on the scroll which Henry holds in the portrait clearly refers;
-and further evidence is supplied by the Bible frontispiece, in which
-the King is shown under a canopy, with a sword in his right hand, and
-a clasped Bible in his left, which he is handing to his kneeling bishops.
-One of the little pictures which form the border of the title-page, in
-which our Saviour is exhorting His disciples to preach the Word
-throughout the world, has the same text (Mark xvi. 15) inscribed below
-it. The evidence, therefore, is very strongly in favour of the assumption
-that the portrait was painted to commemorate Henry’s share in
-the publication of Coverdale’s English version of the Bible. Against
-these two arguments in favour of the date 1536, the compilers of the
-catalogue of the Burlington Fine Arts Club Exhibition point out that
-the King does not look more than thirty, which would place the
-portrait at about the date of the meeting with Francis I at the Field of
-the Cloth of Gold in 1520. “The portrait of Eleonora of Spain, wife of
-Francis I, also at Hampton Court,” they say, “is evidently by the
-same hand; and the smaller portrait of Francis I, also at Hampton
-Court, is either by, or a copy after, the same painter. These circumstances
-would point to a possible French origin, and lend some colour
-to the ascription of the portrait either to “Sotto” Cleef, who worked
-in France before coming to England, or to Jean Clouet—more probably
-the latter, who may very well have been in attendance on Francis I
-at the Field of the Cloth of Gold.”<a id='r235' /><a href='#f235' class='c020'><b>[235]</b></a> It is difficult, however, to follow
-these writers in their conclusion that the portrait of Eleonora, almost
-certainly by the elder Clouet, and the portrait of Henry VIII are by
-<span class='pageno' id='Page_107'>107</span>the same hand, while the fact that in all the earlier portraits of the
-King he is shown with long hair, cut straight across the forehead, and
-no beard, makes it still more difficult to accept the date as that of the
-meeting of the two monarchs in France, unless much stronger evidence
-as to its French origin be forthcoming. It is not safe to go farther
-than to ascribe it to a Franco-Flemish origin. It should be noted in
-passing that a small point in favour of those who see in it a work by
-an Italian hand lies in the scroll or cartellino, a feature not often met
-with in French or English portraits of that time.</p>
-
-<div class='footnote c021' id='f234'>
-<p class='c022'><span class='label'><a href='#r234'>234</a>.&nbsp;&nbsp;</span>Stow’s <i>Annales</i>.</p>
-</div>
-
-<div class='footnote c021' id='f235'>
-<p class='c022'><span class='label'><a href='#r235'>235</a>.&nbsp;&nbsp;</span><i>Burlington Fine Arts Club Exhibition Catalogue</i>, p.bv 81.</p>
-</div>
-
-<div class='sidenote'>“HENRY VIII WITH A SCROLL”</div>
-<p class='c023'>On the back of the panel is branded Charles I’s cypher, and there
-is also a slip of paper on which is inscribed in contemporary handwriting,
-“Changed with my Lord Arundel, 1624.” In Charles’ catalogue,
-compiled in 1639, it is entered as “King Henry VIII when he
-was young, with a white scroll of parchment in his hand; the picture
-being to the shoulders; half a figure so big as the life, in a carved gilded
-frame. Length 4 ft. 0. A Whitehall piece, said to be done by Jennet
-or Sotto Cleve.” It is possibly the picture in the Commonwealth
-inventory—“King Henry y<b>e</b> 8<b>th</b> by Gennett,” which was “sold to
-M<b>r.</b> Baggeley y<b>e</b> 23<b>rd</b> Oct. 1651 for £25.” It may also be the “Table
-with the picture of King Henry VIII, then being young,” in Edward
-VI’s catalogue. An early and interesting copy of this picture, on
-canvas, 28¾ in. × 22¼ in., is in the possession of the Merchant Taylors’
-Company, which was in the Tudor Exhibition, 1890 (No. 120), and the
-Burlington Club Exhibition, 1909 (No. 24). In the catalogue of the
-former exhibition it was attributed to Paris Bordone. It was presented
-to the Company in 1616 by Mr. John Vernon. There is a
-third version of the picture in the Marquis of Exeter’s collection at
-Burleigh House, in which the same Latin verse is inscribed on the
-scroll. Dr. Waagen says that “it is very carefully painted in a
-brownish tone.”<a id='r236' /><a href='#f236' class='c020'><b>[236]</b></a></p>
-
-<div class='footnote c021' id='f236'>
-<p class='c022'><span class='label'><a href='#r236'>236</a>.&nbsp;&nbsp;</span>Waagen, <i>Treasures of Art</i>, &amp;c., iii. p. 407.</p>
-</div>
-
-<p class='c023'>In addition to the Hardwick cartoon and the Munich drawing
-there is a third portrait of Henry existing which can be attributed
-almost certainly to Holbein’s hand. This is the beautiful little
-panel in Lord Spencer’s collection at Althorp (<a href='#frontis'><i>frontispiece</i></a>),<a id='r237' /><a href='#f237' class='c020'><b>[237]</b></a> which
-measures only 10½ in. × 7½ in. It is a half-length, three-quarters to the
-<span class='pageno' id='Page_108'>108</span>right. No hair is visible under the cap or beside the ears; the hairs of
-the close-cropped fair beard and moustache are drawn with minute care.
-The eyes are clear blue-grey. He wears a black cap trimmed with
-jewels and loops of pearls and a white feather falling to the left. His
-gown of cloth of gold is lined with brown fur, over a light grey doublet
-cut low at the neck, embroidered with an elaborate pattern in black,
-trimmed with jewels and slashed and puffed with white. The white shirt
-has a high collar fitting close round the neck, embroidered with a rich
-design in gold, and with a very small frill. On his breast is a round
-jewel suspended by a chain of spiral black and gold beads and H’s.
-The hands are shown in part, the left at his side, and the right holding
-a glove. The background is a plain bright blue.</p>
-
-<div class='footnote c021' id='f237'>
-<p class='c022'><span class='label'><a href='#r237'>237</a>.&nbsp;&nbsp;</span>Woltmann, 1. Reproduced (in colour) by the Medici
-Society; <i>Masterpieces of Holbein</i> (Gowan’s Art Books, No. 13),
-p. 7; <i>Burlington Fine Arts Club Exhibition Catalogue</i>, Pl. x.;
-Ganz, <i>Holbein</i>, p. 120.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF HENRY VIII AT ALTHORP</div>
-<p class='c023'>It is a miniature painting of unusual size, and is drawn with
-extraordinary delicacy and truth, and there is an exquisite finish in
-all the details of the dress and ornaments, and a harmony in the
-colour, which no other painter then practising at the English court
-but Holbein was capable of producing. The first impression it gives
-is that, in spite of its beauty and brilliance, it yet displays certain
-differences from Holbein’s usual style which renders its attribution to
-him not absolutely certain; but repeated examination modifies this
-first impression, and it becomes impossible not to agree with such
-critics as Dr. Woltmann, Mr. Lionel Cust, and Dr. Ganz, who are
-emphatically of opinion that Holbein was the author of it. It is impossible,
-again, to find any other painter who could have produced
-so vivid and striking a portrait of the King, and so accomplished a
-work of art. Mr. Roger E. Fry describes it as one of Holbein’s most
-miraculous pieces of craftsmanship. “It is little more in scale than
-a large miniature, and Holbein has treated it with all the skill in
-minute delineation which he alone possessed, and that without losing
-for a moment unity of tone and breadth of feeling; but, wonderful
-as it is, it gives one scarcely any idea of an actual character. Holbein
-seems never to have read anything behind the expansive mask of his
-royal patron; whether he abstained out of discretion or failed from
-want of interest one can but guess.”<a id='r238' /><a href='#f238' class='c020'><b>[238]</b></a> After examining the Munich
-head, however, it is difficult to agree with Mr. Fry’s opinion that
-Holbein saw nothing of Henry’s real character. The Althorp panel
-is almost identical in position and dress with the original cartoon for
-<span class='pageno' id='Page_109'>109</span>the Whitehall wall-painting, and it is probable that Holbein intended
-to use it as his model for the latter. It must have been painted in
-1537, before the wall-painting itself was begun, or at least before the
-change in the position of the King’s head was decided upon. It
-may be the portrait which in the inventory of Henry VIII’s pictures,
-made at his death, was joined to that of Queen Jane Seymour in a
-diptych—“Item, a table like a booke, with the picture of Kynge
-Henry theight and Quene Jane”; though, if so, the corresponding
-portrait of Jane Seymour is lost, for the one of that queen in the
-Vienna Gallery is much larger than Lord Spencer’s portrait. The
-latter was at South Kensington in 1862 (No. 2651), and again in 1865
-(No. 2028), and at the Burlington Fine Arts Club, 1909 (No. 38).</p>
-
-<div class='footnote c021' id='f238'>
-<p class='c022'><span class='label'><a href='#r238'>238</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xv., May 1909, p. 74.</p>
-</div>
-
-<p class='c023'>There is an excellent contemporary copy of it in the National
-Portrait Gallery (No. 157),<a id='r239' /><a href='#f239' class='c020'><b>[239]</b></a> 10¾ in. × 7½ in., on copper, which was
-purchased in 1863, and was formerly in the collection of Mr. Barrett,
-of Lee Priory, Kent. When in his possession it was engraved in line
-for Singer’s edition of Cavendish’s <i>Life of Wolsey</i>, 1825. The background
-is now very dark, but in the engraving it is shown to be a
-curtain. This is the chief point of difference between it and Lord
-Spencer’s panel. There is also a somewhat weak copy of it among
-the miniatures in the Duke of Buccleuch’s collection, which, like the
-original, has no inscription. It has suffered extensive repairs at
-some time or other, and the eyes are now a bright chestnut colour,
-evidently due to the ignorance of the restorer. Other miniatures of
-Henry VIII, attributed to Holbein, are dealt with in a succeeding
-chapter.<a id='r240' /><a href='#f240' class='c020'><b>[240]</b></a></p>
-
-<div class='footnote c021' id='f239'>
-<p class='c022'><span class='label'><a href='#r239'>239</a>.&nbsp;&nbsp;</span>Reproduced in the illustrated Catalogue, National
-Portrait Gallery, vol. i. p. 23.</p>
-</div>
-
-<div class='footnote c021' id='f240'>
-<p class='c022'><span class='label'><a href='#r240'>240</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_233'>233</a>-<a href='#Page_236'>236</a>.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF QUEEN JANE SEYMOUR</div>
-<p class='c023'>Jane Seymour was the first of Henry’s queens to be painted by
-Holbein. The various portraits of Katherine of Aragon and Anne
-Boleyn still existing are not by him, and it is evident that the artist
-did not enter the royal service until after Anne’s execution on 19th
-May 1536, and Henry’s very precipitate marriage with Jane Seymour
-on the following day. Portraits of both these ladies are usually
-ascribed to Holbein by their owners, according to the prevailing fashion
-of earlier days, when everything dating from Tudor times was unhesitatingly
-given to him. Shortly before Holbein’s return to England
-in 1532, Katherine of Aragon had permanently retired from court,
-<span class='pageno' id='Page_110'>110</span>and in the seclusion of The Moor, deserted by the King, her thoughts
-fully occupied with her impending divorce, it is not likely that she
-would have any desire to sit for her portrait, or to command Holbein
-to visit her for that purpose. There is more probability that Anne
-Boleyn may have been painted by him, but as no such portrait has
-been discovered, it must be taken for granted that he did not. The
-head among the Windsor drawings, inscribed “Anna Bollein Queen,”<a id='r241' /><a href='#f241' class='c020'><b>[241]</b></a>
-has been wrongly named, and bears no likeness to the few portraits
-which may be said with some degree of certainty to represent her.
-Much information respecting the portraits of these two queens will
-be found in the papers read by Mr. John Gough Nichols and Sir George
-Scharf before the Society of Antiquaries in 1863 and published in
-<i>Archæologia</i>.<a id='r242' /><a href='#f242' class='c020'><b>[242]</b></a></p>
-
-<div class='footnote c021' id='f241'>
-<p class='c022'><span class='label'><a href='#r241'>241</a>.&nbsp;&nbsp;</span>Woltmann, 323; Wornum, ii. 18; Holmes, i. 25. Reproduced
-by Davies, p. 214, and elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f242'>
-<p class='c022'><span class='label'><a href='#r242'>242</a>.&nbsp;&nbsp;</span>Vol. xl. pt. i. pp. 71-88.</p>
-</div>
-
-<p class='c023'>There is no evidence to show that Holbein painted either Katherine’s
-daughter, Mary, or Anne’s daughter, Elizabeth, though here again
-portraits of them exist which in less critical days were said to be by
-him. The drawing in the Windsor Collection inscribed “The Lady
-Mary after Queen,”<a id='r243' /><a href='#f243' class='c020'><b>[243]</b></a> has no claim to represent Queen Mary, nor is
-there any known portrait of her which bears any likeness to Holbein’s
-style of painting. The Princess Elizabeth was ten years old at the
-time of the painter’s death, whereas the youngest portrait of her
-extant is the very interesting one at the age of about fifteen or sixteen
-in the Royal Collection,<a id='r244' /><a href='#f244' class='c020'><b>[244]</b></a> which was included in Charles I’s catalogue
-as “A Whitehall piece of Holben,” and said to represent “Queen
-Elizabeth when she was young, to the waist.” This is probably a
-work of Franco-Flemish origin, and has nothing to do with Holbein,
-who, if he had painted her, must have shown her as a little girl. Mr.
-Nichols, in his paper mentioned above, states that “there can be little
-doubt that Holbein drew the King’s natural son, Henry FitzRoy,
-Duke of Richmond and Suffolk, who lived until the 22nd July 1536,”
-but no such portrait or drawing of him can be discovered. There is,
-however, among the Windsor heads, a drawing of his wife, Mary,<a id='r245' /><a href='#f245' class='c020'><b>[245]</b></a>
-daughter of Thomas, third Duke of Norfolk, and sister of Henry, Earl
-<span class='pageno' id='Page_111'>111</span>of Surrey, both of whom sat to Holbein. It is a fine drawing, but very
-badly rubbed. She is represented full-face, with the eyes cast down,
-and wearing a close-fitting white cap or hood, and a large flat black
-hat with a big ostrich feather. The dress is powdered with the letter
-R, which in some cases seems to be formed of pearls, while the letter M
-also occurs twice. This fashion of wearing an initial letter, usually
-as a pendant ornament, was by no means unusual at that period, and
-occurs in more than one of Holbein’s portraits. The drawing of the
-Duchess is inscribed “The Lady of Richmond.”</p>
-
-<div class='footnote c021' id='f243'>
-<p class='c022'><span class='label'><a href='#r243'>243</a>.&nbsp;&nbsp;</span>Woltmann, 331; Wornum, ii. 39; Holmes, ii. 15. Reproduced
-by Davies, p. 216.</p>
-</div>
-
-<div class='footnote c021' id='f244'>
-<p class='c022'><span class='label'><a href='#r244'>244</a>.&nbsp;&nbsp;</span>Reproduced by Cust, <i>Royal Collection of Paintings,
-Windsor Castle</i>, Pl. 48.</p>
-</div>
-
-<div class='footnote c021' id='f245'>
-<p class='c022'><span class='label'><a href='#r245'>245</a>.&nbsp;&nbsp;</span>Woltmann, 324; Wornum, ii. 17; Holmes, ii. 23.</p>
-</div>
-
-<p class='c023'>It is not until we come to the portrait of Queen Jane Seymour
-in the Imperial Gallery, Vienna (No. 1481) (<a href='#pl-20'>Pl. 20</a>),<a id='r246' /><a href='#f246' class='c020'><b>[246]</b></a> that we are on
-certain ground. This is a genuine work of Holbein of very fine quality.
-She is shown almost to the knees, the body and head turned slightly
-to the left, and her hands clasped in front of her. She is dressed in
-red velvet, with hanging sleeves covered with gold embroidery, and
-under-sleeves of lilac-grey watered silk with an elaborate pattern,
-worked with seed pearls, and slashed and puffed with white. The
-cuffs have a deep border of wonderfully painted black Spanish work.
-She wears two heavy necklaces, of jewels and pearls, and a band of
-similar ornament along the edge of her square-cut bodice, and an
-ornament at the breast composed of the initials I.H.S. and three
-pendant pearls. Her head-dress is of the angular English pattern.
-The inner cap, which completely hides her hair, is of brown silk with
-a black stripe, and the jewelled band or framework is of the same
-pattern as the border of the dress. The body of the head-dress is
-cloth of gold, with the customary black fall. The background is of
-dark grey-blue without inscription. The colour scheme is rich and
-harmonious, but delicate and pearly in tone, and a considerable amount
-of gold has been used in the painting of the jewels, and the gold tissue
-and embroidery of the cap. Once again the extraordinarily fine painting
-of the hands has to be recorded; they are full of expression and
-character. There is less expression in the face. She has no great
-pretensions to beauty, and her complexion is pale, thus agreeing with
-all contemporary accounts of her appearance. In a singularly frank
-letter from Chapuys to Antoine Perrenot, dated London, 18th May 1536,
-which was intended for the Emperor’s ears, the Spanish ambassador
-<span class='pageno' id='Page_112'>112</span>says: “She is sister to one Edward Semel, of middle stature, and no
-great beauty, so fair that one would call her rather pale than otherwise....
-The said Semel is not a woman of great wit, but she may
-have good understanding. It is said she inclines to be proud and
-haughty. She bears great love and reverence to the Princess (<i>i.e.</i>
-Mary). I know not if honors will make her change hereafter.”<a id='r247' /><a href='#f247' class='c020'><b>[247]</b></a>
-He then proceeds to throw doubts upon the lady’s virtue, and to
-speak in coarse innuendo of Henry’s matrimonial ventures. The
-panel, which is probably the one which was in the Arundel Collection,
-measures 65 cm. by 48 cm., and is of the same size as the portrait
-of Dr. John Chamber; they are the largest of Holbein’s works in the
-Vienna Gallery. This portrait was evidently the one seen by Van
-Mander in Amsterdam in 1604. He says: “There was, at Amsterdam,
-in the Warmoesstraat, a portrait of a Queen of England, admirably
-executed, and very pretty and nice; she was attired in silver brocade,
-which appears to be genuine silver with some admixture, and it was
-depicted so transparently, curiously, and exquisitely, that a white foil
-seemed to lie beneath.”<a id='r248' /><a href='#f248' class='c020'><b>[248]</b></a></p>
-
-<div class='footnote c021' id='f246'>
-<p class='c022'><span class='label'><a href='#r246'>246</a>.&nbsp;&nbsp;</span>Woltmann, 252. Reproduced by Davies, p. 170; Knackfuss,
-fig. 127; Vienna Catalogue, p. 345; A. F. Pollard, <i>Henry VIII</i>,
-p. 232; Ganz, <i>Holbein</i>, p. 119.</p>
-</div>
-
-<div class='footnote c021' id='f247'>
-<p class='c022'><span class='label'><a href='#r247'>247</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. x. 901.</p>
-</div>
-
-<div class='footnote c021' id='f248'>
-<p class='c022'><span class='label'><a href='#r248'>248</a>.&nbsp;&nbsp;</span>Quoted by Woltmann, Eng. trans., p. 398.</p>
-</div>
-
-<div id='pl-20'  class='figcenter id001'>
-<img src='images/pl-20.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 20</span><br />QUEEN JANE SEYMOUR<br /><span class='sc'>Imperial Gallery, Vienna</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAITS OF QUEEN JANE SEYMOUR</div>
-<p class='c023'>The original study for this portrait is in the Windsor Collection.<a id='r249' /><a href='#f249' class='c020'><b>[249]</b></a>
-It is a fine drawing of very delicate draughtsmanship, and shows more
-of the figure than most of the sketches in the series, the folded hands
-being included. Several replicas of the picture still remain in England,
-the two best of which, excellent contemporary copies, are in the Duke
-of Bedford’s collection at Woburn Abbey, and in that of Lord Sackville
-at Knole. The latter was in the Tudor Exhibition, 1890 (No. 44),
-and the Burlington Fine Arts Club, 1909 (No. 46). Another version
-is in the possession of the Duke of Northumberland. Hollar made an
-admirable engraving from the Arundel version, a small circle dated
-1648 (Parthey 1427); and there is at Windsor, as already noted, a
-miniature painted from it by Nicholas Hilliard, which is inscribed
-“<span class='sc'>Anō Dnī 1536 ætatis svæ 27</span>.”<a id='r250' /><a href='#f250' class='c020'><b>[250]</b></a> Hilliard, no doubt,
-found this inscription on the original from which he worked, but
-nothing of the kind is now discernible either on the picture in Vienna
-or Lord
-<span class='pageno' id='Page_113'>113</span>Sackville’s version. It may, however, have been taken from one of
-the numerous miniatures of this Queen, dealt with in a later chapter.<a id='r251' /><a href='#f251' class='c020'><b>[251]</b></a>
-This inscription is valuable as giving the probable date at which
-Holbein painted the Queen, and proves that he was in the royal
-service as early as in the summer of 1536. Very probably the
-portrait was afterwards used by him as the basis for the head and
-position of Jane in the Whitehall wall-painting. There is an excellent
-old copy of the portrait in the Hague Gallery (No. 278) which shows
-slight differences.<a id='r252' /><a href='#f252' class='c020'><b>[252]</b></a></p>
-
-<div class='footnote c021' id='f249'>
-<p class='c022'><span class='label'><a href='#r249'>249</a>.&nbsp;&nbsp;</span>Woltmann, 325; Wornum, ii. 22; Holmes, i. 1. Reproduced
-by Davies, p. 170, and elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f250'>
-<p class='c022'><span class='label'><a href='#r250'>250</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_91'>91</a>. Reproduced in <i>Burlington Magazine</i>, vol.
-viii., Jan. 1906, Pl. ii. (9), in an article on “Nicholas Hilliard” by
-Sir Richard Holmes.</p>
-</div>
-
-<div class='footnote c021' id='f251'>
-<p class='c022'><span class='label'><a href='#r251'>251</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_237'>237</a>-<a href='#Page_238'>238</a>.</p>
-</div>
-
-<div class='footnote c021' id='f252'>
-<p class='c022'><span class='label'><a href='#r252'>252</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 195.</p>
-</div>
-
-<p class='c023'>In addition to this portrait, Holbein prepared a design for a large
-gold cup, bearing the initials of Henry and Jane, and the latter’s
-motto, evidently intended as a present from the King to his consort.
-The finished drawing is in the Bodleian Library, Oxford, and there is
-another version of it in the British Museum. It is the most important
-of Holbein’s designs for goldsmith’s work which has been preserved,
-and is described in a later chapter.<a id='r253' /><a href='#f253' class='c020'><b>[253]</b></a> Henry VIII appears to have been
-genuinely devoted to his third wife, but his happiness was short-lived,
-for she died on October 24, 1537, twelve days after the birth of her
-son, Edward VI, her death being due to carelessness on the part of
-her attendants.</p>
-
-<div class='footnote c021' id='f253'>
-<p class='c022'><span class='label'><a href='#r253'>253</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_274'>274</a>-<a href='#Page_275'>275</a>.</p>
-</div>
-
-<p class='c023'>Not a single dated portrait of the year 1537 remains, nor is there
-one which can be ascribed with any certainty to this year. Possibly
-the great Whitehall wall-painting and other works for the King
-occupied much of Holbein’s time.</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_114'>114</span>
-  <h2 id='ch-XX' class='c012'>CHAPTER XX<br /><span class='c017'>THE DUCHESS OF MILAN</span></h2>
-</div>
-
-<p class='c018'>Search for a queen to succeed Jane Seymour—Negotiations in France and
-Brussels—The Duchess of Milan—Hutton’s description of her—Her portrait
-by some unknown Netherland painter—Philip Hoby sent over with Holbein
-to obtain her portrait—Cromwell’s instructions to them—Hutton’s letter
-describing their visit—The small oil painting at Windsor—Description
-of the picture in the National Gallery—Continuation and final failure
-of the marriage negotiations—History of the picture—Purchased for the
-English nation by the National Art-Collections Fund for
-£72,000—Portrait of the Duchess as a child by Mabuse.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-o.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-ON the very day of Jane Seymour’s death, the King and
-his Council began, with almost indecent haste, their
-search throughout the Courts of Europe for a new
-queen to fill her place. Henry’s ambassadors and
-agents were instructed to make discreet inquiries as
-to suitable candidates, and before the close of the
-year a number of names had been submitted to him for his
-consideration. In spite of this unseemly expedition, however, nearly
-two years were to elapse before the final choice was made, for
-it was not until the very end of 1539 that Anne of Cleves came to
-England as Henry’s fourth queen. Throughout the whole of 1538
-marriage negotiations, which in the end proved fruitless, were
-carried on simultaneously with Francis I and the Emperor Charles V.
-Though Henry was anxious to marry again, in order that the
-succession, which rested on the precarious life of one infant
-Prince, might be made more assured, yet his search for a bride
-both in France and in Imperial circles at one and the same time
-was undertaken quite as much for political as for matrimonial
-reasons. It was his main object at that time to prevent any close
-understanding between his two rivals. With Charles and Francis
-united, and Europe at peace, there was nothing to prevent a coalition
-against England and an enforcement of the papal excommunication
-of Henry by force of arms. By playing off one monarch against the
-other with the bait of a proffered matrimonial alliance he hoped to
-keep the two apart, and by such means ensure the security of his
-<span class='pageno' id='Page_115'>115</span>throne, and be at liberty to continue the severe methods by which he
-sought to maintain his supremacy as self-appointed head of the English
-Church.</p>
-
-<div class='sidenote'>SEARCH FOR A FOURTH QUEEN</div>
-<p class='c023'>In the course of these negotiations quite a number of ladies were
-suggested, and in most, if not in all, cases, portraits of them were procured
-for Henry’s inspection. In some instances he sent his own
-painter for the purpose; in others, what may be termed “official”
-portraits, painted by foreigners, were forwarded to England by his
-ambassadors abroad. Of these portraits, two—those of the Duchess
-of Milan and of the Princess Anne of Cleves—were painted by Holbein,
-who was despatched to Brussels and to Düren in order to take their
-likenesses; but the authorship of the others is less certain, and as
-the portraits themselves cannot now be traced, it is difficult, if not
-impossible, to arrive at any final conclusion respecting them. There
-is much probability, however, amounting in two instances almost to
-certainty, that Holbein made other special journeys, in addition to
-the two just mentioned, for the purpose of painting ladies who had
-been reported to the King as beautiful or desirable. These journeys
-were to France, and solve, in the writer’s opinion, the mysterious
-journey to Upper Burgundy; but as the negotiations for a French
-marriage were running concurrently with those for the hand of the
-Duchess of Milan, it will be better, in order to avoid confusion, to deal
-separately with each of these proposed alliances, and the various
-portraits to which they gave rise. For this reason the present chapter
-is concerned with Holbein’s painting of the Duchess, while in the
-following one evidence is brought forward which indicates that he
-also received orders from the King to take the likenesses of several
-high-born ladies of France.</p>
-
-<p class='c023'>Shortly after the imposing funeral ceremonies of Queen Jane
-Seymour, Cromwell wrote to John Hutton, the English agent in
-Brussels at the court of the Regent of the Netherlands, Queen Mary of
-Hungary, the Emperor’s sister, to ask him to make secret inquiries
-as to suitable brides for the King, and in Hutton’s reply, dated
-December 4, 1537, occurs the first mention of the Duchess of Milan as
-a possible Queen of England. Hutton wrote:</p>
-
-<p class='c025'>“Uppon the recept of your letters addressid unto me by this
-berrar, I have made as myche secret sherche as the tyme wold permyt.
-<span class='pageno' id='Page_116'>116</span>The which, albeit had byn of lengar contenewance, I cold not perceve
-that anny sherche cold have found wone soo notable a personage as
-were meit to be lykynd to that noble Raynge. In the Court ther is
-wayttyng uppon the Queyn a lady of thage of 14 yerres, daughtar unto
-the Lord of Breidrood, of a goodly statwre. She is noted varteos,
-sadde, and womanly; hir beautie is competent, hir mother is departid
-this world, who was daughter to the Cardynall of Luikes sister.
-It is thought that the said Cardinall wold give a good dote to have
-hir bestoid after his mynd. Ther is a widdowe, the wiche also repayrithe
-offten to the Court, beyng of goodly personage. She was the
-wyffe of the late Yerle of Egmond, and, as I ame inffarmyd, she
-parsithe fortie yeres of age, the wich dothe not apeire in my judgement
-by hir face. Ther is the Duches of Myllayn, whom I have not seyn,
-but as it is reportid to be a goodly personage and of excellent beawtie.
-The Dewke of Clevis hathe a daughter, but I here no great preas
-neyther of hir personage nor beawtie. I have not myche exsperiens
-emonges ladies, and therfore this commission is to me very hard;
-soo that, yf in anny thyng I offend, I beseche your Lordshipe to be
-my mean for pardon. I have wryttyn the treuthe, as nighe as I
-canne possible lerne, levyng the further judgment to other, that are
-better skillid in such matters.”<a id='r254' /><a href='#f254' class='c020'><b>[254]</b></a></p>
-
-<div class='footnote c026' id='f254'>
-<p class='c022'><span class='label'><a href='#r254'>254</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. ii. 1172. <i>St. P.</i>, viii. 5.</p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>The Duchess reached Brussels shortly after this letter was despatched,
-and Hutton wrote again to Cromwell on the 9th of December,
-after a personal inspection of the lady, whom he thought to be very
-like Mrs. Shelton, one of Anne Boleyn’s ladies, as follows:</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>HUTTON’S LETTERS ABOUT THE DUCHESS</div>
-<p class='c030'>“The Duches of Myllan ... arived here as ystarday, very honorably
-acompenyd as well of hyr owen treyn as withe suche that departed
-from hence to meit hyr. I ame inffurmyd she is of the age
-of 16 yeres, very high of stature for that age. She is highar then
-the Regent, a goodly personage of boddy, and compytent off beawtie,
-of favor excellent, sofft of speche, and very gentill in countenance.
-She werythe moornyng aparell aftre the maner of Ytalie.... She
-resemblythe myche wone Mystris Shelton, that somtyme watid in
-Court uppon Queyn Anne. She ussithe most to spek Frenche, albeit
-that as it is reportid she can [speak] Ytalian and Highe Almeyn. I
-<span class='pageno' id='Page_117'>117</span>knowlige my self of judgment herein very yngnorant, albeit I have
-inployd my wittes to sartiffie your Lordshipe off the trewthe.”<a id='r255' /><a href='#f255' class='c020'><b>[255]</b></a></p>
-
-<div class='footnote c026' id='f255'>
-<p class='c022'><span class='label'><a href='#r255'>255</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. ii. 1187. <i>St. P.</i>,
-viii. 6.</p>
-</div>
-
-<p class='c023'>In a transcript of the same letter, addressed to Thomas Wriothesley,
-one of Cromwell’s secretaries, and despatched to England on the same
-date, Hutton added:</p>
-
-<p class='c025'>“Ther is non in theis parties off parsonage, beawtie, and byrthe,
-lyke unto the Duches off Myllayn. She is not soo pewre whyt, as
-was the late Qweyn, whois soal God pardon; but she hathe a syngular
-good countenaunce, and when she chancesithe to smyl, ther aperithe
-two pittes in hir cheikes, and wone in hyr chyne, the wiche becommythe
-hyr right excellently well.”<a id='r256' /><a href='#f256' class='c020'><b>[256]</b></a></p>
-
-<div class='footnote c026' id='f256'>
-<p class='c022'><span class='label'><a href='#r256'>256</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. ii. 1188. <i>St. P.</i>,
-viii. 7.</p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>He wrote still further in her praise in a third letter to Cromwell,
-dated December 21:</p>
-
-<p class='c025'>“Synns my letter of the 4th sent unto your Lordshipe by Fraunces
-the corror, I wrot your Lordshipe wone other of the 9th, wherin I
-sartified the arivall of the Duches of Myllan, withe my judgement of
-hir personage and beawtie. Synns wiche tyme I have dayly notid
-hir gestur and countenance, the wiche presentithe a great majestie
-with myche sobrenes, soo that in the furtherance of that matter I
-thynke your Lordshipe shuld doo highe sarvis to the Kynges Highness,
-and to the whole commune welthe of his Realme like proffit.”<a id='r257' /><a href='#f257' class='c020'><b>[257]</b></a></p>
-
-<div class='footnote c026' id='f257'>
-<p class='c022'><span class='label'><a href='#r257'>257</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. ii. 1243. <i>St. P.</i>,
-viii. 8.</p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>These descriptions were considered to be so satisfactory that
-Hutton’s other suggestions were discarded, and the young Duchess
-selected as a possible wife for Henry, if good terms could be arranged.
-Christina of Denmark, youngest daughter of King Christian II of
-Denmark and Isabella of Hungary, sister of Charles V, was born in
-1523, and had been married, in 1534, when only eleven years of age, to
-Francesco Maria Sforza, the last Duke of Milan, who died in the
-following year, October 24, 1535. She was now in her sixteenth year,
-and as the niece of the Emperor, a marriage with her, so Henry and
-his Council considered, would be of great political advantage, as it
-would give the world a proof that his quarrel with Charles over the
-divorce of Katherine of Aragon was at an end. Henry, therefore,
-<span class='pageno' id='Page_118'>118</span>wrote on January 22, 1538, to Sir Thomas Wyat, his ambassador in
-Spain, ordering him to suggest the marriage to the Emperor, who in
-his reply, sent through his representative in London, Eustace Chapuys,
-declared that he would be glad to treat of it. Henry, who naturally
-wished to see the lady, if possible, before committing himself too far,
-began to throw out suggestions that she should be brought to Calais,
-in order that he might make her acquaintance, but this proposal was
-displeasing to the other parties concerned; and so, as the next best
-thing, it was determined to obtain her portrait. Hutton was instructed
-to procure one if he possibly could, and he wrote to Cromwell
-on February 21, describing a dinner-party he had attended given by
-the “Ladie Marqueis of Barrough,” at which she promised to show
-him, when finished, a portrait for which the Duchess of Milan was
-sitting, and for the purpose of which she had put off her mourning
-dress. This picture, apparently, was to be given to the Lady Marquis.
-He told Cromwell:</p>
-
-<p class='c025'>“The Lady Marqueis demaundid of me, yff the letters, wiche I
-had delyverid the Queyn, cam from the Kynges Highnes my master.
-Unto wiche I made answar that the cam frome the Empror. Then
-she said that when she sawe me delyver them, hir hart rejoissid,
-thynkyng ther had byne some good newis consarnyng the Duches of
-Myllain, of whom she made great preis, as well for hir beawtie, favor,
-wisdom, as for hir myche gentilnes. All wiche saynges I affirmyd.
-Withe that she said, yf I had seyn hir owt of hir mornyng aparell, so
-gorgeosly as she had seyn hir the day beffore, I wold have marveillid,
-for she said, to tell me in secret, she cawssid hir pikture to be made,
-wiche beyng fenisshed, the Duches had promissid to give it unto hir,
-soo that she of hir owen motion said, assone as it cam to hir handes I
-shuld have a sight therof.”<a id='r258' /><a href='#f258' class='c020'><b>[258]</b></a></p>
-
-<div class='footnote c026' id='f258'>
-<p class='c022'><span class='label'><a href='#r258'>258</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 326. <i>St. P.</i>, viii. 14.</p>
-</div>
-
-<p class='c023'>He goes on to describe an interview with the Duchess on the
-following day, in which she complained of the rain, telling Hutton,
-“This wether likythe not the Queyn, for She is therby pynnyd upp,
-that She cannot ride abrode to hunt. Then I demandid if Hir Grace
-did not love huntyng. She answered, ‘Non better,’ and soo pawssid.</p>
-
-<p class='c025'>“She spekithe French, and semythe to be of fewe wordes. In
-hir spekyng she lispithe, wiche dothe nothyng mysbecom hir. I
-<span class='pageno' id='Page_119'>119</span>canot in anny thyng perceve, but she shuldbe off myche sobreness,
-and very wisse and no les gentill. It may pleis your Lordship to
-consedar that my poore knowlege is not to give anny judgement in
-suche matters, but only to showe my openyon. And for that it wilbe
-yet theis 8th dais, beffore I can com by hir pikture, I thought it my
-duetie to sartiffie your Lordshipe the premissis; and incontinent the
-said pikture shall com to my handes, it shalbe sent your Lordshipe
-with spedy deligence. Advertissyng the Lady Marques that I did
-send it unto Barough, for that my wiffe had myche dessire to se the
-Duches.”<a id='r259' /><a href='#f259' class='c020'><b>[259]</b></a></p>
-
-<div class='footnote c026' id='f259'>
-<p class='c022'><span class='label'><a href='#r259'>259</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 326. <i>St. P.</i>, viii. 14.</p>
-</div>
-
-<div class='sidenote'>HOBY AND HOLBEIN GO TO BRUSSELS</div>
-<p class='c023'>Matters seemed now to be progressing so favourably that it was
-decided to send over Philip Hoby to Brussels, with some show of
-secrecy, for the purpose of a personal interview with the young lady,
-and, as Henry was very anxious to obtain an accurate likeness of her,
-it was also arranged that Holbein should go with him, without waiting
-for the portrait which Hutton hoped to secure.</p>
-
-<p class='c023'>Philip Hoby, who was born in 1505, was the son of William Hoby,
-of Leominster. His zeal for the Reformation commended him to
-Henry VIII and Cromwell, by whom he was constantly employed
-from 1538 onwards in diplomatic services at the courts of Spain and
-Portugal, and on special missions elsewhere. He was one of the
-gentlemen ushers of the King’s Privy Chamber, and took part in the
-siege of Boulogne, being rewarded with knighthood immediately after
-the conquest of that town in the autumn of 1544. He was made
-Master of the Ordnance and admitted to the Privy Council in 1552,
-and died in 1558. From his correspondence he appears to have been
-a man of culture and refinement. Holbein made two, if not three,
-journeys abroad in his company, and painted his portrait, though its
-whereabouts is not now known, but the drawing for it, in which he is
-shown with a scanty beard and long thin moustache, is in the Windsor
-Collection.<a id='r260' /><a href='#f260' class='c020'><b>[260]</b></a></p>
-
-<div class='footnote c021' id='f260'>
-<p class='c022'><span class='label'><a href='#r260'>260</a>.&nbsp;&nbsp;</span>Woltmann, 302; Wornum, ii. 7; Holmes, i. 40.</p>
-</div>
-
-<p class='c023'>Cromwell’s instructions to Hoby were as follows:</p>
-
-<p class='c025'>“Instructions given by the L. Cromwell to Philip Hoby sent over
-by him to the duchess of Lorraine then [to the] duchess of Milan.</p>
-
-<p class='c030'>“To repair to Mr. Hutton and tarry secretly at his lodging until
-he shall have been with the Regent. Then upon Hutton’s advertisement
-<span class='pageno' id='Page_120'>120</span>to go to the Duchess, present Cromwell’s commendations and
-say that no doubt she had heard from the Lady Regent and by the
-relation of the King’s ambassador there, the cause of his coming and
-Cromwell’s inclination to the advancement of the same as is declared
-‘in the letter.’ He shall then beg her to take the pain to sit that a
-servant of the King, who is come thither for that purpose, may take
-her physiognomy; and shall ask when Mr. Hanns shall come to her
-to do so. The said Philip shall as of himself express a wish that both
-for my Lord’s reports of her virtues and for his own view of them, it
-might please the King, being now without a wife, to advance her to
-the honour of a queen of England. ‘And he shall well note her
-answers, her gesture and countenance with her inclination, that he
-may at his return declare the same to the King’s Majesty.’ Her
-picture taken, he and Hanns shall return immediately.”<a id='r261' /><a href='#f261' class='c020'><b>[261]</b></a> Hoby was
-also supplied with a second document, in which all that he was to say
-to the Duchess was carefully drawn up for his guidance.</p>
-
-<div class='footnote c026' id='f261'>
-<p class='c022'><span class='label'><a href='#r261'>261</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 380(2).</p>
-</div>
-
-<p class='c023'>In the heading to these instructions, which is written in a later
-hand than the body of the document, the words “to the” in square
-brackets have been inserted by the editor of the <i>Calendars of Letters
-and Papers, &amp;c.</i> In doing this he has been misled by a very similar
-set of instructions issued to Hoby on the eve of a mission to Lorraine
-in August of the same year, which is dealt with in the next chapter.
-He thus reads the heading as indicating that Hoby was to go first of
-all to the Duchess of Lorraine and afterwards to the Duchess of
-Milan, and that the one set of instructions was to serve for the two
-visits. The inserted words, “to the,” however, are not needed.
-Christina, a few years after Holbein painted her, married, in 1540,
-François, Duke of Bar and Lorraine, and the writer who added the
-heading to the copy of Hoby’s instructions quite correctly describes
-her as the Duchess of Lorraine, “then (or “at that time,” <i>i.e.</i> at the
-time of Hoby’s journey to Brussels) Duchess of Milan.” This is a
-small point, but it is necessary to draw attention to it, as it has to do
-with Holbein’s subsequent journey to Upper Burgundy.</p>
-
-<div class='sidenote'>HOBY AND HOLBEIN IN BRUSSELS</div>
-<p class='c023'>The two travellers left London on the 2nd or 3rd of March, and
-reached Brussels on the evening of the 10th. The next day was
-spent in preliminary interviews, Hutton having audience with the
-Lady Regent and the Duchess in the morning, and Hoby delivering
-<span class='pageno' id='Page_121'>121</span>his message to the latter in the afternoon. All going smoothly,
-Holbein was fetched to the court at one o’clock on the 12th, and
-accomplished all that he had to do within three hours, to the great
-admiration of Hutton, who considered that he showed himself to be
-a master, and that the likeness was very perfect. The English agent,
-the day before their arrival, had already despatched a portrait of the
-lady to London—in all probability the one promised him by the
-Lady Marquis—but after seeing Holbein’s beautiful drawing, he sent
-a messenger post haste to stop the bearer of the first picture, which
-he now regarded as but “slobbered” in comparison with the other.
-Hoby and Holbein, who started upon their homeward journey on the
-evening of the 12th, appear to have taken this inferior picture with
-them, so that Cromwell might compare the two. There is no evidence
-to indicate by whom it was painted, but as the lady was represented
-in gay apparel, it must have been in marked contrast to Holbein’s
-study and the full-length portrait he afterwards painted, representing
-her in her Italian widow’s weeds. It is possible that this picture is
-still in existence in England, and its discovery would be most
-interesting.</p>
-
-<p class='c023'>Hutton’s letter to Cromwell, describing all that took place on
-the occasion, is a long one, but as it is one of the few important
-documents still existing in which Holbein is mentioned by name, it
-cannot well be omitted here. It is dated March 14, 1538, and runs as
-follows:</p>
-
-<p class='c025'>“My moste bounden duetie remembered unto Your good Lordshipe.
-Pleasithe the same to be advertissid, that the 10th of this
-present monethe in the evenyng arivid here your Lordshipis sarvand
-Phillip Hobbie, acompenied with a sarvand of the Kynges Majesties
-namyd Mr Haunce, by wiche Phillip I recevyd your Lordshippis
-letter, beryng date at Saynct Jamys the second day of this present.
-Theffect wherof apercevyd, havyng the day beffore sent wone of my
-sarvandes towardes youre Lordshipe withe a picture of the Duches of
-Myllain, I thought it very nessisarie to stey the same, for that in my
-openion it was not soo perffight as the cawsse requyrid, neyther as
-the said Mr Haunce coold make it. Uppon wiche determination I
-dispached another of my sarvandes, in post, to returne the same,
-wiche your Lordshipe shall receve by this berrar. The next mornyng
-<span class='pageno' id='Page_122'>122</span>aftre the arivall of your Lordshippis said sarvand, I did adresse my
-selff unto the Lady Regent, declaryng unto Hir that the night past
-ther arivid at my lodgyng a sarvand of your Lordshippis, withe wone
-other of the Kynges Majesties; by wiche your Lordshippis sarvand I
-had recevyd commiscion to sartiffie Hir Grace that thEmprors Ambassadors,
-resident with the Kynges Majestie my master, had made
-ernyst overture unto your Lordshipe for a marriage to be treatid
-betwixt the Majestie of my said master, and the Duches Grace of
-Millain. To the wiche albeit your Lordshipe was of no les good
-inclination for the furtherance of the same, then the said Ambassadors
-were, yet your Lordshipe thought it not exspedient to be broken unto
-the Kynges Highnes, withowt havyng some further occation mynistrid
-for the openyng of the same. And for as myche as your Lordshipe
-had hard great commendation of the furme, beawtie, wisdom, and
-other verteos qualiteis, the wiche God had indewid the said Duches
-with, you cold perceve no mean more meit for the advauncement of
-the same, than to procure her perffight pictur; for wiche your Lordshipe
-had sent, in compeny of your said sarvand, a man very excellent
-in makyng off phisanymies; soo that your Lordshippis desire was that
-your said sarvand myght in moste humbleist wisse salute the Duches
-Grace, requyryng that hir pleisur might be to apoynt the tyme and
-place, wher the said paynter might acomplische his charge. The
-Regent, when I began to declare this forsaid purpos, stud uppon hir
-feit; but, aftre She had a littill ynclyng to what effect the same wold
-com, She did sit dowen, not movyng, till I had fenisshid all that I had
-to say, and then answered as foloythe: ‘I thanke yow for your good
-newis. This is not the first report that I have had of the good inclination
-that the Lord Crumwell hathe to thEmprores afferris, for
-recompence wheroff I trust he shall not fynd Us ingrat. And as to
-his desire in this behalff, it shall gladly be accomplisshid.’ Then I
-said, ‘Madam, I have yet further commiscion, wiche is to sartiffie
-the same unto the Duches Grace.’ Hir answar was, that She wold
-goo to Councell, and when the Duches cam to hir oratorie, I myght
-[have] very good oportunitie to talke withe hir. Withe that the Regent
-departid towardes the Councell Chamber, and I taried the Duches
-commyng; who beying com to hir oratorie, wher as remenyd no moo
-but two of hir ladeis, I sartiffied Hir Grace the woll effect of your
-Lordshippis commission consarnyng Phelipe Hobbie, whom, when
-<span class='pageno' id='Page_123'>123</span>Hir Grace wold give awdiens, wold more ample sartiffie your Lordshippis
-pleisur. She made answar that, if ever it shuld ly in hir powar,
-the good will of your Lordshipe shoid towardes hir, wiche she in no
-part had desarvid, shuld not remeyn unrecompencesid; and that as
-to your said request it was not to be denyed, albeit that she, beying
-ther withe the Queyn hir awnt, thought it not meit to make anny
-graunt therunto withowt hir consent, wiche she wold move to obteyn
-at the first convenient leisar, that she myght have with the Queyn
-consarnyng the same. Commandyng to be called unto hir wone,
-naymd the Lord Benedike Court, who next unto Monsur de Correra
-is cheiff about hir; whoo beyng com, she said unto hym, ‘Goo withe
-thAmbassadour and entarteyn a gentilman that is at his lodgyng,
-and knowe wher you shall fynd hym at suche tyme as I shall send yow
-for hym.’ This done, wee tooke ower leve of Hir Grace, and cam to
-my lodgyng, wher the said Lord salutid Phillip Hobbie, communyng
-together in the Italian tunge a sarten space, and then tooke his leve
-to repaire agayn to the Court; wiche I percevyng, requyrid hym to
-take the portion withe us at dynnar, wiche he promissid to doo; but
-aftre beyng otherweis myndid, he sent us woord that he cold not com,
-but wold see us aftre dynnar; wiche apoyntment he kept. For at
-two of the cloke in the aftrenoon he cam for Phillipe to com speke
-withe the Duches his mystres: who can make relation to your Lordshipe
-more at large what passid at the tyme. The next day foloyng,
-at wone of the cloke in the aftrenoon, the said Lord Benedike cam for
-Mr. Haunce; who havyng but thre owers space hathe shoid hym self
-to be master of that siens, for it is very perffight; the other is but
-sloberid in comparison to it, as by the sight of bothe your Lordshipe
-shall well aperceve. The same night Phillipe tooke his leve of the
-Duches. I inffurmyd the Lady Regent that the said Phillipe wold
-gladly, accordyng to your Lordshippis commandment, have com to
-have done his duetie unto Hir, to have knowen what further sarvis
-Hir Grace wold commaund hym; but dowttyng he should be notid,
-wherby myght be discoverid that wiche till then was kept secret as
-coldbe. She answarid that it shuld not neid, reqwiring me, that I
-wold make hir most effectios commendations, by my letters, unto
-your Lordshipe, and that yow shuld here frome Hir more at large
-by thEmprors Ambassadour resident with the Kynges Majestie. To
-sartiffie your Lordship of hir sobreness, wisdom, and other varteos
-<span class='pageno' id='Page_124'>124</span>qualities shulde be but superfluitie, for this berrar can sartiffie your
-Lordshipe therof at length.”<a id='r262' /><a href='#f262' class='c020'><b>[262]</b></a></p>
-
-<div class='footnote c026' id='f262'>
-<p class='c022'><span class='label'><a href='#r262'>262</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 507. <i>St. P.</i>,
-viii. 17.</p>
-</div>
-
-<div class='sidenote'>HUTTON’S ACCOUNT OF HOLBEIN’S VISIT</div>
-<p class='c023'>The Queen Regent wrote to Eustace Chapuys in London, directly
-after Hoby’s departure, saying that: “I deem it opportune to acquaint
-you with a fact, of which you are not perhaps aware, namely,
-that Sieur Cromwell has sent here expressly a man, besides a message
-by ambassador Hauton, to the effect that the Emperor had proposed
-to the King, his master, the marriage of my niece, the dowager duchess
-of Milan, with honourable and advantageous conditions; that he
-(the Emperor) offers to help efficiently towards it, and wishes it to
-take place before King Francis becomes aware of it. Cromwell asks
-that the man be allowed to see and talk with my said niece, and take
-her portrait in order to show it to the King and give him greater
-desire to see her. This I have allowed, and the man has actually
-returned to England with the portrait, well satisfied with the personal
-appearance and manners of my said niece, who has not failed on the
-occasion to thank Cromwell for his offers and show of affection.”<a id='r263' /><a href='#f263' class='c020'><b>[263]</b></a></p>
-
-<div class='footnote c021' id='f263'>
-<p class='c022'><span class='label'><a href='#r263'>263</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 419. <i>Spanish Calendar</i>, vol. v. pt. ii. 217.</p>
-</div>
-
-<p class='c023'>From Chapuys’ reply to her, dated March 23, we learn that
-Hoby and Holbein reached London on March 18, and that the King
-was delighted with the latter’s handiwork. He tells her:</p>
-
-<p class='c025'>“On the very same day, the 18th, the painter sent by this King
-to Flanders came back with the Duchess’ likeness, which, I am told,
-has singularly pleased the King, so much so, that since he saw it he
-has been in much better humor than he ever was, making musicians
-play on their instruments all day long. Two days after he went to
-dine at a splendid house of his, where he had collected all his musicians,
-and, after giving orders for the erection of certain sumptuous buildings
-therein, returned home by water, surrounded by musicians, and
-went straight to visit the duchess of Suffocq, the mother-in-law of the
-duke of Norfolk, and the wife of his brother, and ever since cannot be
-one single moment without masks, which is a sign he purposes to
-marry again, unless he does all that by way of dissimulation whilst
-the bishop of Tarbes is here still.”<a id='r264' /><a href='#f264' class='c020'><b>[264]</b></a></p>
-
-<div class='footnote c026' id='f264'>
-<p class='c022'><span class='label'><a href='#r264'>264</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 583. <i>Spanish
-Calendar</i>, vol. v. pt. ii. 220.</p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>For the cost of this journey Hoby received £23, 6<i>s.</i> 8<i>d.</i> from the
-<span class='pageno' id='Page_125'>125</span>royal purse, which is noted in the book of the King’s household expenses
-for March 1538. “Item paid to Philip Hoby by the kinges
-commandment certifyed by my lord privy seal lettre for his coste and
-expences sent in all possible diligence for the kinge affaires in the
-parties of beyonde the See. xxiij <i>li.</i> vj<i>s.</i> viij<i>d.</i>”<a id='r265' /><a href='#f265' class='c020'><b>[265]</b></a></p>
-
-<div class='footnote c021' id='f265'>
-<p class='c022'><span class='label'><a href='#r265'>265</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 1280 (f. 6).</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF THE DUCHESS AT WINDSOR</div>
-<p class='c023'>No doubt the portrait which so delighted the King was one of
-those masterly studies in black chalk touched with colour, such as
-the “John Godsalve” among the Windsor drawings, from which
-Holbein afterwards painted the magnificent full-length now in the
-National Gallery. He could not have done much more than this in
-the three hours which was the whole time allowed him for the sitting.
-Sir Claude Phillips, however, is of opinion that it must have been
-something more than a drawing, however consummate—perhaps a
-finished sketch of the head only in oils. “It is difficult to believe,”
-he says, “that a layman would express so enthusiastic an approval
-of a drawing of modest dimensions, and (if it followed the usual
-Windsor type) of modest aspect. Neither sketch, however, nor
-drawing is known to exist.”<a id='r266' /><a href='#f266' class='c020'><b>[266]</b></a></p>
-
-<div class='footnote c021' id='f266'>
-<p class='c022'><span class='label'><a href='#r266'>266</a>.&nbsp;&nbsp;</span><i>Daily Telegraph</i>, May 8, 1909.</p>
-</div>
-
-<p class='c023'>It was suggested by the late Sir George Scharf, F.S.A., that the
-small oil panel, showing the Duchess to the waist, which is practically
-a replica of the upper half of the National Gallery picture, is the
-original study made by Holbein in Brussels. This portrait, then
-unnamed, he discovered in 1863, in a small apartment in Windsor
-Castle, and it was described by him in a paper read before the Society
-of Antiquaries, and published in <i>Archæologia</i>, with a good lithograph
-of the picture by T. H. Maguire.<a id='r267' /><a href='#f267' class='c020'><b>[267]</b></a> It is on wood, 17 in. high by 13 in.
-wide.</p>
-
-<div class='footnote c021' id='f267'>
-<p class='c022'><span class='label'><a href='#r267'>267</a>.&nbsp;&nbsp;</span>“Remarks on a Portrait of the Duchess of Milan, recently
-discovered at Windsor Castle, probably painted by Holbein at Brussels
-in the year 1538,” <i>Archæologia</i>, 1866, vol. xl. p. 106.</p>
-</div>
-
-<p class='c023'>“The picture by Holbein,” says Sir George, “could only have
-been a drawing or a painting on rather a small scale, inasmuch as it
-had at once to be conveyed by a messenger to England, and one of
-the objects of Hutton’s letter was to show the diligence with which
-the King’s commands were executed and to announce the coming of
-the picture. The scale and workmanship of the picture before us
-are exactly such as might have been expected from a first-rate painter
-and tactician under such circumstances. All essential points are
-<span class='pageno' id='Page_126'>126</span>observed with scrupulous fidelity, and, certainly, as far as internal
-evidence extends, without flattery. It is not to be supposed that
-Holbein did nothing to the picture beyond the term of the three
-hours’ sitting afforded by the Duchess. Having secured all the
-essential points of likeness, and given the general colouring, he doubtless
-spent some time in further finishings from memory. But time
-must have been given for the picture to dry.”</p>
-
-<p class='c023'>Wornum, however, refuses to accept Sir George’s ascription.
-“The head is vigorously painted,” he says, “and very natural; it
-shows, however, no complete finish, which, if the picture referred to,
-is exactly what one would expect; but it lacks also the mastery one
-would expect to find in a free sketch by Holbein. The hands are
-inferior, but they appear to have been partly repainted; the background
-has also been entirely repainted.... In its present state, it
-looks much more like a clever study from the Arundel picture, than its
-pattern; anyhow the distance between them is immense, but this
-does not prove much, for a very inferior master to Holbein could
-elaborate a magical effect from a mere rough sketch, provided this
-possessed the real germs of truth in it.”<a id='r268' /><a href='#f268' class='c020'><b>[268]</b></a></p>
-
-<div class='footnote c021' id='f268'>
-<p class='c022'><span class='label'><a href='#r268'>268</a>.&nbsp;&nbsp;</span>Wornum, p. 313.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF THE DUCHESS AT WINDSOR</div>
-<p class='c023'>Woltmann, too, was of opinion that this small panel was not an
-original work by Holbein. “We cannot find in the picture at Windsor,”
-he says “that freedom and bold masterly style which absolutely belong
-to a sketch from life, and which alone could have excited such lively
-admiration in John Hutton. The picture at Windsor is very pretty
-and graceful, but has something almost sober in its treatment. It
-can indeed be just as little a copy from the large painting. It exhibits
-some differences in the costume, for instance, a somewhat larger fur
-collar, and another position of the fingers, although the characteristic
-attitude of the hands is essentially the same. Christina also wears
-three rings instead of a single one; namely, a black widow’s ring on
-the little finger of the right hand, and on the next finger a gold hoop
-with a square black stone. We might, therefore, believe that this is
-a copy by another hand of the sketch Holbein painted from life. In
-favour of this opinion, we find the head, which the sketch naturally
-gave most distinctly, by far the best part of the painting, while the
-rest, which was only indicated in the sketch, appears far weaker.”<a id='r269' /><a href='#f269' class='c020'><b>[269]</b></a></p>
-
-<div class='footnote c021' id='f269'>
-<p class='c022'><span class='label'><a href='#r269'>269</a>.&nbsp;&nbsp;</span>Woltmann, 1st ed., English translation, pp. 426-7.</p>
-</div>
-
-<p class='c023'>Sir George Scharf describes with care the many small differences
-<span class='pageno' id='Page_127'>127</span>between the two works. In addition to the three rings instead of
-one, mentioned by Woltmann, the fur of the dress in the smaller
-picture is much deeper and has every appearance of being a wide fur
-collar separate from and placed over the black dress. In the larger
-portrait the fur is much narrower, and evidently forms the lining and
-collar of the outer robe, a narrow edging of it being shown down the
-front. In the National Gallery picture, too, this outer robe is open
-several inches in front, showing the under-dress of black and the
-knotted ribbon at the waist, all of which are missing in the Windsor
-panel. Again, though the hands holding the gloves have the same
-general position in both, the position of the fingers shows considerable
-variation. In the smaller portrait the two last fingers of the right
-hand and the two middle ones of the left are bent inwards; in the
-larger, the only bent fingers are the two last of the left hand. There
-are some other minor differences which need not be specified.</p>
-
-<p class='c023'>Both pictures at one time belonged to Henry VIII, and are included
-in the inventory of that King’s “money, jewels, plate, utensils, apparel,
-wardrobe stuffs, goods and chattels, consigned to the care of Sir
-Anthony Denny at Westminster.” The volume, now in the Record
-Office, is dated April 24, 1542. They appear again in a similar inventory,
-made after Henry’s death, taken “by vertue of a Commission
-under the greate seale of England, bearing date at Westminster
-the viij day of September, in the first year of our Sovereyne Lord
-Edwarde the Sixte” (1547). In these, the smaller panel is described
-as “Item, a Table with a Picture of the Duchesse of Myllayne.”</p>
-
-<p class='c023'>Woltmann’s conjecture that it is a contemporary copy made from
-Holbein’s original sketch appears to be the true one, though for whom
-made it is now impossible to say. There seems to be no reason why
-Henry, having the full-length panel in his possession, should have
-commissioned this smaller and inferior one. If ordered by Thomas
-Cromwell, which is not very likely, it may have reached the King in
-the form of plunder after the former’s execution; if done in order to
-be sent to the Duchess herself, it is strange that it should have remained
-in England. In any case, it cannot have been the “slobbered”
-work which Hutton, in his eagerness to serve his royal master, had
-hurriedly despatched on its way to London on the eve of Holbein’s
-arrival in Brussels. All the evidence points to the latter as being the
-portrait of the Duchess “out of her mourning apparel” which was
-<span class='pageno' id='Page_128'>128</span>to be given to the Lady Marquess, who had promised to show it to
-Hutton when finished, as his letter tells us. Hutton, pleading urgency,
-and knowing that the latter lady was in favour of the match, in all
-probability borrowed it, or begged it as a gift.</p>
-
-<p class='c023'>This portrait of the Duchess of Milan,<a id='r270' /><a href='#f270' class='c020'><b>[270]</b></a> 70 in. by 32 in. (<a href='#pl-21'>Pl. 21</a>),
-is incomparably the greatest work from Holbein’s brush now remaining
-in England; it is, indeed, in many respects his masterpiece. It is
-of additional interest and value, too, as being the only full-length, life-size
-portrait of a lady painted by him. She is represented standing,
-facing and looking towards the spectator, her hands in front of her holding
-her gloves. She is dressed in mourning apparel as the widow of
-Sforza, a gown of plain black satin tied round the waist with a black
-cord, and a long black cloak reaching to her feet, lined with yellow sable,
-with a collar of the same fur, open in the front sufficiently to allow a part
-of her dress to be seen. At her neck and wrists are white frills with a
-narrow black edging, and on her head a closely-fitting black cap, which
-covers all her hair, and a part of her forehead. The gloves are pale
-buff, and her only ornament is a gold ring with a red stone, probably a
-cornelian, on the third finger of her left hand. The floor on which she
-stands is of pale yellow-brown colour, though no floor-boards are
-indicated, and the background is a plain one of deep blue, now almost
-black, only broken by the white cartellino over the sitter’s left
-shoulder, which is affixed to the wall with four dabs of red sealing-wax.</p>
-
-<div class='footnote c021' id='f270'>
-<p class='c022'><span class='label'><a href='#r270'>270</a>.&nbsp;&nbsp;</span>Woltmann, 2. Reproduced by Pollard, <i>Henry VIII</i>, p.
-250; Davies, p. 172; Ganz, <i>Holbein</i>, p. 121; and elsewhere.</p>
-</div>
-
-<div id='pl-21'  class='figcenter id004'>
-<img src='images/pl-21.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 21</span><br />THE DUCHESS OF MILAN<br />1538<br /><span class='sc'>National Gallery, London</span></p>
-</div>
-</div>
-
-<p class='c023'>Holbein made the choice of a true artist in thus depicting her in
-her widow’s weeds instead of in all the bravery of the court dress
-which she was again beginning to assume. The effect of fine rich
-colour produced by this wonderful rendering of a plain black costume
-is masterly, but in no way detracts the attention of the spectator
-from the grace of the slender form and the vitality and subtle expression
-of the face, as more elaborate accessories might have done.
-The whole panel is painted with the utmost simplicity and directness,
-and yet is stamped with real grandeur of style in every delicate stroke
-of the brush. The modelling of the flesh is rendered with extraordinary
-delicacy, while the tints are unusually transparent, and a faint rosy
-glow of health just flushes her cheeks. Her dark-brown eyes, from
-under fair eyebrows, look out upon the world with an intensity of
-<span class='pageno' id='Page_129'>129</span>expression which is surpassed in few, if any, portraits by the greatest
-masters; the red lips are full of character, but not more so than the
-hands, which are exquisitely painted. In the painting of hands
-Holbein was always a master, but he never accomplished anything
-finer in this direction than those of the young Duchess. The portrait,
-indeed, bears the stamp of truth in every line. The painter, who
-never exaggerated, has made no attempt to add to the lady’s beauty;
-such as she was he painted her. The draperies are admirably arranged,
-and the painting of fur and satin as good as anything Holbein ever
-did, even in such portraits as that of Gisze. The restrained but
-stately attitude of the young girl, still only on the threshold of womanhood,
-the refined, reserved, and dignified character in the fresh young
-face, which, though gentle, is in no way lacking in strength, and the
-sense of humour lurking in the lips, combine to produce an effect which
-is fascinating in the highest degree; indeed, in the simplicity of its
-methods, the strength, refinement, and elegance of its conception, and
-in its extraordinary vitality, it must always remain not only Holbein’s
-masterpiece in the portraiture of women, but one of the greatest
-portraits in the world.</p>
-
-<div class='sidenote'>NATIONAL GALLERY PORTRAIT</div>
-<p class='c023'>There is no doubt that Holbein painted the portrait immediately
-after his return from Brussels, although some writers have suggested
-that it is a year or so later in date than 1538. This conclusion is based
-largely on the supposition that Holbein’s visit to High Burgundy later
-in the same year was for the purpose of obtaining further sittings from
-the Duchess; but this is an error, as will be shown in the next chapter.
-The portrait was painted for Henry, and would naturally be done at
-once, before the negotiations for the marriage were broken off, and it
-remained in his collection throughout his life. Holbein was out of
-England more often and for a longer period in 1538 than has been
-generally supposed. In addition to at least one other continental
-journey on the King’s service, he was absent from about the middle of
-August until nearly Christmas, and thus everything indicates that
-this important panel was painted in April or May.</p>
-
-<p class='c023'>Another argument, advanced by Sir George Scharf in favour of
-the contention that it was painted some time after 1538, is that the
-name and titles of the lady written on the fictitious piece of paper
-attached to the dark background near to her left shoulder, by four
-dabs of sealing-wax, designate her “Duchess of Lorraine.” This
-<span class='pageno' id='Page_130'>130</span>inscription Sir George reads as: “Christine, Daughter to Christierne K.
-of Deñarke, and Dutchess of Lotragne and heretofore (?) Dutches of
-Milan.” The writing, however, is much rubbed, and is by no means
-easy to decipher; thus the word which Sir George read as “heretofore,”
-Mr. Wornum considered to be “hered” (hereditary). “This,” Sir
-George goes on to say, “would, if the writing be contemporary with
-the picture, bring the date to 1541, the year of her second marriage
-to Francis, Duke of Lorraine and Barr. The style of writing on the
-paper may perhaps raise some question, and may possibly be found to
-belong to the period of James I, when through his Queen and the
-occasional presence of Christian IV in England, a considerable interest
-was felt in matters connected with Denmark.”<a id='r271' /><a href='#f271' class='c020'><b>[271]</b></a></p>
-
-<div class='footnote c021' id='f271'>
-<p class='c022'><span class='label'><a href='#r271'>271</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, xl. p. 109. The date of her marriage
-to Lorraine appears to have been 1540.</p>
-</div>
-
-<p class='c023'>The inscription as it now is was probably painted over an earlier
-one from Holbein’s brush, for it is too badly done to be original; but
-there is no need to place it as late as Sir George suggests, for the
-Lumley inventory speaks of her as the Duchess of Lorraine, so that
-the alteration may have been due to Lord Lumley or his father-in-law.
-It is even possible that Holbein may have placed no title of any kind
-on the picture, but that the whole label was added by some other
-painter employed for the purpose by the owner of Nonsuch.</p>
-
-<p class='c023'>In spite of Henry’s admiration for the picture, the proposed match
-came to nothing, though for some time Hutton continued to write
-letters in her praises. Thus, on the 1st April 1538, he wrote to the
-King:</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>FAILURE OF MARRIAGE NEGOTIATIONS</div>
-<p class='c030'>“Pleasithe Your Majestie to be advertissid that synns the departyng
-frome hence of Phillipe Hobbie, I have for the most part
-byne dayly in the Queyns chambre, by cawse I myght withe the more
-commoditie aperceve, whether the great modestiosnes, that is in
-the Duches of Myllayn, proceid of a symple yngnorance, or of a naturall
-inclination acompenid withe wisdom; to that intent I myght the
-better sartiffie Your Highnes of the same. Wherunto I have inployid
-my selff withe all celeritie, havyng bothe seyn and hard hir, aswell in
-matters off weight, as playing at the cardes and other pastymys, not
-apercevyng in hir anny liklihod that ther is want off wit, but rather
-to be estemyd, emonge the nombre of wise, the wissist. Hir sobre
-and gentill demenewre is myche lawdid by all them that knowe hir.
-<span class='pageno' id='Page_131'>131</span>Soo that I take it to be above the compas off a womans wit to dissemble
-longe withe that is graven in the hart to the contrary, but I noot
-that in all hir acttes she uttrithe such a myldnes, the wiche maniffestithe
-to be wroght in hir by nature, and presarvid withe grace and
-wisdom.”<a id='r272' /><a href='#f272' class='c020'><b>[272]</b></a></p>
-
-<div class='footnote c026' id='f272'>
-<p class='c022'><span class='label'><a href='#r272'>272</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 656. <i>St. P.</i>,
-viii. 21.</p>
-</div>
-
-<p class='c023'>In the following month (May 17) he informed Wriothesley that
-“the Lady Regent, acompenyd with the Duches Grace of Myllayn
-have byne dayly a huntyng, wiche is the exarsis, that the bothe moste
-desyre, and have greatest delit in; and by cawsse I have thought it
-my bounden duetie to repayre wher the Duches Grace was, procuryng
-occation many tymis to talke withe Hyr Grace, whom I fynd of myche
-wisdom, and of as great modestiosnes, as ever I knewe anny woman.
-Sithe the tyme that Phelip Hobbie departid frome theis parteis, Hir
-Grace hathe, bothe by woordes and countenance, ussid towardes me
-myche benyngnitie.”<a id='r273' /><a href='#f273' class='c020'><b>[273]</b></a></p>
-
-<div class='footnote c021' id='f273'>
-<p class='c022'><span class='label'><a href='#r273'>273</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1018. <i>St. P.</i>,
-viii. 29.</p>
-</div>
-
-<p class='c023'>He added that he had presented the Regent with four couple of
-young hounds and an ambling gelding, and had promised the same to
-the Duchess, “wiche offre she gently acceptyd.”</p>
-
-<p class='c023'>Early in June an obstacle to the match was suggested which proved
-that the Emperor and his sister were only using the Duchess as a pawn
-on the political chess-board, and that there was no real intention of
-giving her to Henry. This obstacle was the fact that the Duchess was
-a near kinswoman of the late Queen Katherine, Henry’s first wife, and
-that the Pope’s dispensation was therefore necessary. The negotiations
-dragged on throughout the year, Hutton suddenly dying in the
-middle of them, on September 5, just when the King his master was
-sending over two commissioners, Thomas Wriothesley, one of his
-secretaries, and Stephen Vaughan, to treat personally with the Regent.
-There is no need to record their adventures, or the manner in which
-that lady continually put them off with plausible excuses. They
-followed her about the country on her journey to Compiègne to meet
-the King and Queen of France. On neither side was there any real
-sincerity, but the Englishmen, although Dr. Edward Carne<a id='r274' /><a href='#f274' class='c020'><b>[274]</b></a> was sent
-over to help them, could not score a point in the game. They had
-several personal interviews with the Duchess, after one of which they
-<span class='pageno' id='Page_132'>132</span>reported that “she is a godly personage, of stature hiegher thenne
-eyther of us, a very good womans face, and competently faire, but
-very wel favored, a lytle browne.”<a id='r275' /><a href='#f275' class='c020'><b>[275]</b></a></p>
-
-<div class='footnote c021' id='f274'>
-<p class='c022'><span class='label'><a href='#r274'>274</a>.&nbsp;&nbsp;</span>Knighted by the Emperor some years later.</p>
-</div>
-
-<div class='footnote c021' id='f275'>
-<p class='c022'><span class='label'><a href='#r275'>275</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 550. <i>St. P.</i>,
-viii. p. 59.</p>
-</div>
-
-<p class='c023'>After another interview Wriothesley wrote to the King, on February
-1, 1539:</p>
-
-<p class='c025'>“A blinde man shuld judge no colours, but surely, Sir, after my
-poure entendement, for that lyttel experyence that I have, she is
-mervelous wise, very gentel, and as shamfast as ever I sawe soo wittye
-a woman. I thinke her wisdome no lesse thenne the Quenes, which
-in my pouer opinion is notable for a woman. Her gentlenes excedeth.
-Asferre as I canne judge or here for this lytel tyme that I have been
-here, I am deceyved, if she prove not a good wief, if God send her a
-wise husbande; and sumwhat the better I lyke her, for that I have
-been enformed that of all the hole stock of them, her mother (Isabella,
-sister of Charles V) was of best opinion in religion, and shewed it soo
-farre, that bothe thEmperour and al the pack of them were sore greved
-with Her, and seamed in thende to have Her in contempte. I wolde
-hope no lesse of the doughter, if she might be so happye as to nestle
-in Englande. Very pure, faire of colour she is not, but a mervelous
-good brownishe face she bathe, with faire redd lippes, and ruddy chekes;
-and oneles I be deceyved in my judgement, which in all thinges, but specially
-in this kynde of judgement, is very basse, she was yet never soo wel
-paynted, but her lyvely visage dothe muche excel her poincture.”</p>
-<hr class='c031' />
-
-<p class='c023'>Later on in the same interview Wriothesley pressed her as to her
-own desire in the matter, and sang his master’s praises:</p>
-
-<p class='c025'>“At this she blusshed excedingly, and said: ‘Asfor myn inclination,’
-quod she, ‘what shuld I saye? You knowe that I am
-at thEmperrurs commaundement,’ and again, ‘You knowe I am
-thEmperours poore servaunt, and must followe his pleasour.’ Your
-Majesties wisedom shall easly judge uppon this, of what inclination
-the women be, and specially the Duchesse, whose honest countenaunce,
-with the fewe woordes that she wisely spake, together with that
-which I knowe by the meane of her most secrete chamberers and
-servauntes, maketh me to thinke there canne be no doubt in her.”<a id='r276' /><a href='#f276' class='c020'><b>[276]</b></a></p>
-
-<div class='footnote c026' id='f276'>
-<p class='c022'><span class='label'><a href='#r276'>276</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 194. <i>St. P.</i>, viii.
-137.</p>
-</div>
-
-<div class='sidenote'>HISTORY OF THE PICTURE</div>
-<p class='c023'><span class='pageno' id='Page_133'>133</span>This letter seems to indicate that there is no truth in the well-known
-story told by Sandrart, and repeated by Walpole, that the
-Duchess herself was not anxious to become Queen of England, telling
-Henry’s ambassadors that “she had but one head; if she had two,
-one of them should be at his Majesty’s service.” On the contrary,
-Carne and his fellow-commissioners frequently mentioned that she
-seemed bent on the alliance, and could not bear to hear of any other
-marriage proposals. Among the frequenters of the English court it
-was common gossip that she was very likely to be the next queen.
-Thus, Robert Warner, of the Earl of Sussex’s household, writing to
-Lord Fitzwater on November 21, 1538, tells him that “there is small
-speaking of any queen; merely a report that it should be the duchess
-of Milan. In any case it will be an outlandish woman and will not
-happen till the spring.”<a id='r277' /><a href='#f277' class='c020'><b>[277]</b></a> There was also a report that the King had
-sent her a diamond worth 16,000 ducats.</p>
-
-<div class='footnote c021' id='f277'>
-<p class='c022'><span class='label'><a href='#r277'>277</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 884. <i>Ellis</i>, 1st
-series, ii. 96.</p>
-</div>
-
-<p class='c023'>Early in 1539 Francis and Charles V were in full accord, and
-Henry was making every possible preparation for war. The Regent
-and the Emperor no longer attempted to keep up the farce of a possible
-matrimonial alliance with England, though even then Wriothesley was
-writing for Henry’s “phisnamy,” which he thought would make the
-Duchess leave Emperor and all rather than be frustrated of so great
-a match. In the end the three ambassadors departed for home on
-March 19, though not without some trouble, as war appeared
-imminent; and thus Holbein’s famous portrait remained as the only
-record in Henry’s possession of these long and futile negotiations.</p>
-
-<p class='c023'>The picture has never left England since the day it was painted.
-It was in the possession of Henry VIII at the time of his death, and is
-described in the inventory already mentioned, in which it is the
-twelfth entry, as—“Item, a greate table with the picture of the
-Duchyes of Myllayne, beinge her whole stature.” According to
-Mr. Lionel Cust,<a id='r278' /><a href='#f278' class='c020'><b>[278]</b></a> it passed from King Henry’s collection to that of the
-King’s cousin, Henry Fitz-Alan, Earl of Arundel, after whose death it
-belonged to his son-in-law, John, Lord Lumley, husband of the Earl’s
-eldest daughter and co-heiress, Lady Joan Fitz-Alan. It is included
-in the manuscript inventory of pictures and other objects of art
-belonging to Lord Lumley in the reign of Queen Elizabeth already
-<span class='pageno' id='Page_134'>134</span>mentioned more than once. This inventory is entitled “A Certyficate
-from Mr. John Lampton, Stewarde of Howseholde to John, Lord
-Lumley, of all his Lo: Monumentes of Marbles, Pictures and tables
-in Paynture, with other his Lordshippes Howseholde stuffe, and
-Regester of Bookes. Anno 1590.” The picture is described as “The
-statuary of the Duchess of Myllayne, afterwards Duches of Lorreyn
-daughter to Christierne King of Denmarke doone by Haunce Holbyn,”
-the word “statuary” being used for a standing whole-length figure.</p>
-
-<div class='footnote c021' id='f278'>
-<p class='c022'><span class='label'><a href='#r278'>278</a>.&nbsp;&nbsp;</span>Letter to <i>The Times</i>, May 5, 1909.</p>
-</div>
-
-<p class='c023'>Against the contention that the picture passed directly from
-Henry’s collection into the possession of the Earl of Arundel must
-be placed Carel van Mander’s statement that in 1574 Zuccaro saw
-it in the Earl of Pembroke’s house in London. “The said Zucchero,”
-he says, “was also delighted with the portrait of a certain Countess,
-dressed in black satin, life-size, a full-length figure, unusually pretty
-and well painted by Holbein, and kept in Lord Pembroke’s house,
-where he saw it in company with some painters and lovers of art,
-and took such great delight in it, that he declared he had not seen its
-like in art and delicacy even in Rome; therefore went away filled with
-admiration.”<a id='r279' /><a href='#f279' class='c020'><b>[279]</b></a></p>
-
-<div class='footnote c021' id='f279'>
-<p class='c022'><span class='label'><a href='#r279'>279</a>.&nbsp;&nbsp;</span>See Woltmann, English translation, p. 426.</p>
-</div>
-
-<p class='c023'>Van Mander’s book was not published until 1604, thirty years
-later than this incident, and it is, of course, quite possible that either
-he or Zuccaro made a mistake as to the ownership of the picture
-and the place where it had been seen; but the statement is very
-definite, and must be taken into consideration in tracing the portrait’s
-history. In any case, there is no doubt that Lord Lumley owned it
-in 1590, and that he was a lover of Holbein’s works, of which he
-possessed a considerable number, most of which have been referred
-to individually in preceding pages, among them the great cartoon of
-Henry VII and Henry VIII belonging to the Duke of Devonshire,
-and portraits of Erasmus, Sir Thomas More, and Sir Henry and Lady
-Guideford, and the book of the Windsor drawings, all of which are
-entered in the inventory as “drawne” or “doone” by “Haunce
-Holbyn.” In Lord Lumley’s collection were also portraits of Sir
-Nicholas Carew, Sir Thomas Lovell, the elder and the younger Sir
-Thomas Wyat, and Sir Thomas Hennege, some of which also may
-well have been by Holbein, though no artist’s name is placed against
-them in the list.</p>
-
-<div class='sidenote'>HISTORY OF THE PICTURE</div>
-<p class='c023'><span class='pageno' id='Page_135'>135</span>For many years Lord Lumley resided at Nonsuch. The erection
-of this palace was begun by Henry VIII in the year in which the Duchess
-was painted. The house, of which Toto was probably the chief architect
-or decorator,<a id='r280' /><a href='#f280' class='c020'><b>[280]</b></a> was unfinished at the King’s death, and remained
-so during the reign of Edward VI; but in that of Mary it was completed
-by the Earl of Arundel, who had become possessed of it, “after
-the first intent and meaning of the said King his old maister.” Here
-Lord Lumley resided with his wife and father-in-law until the Earl’s
-death in 1580, when he became its owner. He added the front quadrangle,
-and entertained Queen Elizabeth there on more than one
-occasion. From his hands it reverted to the Crown in 1591 in exchange
-for other property. No doubt Lord Lumley’s collection of
-pictures remained at Nonsuch until that year, and very possibly the
-inventory, dated 1590, was drawn up in preparation for the removal
-of the works of art when this transfer of estates took place.<a id='r281' /><a href='#f281' class='c020'><b>[281]</b></a></p>
-
-<div class='footnote c021' id='f280'>
-<p class='c022'><span class='label'><a href='#r280'>280</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 276-7.</p>
-</div>
-
-<div class='footnote c021' id='f281'>
-<p class='c022'><span class='label'><a href='#r281'>281</a>.&nbsp;&nbsp;</span>See Cust, <i>Burlington Magazine</i>, vol. xiv., March
-1909, pp. 366-8, and <i>The Times</i>, May 5, 1909; A. W. Franks,
-<i>Archæologia</i>, vol. xxxix. p. 35.</p>
-</div>
-
-<p class='c023'>Upon the death of Lord Lumley without issue, it is evident that
-the picture passed, with other portraits of the Fitz-Alan family, into
-the possession of Philip Howard, Earl of Arundel, son of Thomas,
-fourth Duke of Norfolk, and Lady Mary Fitz-Alan, younger daughter
-and co-heiress of Henry, Earl of Arundel. Philip Howard was father
-of Thomas Howard, Earl of Arundel, probably the greatest art-collector
-the world has ever known. When in the latter’s possession it was seen
-by Sandrart, in 1627, who mentions it as the portrait of the King’s
-“incomparable beloved one, a princess of Lorraine” (unvergleichlicher
-Liebstin, einer Prinzessin von Lothringen). It was entered in the
-Arundel inventory of 1655 as “Duchessa de Lorena grande del
-naturale.”</p>
-
-<p class='c023'>From that time until 1909 it remained in the possession of the
-Howard family. Walpole adds to his <i>Anecdotes</i> a note to the effect
-that “Vertue saw a whole length of this princess at Mr. Howard’s, in
-Soho Square.”<a id='r282' /><a href='#f282' class='c020'><b>[282]</b></a> It was afterwards at Worksop Manor, then belonging
-to the Duke of Norfolk, and later on was removed to Arundel
-Castle, where it was described in the catalogue as “a very curious
-portrait of a Duchess of Milan.” It was included in the exhibition
-of Old Masters at Burlington House in 1880, and the Duke of Norfolk
-<span class='pageno' id='Page_136'>136</span>then lent it to the National Gallery, where it remained on loan for
-nearly thirty years. About 1908 the Duke informed the Trustees
-that he was receiving large offers for the picture, which he felt bound
-to consider, but that he was most anxious that, if possible, it
-should be secured for the nation; and he, therefore, gave an undertaking
-that before closing with any purchaser he would first offer it
-to the Gallery at the same price.</p>
-
-<div class='footnote c021' id='f282'>
-<p class='c022'><span class='label'><a href='#r282'>282</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, p. 72.</p>
-</div>
-
-<p class='c023'>On April 22, 1909, his Grace told the authorities that he had
-been offered a sum of £61,000, which he had accepted, subject to the
-option granted to the National Gallery of purchasing at the same
-price, and that the purchasers had consented to wait until May 1
-for the completion of the transaction. As the Trustees were unable
-to find so great a sum in so short a time, the Duke sold the picture
-to Messrs. P. &amp; D. Colnaghi &amp; Co. for £61,000 on the latter date.
-The purchasers then in turn offered it first of all to the nation, at the
-enhanced price of £72,000, giving the Trustees a month in which to
-raise the necessary fund. A determined effort to secure the picture
-was then made by the chairman, Lord Balcarres, and committee of
-the National Art-Collections Fund, but in spite of strenuous endeavours,
-the amount subscribed up to within a few days of the expiration
-of the time-limit fell far short of the great sum required.
-Most happily, however, at the last moment a munificent anonymous
-donor came forward with a gift of £40,000, which, with £10,000 from
-the Government, and other subscriptions, including one from the
-vendors, enabled the Fund to complete the purchase, and thus this
-great picture, undoubtedly the finest portrait Holbein ever painted,
-for which more than one millionaire collector was prepared to give
-an even greater price for its possession, was saved for the English
-nation, and has at last found a permanent home in the National
-Gallery.</p>
-
-<div class='sidenote'>PORTRAIT OF THE DUCHESS AS A CHILD</div>
-<p class='c023'>It is interesting to note that this Duchess of Milan is identical
-with the little dark-eyed girl wearing a peculiar hood in the well-known
-picture of the three children of the King of Denmark by Mabuse,
-in the English Royal Collection, now in Hampton Court. This picture
-was engraved by Vertue in 1748, and was removed at that date from
-Kensington Palace to Windsor. It was thought at that time—possibly
-the mistake was Vertue’s—to represent the three children of Henry VII,
-Prince Arthur, Prince Henry, and Princess Margaret, though in
-<span class='pageno' id='Page_137'>137</span>Henry VIII’s catalogue they were correctly named as the “three
-children of the Kynge of Denmarke.” The whole matter was cleared
-up by Sir George Scharf in a paper read before the Society of Antiquaries
-in 1860, and printed in <i>Archæologia</i>.<a id='r283' /><a href='#f283' class='c020'><b>[283]</b></a> The original picture
-appears to have been painted in the spring of 1526 at Malines, where
-Mabuse was then engaged, amid other work, in restoring pictures for
-the Lady Regent. From a letter from Sir Robert Wingfield to Wolsey,
-written from that city on the 14th March 1526, we learn that the young
-Prince of Denmark and his two sisters were then on a visit to their
-aunt, “which be right goodly and fair children, specially the
-daughters.”<a id='r284' /><a href='#f284' class='c020'><b>[284]</b></a> A letter from the Emperor to the Archduke Ferdinand,
-of about the same date, also mentions this visit. “I am sorry to hear
-of the death of the Queen of Denmark. Her children are with my
-aunt in Flanders.”<a id='r285' /><a href='#f285' class='c020'><b>[285]</b></a></p>
-
-<div class='footnote c021' id='f283'>
-<p class='c022'><span class='label'><a href='#r283'>283</a>.&nbsp;&nbsp;</span>Vol. xxxix. p. 245.</p>
-</div>
-
-<div class='footnote c021' id='f284'>
-<p class='c022'><span class='label'><a href='#r284'>284</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. i. 2025.</p>
-</div>
-
-<div class='footnote c021' id='f285'>
-<p class='c022'><span class='label'><a href='#r285'>285</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. i. No. 2051.</p>
-</div>
-
-<p class='c023'>In Charles I’s catalogue this picture was attributed to Janet (“a
-Whitehall piece thought to be of Jennet”); and the earliest instance
-of its rightful ascription to Mabuse is in the Commonwealth inventory,
-among the pictures at St. James’s, where it is entered as: “Three
-children in one piece by Mabuse, sold to Mr. Grinder for £10, 23rd
-Oct. 1651.”</p>
-
-<p class='c023'>Sir George Scharf, comparing this juvenile likeness with the one
-painted by Holbein some thirteen years later, says: “The same
-features and expression of countenance, notwithstanding the difference
-of years, may be traced in both. The look of the eyes is quite the
-same, and I would also invite attention to the form of the upper
-eyelids which, especially in the Arundel picture, become remarkably
-broad on the side away from the nose.”<a id='r286' /><a href='#f286' class='c020'><b>[286]</b></a> There are five or six replicas
-of the Mabuse picture in this country, at Wilton, Sudeley Castle,
-Longford Castle, Corsham House, and elsewhere. Other likenesses
-of the Duchess are to be found on existing medals both of Sforza and
-Lorraine, and in the fine engraving or etching of her by Agostino
-Carracci, published in Campo’s <i>History of Cremona</i>.</p>
-
-<div class='footnote c021' id='f286'>
-<p class='c022'><span class='label'><a href='#r286'>286</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xl. p. 140.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_138'>138</span>
-  <h2 id='ch-XXI' class='c012'>CHAPTER XXI<br /><span class='c017'>THE VISIT TO “HIGH BURGONY”<a id='r287' /><a href='#f287' class='c020'><b>[287]</b></a></span></h2>
-</div>
-
-<p class='c018'>Negotiations for a French wife for the King—Marie of Lorraine, Duchess
-of Longueville, afterwards Queen of Scotland—Visit of Peter Mewtas to
-France to obtain her portrait—Pierre Quesnel—Louise of Guise—Holbein
-receives a royal licence to export beer—Hoby and Holbein sent to Havre
-to take portraits of Louise of Guise and some other lady—Renée of
-Guise—Expedition of Hoby and Holbein to Joinville and Nancy to obtain
-portraits of Renée and her cousin, Anne of Lorraine—Cromwell’s
-instructions—Letter from the Duchess of Guise to her daughter, the
-Queen of Scotland, describing their visit—Holbein’s salary and
-advances of his wages—Letter from Niklaus Kratzer to
-Cromwell—Confusion as to the dates of Hoby’s and Holbein’s continental
-journeys in 1538 owing to a wrong entry in the <i>Calendar of Letters
-and Papers</i>—Holbein goes on to Basel from Nancy.</p>
-
-<div class='footnote c032' id='f287'>
-<p class='c022'><span class='label'><a href='#r287'>287</a>.&nbsp;&nbsp;</span>The greater part of this chapter appeared in the
-<i>Burlington Magazine</i>, vol. xxi., April 1912, pp. 25-30.</p>
-</div>
-
-<div class='c023'>
-  <img class='drop-capi' src='images/dc-a.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-AS already stated in the last chapter, during the whole
-of the time the negotiations for the hand of the
-Duchess of Milan were in progress, others were being
-carried on concurrently for a French bride for
-Henry. The King’s personal inclination, indeed,
-leant much more strongly towards an alliance with
-France than one with the Emperor; and on October 24th, the
-very day of Queen Jane Seymour’s death, Cromwell wrote to
-Stephen Gardiner and Lord William Howard, then at the French
-court, informing them of Henry’s loss, and urging them to make
-secret inquiries as to a possible successor among the princesses of
-France. “Our Prince,” he said, “our Lord be thanked, is in good
-health, and suckethe like a child of his puissance, which youe, my Lord
-William, canne declare. Our Mastres, thoroughe the faulte of them
-that were about Her, whiche suffred Her to take greate cold, and to
-eate things that her fantazie in syknes called for, is departed to God.”<a id='r288' /><a href='#f288' class='c020'><b>[288]</b></a></p>
-
-<div class='footnote c021' id='f288'>
-<p class='c022'><span class='label'><a href='#r288'>288</a>.&nbsp;&nbsp;</span><i>St. P.</i>, vol. viii. (pt. v. <i>continued</i>) 478.</p>
-</div>
-
-<p class='c023'>He went on to say that the Council were unanimously of opinion
-that the King should marry again as soon as possible:</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>THE DUCHESS OF LONGUEVILLE</div>
-<p class='c030'>“Soo considering what personages in Christendom be mete for
-Him, amonges the rest there be two in Fraunce, that may be thought
-<span class='pageno' id='Page_139'>139</span>on, thone is the Frenche Kinges doughter (Margaret, afterwards
-Duchess of Savoy), whiche, as it is said, is not the metest, the other
-is Madame de Longevile, whom they say the King of Scottes dothe
-desire. Of whose conditions and qualities in every pointe His Majeste
-desireth you both, with all your dexterite and good meanes, to enquire;
-and likewise in what pointe and termes the said King of Scottes
-standeth towards either of them; whiche His Highnes is soo desirous
-to knowe, His Graces desire therin to be nevertheles in any wise
-kept secret to your selfes.”</p>
-
-<p class='c027'>The details of the careful search which was made throughout
-France for a suitable successor to Jane Seymour are to be found in
-the very entertaining letters written by Louis de Perreau, Sieur de
-Castillon, the French ambassador in London, to Francis I and his
-Grand Master, Anne de Montmorency. The negotiations necessitated
-the despatch of numerous envoys and messengers, and the painting of
-four or five portraits; and there is very good evidence for the belief
-that two or three of these were painted by Holbein, for which purpose
-he made at least two journeys—to Le Havre in June 1538, and to
-Joinville and Nancy at the end of the following August.</p>
-
-<p class='c023'>In the first instance, Henry’s inclinations were very strongly set
-upon Marie of Lorraine, the eldest daughter of Claude, Duke of Guise,
-and the young widow of Charles d’Orléans, Duke of Longueville,
-although she had been promised to James V of Scotland before Jane
-Seymour’s death. Henry knew quite well that this arrangement had
-been made, but he would not listen to the names of other ladies which
-were suggested to him, and maintained with great pertinacity to
-Castillon that the match with Scotland had not yet been settled, and
-that Madame de Longueville had not herself agreed to it. “He is
-so amorous of Madame de Longueville,” wrote Castillon to Francis,
-on December 30, 1537, “that he cannot refrain from coming back
-upon it.” “I asked him,” he goes on, “who caused him to be more
-inclined to her than to others, and he said Wallop was so loud in her
-praises that nothing could exceed them. Moreover, he said that he
-was big in person, and had need of a big wife—that your daughter
-was too young for him, and as to Madame de Vendosme, he would not
-take the King of Scots’ leavings!”<a id='r289' /><a href='#f289' class='c020'><b>[289]</b></a></p>
-
-<div class='footnote c021' id='f289'>
-<p class='c022'><span class='label'><a href='#r289'>289</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. ii. 1285.</p>
-</div>
-
-<p class='c023'>Either in December 1537 or early in the following January, Henry
-<span class='pageno' id='Page_140'>140</span>sent over Peter Mewtas, of the Privy Chamber, to see the Duchess
-secretly, and to find out from her whether she considered herself
-bound to James; and as a result of this mission he appears to have
-convinced himself that, whatever Francis I might have arranged, the
-lady herself and her parents were attracted by his offer, considering
-an alliance with so powerful a sovereign to be preferred to one with the
-“beggarly and stupid King of Scots,” as Henry termed his nephew
-to Castillon. There was a political attraction, also, about the proposal,
-from Henry’s point of view, for if he succeeded in taking James’s
-bride from him it would tend to alienate the Scots from France.</p>
-
-<p class='c023'>Formal articles of marriage, however, between the lady and
-James V were drawn up in January; but in spite of this Henry stuck
-to his point, and about the 1st of February Peter Mewtas was again
-despatched by Cromwell to find out definitely if she were still free,
-and also to obtain her portrait. The instructions given him need
-not be quoted here. They concluded by saying that if he perceived
-any towardness in the lady, he was, if possible, to get and bring with
-him “her picture truly made and like unto her.”<a id='r290' /><a href='#f290' class='c020'><b>[290]</b></a></p>
-
-<div class='footnote c021' id='f290'>
-<p class='c022'><span class='label'><a href='#r290'>290</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 203. <i>St. P.</i>,
-viii. 10.</p>
-</div>
-
-<div class='sidenote'>PIERRE QUESNEL AND HIS SONS</div>
-<p class='c023'>Mewtas’ mission proved fruitless, and he was back in London
-some time before the 6th March. There is no evidence to show that
-he succeeded in obtaining a portrait of Madame de Longueville, or
-that he took Holbein or any other painter with him for that purpose.
-The Duchess seems to have been in Normandy, possibly at Longueville
-or Le Havre, and it may have been left to Mewtas to obtain the
-services of some local French painter, if such an one were to be procured.
-It is more likely, however, that a painter would be taken
-over for the purpose, though this was not mentioned in the instructions,
-as it was in the case of Hoby’s mission to Brussels. If any one
-were taken, it may have been Holbein, who was known personally to
-Mewtas, for among the Windsor drawings there is one of the latter’s
-wife.<a id='r291' /><a href='#f291' class='c020'><b>[291]</b></a> This, however, is mere conjecture, and there is no evidence,
-either in writing or in the shape of a drawing, to show that Holbein
-took the portrait of this particular duchess; indeed, the fact of his
-journey to the Netherlands seems to point to the contrary, for Mewtas
-only returned to England from France early in March, so that if
-Holbein had accompanied him, he would have had to start off again
-<span class='pageno' id='Page_141'>141</span>without a moment’s delay with Hoby in order to reach Brussels as
-he did on the 10th of the same month. It was, of course, possible for
-him to have made both journeys, but the interval between the two
-was so short that extreme expedition would have been necessary.</p>
-
-<div class='footnote c021' id='f291'>
-<p class='c022'><span class='label'><a href='#r291'>291</a>.&nbsp;&nbsp;</span>Woltmann, 339; Wornum, ii. 20; Holmes, ii. 16. See pp.
-257-8.</p>
-</div>
-
-<p class='c023'>There was, however, a French painter, Pierre Quesnel, who may
-possibly have been attached to Madame de Longueville’s court at the
-time of Mewtas’ visit; in any case, he accompanied her to Edinburgh
-two months later, and entered the service of James V. He came of a
-family of portrait painters, and also practised historical painting.
-His works are now unknown, but he returned to France in 1557, and
-designed a painted window for the Augustins of Paris. He had three
-sons, François, Nicolas, and Jacques. François,<a id='r292' /><a href='#f292' class='c020'><b>[292]</b></a> who was born in
-Holyrood about 1543 and died in 1619, was a portrait-painter of
-exceptional ability, as may be seen from the fine portrait of “Mary
-Ann Walker” belonging to Lord Spencer at Althorp Park, of which
-an excellent reproduction in colour has been issued by the Medici
-Society in their National Portrait Series. It is signed “F. Q.” in
-monogram, and dated 1572. This picture was brought from France
-about one hundred years ago, and was obtained from a descendant of
-the lady’s family. In this connection it may be suggested that the
-double portrait of “James V and Marie of Lorraine,”<a id='r293' /><a href='#f293' class='c020'><b>[293]</b></a> in the collection
-of the Duke of Devonshire at Hardwick, may possibly have
-been, in its original state, the production of the elder Quesnel’s brush.<a id='r294' /><a href='#f294' class='c020'><b>[294]</b></a>
-It must be noted, in conclusion, that there is no record in the English
-State Papers of the result of Mewtas’ mission, and so it is doubtful
-if Henry VIII ever possessed a portrait of the lady, whether by
-Quesnel, or Holbein, or any other painter, such as Hornebolt, in the
-King’s pay.</p>
-
-<div class='footnote c021' id='f292'>
-<p class='c022'><span class='label'><a href='#r292'>292</a>.&nbsp;&nbsp;</span>See Dimier, <i>French Painting in the Sixteenth
-Century</i>, pp. 191 and 289.</p>
-</div>
-
-<div class='footnote c021' id='f293'>
-<p class='c022'><span class='label'><a href='#r293'>293</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Magazine</i>, Oct. 1906,
-p. 41, in an article on “The Portraits of Mary Queen of Scots,” by Mr.
-Lionel Cust and Miss K. Martin.</p>
-</div>
-
-<div class='footnote c021' id='f294'>
-<p class='c022'><span class='label'><a href='#r294'>294</a>.&nbsp;&nbsp;</span>This picture was exhibited at the Golden Fleece
-Exhibition at Bruges in 1907 (No. 130), as the work of an unknown
-Scottish painter.</p>
-</div>
-
-<p class='c023'>Marie was married to the King of Scots on the 9th May, thus
-putting a final end to Henry’s plans in that direction. In her place,
-Francis offered him, through Castillon, the choice of any other lady
-in his kingdom. He was told that “she had a sister as beautiful and
-as graceful, clever and well-fitted to please and obey him as any other.”
-This remark bore fruit, and the next morning the King sent Sir John
-<span class='pageno' id='Page_142'>142</span>Russell, a member of his Privy Council, to make further inquiries.
-Castillon told the latter that France was a warren of honourable ladies,
-from which Henry might choose, and that Louise of Guise was the very
-counterpart of Madame de Longueville. He had not seen her for a
-long time, but had heard her esteemed above any other lady in the
-kingdom. Russell then asked Castillon “to find some way that
-Francis (to show it was not as a refusal that he could not have Madame
-de Longueville, but because she was promised beforehand) should
-offer him her sister, and say something of it to M. Briant (Sir Francis
-Brian, Master of the Toils, then ambassador to France), who would
-then send her portrait.”<a id='r295' /><a href='#f295' class='c020'><b>[295]</b></a> “Probably,” added Castillon, in writing to
-Francis, “he is troubled that it must be known that his great instance
-made for the one is so suddenly changed for the other.” Francis sent
-word in reply (May 25) that he would very willingly conclude a
-match with Henry and Louise of Guise; and on the 31st of the same
-month Castillon wrote to the Grand Master, Montmorency, urging
-greater expedition in the matter. “If he (Henry) is to marry in
-France,” he said, “three or four must be put forward, but let them be
-of the best and such as Montmorency shall advise as well to M. Brian
-as in letters from the King to Castillon, who should also have portraits
-of these put forward.”<a id='r296' /><a href='#f296' class='c020'><b>[296]</b></a></p>
-
-<div class='footnote c021' id='f295'>
-<p class='c022'><span class='label'><a href='#r295'>295</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 994. Kaulek, 47.</p>
-</div>
-
-<div class='footnote c021' id='f296'>
-<p class='c022'><span class='label'><a href='#r296'>296</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1102. Kaulek, 54.</p>
-</div>
-
-<div class='sidenote'>PROBABLE VISIT TO HAVRE</div>
-<p class='c023'>The narrative may be broken off here to note that Holbein, who
-remained in London throughout April and May, engaged, among other
-things, upon the full-length portrait of the Duchess of Milan, received,
-on the 29th of the latter month, the grant of a royal licence to export
-“600 tuns of beer.” It runs as follows: “Hans Holbeyn, the King’s
-servant. Licence to buy and export 600 tuns of beer. <i>Del.</i> Westminster,
-29th May 30 Hen. VIII.”<a id='r297' /><a href='#f297' class='c020'><b>[297]</b></a> The painter was evidently prepared,
-when the opportunity arose, to engage in small commercial
-speculations in order to augment his income, as was the case with
-more than one of his brother artists attached to Henry’s court. Thus,
-in April 1531, Luke Hornebolt received a licence to export 400 quarters
-of barley,<a id='r298' /><a href='#f298' class='c020'><b>[298]</b></a> and Anthony Toto, “the King’s painter,” was granted one
-in April 1541,<a id='r299' /><a href='#f299' class='c020'><b>[299]</b></a> exactly similar to Holbein’s, for the exporting of 600 tuns
-of beer. Again, Alard Plumier, “the King’s jeweller,” in March 1542,<a id='r300' /><a href='#f300' class='c020'><b>[300]</b></a>
-<span class='pageno' id='Page_143'>143</span>obtained grants for importing 400 tuns of Toulouse woad and
-Gascon wine, and exporting 400 tuns of beer; while, as already mentioned,
-Holbein’s friend and compatriot, Niklaus Kratzer, the King’s
-astronomer, received a very similar licence in October 1527.<a id='r301' /><a href='#f301' class='c020'><b>[301]</b></a></p>
-
-<div class='footnote c021' id='f297'>
-<p class='c022'><span class='label'><a href='#r297'>297</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1099 and 1115(65).</p>
-</div>
-
-<div class='footnote c021' id='f298'>
-<p class='c022'><span class='label'><a href='#r298'>298</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. v. 220(21).</p>
-</div>
-
-<div class='footnote c021' id='f299'>
-<p class='c022'><span class='label'><a href='#r299'>299</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvi. 779(18).</p>
-</div>
-
-<div class='footnote c021' id='f300'>
-<p class='c022'><span class='label'><a href='#r300'>300</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvii. 220(3).</p>
-</div>
-
-<div class='footnote c021' id='f301'>
-<p class='c022'><span class='label'><a href='#r301'>301</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. ii. 3540(28).</p>
-</div>
-
-<p class='c023'>Henry rose promptly to the bait of Louise of Guise as a wife in
-place of her elder sister, now unattainable, and as usual no time was
-wasted. On the 3rd of June he despatched Philip Hoby and a painter
-to Havre to obtain the lady’s portrait. This we learn from a letter of
-Castillon’s to Montmorency, dated June 4th, describing an interview
-between the Duke of Norfolk and the ambassador’s “secretaire a
-cachetter” respecting the suggested marriage, which concludes with
-the following passage: “Finally he (Norfolk) said that yesterday he
-(Henry) despatched the gentleman, who wanted to go to see” (“vouloit
-aller”; Kaulek reads “souloit”) “Madame de Longueville, to Hâvre
-de Grâce to see Mademoiselle de Guyse; for a Scotchman has come
-hither who has said he wonders at the King of Scots taking a widow
-rather than a young girl, her sister, the most beautiful creature that
-ever he saw.”<a id='r302' /><a href='#f302' class='c020'><b>[302]</b></a> In the same letter Castillon again urges that portraits
-of two or three of the ladies mentioned in his previous despatch should
-be sent as quickly as possible, as the matter is pressing. In this
-document there is no reference to Hoby by name, nor mention of any
-painter accompanying him; nor is there any entry in the King’s
-Book of Payments as to any expenses paid for such a journey either to
-Hoby or any other special envoy. Hoby had paid a visit to France
-earlier in the year in connection with his master’s matrimonial affairs.
-He had been sent over in February, at about the same time as Mewtas,
-and evidently, like the latter, for the purpose of urging Madame de
-Longueville to throw over James V. For this expedition he received
-exactly the same sum, £23, 6<i>s.</i> 8<i>d.</i>, as for his journey to Brussels in the
-following March. It is entered among the royal payments for February
-as “Philip Hoby, sent into France about the King’s necessaries and
-affairs of importance, £23, 6<i>s.</i> 8<i>d.</i>”<a id='r303' /><a href='#f303' class='c020'><b>[303]</b></a></p>
-
-<div class='footnote c021' id='f302'>
-<p class='c022'><span class='label'><a href='#r302'>302</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1135. Kaulek, 37.</p>
-</div>
-
-<div class='footnote c021' id='f303'>
-<p class='c022'><span class='label'><a href='#r303'>303</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 1280 (f. 2<i>b</i>).</p>
-</div>
-
-<p class='c023'>But although there is no record of payment for this second journey
-in June to Havre, or mention of him by name, there is no doubt that
-Hoby was the envoy sent, and that Holbein accompanied him.
-Evidence of this is contained in a letter, quoted below,<a id='r304' /><a href='#f304' class='c020'><b>[304]</b></a> from the
-<span class='pageno' id='Page_144'>144</span>Duchess of Guise to her daughter Marie in Scotland, dated September 1,
-which speaks of the arrival of Hoby and Holbein at Joinville, and
-mentions their earlier visit to Havre. Contributory evidence is contained
-in Castillon’s letter of June 4, in which he describes the
-messenger sent as one who had already been over to see, or to try to
-see, Madame de Longueville, which undoubtedly refers to Hoby’s
-journey in February. According to the same letter from Joinville,
-two portraits at least were painted at Havre, or rather studies made,
-which would only occupy the artist for an hour or two, as in the
-case of the Duchess of Milan, the sitters in question being Louise of
-Guise, who was then eighteen, and some other lady—possibly Marie or
-Margaret of Vendôme.</p>
-
-<div class='footnote c021' id='f304'>
-<p class='c022'><span class='label'><a href='#r304'>304</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_148'>148</a>.</p>
-</div>
-
-<p class='c023'>Somewhere about the date of Hoby’s return from Havre, a third
-French candidate for Henry’s hand appeared upon the scene. This
-was Renée, the third daughter of the Duke of Guise, who afterwards
-became abbess of St. Pierre de Reims. Castillon wrote to Montmorency
-on June 19: “If you wish to entertain this King urge
-always the marriages; for he only waits for them to be presented, and
-the pictures must be sent immediately. He has heard that Mons, de
-Guyse has a daughter still more beautiful than the second. I hear she
-is in a religious order, but not professed (<i>qu’elle est en une religion, mais
-elle n’est pas religieuse</i>). You can say something of it to Mr. Bryant;
-for he (Henry) expects to be asked and to have several offered to him.”<a id='r305' /><a href='#f305' class='c020'><b>[305]</b></a></p>
-
-<div class='footnote c021' id='f305'>
-<p class='c022'><span class='label'><a href='#r305'>305</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1217. Kaulek, 64.</p>
-</div>
-
-<p class='c023'>It will be seen from this letter that Castillon, who was probably
-unaware of the steps Henry was taking to obtain likenesses by means
-of his own artists, was doing his utmost, on his own account, to get
-portraits of likely ladies sent over from France. In a later letter
-(July 3) he harps upon the same theme. After reporting that
-Henry is still in the best of humours, and is ready to meet Francis
-at a house which he will have made between Boulogne and Calais,
-where they can both stay for six or seven days without pomp or great
-expense, he concludes by saying: “The principal point to bring him
-over to the interests of Francis is that he take a wife in France, and
-they must be more energetic than they have been, and let his ambassador
-see and send portraits and write news; for he wishes to be sought,
-and in the seeking they will put him so far in that he cannot draw
-back.”<a id='r306' /><a href='#f306' class='c020'><b>[306]</b></a></p>
-
-<div class='footnote c021' id='f306'>
-<p class='c022'><span class='label'><a href='#r306'>306</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1320. Kaulek, 65.</p>
-</div>
-
-<div class='sidenote'>HENRY’S SEARCH FOR A BRIDE</div>
-<p class='c023'><span class='pageno' id='Page_145'>145</span>In his reply, dated July 10, Montmorency stated that a portrait
-of Louise of Guise had been obtained for Brian, who must have
-already despatched it to England. “If the King does not decide upon
-her,” he said, “others shall be shown to Brian.”<a id='r307' /><a href='#f307' class='c020'><b>[307]</b></a> Castillon, who, on
-account of the plague in London, was then living in Chelsea, in Sir
-Thomas More’s old house, which had been lent to him by the King
-for the summer, announced to Francis I on July 25 that Brian “has
-sent the portrait of Mademoiselle de Guise, whom this King does not
-think ugly, as I know by his face.”<a id='r308' /><a href='#f308' class='c020'><b>[308]</b></a> In spite, however, of Henry’s
-appreciation of the lady’s charms, Castillon, in a letter to Montmorency
-of the same date, urged that portraits of Mademoiselle de Vendôme and
-the young de Guise (<i>i.e.</i> Renée) should be despatched with all
-diligence.<a id='r309' /><a href='#f309' class='c020'><b>[309]</b></a></p>
-
-<div class='footnote c021' id='f307'>
-<p class='c022'><span class='label'><a href='#r307'>307</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1356.</p>
-</div>
-
-<div class='footnote c021' id='f308'>
-<p class='c022'><span class='label'><a href='#r308'>308</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt i. 1451. Kaulek, 73.</p>
-</div>
-
-<div class='footnote c021' id='f309'>
-<p class='c022'><span class='label'><a href='#r309'>309</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1452. Kaulek, 74.</p>
-</div>
-
-<p class='c023'>Throughout these negotiations Henry frequently suggested that a
-selection of ladies should be brought to Calais for his personal approval,
-in charge of Francis’ sister, Margaret of Navarre, or some other
-high personage, such as the Duke of Guise. “The ladies he means,”
-wrote Castillon to Francis on August 12, “are Mesdemoiselles de
-Vendôsme, de Lorraine, and the two de Guise. He has heard something
-of the younger of the two last, and I think he will settle on one
-of them. He has a great opinion of their house.”<a id='r310' /><a href='#f310' class='c020'><b>[310]</b></a> This request of
-Henry’s gave great offence in France, which was voiced in a letter
-from Montmorency to Castillon on July 29: “To bring him thither
-(<i>i.e.</i> to Calais), as he asks, young ladies to choose and make them
-promenade on show! They are not hackneys to sell, and there would
-be no propriety in it. Henry has his choice of Mdlle. de Vendosme,
-or Mdlle. de Guise, and can judge of their beauty by the portraits and
-reports made to him; and if these be not approved, there are many
-other ladies from whom to choose. The selection might be left to his
-ambassador, Briant, who could send portraits.”<a id='r311' /><a href='#f311' class='c020'><b>[311]</b></a> Even this did not
-quell the King, and in the end he was informed that Lorraine was not
-under the sway of Francis, and that he would have to apply for the
-hand of the damsel (Anne of Lorraine) to her father and mother, and
-as for the two daughters of Guise, one had already professed as a nun,
-while the other, as well as the daughter of M. de Vendosme, could not
-be disposed of as though they were on sale.</p>
-
-<div class='footnote c021' id='f310'>
-<p class='c022'><span class='label'><a href='#r310'>310</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 77. Kaulek, 80.</p>
-</div>
-
-<div class='footnote c021' id='f311'>
-<p class='c022'><span class='label'><a href='#r311'>311</a>.&nbsp;&nbsp;</span><span class='pageno' id='Page_146'>146</span><i>C.L.P.</i>, vol. xiii. pt. i. 1496.</p>
-</div>
-
-<p class='c023'>This official portrait of Louise of Guise by some French painter,
-which Brian sent over—and possibly a second one of Marie of Vendôme,
-as may be inferred from the last quoted letter—must not be confused
-with those privately procured by Hoby at Havre in June. These
-later French portraits cannot now be traced, and it would be mere
-guesswork to attempt to name the artist who was employed to produce
-them; but a careful search through the royal collections or in some
-of the older houses in England might possibly result in their discovery.</p>
-
-<p class='c023'>Some time in August Holbein and Hoby set out together upon
-their journey “into the parties of high Burgony.” The purpose
-of their expedition was to obtain portraits of Renée of Guise, the
-Duke’s third daughter, and of her cousin, Anne of Lorraine, while
-Hoby was to sound the latter’s father as to his inclinations towards a
-possible marriage between his house and England. Hoby’s instructions
-from Cromwell, as given in abstract in the State Papers, run as follows:</p>
-
-<p class='c025'>“‘A memorial [by Cromwell] to my friend Philip Hoby touching
-such matters as he hath now committed to his charge.’</p>
-
-<p class='c030'>“To repair with diligence where the young duke of Longueville
-lies, where he shall find the two daughters of Mons, de Guyse, whom
-he shall salute, declaring that having business in these parts he could
-not omit to visit the one of them ‘of whom he hath by his late being
-there some acquaintance.’ And therewith he shall view well the
-younger sister, and shall require the Duchess, her mother, or whoever
-has the government of them, that he may take the physiognomy of
-her, that he may join her sister and her in a fair table. Which obtained,
-he shall go to the duke of Lorraine, deliver my letter of credence,
-and declare that no doubt he has heard of my good will to advance some
-personage of his house to the marriage of the King my master; and
-albeit my purpose has not taken the effect I desired, yet my affection
-remains the same; and learning lately that his Grace has a daughter
-of excellent quality, I directed the said Philip, who has other affairs
-there, to see her and get her picture. Requiring him to show his inclination
-and devise some overture to the King, upon which I may set
-forth this thing. Philip shall also speak in the same manner to the
-young lady. As soon as he has gotten her physiognomy and known
-the Duke’s pleasure he shall return with all possible diligence.”<a id='r312' /><a href='#f312' class='c020'><b>[312]</b></a></p>
-
-<div class='footnote c026' id='f312'>
-<p class='c022'><span class='label'><a href='#r312'>312</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 380(i).</p>
-</div>
-
-<div class='sidenote'>JOURNEY TO JOINVILLE AND NANCY</div>
-<p class='c023'><span class='pageno' id='Page_147'>147</span>When Marie of Guise married James V of Scotland she left her son
-François, Duke de Longueville, behind her in charge of his maternal
-grandmother, Anthoinette of Bourbon, Duchess of Guise, who throughout
-1538 was at Joinville, one of the chief residences of the family,
-or at places in the immediate neighbourhood. Joinville is a small
-town in Champagne, situated on the Marne between Chaumont and
-Saint-Dizier, and was made a principality by Henri II in 1552 in favour
-of Duke Claude’s eldest son, François II of Guise. Mary Queen of
-Scots resided there for some time when a young girl, under the care of
-her maternal grandmother, the Duchess of Guise. Miss Jane T.
-Stoddart, in her recently-published book, <i>The Girlhood of Mary Queen
-of Scots</i>, describes Joinville as follows:</p>
-
-<p class='c025'>“The train from Bar-le-Duc passes through a fertile, well-wooded
-country, with many sparkling streams and closely planted villages.
-There are few more picturesquely situated towns in Eastern France
-than Joinville, which lies on a branch of the Marne, in a valley overshadowed
-by undulating tree-clad heights, on one of which, until
-near the end of the eighteenth century, stood the Castle of the Guises....
-The woods of Joinville to-day are full of singing birds. Every
-variety of foliage clothes the deep ravines. The high road leading
-towards Wassy is fringed with innumerable small, well-kept gardens,
-and the air, on May evenings, is not only light and bracing, but sweet
-with the scent of flowers. The little town must have changed very
-much in appearance since the sixteenth century. It once possessed
-a wall and three gates, and an old map in the Hôtel de Ville shows
-more than a dozen spires.... It acquired great importance under
-the first Dukes of Guise, who used it as their habitual country residence,
-and entertained royal personages in the Castle with regal
-magnificence. That proud Castle was allowed to fall into ruins during
-the eighteenth century.... The picturesque quays near the church,
-where the grass-impeded Marne runs between rows of tall, irregularly
-built houses, cannot have altered greatly since Queen Mary’s time. In
-unexpected corners we find whitewashed houses adorned with old and
-costly sculptor’s work, with carved pillars, and scrolls of vine-leaves
-surrounding the porch.”<a id='r313' /><a href='#f313' class='c020'><b>[313]</b></a></p>
-
-<div class='footnote c026' id='f313'>
-<p class='c022'><span class='label'><a href='#r313'>313</a>.&nbsp;&nbsp;</span>Stoddart, <i>Girlhood of Mary Queen of Scots</i>, chapter
-xxi. p. 346 <i>et seq.</i></p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>For Joinville, then, the diplomatist and the artist set out about
-<span class='pageno' id='Page_148'>148</span>the middle of August. The journey was a long one, and Hoby received
-in advance for travelling expenses, £66, 13<i>s.</i> 4<i>d.</i>, nearly three
-times as much as he had been paid for his earlier journeys to Havre
-and Brussels, thus showing that the expedition was to be of considerably
-longer duration. This payment is entered in the royal accounts
-under August, anno 30, and is undated, but as may be gathered from
-entries preceding and following it, it was on some day between August
-11 and 22. The place of destination is not mentioned; Hoby
-is said merely to be “sent into the parts of beyond the sea with all
-diligence.”<a id='r314' /><a href='#f314' class='c020'><b>[314]</b></a></p>
-
-<div class='footnote c021' id='f314'>
-<p class='c022'><span class='label'><a href='#r314'>314</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 1280 (f. 32).</p>
-</div>
-
-<p class='c023'>All the information so far to be gained about this journey is contained
-in a letter from the Duchess of Guise to her daughter in Scotland,
-dated September 1, which is preserved among the Balcarres MSS.
-in the Advocates’ Library in Edinburgh. From it we learn that the
-two travellers reached Joinville on August 30. The letter begins
-by describing the health of the youthful Duke of Longueville, who was
-not quite three years old, and was growing very tall and plump, and
-goes on to give an account of the illnesses of various members of the
-family. Louise was still ill of the fever, and had not moved from her
-bed for eight days. Her brother Claude had been ill, even to death,
-at Autun, but was now quite out of danger. “Your sister Anthoinette
-is also ill of a fever and of a rheum, but I think she will do well. Your
-aunt (the Duchess of Lorraine) is sent for to be at Court at the coming
-of the Queen of Hungary, who is to be presently at Compiègne, where
-the King and all the Court will be in a few days.”</p>
-
-<p class='c023'>The letter then continues:</p>
-
-<div class='sidenote'>HOLBEIN AT JOINVILLE AND NANCY</div>
-
-<p class='c025'>“It is but two days since the gentleman of the King of England
-who was at Havre and the painter were here. The gentleman came
-to me, pretending that he was going to the Emperor, and having
-heard that Louise was ill, would not go without seeing her, that he might
-report news of her to the King his master. He saw her (it was the day
-of her fever), and talked with her as he had done to me. He then told
-me that, being so near Lorraine, he wished to go to Nency to see the
-country. ‘Je me doute (doubtai) in contynent il y allet voir la
-demoyselle (<i>i.e.</i> Anne of Lorraine) pour la tirer comes les aultres;’
-for which reason I sent to their lodging to see who was there, and
-<span class='pageno' id='Page_149'>149</span>found the said painter was there. In fact they have been at Nency,
-where they spent a day, and were well entertained, and at every meal
-the <i>maître de hôtel</i> came to eat with them, with plenty of presents.
-‘Vella se que j’en ay encore seu; au pis alle sy navyes pour voysine
-vostre seur se pouret estre vostre cousine.’”<a id='r315' /><a href='#f315' class='c020'><b>[315]</b></a></p>
-
-<div class='footnote c026' id='f315'>
-<p class='c022'><span class='label'><a href='#r315'>315</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 262. Balcarres MS., ii.
-20. For the original text of this letter, see Appendix (<a href='#app-L'>L</a>).</p>
-</div>
-
-<hr class='c028' />
-
-<p class='c023'>This letter fully bears out Cromwell’s instructions to Hoby. It is
-plain from its wording that Hoby had already obtained a portrait of
-Louise at Havre, and at least one other, of some unnamed lady (“pour
-la tirer comes <i>les aultres</i>”); and that the painter who had drawn
-them was the painter now at Joinville. Their journey was, however,
-in part at least, a failure, for their chief purpose in visiting the Duchess
-was to obtain a portrait of her daughter Renée, the “religieuse.”
-Hoby was ordered “to take the physiognomy of her, that he may join
-her sister and her in a fair table”; in other words, he was to get a
-drawing of the younger girl in order that her portrait might be painted
-as a companion to the one of her sister Louise already completed, so
-that they might be hung side by side in one of those double frames
-hinged together of which Henry VIII had several in his collection.
-Unfortunately for their purpose, Renée was not at Joinville, so that
-nothing could be done, and Hoby had to be content with an interview
-with Louise in her bedchamber. The fourth daughter, Anthoinette,
-was at home, but she was then only a child of seven. Thanks to the
-curiosity of the Duchess, however, we know that they succeeded in
-the second half of their mission. They spent a day at Nancy, where
-they were well received by the Duke of Lorraine, and evidently procured
-the drawing required, which Holbein would easily make in a few
-hours. Hoby attempted to conceal the real purpose of this visit to
-Nancy from the Duchess of Guise, but the lady was sharp enough to
-guess what was in the wind. Whether Louise or Anne, however, it
-was all in the family. “If the worst comes to the worst,” she tells
-the Queen of Scots, “if you do not have your sister for neighbour,
-it may well be your cousin.”</p>
-
-<p class='c023'>The letter is far from easy to decipher, owing to its extraordinary
-spelling and grammar. It is difficult to gather from it which of the
-two places Hoby and his companion first visited. The Duchess,
-<span class='pageno' id='Page_150'>150</span>writing only two days after they had been with her, says that the
-envoy told her that “he wished to go to Nency,” which seems to
-indicate a prospective journey; but, on the other hand, she says “they
-have been to Nency,” and a journey from Joinville to Nancy and
-back again, together with a whole day spent at the latter place, could
-not possibly have been accomplished between August 30 and
-September 1, so that it looks as though they had gone straight to
-the Duke of Lorraine in spite of Cromwell’s instructions, and then
-from there on to Joinville. The point, however, is of little importance.</p>
-
-<p class='c023'>Neither in Cromwell’s instructions nor the Duchess’s letter is
-Holbein mentioned by name, but that he was the painter who accompanied
-Hoby seems certain. In less than a fortnight afterwards he
-was in Basel, an easy journey from Lorraine, where he made a stay
-of at least some weeks, returning to England some time before Christmas,
-when he received from the royal purse a special reward of £10 for
-his journey into “high Burgony.” The entry runs as follows:
-“December, A<b>o</b> xxx:—Item payde to Hans Holbyn, one of the Kingis
-paynters, by the Kingis commaundement, certefyed by my Lorde
-pryviseales lettre, x <i>li.</i> for his costis and chargis at this
-tyme sent aboute certeyn his gracis affares into the parties of high
-Burgony, by way of his Graces rewarde, x <i>li.</i>”<a id='r316' /><a href='#f316' class='c020'><b>[316]</b></a></p>
-
-<div class='footnote c021' id='f316'>
-<p class='c022'><span class='label'><a href='#r316'>316</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 1280 (f. 48).</p>
-</div>
-
-<p class='c023'>Wornum and other writers have assumed that this journey to
-High Burgundy had to do with the painting of the portrait of the
-Duchess of Milan. The former even suggests that the £10 might be a
-deferred payment for the visit to Brussels in March.<a id='r317' /><a href='#f317' class='c020'><b>[317]</b></a> But the title
-“High Burgony” was quite appropriate to the district in which
-Joinville and Nancy are situate. Woltmann says that High Burgundy
-was the name given to the county of Burgundy (Franche Comté),
-which belonged to the Emperor, in distinction to the duchy of Burgundy,
-which was French, and added that, in those days, the denomination
-would not have been impossible for Switzerland.<a id='r318' /><a href='#f318' class='c020'><b>[318]</b></a> It may be
-taken, therefore, considering the lack of accurate geographical knowledge
-then existing in England, that the expression “High Burgony”
-sufficiently indicated, in the mind of the keeper of the royal accounts,
-that part of the world in which Guise and Lorraine had their headquarters.</p>
-
-<div class='footnote c021' id='f317'>
-<p class='c022'><span class='label'><a href='#r317'>317</a>.&nbsp;&nbsp;</span>Wornum, p. 315.</p>
-</div>
-
-<div class='footnote c021' id='f318'>
-<p class='c022'><span class='label'><a href='#r318'>318</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 455.</p>
-</div>
-
-<div class='sidenote'>THE PAYMENT OF HOLBEIN’S SALARY</div>
-<p class='c023'>That the payment of this special reward to Holbein—his travelling
-<span class='pageno' id='Page_151'>151</span>and other expenses would be included in the sum of £66, 13<i>s.</i>
-4<i>d.</i> paid to Hoby—was deferred until Christmas was owing to the
-fact that, finding himself so near Switzerland when at Joinville, he
-seized the opportunity of paying a visit to his family in Basel, and
-so remained absent from England for about three months in all. Another
-point in favour of the contention that Holbein was abroad on the
-King’s business during 1538 more often than has been generally
-supposed, is to be found in the fact that at the Midsummer quarter he
-received three-quarters of a year’s salary in advance. At Lady Day he
-had been paid his customary quarter’s salary: “Lady Day, Anno
-xxix:—Item for Hans Holben, paynter, vii <i>li.</i> x<i>s.</i>”</p>
-
-<p class='c023'>At Midsummer he received £30, a whole year’s salary, but it included
-the quarter from Lady Day then owing to him. The entry
-reads: “Midsummer, Anno xxx:—Item for Hans Holbyn, paynter,
-for one hole yere’s annuitie advaunced to him beforehand the same
-yere, to be accomptedde from o<b>r</b> Ladye dey last past, the somme of
-xxx <i>li.</i>”</p>
-
-<p class='c023'>On the two following quarter-days, owing to this payment in
-advance, he is entered as receiving nothing:</p>
-
-<p class='c025'>“Michaelmas, A<b>o</b> xxx:—Item for Hans Holbyn, paynter, wages
-nihil<b>a</b> quia solutum per warrantum.” “Christmas, A<b>o</b> xxx:—Item
-for Hans Holbyn, paynter, Nihil.”</p>
-
-<p class='c027'>This payment in advance has generally been regarded as a mark
-of the King’s special favour and as an acknowledgment of his talents
-as an artist, but it was more probably due to his frequent absences
-from England at that time. On the one hand, his several journeys
-might well entail some amount of extra expenditure not covered by
-his travelling allowances, while on the other his income would be
-reduced through the limited time left him for painting the portraits
-of English courtiers or German merchants. There is, in fact, no
-portrait from his brush bearing the date 1538. Added to this, his
-great success in painting the Duchess of Milan must be taken into
-account. The King was delighted with this portrait, and his choice
-would naturally fall upon the man who had painted it when a similar
-journey was in contemplation.</p>
-
-<p class='c023'>There is one piece of evidence, however, against the assumption
-that Holbein was the painter who went to Joinville, which must not
-<span class='pageno' id='Page_152'>152</span>be overlooked—a letter from Niklaus Kratzer, the King’s astronomer,
-to Cromwell. It is a much-mutilated epistle, written in somewhat
-halting and incorrect Latin. Kratzer begins by saying that he had
-received, the day before writing, by a ship from Antwerp, two little
-books by Georgius Spalatinus, which the author had sent to him in
-order that he might present them to Cromwell. “These,” he says, “I
-gave to Hans Holbein (Joanni Holbein), in order that he might give
-them to you.” At first sight this looks as though Kratzer might have
-given Holbein the books to deliver, knowing that he was about to visit
-Cromwell for final instructions on the eve of his departure for High
-Burgundy. The letter,<a id='r319' /><a href='#f319' class='c020'><b>[319]</b></a> however, is dated St. Bartholomew’s Day,
-August 24 (Datum Lunduni, in [festo Sancti] Bartholomei), so that
-if Kratzer had seen Holbein on August 23, the latter could not
-possibly have reached Joinville by the 30th; for although the King’s
-messengers were accustomed to travel with great expedition—Castillon
-complains to Montmorency that the English couriers took only five
-or six days between Paris and London, whereas the French messengers
-took double that time—it would have been impossible, even with the
-utmost speed then attainable, to reach the far borders of eastern
-France within a week. But although the letter is dated “St. Bartholomew’s
-Day,” it has no year-date. It has been placed under the
-year 1538 by the editor of the <i>Calendars of Letters and Papers</i> from
-such internal evidence in it as it is possible to decipher; but it is so
-badly mutilated that it is impossible to make much sense of the greater
-part of it. It contains news from abroad, and mentions Burgratus,
-vice-chancellor of the Duke of Saxony; and Burgratus was certainly in
-London in the summer of 1538, with other envoys from the German
-Protestant princes. These envoys, however, paid more than one
-visit to England. As, therefore, the letter contains no evidence
-absolutely conclusive of the date 1538, it may, perhaps, be permitted
-to hold the opinion that it was written in some other year, and that,
-by itself, it is not sufficient to negative the strong proofs brought
-forward to show that Holbein was the painter who made this particular
-journey into France. Nor was this the only occasion on which
-Spalatinus used Kratzer as the medium for sending copies of his
-writings to Cromwell. On February 5, 1539, Cromwell wrote to the King,
-enclosing “a book brought this morning by Nic. Cratzer, astronomer,
-<span class='pageno' id='Page_153'>153</span>which Geo. Spalatinus, some time schoolmaster to the duke of Saxony,
-desired him to deliver to the King, on ‘The Solace and Consolation
-of Princes.’”<a id='r320' /><a href='#f320' class='c020'><b>[320]</b></a></p>
-
-<div class='footnote c021' id='f319'>
-<p class='c022'><span class='label'><a href='#r319'>319</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 179.</p>
-</div>
-
-<div class='footnote c021' id='f320'>
-<p class='c022'><span class='label'><a href='#r320'>320</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 227. <i>St. P.</i>, i.
-592.</p>
-</div>
-
-<div class='sidenote'>THE DATE OF HOBY’S INSTRUCTIONS</div>
-<p class='c023'>One other point in connection with this subject must be mentioned
-before leaving it. Hoby’s instructions for visiting the courts of the
-Duchess of Guise and the Duke of Lorraine are not dated. The editor of
-the <i>Calendars</i> has entered them under February 1538, together
-with the very similar instructions for the visit to the Duchess of
-Milan, which are also undated, placing both under the one heading,
-“Philip Hoby’s Missions.” For the latter instructions, which he puts
-second, February is, of course, the correct date, but the former
-should be under August, as the preceding pages prove. Dr. Gairdner was
-misled, in the first place, by the fact that in February Hoby received
-payment from the royal purse for a journey to France, and, in the
-second, through his misreading of the heading to the Brussels
-instructions, as
-explained in the last chapter.<a id='r321' /><a href='#f321' class='c020'><b>[321]</b></a> By the insertion of two unnecessary
-words,<a id='r322' /><a href='#f322' class='c020'><b>[322]</b></a> the last-named instructions are made to read as though it
-was Cromwell’s intention that Hoby, on this particular journey,
-should go first of all to the Duchess of Lorraine, and then to the Duchess
-of Milan. He concludes from this, in his preface to vol. xiii. pt. i.
-of the <i>Calendars of Letters and Papers</i>, that Hoby went to France in
-February for the purpose of obtaining the portraits of Marie of Guise
-and her sister Louise in a single picture, and immediately upon his
-return set out for Brussels to get one of the Duchess of Milan. There
-is no need to quote the whole of his argument, as it is based upon a
-misapprehension, for the instructions in question were undoubtedly
-drawn up in August, as the letter of the Duchess of Guise, of the
-1st of September, clearly proves.<a id='r323' /><a href='#f323' class='c020'><b>[323]</b></a></p>
-
-<div class='footnote c021' id='f321'>
-<p class='c022'><span class='label'><a href='#r321'>321</a>.&nbsp;&nbsp;</span>See above, pp. 119-20.</p>
-</div>
-
-<div class='footnote c021' id='f322'>
-<p class='c022'><span class='label'><a href='#r322'>322</a>.&nbsp;&nbsp;</span>“Instructions given by the L. Cromwell to Philip Hoby,
-sent over by him to the Duchess of Lorraine then [to the] Duchess of
-Milan.”</p>
-</div>
-
-<div class='footnote c021' id='f323'>
-<p class='c022'><span class='label'><a href='#r323'>323</a>.&nbsp;&nbsp;</span>After pointing out that the instructions order Hoby to
-return home at once after obtaining portraits of the two Guises and
-the daughter of the Duke of Lorraine, he continues: “Yet instructions
-for his proceeding on another very similar mission seem to have been
-drawn up at or near the same time; and by these second instructions he
-was not to come home at all, but proceed at once from the duchess of
-Lorraine in France to the duchess of Milan in the Netherlands. It
-would seem, however, that the heading to the second set of
-instructions has been supplied by a transcriber of a later date, and
-it is clearly inaccurate.” <i>C.L.P.</i>, vol. xiii. pt. i., preface,
-p. xxxviii.</p>
-</div>
-
-<p class='c023'>In spite of this anxiety to obtain portraits, Henry’s negotiations
-for a French marriage were as unsuccessful as his advances for the hand
-<span class='pageno' id='Page_154'>154</span>of the Duchess of Milan. In each case, no doubt, the proposed alliance
-was largely political, though Henry seems to have been genuinely
-anxious to marry Madame de Longueville, or to prevent his nephew of
-Scotland from doing so, and was afterwards by no means unwilling
-to take one of her sisters. Throughout the whole proceedings the
-French and the Imperial ambassadors in London kept each other well
-informed of what was going on, though each one was of the private
-opinion that Henry was more inclined towards a bride from his country
-than from the other’s. Thus Chapuys, writing to Charles V early in
-1539, reports that “everybody says he is much inclined to the duchess
-of Milan, whom, as I was informed three days ago, by one who knows
-almost all secrets, he would willingly take, even if she were delivered
-to him naked without a penny.”<a id='r324' /><a href='#f324' class='c020'><b>[324]</b></a> On the other hand, Castillon told
-Montmorency: “He, however, says the practice of his marriage with
-the duchess of Milan still continues, ... but I know he would
-willingly return to marry Mademoiselle de Guise. If you think the
-King (Francis) and Emperor should have the pastime of seeing him
-thus ‘virolin virolant,’ I can easily get it up, provided a little good
-cheer is made to his ambassador, and that M. le Cardinal or M. de Guise
-caress him a little.”<a id='r325' /><a href='#f325' class='c020'><b>[325]</b></a> Henry, however, finally turned his attentions
-in another direction, while two of the ladies he had sought were soon
-married elsewhere, Louise of Guise to Charles de Croi, Prince de Chimaix,
-in 1541, and Anne of Lorraine to René, Prince of Orange, in 1540.
-The third, Marie of Vendôme, died unmarried, aged twenty-two, on
-28th September 1538, a week or two after Holbein was at Joinville.<a id='r326' /><a href='#f326' class='c020'><b>[326]</b></a></p>
-
-<div class='footnote c021' id='f324'>
-<p class='c022'><span class='label'><a href='#r324'>324</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 37 (9 Jan. 1539.)</p>
-</div>
-
-<div class='footnote c021' id='f325'>
-<p class='c022'><span class='label'><a href='#r325'>325</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. ii. 1120 (2 Dec. 1538.)</p>
-</div>
-
-<div class='footnote c021' id='f326'>
-<p class='c022'><span class='label'><a href='#r326'>326</a>.&nbsp;&nbsp;</span>She was betrothed to François, Duke of Nevers, who
-married her sister Margaret before the end of the same year.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S MOVEMENTS IN 1538</div>
-<p class='c023'>Whether Holbein painted pictures of one or all of these ladies from
-the drawings he made in France it is impossible to say. The drawings
-themselves cannot be traced, but this does not prove that they were
-not taken, for the preliminary studies of Christina of Milan and of
-Anne of Cleves and her sister Amelia have so far remained undiscovered.
-Holbein and Hoby parted company at Nancy early in September,
-the former to visit his wife and family in Basel, while the latter returned
-post-haste to London, no doubt taking with him Holbein’s sketch of
-Anne of Lorraine in order to show it to his royal master. In October
-Hoby set out for Spain, in connection with the negotiations for the
-Milan marriage.</p>
-
-<p class='c023'><span class='pageno' id='Page_155'>155</span>The contents of this chapter and the preceding one may be
-summarised as follows:</p>
-
-<p class='c033'><i>February 1, 1538.</i>—Peter Mewtas sent over to France to obtain
-the portrait of Marie of Lorraine, Duchess of Longueville. Early in
-the same month Philip Hoby was also sent into France for the same
-purpose (about the King’s “necessaries and affairs of importance”),
-for which he was paid £23, 6<i>s.</i> 8<i>d.</i></p>
-<p class='c034'><i>March 2 or 3, 1538.</i> —Hoby and Holbein left London for Brussels
-to obtain the portrait of the Duchess of Milan, reaching the latter
-place on the evening of the 10th.</p>
-<p class='c034'><i>March 12, 1538.</i>—Holbein made his drawing of the Duchess, and
-the two men started home on the evening of the same day, reaching
-London on March 18.</p>
-<p class='c034'><i>April and May 1538.</i>—Holbein at work on the full-length portrait
-of the Duchess of Milan.</p>
-<p class='c034'><i>May 29, 1538.</i>—Holbein received a royal licence to export 600
-tuns of beer.</p>
-<p class='c034'><i>June 3, 1538.</i>—Hoby and Holbein left London for Havre to obtain
-the portrait of Louise of Guise, and of some other lady, possibly
-Marie or Margaret of Vendôme.</p>
-<p class='c034'><i>June 30, 1538.</i>—Holbein received three-quarters of a year’s
-salary in advance.</p>
-<p class='c034'><i>August 11-22, 1538.</i>—On one of the days between these dates Hoby
-and Holbein left London for Nancy and Joinville to obtain portraits of
-Renée of Guise and Anne of Lorraine, receiving £66, 13<i>s.</i>
-4<i>d.</i> for their travelling expenses. They arrived at Joinville on
-August 30, to find Renée absent, but were successful at Nancy in
-getting a likeness of Anne. From Joinville Hoby returned to London,
-and Holbein went on to Basel, which he reached before September 10. He
-remained there until after October 16.</p>
-<p class='c034'><i>December 1538.</i>—Holbein, upon his return to London, received a
-special reward of £10 “for his costis and chargis at this tyme sent
-aboute certeyn his gracis affares into the parties of high Burgony, by
-way of his Graces rewarde.”</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_156'>156</span>
-  <h2 id='ch-XXII' class='c012'>CHAPTER XXII<br /><span class='c017'>BASEL REVISITED</span></h2>
-</div>
-
-<p class='c018'>Holbein’s return to Basel—Fêted by his fellow-citizens—His prosperous
-condition—Proposes to repaint his wall-decorations—Offer of a pension
-of fifty gulden from the Basel Town Council, with permission to remain
-in England two years longer—Death and will of Sigmund Holbein—Holbein
-returns to England, probably by way of Paris, in order to apprentice
-his son Philip to Jacob David, goldsmith—Back in London before
-Christmas 1538—Receives a special reward for his journey to “High
-Burgony”—Portraits of Edward, Prince of Wales—Guillim Stretes.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-s.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-SOME nine days after Hoby and Holbein parted company
-at Nancy the latter was home again in Basel after
-an absence of six years.<a id='r327' /><a href='#f327' class='c020'><b>[327]</b></a> The journey across the
-Vosges mountains would not be a long one. On
-September 12, 1538, Rudolph Gwalther, then studying
-in Basel, wrote to the antistes Heinrich Bullinger in
-Zürich: “Hans Holbein came recently to Basel from England, and
-he gives such a glowing account of the happy condition of that kingdom,
-that after a few weeks’ stay he means to go back again.”<a id='r328' /><a href='#f328' class='c020'><b>[328]</b></a>
-He received a very hearty welcome from the citizens, who, now
-that his reputation was much more than a local one, were naturally
-proud of the fact that he was one of themselves. On September 10
-his fellow-burghers gave a banquet in his honour in the Guild-house
-in the St. Johanns-Vorstadt, the quarter of the city in which
-Holbein’s own residence was situated. Matthäus Steck, the steward
-of the Dominican Monastery, notes in his Book of Accounts that
-he and the schoolmaster, Brother Jacob, with their wives, were
-present on the occasion, and that they spent eight shillings.</p>
-
-<div class='footnote c021' id='f327'>
-<p class='c022'><span class='label'><a href='#r327'>327</a>.&nbsp;&nbsp;</span>Unless, as suggested above (see p. 63), he had paid an
-earlier visit to Basel, about 1534-5, of which, however, there is no
-actual evidence.</p>
-</div>
-
-<div class='footnote c021' id='f328'>
-<p class='c022'><span class='label'><a href='#r328'>328</a>.&nbsp;&nbsp;</span>“Venit nuper Basileam ex Anglia Johannes Holbein, adeo
-felicem ejus regni statum praedicans, qui aliquot septimanis exactis
-rursum eo migraturus est.” This letter, which was first quoted by
-Hegner (<i>Hans Holbein der Jüngere</i>, p. 246), is now among the
-Zürich State Papers in the Antistical Archives.</p>
-</div>
-
-<div class='sidenote'>PROPOSAL TO REPAINT WALL-PAINTINGS</div>
-<p class='c023'>There is a most interesting reference to this home-coming in Dr.
-Ludwig Iselin’s additions to the Faesch manuscript (discovered by Dr.
-<span class='pageno' id='Page_157'>157</span>His-Heusler), in which he says: “When he returned to Basel for a
-time from England, he was attired in silk and velvet; before this he
-was obliged to buy wine at the tap.”<a id='r329' /><a href='#f329' class='c020'><b>[329]</b></a> In Basel, a city where wine
-was both cheap and plentiful, and all men of means kept a well-stocked
-cellar, to be obliged to procure it, from day to day, from the tavern
-was a sign of poverty, and Iselin thus contrasts Holbein’s worldly
-condition before leaving Switzerland and after his entry into the
-service of Henry VIII. Iselin adds, after stating that Holbein died
-soon after his return to England, that “his intention was, had God
-lengthened his life, to paint many of his pictures again, at his own
-expense, as well as the apartment in the Town Hall. The house
-‘zum Tanz,’ he said, was ‘rather good.’” The pictures which he
-wished to put in order were, of course, his wall-paintings on the exterior
-of several of the Basel houses, done in his youth, some eighteen
-years earlier, which even then were beginning to suffer from exposure
-to the weather, and his frescoes in the Town Hall, some of which were
-already damaged by damp. No doubt, too, he felt that he could
-improve upon them, though it is interesting to note that he expressed
-himself satisfied with the “House of the Dance” façade, in which he
-had given the freest play to his imagination.</p>
-
-<div class='footnote c021' id='f329'>
-<p class='c022'><span class='label'><a href='#r329'>329</a>.&nbsp;&nbsp;</span>See Woltmann, i. p. 456 and ii. p. 43.</p>
-</div>
-
-<p class='c023'>Twice during his absence in England, on November 23, 1533, and
-January 7, 1537, he had been “laid out for the banneret” by his
-Guild “zum Himmel”—that is, appointed as one of those who had to
-perform the military service of the Guild, but he had ignored the
-summons.<a id='r330' /><a href='#f330' class='c020'><b>[330]</b></a> Possibly he knew nothing about it. He had even disregarded
-the letter from the burgomaster, sent to him in September
-1532, shortly after his return to England, in spite of the offer of a
-pension which it contained; for England afforded far better opportunities
-than Switzerland for the making of money.</p>
-
-<div class='footnote c021' id='f330'>
-<p class='c022'><span class='label'><a href='#r330'>330</a>.&nbsp;&nbsp;</span>See Woltmann, i. p. 457. English translation, p. 430.</p>
-</div>
-
-<p class='c023'>The two items, from the Banner Book of the Guild “zum Himmel,”
-are as follows:</p>
-
-<div class='fs80'>
-
-<p class='c035'>“Item A<b>o</b> 1533 Jar vff Sunthag vor kattrinen Sind dise her noch geschriben von
-beyden Zünfften vss gelegtt vom Himels vnnd Sternen.</p>
-<p class='c023'>Erstlich zum Fenlin vnd Baner.</p>
-<p class='c036'>&nbsp;. &nbsp;. &nbsp;. &nbsp; . &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. Zum Baner.</p>
-<p class='c036'>&nbsp;. &nbsp;. &nbsp;. &nbsp; . &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. &nbsp;. Hanns Holbein der Moller” (his name being at the head
-of a number of other guildsmen).</p>
-<p class='c035'><span class='pageno' id='Page_158'>158</span>“A<b>o</b> 1537 Jar vf Sunthag noch dem nuwen Jar Sindt dise Hemach
-geschriben zum Fenlin vnd zu dem Baner vss geleytt erstlich Himels vij
-Mann (here follow the seven names).</p>
-<p class='c035'>Zum paner xiij man.” Here follow the thirteen names, among them being
-“Hanns Holbein der maller.”<a id='r331' /><a href='#f331' class='c020'><b>[331]</b></a></p>
-
-</div>
-
-<div class='footnote c021' id='f331'>
-<p class='c022'><span class='label'><a href='#r331'>331</a>.&nbsp;&nbsp;</span>Woltmann, ii. p. 32, quoting from His, <i>Die Baseler
-Archive</i>, &amp;c.</p>
-</div>
-
-<p class='c023'>The first entry is brought forward by Mr. W. F. Dickes as one of the
-strongest pieces of evidence in favour of his contention that Holbein
-obeyed the request contained in the Burgomaster’s letter, and returned
-to Basel in the winter of 1532, and remained there throughout the
-following year, so that he could not have painted “The Ambassadors”
-in England in 1533. He entirely misreads the entry, however, which
-he regards as a record “of monies due to Holbein for festal decorations
-on behalf of the two city guilds”<a id='r332' /><a href='#f332' class='c020'><b>[332]</b></a> (Von Himmel und von Sternen);
-and he ignores the second entry, which, to be logical, should prove
-that Holbein was also in Basel in January 1537. No “monies” are
-entered against these items, as one would gather from his description,
-so that it is difficult to see how they record sums due to the painter.
-They were merely lists of names, as Woltmann points out,<a id='r333' /><a href='#f333' class='c020'><b>[333]</b></a> of members
-of the Guilds appointed to take their turn of military service on festal
-occasions. The second entry shows this even more clearly than the
-first, and from it we learn that Holbein was one of thirteen members
-thus appointed as banner-bearers.</p>
-
-<div class='footnote c021' id='f332'>
-<p class='c022'><span class='label'><a href='#r332'>332</a>.&nbsp;&nbsp;</span>Dickes, <i>Holbein’s Ambassadors Unriddled</i>, p. 3.</p>
-</div>
-
-<div class='footnote c021' id='f333'>
-<p class='c022'><span class='label'><a href='#r333'>333</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 457.</p>
-</div>
-
-<div class='sidenote'>OFFERED PENSION BY BASEL COUNCIL</div>
-<p class='c023'>It is probable that one of the chief reasons for Holbein’s visit to
-Basel, in addition to a natural desire to see his family, was to make
-some arrangement with the Town Council for a further leave of absence.
-He was now in the actual service of a foreign sovereign, and
-he ran the risk of losing his rights of citizenship unless he could come
-to some understanding with the civic authorities. He had taken,
-as we have seen, no notice of the Council’s urgent request, sent after
-him to England in the autumn of 1532, and he had ignored the calls
-made upon him by the Painters’ Guild during the six years of his
-absence, for fulfilling his share of various official and ceremonial duties.
-Probably he was quite unaware that such calls had been made. Now,
-however, that he was in Henry VIII’s pay, it was necessary that some
-definite arrangement should be made, which would enable him to
-remain in England at least some years longer without risk of unpleasant
-<span class='pageno' id='Page_159'>159</span>consequences. The Council, seeing that he had become a
-painter of high reputation, known far beyond the confines of Switzerland,
-were more anxious than ever to keep him in Basel. Aware,
-however, that they were not rich enough to find him employment as
-remunerative as that enjoyed by him at the English court, they
-effected a compromise. A document was drawn up, after consultation
-with the painter, in which a much more generous offer was made
-to him than the one proposed in 1532. This agreement, which was
-signed on behalf of the Council by Jakob Meyer, “zum Hirschen,”
-after extolling Holbein’s reputation as a painter, offered him a pension
-of fifty gulden a year, with permission to remain in England for two
-years longer, during which time they would pay his wife a pension of
-forty gulden. After his final return to Basel, he was still to be permitted
-to receive service money from foreign kings, princes, nobles,
-and cities, and, in order to sell his pictures, was to be allowed to
-visit France, England, Milan, or the Netherlands once, twice, or thrice
-a year for that purpose.</p>
-
-<p class='c023'>The document runs as follows:</p>
-
-<p class='c025'>“Master Hans Holbein the painter’s Pension.”</p>
-
-<p class='c030'>“We, Jacob Meyger, Burgomaster, and the Council of the city of
-Basel, do make known and acknowledge with this letter that:</p>
-
-<p class='c030'>“From the special and favourable will which we bear to the
-honourable Hans Holbein, the painter, our dear citizen, since he is
-famous beyond other painters on account of the wealth of his art;
-weighing further that in matters belonging to our city respecting
-building affairs and other things which he understands, he can aid
-us with his counsel, and that in case we had to execute painting work
-on any occasion, he should undertake the same, for suitable reward,
-we have therefore consented, arranged, and pledged to give and to
-present to the above-named Hans Holbein a free and right pension
-from our treasury of fifty gulden, though with the following conditions,
-and only during his lifetime, whether he be well or ill, yearly,
-in equal parts at the four quarters.</p>
-
-<p class='c030'>“As however the said Hans Holbein has now sojourned for some
-time with the King’s Majesty in England, and according to his declaration
-it is to be feared that he can scarcely quit the Court for the
-next two years, we have allowed him under these circumstances to
-<span class='pageno' id='Page_160'>160</span>remain in England the two years following this date, in order to merit
-a gracious discharge, and to receive salary, and have consented during
-these two years to pay his wife residing among us forty gulden yearly,
-<i>i.e.</i> ten gulden quarterly, which are to begin from next Christmas, as
-the end of the first quarter. With the addition that in case Hans
-Holbein should receive his discharge from England within these two
-years and should return to us at Basel and remain here, that we should
-from that moment give him his pension of fifty gulden, and let it be
-paid to him in equal parts at the end of the quarter. And, as we can
-well imagine that the said Holbein, with his art and work being of so
-far more value than that they should be expended on old walls and
-houses, cannot with us alone reap much advantage, we have therefore
-allowed the said Holbein, that, unimpeded by our agreement, for the
-sake of his art and trade, and for no other unlawful and crafty matters,
-as we have also impressed upon him, he may gain, accept, and receive
-service money from foreign kings, princes, nobles, and cities; that
-moreover he may convey and sell the works of art which he may execute
-here once, twice, or thrice a year, each time with our special permission,
-and not without our knowledge, to foreign gentlemen in France,
-England, Milan, and the Netherlands. Yet on such journeys, he may
-not remain craftily abroad, but on each occasion he shall do his
-business in the speediest manner, and repair home without delay and
-be serviceable to us, as we have before said, and as he has promised.</p>
-
-<p class='c030'>“In conclusion, when the oft-mentioned Holbein has paid the
-debt of nature according to the will of God, and has departed from
-this valley of tears, then shall this warrant, pension, and present
-letter be at an end, and we and our descendants therefore are not
-pledged to give aught to anyone. All upright, honourable, and with
-integrity. This letter, signed with our official seal, we have given
-into the hand of the oft-mentioned Holbein as a true document.
-Wednesday the sixteenth day of October, anno xxxviii.”<a id='r334' /><a href='#f334' class='c020'><b>[334]</b></a></p>
-
-<div class='footnote c026' id='f334'>
-<p class='c022'><span class='label'><a href='#r334'>334</a>.&nbsp;&nbsp;</span>Woltmann, i. pp. 458-9. English translation, pp. 430-1.</p>
-</div>
-
-<hr class='c028' />
-
-<div class='sidenote'>DEATH AND WILL OF SIGMUND HOLBEIN</div>
-<p class='c023'>This document shows very clearly that though the civic authorities of
-Basel were anxious to retain Holbein in their service, they were
-doubtful whether they would be able to find much work for him except
-in the direction of an occasional wall-painting or decoration of a
-house-front; and his talents, they acknowledged, were too great to be
-<span class='pageno' id='Page_161'>161</span>devoted to nothing but the covering of “old walls and houses” with
-designs. They, therefore, made many concessions, which would
-enable him to pursue his art with almost the same freedom he had
-hitherto enjoyed. In spite of the liberality of the terms, however,
-the document remained, as far as Holbein was concerned, a dead
-letter throughout the five remaining years of his life; at least, no
-evidence has so far been discovered to show that he ever visited Basel
-again, though, as suggested in an earlier chapter,<a id='r335' /><a href='#f335' class='c020'><b>[335]</b></a> he may have done
-so about the year 1541. Whether his wife received the pension of
-40 gulden for the first two years is not known. There is no mention
-of it in the Council’s accounts, but Woltmann suggests that it may
-have been given, as was often the case with pensions of this kind, out
-of the monastery revenues.</p>
-
-<div class='footnote c021' id='f335'>
-<p class='c022'><span class='label'><a href='#r335'>335</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_63'>63</a>.</p>
-</div>
-
-<p class='c023'>Holbein was bound to return to England for at least another
-six months, as he had received nine months’ salary in advance, but
-there can be little doubt that he had, at the time, every intention of
-accepting the Council’s conditions. He was, however, so popular in
-England, and had so much work on hand, that he found it increasingly
-difficult to leave, so that in the end his arrangement with the Basel
-Council fell to the ground. It has been suggested, too, that the death
-of his uncle Sigmund in Berne, in November 1540, at about the time
-when Holbein was due to return to Basel, may have had something to
-do with his determination to remain in England; for Sigmund bequeathed
-all his property to his “dear brother’s son Hans,” and it was
-handed over to the latter’s wife in his absence. The will, from which
-we learn that “Sigmund Holbeyn” was then a citizen of Berne, and
-being old, was about to make a journey to Augsburg to see his relations,
-continues:</p>
-
-<p class='c025'>“In the first place, I will and bequeath to my dear brother’s son
-Hans Holbeyn, the painter, citizen at Basel, both as my blood relation
-and my own race and name, as well as from the especial love I bear him
-and from the affinity in which he stands to me, the free gift of all my
-goods and property which I have and leave in the city of Berne,
-namely, my house, and courtyard, and the garden behind, standing
-in the Brunnengasse, on the sunny side, above by the Trom Wall,
-near Görg Zimmerman, the tailor’s, house. The said property is free
-<span class='pageno' id='Page_162'>162</span>from taxes, with the exception of five pounds interest, including
-the commutation-capital, which I owe out of it to Herr Bernhard
-Tillman, treasurer of the council at Berne, for money lent. Item, my
-silver utensils, household furniture, colours, painter’s gold and silver,
-implements for painting, and other things, nothing excepted, that he
-shall appropriate the same as my appointed heir, have it in his possession,
-do with it and live as with his own possession and property,
-unmolested by my sisters and by any one. What I have here bequeathed
-to him, will be found noted on a separate roll, so that my
-cousin can better inquire after it.”<a id='r336' /><a href='#f336' class='c020'><b>[336]</b></a></p>
-
-<div class='footnote c026' id='f336'>
-<p class='c022'><span class='label'><a href='#r336'>336</a>.&nbsp;&nbsp;</span>Woltmann, English translation, p. 106. Original text in
-Woltmann, ii. p. 33-5.</p>
-</div>
-
-<p class='c023'>He left what property he possessed in Augsburg to his three sisters,
-Ursula Nepperschmid and Anna Elchinger in Augsburg, and Margreth
-Herwart in Esslingen. The will is dated September 6, 1540, and the
-testator died very shortly afterwards.</p>
-
-<p class='c023'>On the 18th of November the Berne Town Council wrote to both
-Basel and Augsburg notifying his heirs of his decease, and on the
-10th January in the following year the property was handed over to
-Holbein’s stepson, as the authorised agent of his mother. The confirmation
-of the testament, in the name of Hans Franz Nägely, burgomaster
-of Berne, speaks of him as “the honourable and wise Franz
-Schmid, citizen of Basel,” and says that he brought “a procuracy and
-a letter from Elsbeth, the wife of Master Hans Holbein, the painter,
-citizen of Basel, and also a letter from the burgomaster and council
-of the town of Basel.”</p>
-
-<p class='c023'>This legacy would serve to some extent in place of the annuity of
-40 gulden paid by the Council to Elsbeth Holbein, which would cease
-when her husband failed to carry out his part of the agreement.
-Woltmann suggests that she probably settled in Berne in consequence
-of this bequest, in the house on the sunny side of the Brunnengasse,
-although there is no documentary proof of this. On the other hand,
-the inventory of her household goods and property, drawn up after
-her death in 1549, and preserved in Basel, indicates that she never
-permanently severed her connection with that city.</p>
-
-<div class='sidenote'>PHILIP HOLBEIN AND JACOB DAVID</div>
-<p class='c023'>Holbein must have set out again for England shortly after the
-drawing up of this agreement, and there is some reason to suppose
-that he travelled back by way of Paris, taking his elder son, Philip,
-with him, and apprenticing him in that city for six years to Jacob
-<span class='pageno' id='Page_163'>163</span>David, the goldsmith, who was a native, and still remained a citizen,
-of Basel. This information is obtained from a letter addressed to
-David from the Burgomaster Adelberg Meyer and the Council of
-Basel, dated 19th November 1545,<a id='r337' /><a href='#f337' class='c020'><b>[337]</b></a> with reference to a dispute between
-the apprentice and his master, the latter refusing to give him his discharge
-on the completion of his six years’ service. This letter speaks
-of Holbein as deceased, and refers to Philip as a “good, pious youth,”
-still in his minority, and under the care of his step-brother, Franz
-Schmid.</p>
-
-<div class='footnote c021' id='f337'>
-<p class='c022'><span class='label'><a href='#r337'>337</a>.&nbsp;&nbsp;</span>Discovered, and first published, by Dr. His-Heusler.</p>
-</div>
-
-<p class='c023'>David is informed that “it has credibly reached our ears that thou
-wilt give no discharge to Philipp Holbein (but that thou hast brought
-him moreover in Paris before the Lord-Lieutenant), although he has
-served thee honestly and honourably his six years, which were promised
-by his father, the deceased Hans Holbein, our citizen, now when
-he, at befitting opportunity, desires to depart from thee, and this not
-alone on account of his honest and honourable service, as was thy duty
-before God and in all honour. Thus thou addest one cause of complaint
-to another, and aimest at oppressing the good, pious youth as far as
-thou canst and in causing his ruin. This thine unfriendly conduct has
-caused us not a little regret; we had in no wise foreseen it, but had
-rather hoped that if any one sought to hinder another in his success and
-welfare, thou would’st have taken up his cause and protected him....
-Besides, this Philipp Holbein is in his minority, and is under the care
-of Franz Schmid, his brother, our citizen, and without his help and
-authority is qualified for no lawsuit; it is our pleasure, therefore,
-and we herewith request thee as our citizen, that thou forthwith and
-immediately breakest off the complaint brought by thee against Philipp
-Holbein and allowest him, kindly and friendly to depart from thee, and
-because he has served thee honestly and truly, that thou givest him a
-good sealed letter of discharge, of which he may make use. In all this
-we express our earnest will and command; we have also written to the
-Lieutenant who is judge between you both, our citizens, not to continue
-the proceedings, and to refer you both hither.” The letter concludes by
-saying that if David feels he has a just claim against Philip, he is to
-cite him before the municipal court of Basel, when full justice shall be
-done. A letter to the same effect, and of the same date, was sent to
-Philip, ordering him not to enter into any further law proceedings in
-<span class='pageno' id='Page_164'>164</span>Paris, but to take his discharge and return to Basel, where his case
-would be decided by the municipal authorities.<a id='r338' /><a href='#f338' class='c020'><b>[338]</b></a></p>
-
-<div class='footnote c021' id='f338'>
-<p class='c022'><span class='label'><a href='#r338'>338</a>.&nbsp;&nbsp;</span>Woltmann, English translation, pp. 329-30.</p>
-</div>
-
-<p class='c023'>It seems clear from this letter to David that the dispute arose
-shortly after the completion of Philip’s six years of apprenticeship,
-in which case the boy must have been left in Paris in the autumn of
-1539, and not of 1538. If that was so, then Holbein cannot have
-personally apprenticed him on his return to England from Basel, and
-Philip must have gone there a year later in charge of someone else.
-It is possible, however, that Holbein took his son with him to England,
-and kept him there for twelve months or so, sending or taking him
-to Paris in 1539. It is usually supposed that the boy in the family
-group of 1528 represents Philip, the elder son, born about 1522. In
-the picture he appears to be five or six years old. He would thus be
-about fifteen or sixteen in 1538—rather a late age upon which to
-enter his apprenticeship—and twenty-two at the date of the letter,
-which, however, speaks of him as still a minor.<a id='r339' /><a href='#f339' class='c020'><b>[339]</b></a></p>
-
-<div class='footnote c021' id='f339'>
-<p class='c022'><span class='label'><a href='#r339'>339</a>.&nbsp;&nbsp;</span>It is possible that the boy in the picture is not the one
-who was taken to Paris, but that the latter was a second son, born
-during Holbein’s second residence in Basel (1528-32), whose age would
-thus be in better accord with the evidence of the letter.</p>
-</div>
-
-<p class='c023'>Holbein was back again in London some time before Christmas,
-1538, when he received the special reward of £10 for his journey into
-Upper Burgundy. His first work of importance after his return was a
-portrait of the infant Prince Edward, then some fourteen months
-old. This was presented to the King on January 1, 1539, being entered
-in the roll of New Year’s gifts as: “By Hanse Holbyne a table of the
-pictour of the p<b>i</b>nce (Prince’s) grace.” In return he received from his
-royal master a silver-gilt covered cup supplied by Cornelis Hayes, one
-of the King’s goldsmiths. “To Hans Holbyne, paynter, a gilte cruse
-w<b>t</b> a cover (Cornelis) weing x oz. quarter.”</p>
-
-<div class='sidenote'>PORTRAITS OF PRINCE EDWARD</div>
-<p class='c023'>Holbein died when Edward was just six years old, so that he cannot
-have painted the various portraits of the Prince in which he is represented
-at a somewhat later period of life and after he was King, though
-at one time they were all attributed to him. There are only three
-portraits of him, and a few drawings, which show him as a child of
-tender years, of which the authorship can be given to Holbein. The
-picture in the Provinzial Museum, Hanover, is generally regarded as
-the original work which he painted as a New Year’s gift for the King.
-An almost identical picture is in the possession of the Earl of
-<span class='pageno' id='Page_165'>165</span>Yarborough, which some writers regard as an unquestionable work of
-Holbein, while others consider it to be merely an excellent old copy.</p>
-
-<p class='c023'>The Hanover picture<a id='r340' /><a href='#f340' class='c020'><b>[340]</b></a> is a life-size, half-length figure, facing the
-spectator. The child is dressed in a red velvet coat trimmed with
-gold, and sleeves of gold brocade. A red hat, with gold tags and a
-large ostrich feather, tied under the chin, surmounts the closely-fitting
-cap, from beneath which his fair hair falls over his forehead. His
-right hand is held out with open palm, and in his left he grasps a gold
-rattle. In front of him is a stone or panel on which eight lines of
-Latin verse from the pen of Sir Richard Morysin are inscribed, exhorting
-the Prince to imitate his wonderful father. “Little one, imitate your
-father,” the lines run, “and be the heir of his virtue, the world contains
-nothing greater—Heaven and Nature could scarcely give a son whose
-glory should surpass that of such a father. You only equal the acts
-of your parent, the wishes of men cannot go beyond this. Surpass
-him, and you have surpassed all the kings the world ever worshipped,
-and none will ever surpass you.”<a id='r341' /><a href='#f341' class='c020'><b>[341]</b></a> The head stands out well against
-the sky-blue background. The round, chubby face, and small fat
-hands, are most truthfully and delightfully rendered, while the colour
-scheme is very harmonious. It is, indeed, in all ways, a most sympathetic
-and delightful study of childhood.</p>
-
-<div class='footnote c021' id='f340'>
-<p class='c022'><span class='label'><a href='#r340'>340</a>.&nbsp;&nbsp;</span>Woltmann, 165. Reproduced by Knackfuss, fig. 130;
-Pollard, <i>Henry VIII</i>, p. 242; Ganz, <i>Holbein</i>, p. 122.</p>
-</div>
-
-<div class='footnote c021' id='f341'>
-<p class='c022'><span class='label'><a href='#r341'>341</a>.&nbsp;&nbsp;</span>Wornum, p. 324, note.</p>
-</div>
-
-<p class='c023'>The almost equally charming little work in the Earl of Yarborough’s
-collection (<a href='#pl-22'>Pl. 22</a>)<a id='r342' /><a href='#f342' class='c020'><b>[342]</b></a> is practically a replica of the one in the Hanover
-Museum. According to Wornum, it was at one time in the Arundel
-Collection, at Stafford House, and was sold in 1720, subsequently passing
-into the possession of Sir Richard Worsley, of Appuldurcombe, Isle of
-Wight, and afterwards to the present owner. The same writer notes
-some few peculiarities in its execution—“some defects in the right hand,
-and a certain want of transparency, or a mealyness in the colouring,
-that are not entirely consistent with Holbein’s practice.”<a id='r343' /><a href='#f343' class='c020'><b>[343]</b></a> It is most
-probably an old and careful copy after the original at Hanover. It
-was in the Tudor Exhibition, 1890 (No. 174), and the Burlington Fine
-Arts Club, 1909 (No. 62).</p>
-
-<div class='footnote c021' id='f342'>
-<p class='c022'><span class='label'><a href='#r342'>342</a>.&nbsp;&nbsp;</span>Reproduced in the Catalogue of the Tudor Exhibition,
-1890, p. 80; and <i>Burlington Fine Arts Club Exhibition
-Catalogue</i>, 1909, Pl. xxi.</p>
-</div>
-
-<div class='footnote c021' id='f343'>
-<p class='c022'><span class='label'><a href='#r343'>343</a>.&nbsp;&nbsp;</span>Wornum, p. 323.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_166'>166</span>Charles I had a copy of this portrait made by Peter Oliver, signed
-“P. O.,” and inscribed “Edwardus Princeps Filius Henrici Octavi
-Regis Angliae.” In the King’s catalogue it is described by Van der
-Doort as: “22. Item, the picture of King Edward VI in his infancy,
-in a red cap with a white feather, and a red coat laced with gold, and
-golden cloth sleeves, holding in his left hand a round golden rattle,
-and with his right hand in some action; by a green table, whereupon
-is written in white and black letters. Being in a black shutting frame.
-Painted upon the wrong light. 4¾ in. × 2 in.” A marginal note
-describes it as “copied by Peter Oliver after Hans Holbein, whereof my
-Lord Arundel has the principal limning.” Wenceslaus Hollar engraved
-the picture in 1650,<a id='r344' /><a href='#f344' class='c020'><b>[344]</b></a> when it was in the Arundel Collection.<a id='r345' /><a href='#f345' class='c020'><b>[345]</b></a></p>
-
-<div class='footnote c021' id='f344'>
-<p class='c022'><span class='label'><a href='#r344'>344</a>.&nbsp;&nbsp;</span>Parthey, 1395.</p>
-</div>
-
-<div class='footnote c021' id='f345'>
-<p class='c022'><span class='label'><a href='#r345'>345</a>.&nbsp;&nbsp;</span>There were two portraits of the Prince in the Arundel
-Collection, both attributed to Holbein in the 1655 inventory, and
-entered as “Eduardo Sesto Re d’Inghilterra.”</p>
-</div>
-
-<p class='c023'>The Duke of Northumberland’s version, at Syon House,<a id='r346' /><a href='#f346' class='c020'><b>[346]</b></a> is larger,
-and the Prince is shown at full-length. It resembles the two others
-in most particulars, and appears to be based on the same original
-drawing, though the sitter looks somewhat younger. He is wearing
-a jacket of patterned cloth of gold, and over it a crimson frock or coat
-embroidered with golden stripes. His head is covered with a white-edged,
-striped skull-cap, beneath which a fringe of fair hair falls on
-the forehead; over this is worn a red hat with a dark feather in it.
-Thick-soled, broad-toed shoes complete his costume. He is standing
-on a green velvet cloth edged with gold, which is thrown over an
-ornamental stone tablet containing, as in the other versions, Morysin’s
-Latin verses. The background is a dark green curtain. It is painted
-on panel, 4 ft. 3 in. high by 2 ft. 5 in. wide.</p>
-
-<div class='footnote c021' id='f346'>
-<p class='c022'><span class='label'><a href='#r346'>346</a>.&nbsp;&nbsp;</span>Woltmann, 246.</p>
-</div>
-
-<p class='c023'>This picture has suffered considerably from rubbing and cleaning.
-The preliminary chalk drawing can be plainly seen through the thin
-painting. The position of the hands—which are beautifully painted—is
-somewhat altered, and the child is without his rattle. In one corner
-of the tablet is inscribed “Edwardus Princeps,” and in the other
-“Filius Henrici 8,” now almost obliterated. Mr. Wornum<a id='r347' /><a href='#f347' class='c020'><b>[347]</b></a> thought
-it probable that this was the New Year’s gift picture, as the child
-appears to be a little younger than in the Hanover and Yarborough
-versions, and with a still brighter expression of face.</p>
-
-<div class='footnote c021' id='f347'>
-<p class='c022'><span class='label'><a href='#r347'>347</a>.&nbsp;&nbsp;</span>Wornum, p. 325.</p>
-</div>
-
-<div id='pl-22'  class='figcenter id001'>
-<img src='images/pl-22.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 22</span><br />EDWARD VI<br />1538-9<br /><span class='sc'>Lord Yarborough’s Collection</span></p>
-</div>
-</div>
-
-<div class='sidenote'>DRAWINGS OF PRINCE EDWARD</div>
-<p class='c023'>All three pictures seem to have been based upon the same drawing
-<span class='pageno' id='Page_167'>167</span>in the Windsor Collection, in which the Prince is shown full-face, as a
-young child, with a close skull-cap, and a black cap with a feather
-above it, and a single frill round his neck.<a id='r348' /><a href='#f348' class='c020'><b>[348]</b></a> This drawing has been
-badly rubbed. There is a second drawing in the same collection,
-also full-face, with hair cut closely across the forehead, and a plain black
-hat (<a href='#pl-23'>Pl. 23</a>).<a id='r349' /><a href='#f349' class='c020'><b>[349]</b></a> This, too, has suffered considerable damage. The strong
-brush-work of the outlines stands out with undue emphasis, owing to
-the destruction of the more delicate modelling of the crayons. In this
-drawing the Prince appears to be at least a couple of years older than
-in the other drawing, or in the Hanover picture and its variants. He
-looks quite four or five years old. Mr. Wornum thought it might
-represent Henry Brandon, afterwards Duke of Suffolk, from its likeness
-to the boy in Holbein’s beautiful miniature, the proportions of the
-face not quite agreeing with those of the infant Prince;<a id='r350' /><a href='#f350' class='c020'><b>[350]</b></a> but it is
-undoubtedly a portrait of the latter.</p>
-
-<div class='footnote c021' id='f348'>
-<p class='c022'><span class='label'><a href='#r348'>348</a>.&nbsp;&nbsp;</span>Woltmann, 326; Wornum, ii. 1; Holmes, not given.</p>
-</div>
-
-<div class='footnote c021' id='f349'>
-<p class='c022'><span class='label'><a href='#r349'>349</a>.&nbsp;&nbsp;</span>Woltmann, 327; Wornum, ii. 2; Holmes, i. 2. Reproduced by
-Davies, p. 176; Knackfuss, fig. 146; Ganz, <i>Hdz. von H. H. dem
-Jüng.</i>, 39.</p>
-</div>
-
-<div class='footnote c021' id='f350'>
-<p class='c022'><span class='label'><a href='#r350'>350</a>.&nbsp;&nbsp;</span>Wornum, p. 407.</p>
-</div>
-
-<p class='c023'>There is a third drawing of Edward VI at Windsor, in which he
-seems to be quite six, if not older. It is one of the least pleasing of
-the series, and if by Holbein, must be almost the last drawing he made,
-as the Prince was but six when the painter died. He is shown in
-profile to the left, with hat and feather, and almost yellow hair.<a id='r351' /><a href='#f351' class='c020'><b>[351]</b></a>
-Several portraits exist which are based on this drawing, though they
-are not by Holbein, among the best of them being the versions in the
-National Portrait Gallery,<a id='r352' /><a href='#f352' class='c020'><b>[352]</b></a> the Victoria and Albert Museum,<a id='r353' /><a href='#f353' class='c020'><b>[353]</b></a> and the
-collection of Lord Sackville. The last-named was at the Burlington
-Fine Arts Club in 1909 (No. 60). In this the Prince has golden hair,
-a black cap with a white plume, and a purple gown lined with white fur
-over a pale pink doublet. His right hand, raised, holds a rose, and
-his gloves are in his left. The background is a greenish blue.</p>
-
-<div class='footnote c021' id='f351'>
-<p class='c022'><span class='label'><a href='#r351'>351</a>.&nbsp;&nbsp;</span>Woltmann, 328; Wornum, ii. 3; Holmes, ii. 1. Reproduced
-in <i>Drawings of Hans Holbein</i> (Newnes), Pl. ii.</p>
-</div>
-
-<div class='footnote c021' id='f352'>
-<p class='c022'><span class='label'><a href='#r352'>352</a>.&nbsp;&nbsp;</span>Reproduced in the illustrated catalogue, National
-Portrait Gallery, vol. i. p. 27.</p>
-</div>
-
-<div class='footnote c021' id='f353'>
-<p class='c022'><span class='label'><a href='#r353'>353</a>.&nbsp;&nbsp;</span>Jones Bequest.</p>
-</div>
-
-<p class='c023'>There is a very interesting drawing in coloured crayons by Holbein
-in the Basel Gallery,<a id='r354' /><a href='#f354' class='c020'><b>[354]</b></a> which is described as a portrait of Edward VI,
-and bears considerable likeness to the various paintings and drawings
-in England. The face, however, is decidedly longer and more oval
-<span class='pageno' id='Page_168'>168</span>in shape than in the Windsor drawings; but much of the delicate
-modelling of the flesh has vanished during the passage of time, so that
-it is difficult to speak with absolute certainty as to the likeness. Most
-probably the attribution is the correct one. The boy, who appears
-to be about five years old, is dressed in a princely costume, and is
-holding a meerkat in the bend of his right arm, and stroking its back
-with his left hand. There is no portrait known which follows this
-drawing.</p>
-
-<div class='footnote c021' id='f354'>
-<p class='c022'><span class='label'><a href='#r354'>354</a>.&nbsp;&nbsp;</span>Woltmann, 30. Reproduced by Ganz, <i>Hdz. Schwz.
-Mstr.</i>, ii. 37.</p>
-</div>
-
-<p class='c023'>Upon one of the leaves of Holbein’s sketch-book, preserved in the
-Basel Gallery, there is a delightful little circular drawing of Edward
-when a small child,<a id='r355' /><a href='#f355' class='c020'><b>[355]</b></a> evidently of about the same date as the Hanover
-portrait. His costume is much the same as in the pictures described,
-and he is seated on a cushion on the grass, fondling a small dog with
-his left hand. The background on either side of him is filled in with
-branches of oak with acorns. It may have been the first study for
-a miniature, or possibly a design for a medallion or hat-badge
-to be carried out in gold-and-enamel by one of Holbein’s goldsmith
-friends. In spite of its small size the likeness is evident.</p>
-
-<div class='footnote c021' id='f355'>
-<p class='c022'><span class='label'><a href='#r355'>355</a>.&nbsp;&nbsp;</span>Woltmann, 110 (82). Reproduced by Ganz, <i>Hdz. von H. H.
-dem Jüng.</i>, Pl. 46, and woodcut in Woltmann, i. p. 449.</p>
-</div>
-
-<p class='c023'>The scope of this book does not permit any attempt to give a detailed
-list of the numerous portraits of the young prince painted after the
-death of Holbein, in which he is represented at an age varying from
-about ten to sixteen, some of them being works of very considerable
-merit. In the days when it was believed that Holbein lived until 1554,
-all these portraits were attributed to him, whereas now some other
-authorship must be sought. It is known that Guillim Stretes, the Dutch
-painter, was responsible for at least two of these portraits of the
-young King. According to Strype,<a id='r356' /><a href='#f356' class='c020'><b>[356]</b></a> in 1551 Stretes was paid by the
-Privy Council “fifty marks for recompence of three great tables, made
-by the said Guillim, whereof two were the pictures of his Highness
-sent to Sir Thomas Hoby and Sir John Mason (ambassadors abroad); the
-third a picture of the late Earl of Surrey, attainted, and by the
-council’s commandant fetched from the said Guillim’s house.” In 1553
-“Gillam Strettes, Dutchman,” was the King’s painter, in receipt of the
-high salary of £62, 10<i>s.</i> a year, and he continued in favour
-during the reign of Queen Mary.</p>
-
-<div class='footnote c021' id='f356'>
-<p class='c022'><span class='label'><a href='#r356'>356</a>.&nbsp;&nbsp;</span><i>Memorials</i>, &amp;c., Vol. ii. p. 494. Quoted by
-Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 138.</p>
-</div>
-
-<div id='pl-23'  class='figcenter id001'>
-<span class='pageno' id='Page_169'>169</span>
-<img src='images/pl-23.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 23</span><br />EDWARD, PRINCE OF WALES<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>LATER PORTRAITS OF EDWARD VI</div>
-<p class='c023'>The excellent little bust portrait of Edward, formerly in the
-possession of the Cokayne family at Rushton Hall, Northamptonshire,
-which was lent by Lord Aldenham to the Burlington Fine Arts Club
-in 1909 (No. 63), has been attributed to this painter. It is dated
-1550. Mr. Roger E. Fry,<a id='r357' /><a href='#f357' class='c020'><b>[357]</b></a> on account of the delicate and personal
-scheme of blonde and cool colouring which it displays, considers this
-portrait to be by the same hand as the portraits of Henry VIII and
-Jane Seymour, lent to the same exhibition (Nos. 21 and 46) by
-Lord Sackville, which have been mentioned in an earlier chapter.<a id='r358' /><a href='#f358' class='c020'><b>[358]</b></a>
-Others exist of the same type to which Stretes’ name has been provisionally
-given. The Duke of Portland has a fine small full-length,
-undated,<a id='r359' /><a href='#f359' class='c020'><b>[359]</b></a> probably from the same hand as Lord Aldenham’s panel;
-another whole-length belongs to Mr. Vernon J. Watney, while a third
-is at Southam Delabere, near Cheltenham. A very interesting portrait
-of a different type is at Petworth, an elaborately-painted likeness
-of the young King at full-length, seated on his throne, with a canopy
-over his head, which is dated 1547, when he was in his tenth year.
-This is attributed by Mr. Wornum to Stretes.<a id='r360' /><a href='#f360' class='c020'><b>[360]</b></a> There is another in
-Christ’s Hospital which closely resembles it, and in the same building
-there is a second portrait of the Prince at the age of nine. There is
-also a fine example in the Royal Collection at Windsor Castle,<a id='r361' /><a href='#f361' class='c020'><b>[361]</b></a> in which
-the head is of the same type as that in Lord Aldenham’s picture. It is
-apparently by the same hand as that of the Princess Elizabeth, also
-at Windsor, and whether by Stretes or not, seems to be of Franco-Flemish
-origin. The large picture at Bridewell Hospital, representing
-Edward VI transferring Bridewell Palace to the City of London, was
-regarded in Walpole’s day as an excellent example of Holbein’s brush,
-and both he and Vertue, who engraved it in 1750, asserted that one
-of the figures in the background represented Holbein himself.<a id='r362' /><a href='#f362' class='c020'><b>[362]</b></a> The
-occurrence which the picture commemorates, however, took place in
-1553, ten years after Holbein’s death. This picture, too, has been
-tentatively given to Stretes, but it is a work of no great mastery,
-<span class='pageno' id='Page_170'>170</span>though of undoubted historical interest. Descriptions of other portraits
-of Edward VI will be found in a paper contributed by Mr.
-J. Gough Nichols, F.S.A., to <i>Archæologia</i>.<a id='r363' /><a href='#f363' class='c020'><b>[363]</b></a> No less than sixteen,
-of varying degrees of merit, were lent to the Tudor Exhibition in 1890.
-In the inventory of King Henry VIII’s pictures made shortly after
-his death, dated September 8, 1547, three of the earlier portraits of
-the young Prince of Wales were included. Two of these were full-lengths:
-“The Kynge’s Majestie, the whole stature, in a gowne like
-crymsen satten furred with lusernes,” which was protected by a curtain
-of white sarcenet; and “The Kynge’s Majesty, the whole stature,
-stayned upon clothe” (<i>i.e.</i> canvas), with a curtain of green sarcenet.
-The first named was not included in the earlier list of King Henry’s
-pictures drawn up in 1542, but the latter is in that inventory, and so
-must have been painted before 1542, and thus represented Edward as a
-little child. The third portrait is merely described as “The Kynge’s
-Majestie.” This may have been the curious “perspective” portrait
-of the young Prince, now in the National Portrait Gallery (No. 1300),<a id='r364' /><a href='#f364' class='c020'><b>[364]</b></a>
-a head within a circle surrounded by a well-painted landscape, done
-in 1546, which has been attributed to Stretes. According to Walpole,<a id='r365' /><a href='#f365' class='c020'><b>[365]</b></a>
-who considered it to be the work of Marc Willems, “Gulielmus
-pinxit” was written on the frame. It formed part of the Royal
-collections from the time it was painted, but was sold by the Commonwealth
-in 1650 for £2. It was seen in Whitehall and described by the
-German traveller, Paul Hentzner, in 1598. Two miniatures of Edward
-were lent to the Burlington Fine Arts Club Exhibition (Case C, 13
-and 19) by the Duke of Buccleuch, but these are not by Holbein.</p>
-
-<div class='footnote c021' id='f357'>
-<p class='c022'><span class='label'><a href='#r357'>357</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xv., May 1909, p. 75.
-Reproduced by Miss Hervey, “Notes on some Portraits of Tudor Times,”
-<i>Burlington Magazine</i>, vol. xv., June 1909, p. 155.</p>
-</div>
-
-<div class='footnote c021' id='f358'>
-<p class='c022'><span class='label'><a href='#r358'>358</a>.&nbsp;&nbsp;</span>See pp. 104 and 112.</p>
-</div>
-
-<div class='footnote c021' id='f359'>
-<p class='c022'><span class='label'><a href='#r359'>359</a>.&nbsp;&nbsp;</span>Burlington Fine Arts Club, 1909, No. 68.</p>
-</div>
-
-<div class='footnote c021' id='f360'>
-<p class='c022'><span class='label'><a href='#r360'>360</a>.&nbsp;&nbsp;</span>Wornum, p. 326.</p>
-</div>
-
-<div class='footnote c021' id='f361'>
-<p class='c022'><span class='label'><a href='#r361'>361</a>.&nbsp;&nbsp;</span>Reproduced by Cust, <i>Royal Collection of Paintings,
-Windsor Castle</i>, Pl. 50; and Ganz, <i>Holbein</i>, p. 223.</p>
-</div>
-
-<div class='footnote c021' id='f362'>
-<p class='c022'><span class='label'><a href='#r362'>362</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 88.</p>
-</div>
-
-<div class='footnote c021' id='f363'>
-<p class='c022'><span class='label'><a href='#r363'>363</a>.&nbsp;&nbsp;</span>Vol. xxxix. p. 20.</p>
-</div>
-
-<div class='footnote c021' id='f364'>
-<p class='c022'><span class='label'><a href='#r364'>364</a>.&nbsp;&nbsp;</span>Reproduced in the Illustrated Catalogue, National
-Portrait Gallery, vol. i. p. 27.</p>
-</div>
-
-<div class='footnote c021' id='f365'>
-<p class='c022'><span class='label'><a href='#r365'>365</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, &amp;c., ed. Wornum, i. p. 135.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_171'>171</span>
-  <h2 id='ch-XXIII' class='c012'>CHAPTER XXIII<br /><span class='c017'>ANNE OF CLEVES: 1539</span></h2>
-</div>
-
-<p class='c018'>Henry VIII’s fresh matrimonial negotiations with Protestant
-Germany—Christopher Mont sent to the Court of the Duke of Saxony with
-reference to a political alliance and the King’s marriage—Anne of
-Cleves and her sister—Portraits of them by Lucas Cranach—Difficulties
-in obtaining portraits of the ladies—Richard Beard and Holbein go over
-to Düren for that purpose—The written descriptions of Anne—The legend
-woven round Holbein’s portrait of her—Henry’s disappointment on Anne’s
-arrival in England—Description of the portrait in the Louvre—Miniature
-in the Salting Collection—Drawing at Windsor—Portrait in St. John’s
-College, Oxford.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-w.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-WITH the exception of works executed for his royal
-master, such as the “Duchess of Milan” and the
-lost French portraits, the likeness of the infant Prince
-Edward, and that of Anne of Cleves, there is nothing
-by Holbein which can be ascribed with absolute
-certainty to the years 1538 and 1539.<a id='r366' /><a href='#f366' class='c020'><b>[366]</b></a> It is possible
-that the portraits of Thomas Howard, Duke of Norfolk, and his
-son, Henry, Earl of Surrey, were produced in the latter year, but
-no dated likeness by him is known of any member of the court
-circle, or, indeed, of any Englishman or German, painted during
-these two years. It is true that more than one of his undated
-works may be of this period, but there is no actual proof, beyond that
-of style, in favour of such a contention. This may be accounted for
-to some extent by his frequent absences from England on the King’s
-business, which would leave him less time than usual for private
-practice, while there is also the possibility that at least some of the
-works he produced during these two years have been lost.</p>
-
-<div class='footnote c021' id='f366'>
-<p class='c022'><span class='label'><a href='#r366'>366</a>.&nbsp;&nbsp;</span>The portrait of Henry VIII in the National Gallery, Rome,
-now attributed to Holbein, was painted, according to the King’s age
-inscribed on the background, in 1539 or 1540. See above, p. 103.</p>
-</div>
-
-<p class='c023'>By the beginning of 1539, when alarms of war were in the air, and
-the alliance between Francis and the Emperor was growing closer
-every week, Henry had abandoned all idea of a marriage in France
-or with the Duchess of Milan, and was turning his thoughts towards
-<span class='pageno' id='Page_172'>172</span>Protestant Germany. The project of this fresh matrimonial venture
-was not entirely a new one; it was under consideration during the
-previous summer in the midst of the more active negotiations elsewhere.
-There is a curious passage in one of Eustace Chapuys’ letters
-to the Emperor, dated London, 17th June 1538, in which he infers that
-Henry had grown less anxious for the Milan match because the Germans
-were making him offers. “Indeed it is a fact,” he says, “that about
-that time the King sent to Germany a painter (<i>ung paintre</i>) and one
-gentleman of his chamber for the express purpose of pourtraying the
-personages ‘au naturel’; for, although Cromwell at first denied this,
-or at least dissembled, he afterwards owned to me (Chapuys) that
-the report was true, that both from France and Germany several
-marriages had been proposed.” These marriages, he adds, according
-to report, were to be between the son of the Duke of Cleves and the
-Princess Mary, and Henry and one of the Duke’s kinswomen.<a id='r367' /><a href='#f367' class='c020'><b>[367]</b></a></p>
-
-<div class='footnote c021' id='f367'>
-<p class='c022'><span class='label'><a href='#r367'>367</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiii. pt. i. 1198. <i>Spanish Calendar</i>, v. ii. 225.</p>
-</div>
-
-<p class='c023'>This is the only reference in the State Papers to the despatch of
-one of the King’s painters to Germany in the earlier part of 1538, but
-it is interesting as containing a possible reference to Holbein and to
-some journey of his of which we have no further knowledge. It is
-much more likely, however, that Chapuys was misinformed, and that
-no such expedition actually took place, though it may have been
-suggested but afterwards abandoned.</p>
-
-<div class='sidenote'>SEARCH FOR A BRIDE IN GERMANY</div>
-<p class='c023'>About the middle of January 1539, Christopher Mont, or Mount, a
-German in Henry’s service, was sent abroad with letters of credence
-to the Duke of Saxony and the Landgrave. The ostensible purpose
-of his mission was to promote the attempted agreement between the
-English and German divines which had been the subject of numerous
-conferences in the previous year; but the real object was to find out
-to what extent Henry might rely upon the German Protestant princes
-in any trouble which might arise between England and the Pope or
-Emperor. At the same time, Mont, who was accompanied by Thomas
-Paynell, took with him private instructions from Cromwell, which
-included a secret message to Francis Burgartus,<a id='r368' /><a href='#f368' class='c020'><b>[368]</b></a> the Duke of Saxony’s
-vice-chancellor, with respect to a marriage between the young Duke of
-Cleves and the Princess Mary, which he and Cromwell had discussed
-in London in the previous year. If, the instructions ran, Burgartus
-desire “the picture of her face,” Mont is to remind him that she is a
-<span class='pageno' id='Page_173'>173</span>King’s daughter, and that it was not the custom to send the picture
-of persons of such degree abroad. Burgartus, too, had seen her,
-and could testify of her proportion, countenance, and beauty. But
-there was a matter of still greater importance about which Mont was
-to sound the vice-chancellor, whose master, the Duke of Saxony, had
-married the eldest daughter of the Duke of Cleves, and was one of the
-most interested parties in any alliance proposed between England
-and Germany. Mont was to inquire diligently of the beauty and
-qualities of the elder of the two unmarried daughters of the Duke of
-Cleves, her shape, stature, and complexion, and, if he heard she was such
-“as might be likened unto his Majesty,” he was to throw out suggestions
-as to a marriage between her and the King. The proposal, however,
-must come from the side of Cleves, as the overtures made to his Grace
-in France and Flanders had not been finally refused. Mont, in short,
-was not to speak as if demanding her, “but rather to give them a
-prick to offer her;” but first of all, “it is expedient that they should
-send her picture hither.”<a id='r369' /><a href='#f369' class='c020'><b>[369]</b></a> In this way the Princess Anne of Cleves
-first appears on the scene, and the Duchess of Milan, and the ladies
-of Guise and other royal French houses finally vanish from it.</p>
-
-<div class='footnote c021' id='f368'>
-<p class='c022'><span class='label'><a href='#r368'>368</a>.&nbsp;&nbsp;</span>Or Burgratus (Burchardt).</p>
-</div>
-
-<div class='footnote c021' id='f369'>
-<p class='c022'><span class='label'><a href='#r369'>369</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 103.</p>
-</div>
-
-<p class='c023'>Shortly afterwards other diplomatists were sent abroad for the
-same purpose. Dr. Barnes went over to Frankfurt to attend the diet
-of the Evangelic League, while Dr. Edward Carne and Dr. Nicholas
-Wootton, together with Richard Byrd, Bird, or Beard, one of the
-gentlemen of the King’s Chamber, were despatched to Düren, to the
-court of the young Duke of Cleves, whose father had recently died.
-Their instructions were very similar to those given to Mont. They
-were to offer an offensive and defensive league and an English bride
-to the Duke, but were merely to throw out hints with regard to Anne.
-Here again they were to demand a picture of the lady before the
-match could be considered, for Henry was always most anxious to
-see what his proposed bride was like before committing himself too
-far.<a id='r370' /><a href='#f370' class='c020'><b>[370]</b></a> If she were ill-favoured he would have none of her, however
-useful for political reasons such an alliance might prove to be. A
-portrait was always asked for, but was by no means always considered
-sufficient. The King feared that such pictures might flatter the
-subject, and so it became his habit, in order to avoid such possibilities,
-to send over one of his own painters to procure an independent likeness.
-<span class='pageno' id='Page_174'>174</span>Holbein, in particular, he knew to be capable of bringing back
-a true portrait, more valuable in all ways than the efforts of some
-unknown foreign painter, or the written opinions of his ambassadors,
-whose taste might not always agree with his own.</p>
-
-<div class='footnote c021' id='f370'>
-<p class='c022'><span class='label'><a href='#r370'>370</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 489, 490.</p>
-</div>
-
-<p class='c023'>Mont, after an interview with the Duke of Saxony, wrote to
-Cromwell to say that he seemed favourable to the proposed marriage,
-and that he promised to send a portrait as soon as possible, but said
-that “his painter Lucas was sick at home.” “Everyone,” he added,
-“praises the lady’s beauty, both of face and body. One said she
-excelled the Duchess (of Milan) as the golden sun did the silver moon.”<a id='r371' /><a href='#f371' class='c020'><b>[371]</b></a>
-The Lucas referred to in this letter was Lucas Cranach the elder, and
-if it had not been for his illness Holbein might not have been sent
-over, for Cranach, no doubt, would have painted a portrait which
-would have satisfied the King. Towards the end of April, Cromwell
-wrote to Beard and Wootton, again urging them to get a portrait of
-the lady, which the former was to bring to London as quickly as
-possible.<a id='r372' /><a href='#f372' class='c020'><b>[372]</b></a> In their reply, dated May 3—the letter, unfortunately,
-is badly mutilated—they describe a recent interview with Dr. Henry
-Olisleger, the vice-chancellor of Cleves, the young Duke being away at
-the Diet. “He said also he would cause the portraits of both the
-Duke’s younger sisters to be delivered to us in fourteen days. They
-were made, he said, half a year before. We said there was no occasion
-to declare the King’s goodwill to the Duke, which was manifest....
-And as for the ij pictures, we wer verye w[ell] contentyd to receyve
-theym, and specyallye the imaige of my l[ady Anne] ... that yf
-eny of bothe shulde lyke his Grace ... yet wolde we gladdelye
-receyve and sende bothe. [And for a]s muche as we hadde not seene
-the ij ladyes, we shulde [not be] able to advertise his Majestye whether
-theyr imaiges were [l]yke to theyr persones, and so shulde his Majestye
-be never the nerre by the syht of the pictures.” Dr. Olisleger, however,
-assured them that the portraits were faithful likenesses, but the ambassadors
-were not satisfied. “We sayde, we hadde not seene theym,
-for to see but a parte of theyr faces, and that under such a monstruouse
-habyte and apparell, was no syght, neither of theyr faces nor of theyr
-persones. Why, quod he, wolde yow see theym nakydde?” What
-they said in answer to this last remark is lost through the mutilation
-of the letter, but they evidently did not approve of the court costume
-<span class='pageno' id='Page_175'>175</span>of Cleves. They concluded by saying: “A Moneday, God willing, we
-wylle departe to Duisseldorpe, and, excepte the Duke have enye
-bysynesse with us, we wyll thence to Coleyn, where we ar apoyntyd
-to receyve the said ij pictures, the which we wille send ynto England
-as soone as we canne convenyently.”<a id='r373' /><a href='#f373' class='c020'><b>[373]</b></a></p>
-
-<div class='footnote c021' id='f371'>
-<p class='c022'><span class='label'><a href='#r371'>371</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 552. <i>St. P.</i>, i. 604.</p>
-</div>
-
-<div class='footnote c021' id='f372'>
-<p class='c022'><span class='label'><a href='#r372'>372</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 834. <i>St. P.</i>, i. 613.</p>
-</div>
-
-<div class='footnote c021' id='f373'>
-<p class='c022'><span class='label'><a href='#r373'>373</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 920.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN AND BEARD GO TO DÜREN</div>
-<p class='c023'>In spite of these constant demands for portraits, the ambassadors
-do not appear to have received them at the time promised. Early in
-July Dr. William Petre, one of the Clerks of Chancery, was sent to
-Cleves with further messages and instructions to Dr. Wootton. The
-new ambassador and the old were to make a further demand to see
-the ladies, and if Beard had not already started with the portraits,
-they were to send them “if they may be possible gotten,” with their
-opinion of them as likenesses.<a id='r374' /><a href='#f374' class='c020'><b>[374]</b></a></p>
-
-<div class='footnote c021' id='f374'>
-<p class='c022'><span class='label'><a href='#r374'>374</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. i. 1193.</p>
-</div>
-
-<p class='c023'>Beard was back in London for a short time in July, but whether
-he came empty-handed or not there is no record to show. It is
-possible that he brought with him the two portraits promised by
-Olisleger, which were to be handed to him at Cologne. There is a
-portrait of Anne in England, described below, which may be one of
-the two in question, but in any case it cannot have satisfied Henry,
-for Beard was sent back almost immediately to Düren, taking Holbein
-with him, in order that he might paint the two sisters. They were
-allowed £40 for travelling expenses, while Holbein received a further sum
-of £13, 6<i>s.</i> 8<i>d.</i> for his own personal outlay in
-connection with his craft.</p>
-
-<p class='c023'>The following is the entry in the Treasurer’s accounts:</p>
-
-<p class='c025'>“July, A<b>o</b> xxxi—Item, to Mr. Richard Bearde, one of the gromes of the
-Kingis privi-chambre, and Hans Holbyn, paynter, by like lettre sent
-into the parties of High Almayne upon certain his gracis affaires, for
-the costes and chardgis of them both, xl. <i>li.</i> And to Hans
-Holben, for the preparation of such thingis as he is appoynted to
-carie with him, xiij. <i>li.</i> vi.<i>s.</i> viii<i>d.</i>—in alle
-the some of liij <i>li.</i> vi.<i>s.</i> viii<i>d.</i>”<a id='r375' /><a href='#f375' class='c020'><b>[375]</b></a></p>
-
-<div class='footnote c026' id='f375'>
-<p class='c022'><span class='label'><a href='#r375'>375</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 781 (f. 85).</p>
-</div>
-
-<p class='c023'>According to Dr. Woltmann, the extra fee of £13, 6<i>s.</i> 8<i>d.</i> paid to
-Holbein for “the preparation of such things as he is appointed to
-carry with him,” was, “without doubt a portrait of the King, perhaps
-a miniature in a costly frame, which he had to paint and to present
-to the Princess as a gift from his monarch.”<a id='r376' /><a href='#f376' class='c020'><b>[376]</b></a> This explanation,
-<span class='pageno' id='Page_176'>176</span>however, is not at all likely to be the correct one. As already pointed
-out, Henry never sent portraits of himself to the lady he was preparing
-to honour with his hand until he had first of all seen what she herself
-was like. He was too cautious a lover to commit himself so far. In
-all these transactions he was the one who was to be sought, and the
-first offer must come from the lady’s side. The simplest explanation
-is that the money was for the provision of the necessary painting
-materials, and the cost of their carriage. The sum was, no doubt, a
-large one if for such a purpose alone, but Holbein was then high in the
-King’s favour, and well paid for all that he did, while his absence from
-England on the royal business put an end for the time to his general
-practice, and this might have been considered in fixing the amount of
-his allowance.</p>
-
-<div class='footnote c021' id='f376'>
-<p class='c022'><span class='label'><a href='#r376'>376</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 463.</p>
-</div>
-
-<p class='c023'>The travellers reached the castle of Düren, where the ladies were
-living, early in August, and Holbein at once set to work. He had
-finished portraits of both Anne and her sister Amelia before the 11th
-of the month, as we learn from a letter of that date from Dr. Wootton
-to Henry VIII. In the course of it he says: “Your Grace’s servant
-Hanze Albein hathe taken th’effigies of my ladye Anne and the ladye
-Amelye and hath expressyd theyr imaiges verye lyvelye.”<a id='r377' /><a href='#f377' class='c020'><b>[377]</b></a></p>
-
-<div class='footnote c021' id='f377'>
-<p class='c022'><span class='label'><a href='#r377'>377</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 33.</p>
-</div>
-
-<p class='c023'>It seems probable that in this instance Holbein did more than
-make mere studies in crayons such as he had done in the case of the
-Duchess of Milan and the French ladies; and the fact that the portrait
-of Anne of Cleves, now in the Louvre, is on parchment fastened down
-on a wood panel affords some proof of this. The portrait would be
-painted on the parchment directly from the sitter, and afterwards
-mounted and the finishing touches given to it. Owing to the haste
-required, and the safer conveyance of the portrait, the latter
-process was probably not carried out until the artist was back in
-London.</p>
-
-<div class='sidenote'>GOSSIP ABOUT THE KING’S MARRIAGE</div>
-<p class='c023'>No time appears to have been wasted. Henry not only demanded
-but obtained speed from his servants on their numerous journeys.
-Travelling post, the journey to and from Düren, which was usually
-made via Antwerp, took about eleven days. Holbein was in England
-again before the end of August, as we learn from Marillac, the new
-French ambassador, who, on September 1, writing from Grafton,
-where he had followed the King fifty miles from London, informed
-<span class='pageno' id='Page_177'>177</span>Francis I that he “has learnt that an excellent painter whom this
-King sent to Germany to bring the portrait of the sister of the Duke
-of Cleves, recently arrived in Court, and, immediately afterwards, a
-courier, bringing, among other news which is still kept secret, news
-that the said Duke’s ambassadors have started to come hither to treat
-and conclude the marriage of this King and the said lady.”<a id='r378' /><a href='#f378' class='c020'><b>[378]</b></a></p>
-
-<div class='footnote c021' id='f378'>
-<p class='c022'><span class='label'><a href='#r378'>378</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 117. Kaulek, 124.</p>
-</div>
-
-<p class='c023'>The proposed marriage afforded opportunity for much speculation
-on the part of the King’s subjects, as more than one of his earlier
-matrimonial projects had done. An excellent idea of the kind of
-gossip which prevailed can be gathered from the evidence taken in
-the case of a certain George Constantyne, who talked so much that he
-got himself charged with treason. It occurs in the report of a conversation
-between Constantyne and the Dean of Westbury during a
-journey they made together to South Wales, and in the course of it
-Holbein’s visit to Cleves is mentioned. “The Dean asked also if
-Constantyne had any news of the King’s marriage. Replied, he could
-not tell; he was sorry to see the King so long without a queen, when he
-might yet have many fair children: his own father was ninety-two
-years old, and yet, last summer, rode thirty-two miles one day before
-two o’clock, and said he was not weary; the duchess of Milan and that
-of Cleif were both spoken of, as the Dean knew. Asked, ‘How call
-ye the little doctor that is gone to Cleif?’ The Dean said, it was Dr.
-Woten, and that he that was with him of the Privy Chamber, whom
-Woten sent home lately, was Berde; adding that this Berde was sent
-thither again with the King’s painter, and that there was good hope
-of the marriage, for the duke of Cleif favoured God’s word and was a
-mighty prince now, having possession of Gelderland against the
-Emperor’s will.... Said also that the matter of the duchess of Milan
-was really broken off, for she would have the King accept the bishop
-of Rome’s dispensation and give pledges. ‘Why pledges?’ asked the
-Dean. ‘Marry,’ said Constantyne, ‘she sayeth that the King’s
-Majesty was in so little space rid of the Queens, that she dare not trust
-his Council, though she durst trust his Majesty; for her Council
-suspecteth that her great aunt was poisoned, that the second was
-innocently put to death, and the third lost for lack of keeping her in
-childbed.’ Added, that he was not sure whether this was her answer
-or that of Cleif, but that he heard a muttering of it before Whitsuntide.”<a id='r379' /><a href='#f379' class='c020'><b>[379]</b></a>
-<span class='pageno' id='Page_178'>178</span>It will be seen from this gossip that the legend respecting
-the Duchess of Milan’s refusal to accept Henry because she had fear
-for the safety of her head was commonly believed at the time.</p>
-
-<div class='footnote c021' id='f379'>
-<p class='c022'><span class='label'><a href='#r379'>379</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 400. <i>Archæologia</i>, xxiii. 56.</p>
-</div>
-
-<p class='c023'>The written descriptions of Anne which Henry received from his
-representatives and agents were all favourable, but not enthusiastic.
-Wootton in the letter referring to Holbein, already quoted, says of
-her: “She has been brought up with the lady Duchess her mother
-(as the lady Sybille also was till she was married and the lady Amelye
-has been and is) and in manner never from her elbow, the lady Duchess
-being a wise lady and one that very straitly looketh to her children.
-All report her to be of very lowly and gentle conditions, by the which
-she hath so much won her mother’s favour that she is very loth to
-suffer her to depart from her. ‘She occupieth her time most with
-the needle, wherewithall she.... She canne reede and wryte her
-... Frenche, Latyn, or other langaige she [hathe no] ne, nor yet she
-canne not synge nor playe [upon] enye instrument, for they take it
-heere in Germanye for a rebuke and an occasion of lightenesse that
-great ladyes shold be lernyd or have enye knowledge of musike.’
-Her wit is good and she will no doubt learn English soon when she puts
-her mind to it. ‘I could never hear that she is inclined to the good
-cheer of this country and marvel it were if she should, seeing that her
-brother, to whom yet it were somewhat more tolerable, doth so well
-abstain from it.’”<a id='r380' /><a href='#f380' class='c020'><b>[380]</b></a></p>
-
-<div class='footnote c021' id='f380'>
-<p class='c022'><span class='label'><a href='#r380'>380</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 33.</p>
-</div>
-
-<p class='c023'>Sir Michael Mercator, the German factor of musical instruments,
-knighted by Henry, wrote to Cromwell later in the year, giving praise
-to God “for this alliance with the most illustrious, beautiful, and noble
-lady Anna de Clefves, who has a great gift from God, both of sense
-and wit. It would be difficult to describe her good manners and grace,
-and how Gueldres, Cleves, and all the country of the Duke, rejoice
-at the alliance.”<a id='r381' /><a href='#f381' class='c020'><b>[381]</b></a></p>
-
-<div class='footnote c021' id='f381'>
-<p class='c022'><span class='label'><a href='#r381'>381</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. 500.</p>
-</div>
-
-<div class='sidenote'>THE “FLANDERS MARE” LEGEND</div>
-<p class='c023'>Around Holbein’s portrait of Anne there has been woven a legend
-which upon examination is found to have no foundation in fact. The
-story is to be traced back to Bishop Burnet, who, in his <i>History of the
-Reformation</i>, says:<a id='r382' /><a href='#f382' class='c020'><b>[382]</b></a> “Hans Holbin having taken her picture, sent it
-over to the king. But in that he bestowed the common compliment
-of his art somewhat too liberally on a lady that was in a fair way to
-<span class='pageno' id='Page_179'>179</span>be queen the king liked the picture better than the original, when he
-had the occasion afterwards to compare them.” Instead of the
-promised beauty, continues the bishop, they brought him over a
-“Flanders mare.”</p>
-
-<div class='footnote c021' id='f382'>
-<p class='c022'><span class='label'><a href='#r382'>382</a>.&nbsp;&nbsp;</span>Vol. i. pt. i. p. 543.</p>
-</div>
-
-<p class='c023'>Walpole, following Burnet, elaborates this: “Holbein was next
-despatched by Cromwell to draw the lady Anne of Cleve, and by
-practising the common flattery of his profession, was the immediate
-cause of the destruction of that great subject, and of the disgrace
-that fell on the princess herself. He drew so favourable a likeness,
-that Henry was content to wed her; but when he found her so inferior
-to the miniature, the storm which really should have been directed
-at the painter, burst on the minister; and Cromwell lost his head,
-because Anne was <i>a Flanders mare</i>, not a Venus, as Holbein had
-represented her.”<a id='r383' /><a href='#f383' class='c020'><b>[383]</b></a></p>
-
-<div class='footnote c021' id='f383'>
-<p class='c022'><span class='label'><a href='#r383'>383</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 72.</p>
-</div>
-
-<p class='c023'>There is no truth at all in this story. The leading characteristic of
-Holbein’s portraiture is its complete truth; he was not in the habit of
-flattering his sitters, and the portrait of Anne affords one of the most
-striking testimonies of this. He certainly did not paint her as a
-Venus, nor was Cromwell’s fall owing to the picture. He was, indeed,
-made Earl of Essex after the lady’s marriage to the King. Letters
-in the State Papers show very clearly that Henry complained only of
-the spoken and written words of his ambassadors, and made no
-mention of portraits. Russell, the Lord High Admiral, in his deposition
-in connection with the divorce, quoted Henry as saying to
-him: “How like you this woman? do you think her so fair and of
-such beauty as report hath been made unto me of her? I pray you
-tell me the truth.” Whereupon the said Lord Admiral answered,
-that he took her not for fair, but to be of a brown complexion. And
-the king’s highness said, “Alas! whom should men trust? I promise
-you,” said he, “I see no such thing in her as hath been showed me of
-her, and am ashamed that men hath praised her as they have done,
-and I like her not.” Stow, in quoting this, adds without authority
-the words: “either by pictures or report,” after “I see no such thing
-in her as hath been showed me of her.”</p>
-
-<p class='c023'>Stow, apparently drawing upon his own imagination, makes
-exaggerated references to the part portraits played in the negotiations
-for the marriage. “Some went over by the king, some by the Lord
-<span class='pageno' id='Page_180'>180</span>Cromwell, and some went voluntary, to view the Lady Anne of Cleave,
-and to negotiate her marriage with the king. All which, either by
-letters, speech, or both, made very large and liberal reports in praise
-of her singular feature, matchless beauty, and princely perfections,
-and for proof thereof presented the king with sundry of her pictures,
-which the bringers ever affirmed to have been truly made, without
-flattery.”<a id='r384' /><a href='#f384' class='c020'><b>[384]</b></a></p>
-
-<div class='footnote c021' id='f384'>
-<p class='c022'><span class='label'><a href='#r384'>384</a>.&nbsp;&nbsp;</span>Stow, <i>Annales</i>, ed. Howes, p. 576.</p>
-</div>
-
-<p class='c023'>Henry, however, in his own declaration, never refers to a portrait.
-He entered into the marriage, he said, “because I heard so much both
-of her excellent beauty and virtuous conditions.” In addition, he
-told Sir Anthony Browne, “I see nothing in this woman as men report
-of her, and I mervail that wise men would make such report as they
-have done.” He also told Cromwell, in reply to his question as to
-how he liked the lady, “Nothing so well as she was spoken of; if I
-had known as much before as I know now, she should never have come
-into the realm. But what remedy?”</p>
-
-<p class='c023'>After all, however, the praises of her sent home by Henry’s ambassadors
-were not very hearty ones. In Hutton’s letter from
-Brussels, already quoted,<a id='r385' /><a href='#f385' class='c020'><b>[385]</b></a> written shortly after Jane Seymour’s death,
-in answer to a request that he would search for a possible bride for
-the King at the Court of the Regent, he reported, among other princesses,
-that “the Dewke of Clevis hathe a daughter, but I here no
-great preas neyther of hir personage nor beawtie.” Wootton’s account,
-given above, is a remarkably cautious one, and lays most stress on
-Anne’s domestic virtues. He had also complained that he had found it
-impossible to judge of the personal appearance of the two ladies on
-account of the ugly head-dresses they wore.</p>
-
-<div class='footnote c021' id='f385'>
-<p class='c022'><span class='label'><a href='#r385'>385</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_116'>116</a>.</p>
-</div>
-
-<p class='c023'>Had the fault been Holbein’s, he would, no doubt, have fallen
-under the King’s displeasure. At the least his appointment would
-have been taken from him, even if he had not been forced to leave
-England; but the contrary was the case. In September, after his
-return from Cleves, he received, for a second time, a whole year’s
-salary in advance. This was, of course, before the King had seen
-the original of the portrait; but, strangely enough, if the accounts
-are to be believed, in addition to this year’s advance, Holbein continued
-to receive his salary every quarter day for the next year, so
-that he was paid twice over.<a id='r386' /><a href='#f386' class='c020'><b>[386]</b></a> It is thus very evident that the painter
-<span class='pageno' id='Page_181'>181</span>suffered no disgrace or lack of employment or patronage, so that the
-legend must be abandoned.</p>
-
-<div class='footnote c021' id='f386'>
-<p class='c022'><span class='label'><a href='#r386'>386</a>.&nbsp;&nbsp;</span>See p. 190.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF ANNE OF CLEVES</div>
-<p class='c023'>The fine portrait of Anne of Cleves now in the Louvre (<a href='#pl-24'>Pl. 24</a>) is in
-all probability the picture which Holbein painted in Düren.<a id='r387' /><a href='#f387' class='c020'><b>[387]</b></a> It is
-almost three-quarter length, less than life-size. She is shown standing,
-facing the spectator, her hands folded in front of her, and dressed in a
-very elaborate costume. Her sumptuous gown of red velvet with
-wide hanging sleeves has heavy bands of gold embroidered with pearls.
-The bodice is cut square, and is edged with a band of ornament decorated
-with jewels, and a similar one round the neck with a pendant
-jewelled cross. She also wears two gold chains, and several rings on
-her fingers. The open front of the dress is filled in with fine white
-linen with bands of embroidery. Her hair is covered with an almost
-transparent head-dress worked with an elaborate pattern and the
-motto “<span class='sc'>A bon fine</span>,” over which is a cap wrought all over with gold,
-pearls, and other jewels. Her lace cuffs are also gold-embroidered.
-The background is blue-green, without inscription. Her brown eyes
-look straight at the spectator. More than one writer, influenced no
-doubt by these stories of her lack of beauty, has described this portrait
-as the likeness of a heavy, expressionless, ill-favoured woman; but
-this is far from being the case. Without any pretensions to extraordinary
-good looks, the face is a pleasant one, and by no means as
-plain as it has been described; indeed, in many ways it compares
-favourably with that of Queen Jane Seymour. That it is a truthful
-representation is certain, for Holbein never failed in this respect.
-Nothing is known of the history of the picture, or how it came to find
-a home in France, except that it was at one time in the Earl of Arundel’s
-possession,<a id='r388' /><a href='#f388' class='c020'><b>[388]</b></a> and afterwards in the collection of Louis XIV.</p>
-
-<div class='footnote c021' id='f387'>
-<p class='c022'><span class='label'><a href='#r387'>387</a>.&nbsp;&nbsp;</span>Woltmann, 228. Reproduced by Davies, p. 174; Knackfuss, fig. 131; A.
-F. Pollard, <i>Henry VIII</i>, p. 260; Ganz, <i>Holbein</i>, p. 124.</p>
-</div>
-
-<div class='footnote c021' id='f388'>
-<p class='c022'><span class='label'><a href='#r388'>388</a>.&nbsp;&nbsp;</span>Entered in the 1655 inventory as “ritratto d’Anne de Cleves.”</p>
-</div>
-
-<p class='c023'>Walpole speaks of the portrait done by Holbein in Düren as a
-miniature. He was inclined to believe that the beautiful miniature
-of Anne, now in the Salting Collection at South Kensington, which in
-his days belonged to the Barretts of Lee Priory, was the very miniature
-painted by Holbein on this occasion. “This very picture,” he says,
-“as is supposed, was in the possession of Mr. Barrett, of Kent....
-The print among the illustrious heads is taken from it: and so far
-<span class='pageno' id='Page_182'>182</span>justifies the king, that he certainly was not nice, if from that picture
-he concluded her handsome enough. It has so little beauty, that I
-should doubt of its being the very portrait in question—it rather seems
-to have been drawn after Holbein saw a little with the king’s eyes.
-I have seen that picture in the cabinet of the present Mr. Barrett, of
-Lee, and think it the most exquisitely perfect of all Holbein’s works as
-well as in the highest preservation. The print gives a very inadequate
-idea of it, and none of her Flemish fairness. It is preserved in the
-ivory box in which it came over, and which represents a rose, so
-delicately carved as to be worthy of the jewel it contains.”<a id='r389' /><a href='#f389' class='c020'><b>[389]</b></a></p>
-
-<div class='footnote c021' id='f389'>
-<p class='c022'><span class='label'><a href='#r389'>389</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 72, note.</p>
-</div>
-
-<p class='c023'>It is not known in what way this miniature,<a id='r390' /><a href='#f390' class='c020'><b>[390]</b></a> together with the
-companion portrait of Henry VIII,<a id='r391' /><a href='#f391' class='c020'><b>[391]</b></a> in a similar ivory box, in the
-late Mr. Pierpont Morgan’s collection, came into the possession of the
-Barrett family. They were offered for sale by auction in 1757, but
-bought in; and subsequently sold by Mr. T. B. Barrett in 1826 to a
-dealer named Tuck, who resold them for fifty guineas to Francis
-Douce, by whom they were bequeathed, in 1834, to Sir Samuel Rush
-Meyrick, of Goodrich Court. At a later date the miniature of Anne
-of Cleves was bequeathed by General Meyrick to Miss Davies, from
-whom it was acquired by the late Mr. George Salting. This miniature
-follows very closely the portrait in the Louvre, though there are slight
-differences in the details and colour of the dress. The background is
-blue, without inscription. It is in water-colours, and is 1¾ in. in
-diameter. It was from this miniature, which is regarded as an
-undoubted work by Holbein, that Houbraken engraved, in 1739, the
-portrait of Anne for his “Illustrious Heads.”</p>
-
-<div class='footnote c021' id='f390'>
-<p class='c022'><span class='label'><a href='#r390'>390</a>.&nbsp;&nbsp;</span>Woltmann, 158. Reproduced by Ganz, <i>Holbein</i>, p. 148 (2); and in
-<i>Burlington Fine Arts Club Exhibition Catalogue</i>, Pl. xxxii.</p>
-</div>
-
-<div class='footnote c021' id='f391'>
-<p class='c022'><span class='label'><a href='#r391'>391</a>.&nbsp;&nbsp;</span>Woltmann, 157. See p. <a href='#Page_235'>235</a>.</p>
-</div>
-
-<p class='c023'>When the Louvre picture was in the Arundel Collection it was
-etched by Hollar, but reversed. This print is 9¼ in. by 7 in., and is
-dated 1648 and inscribed—“Anna Clivensis, Henrici VIII Regis
-Angliæ Uxor IIIIta. H Holbein pinxit. Wenceslaus Hollar fecit
-aqua forti, ex Collectione Arundeliana, A. 1648.”<a id='r392' /><a href='#f392' class='c020'><b>[392]</b></a></p>
-
-<div class='footnote c021' id='f392'>
-<p class='c022'><span class='label'><a href='#r392'>392</a>.&nbsp;&nbsp;</span>Parthey, 1343. There is a second print by Hollar, of the same year,
-taken from a picture or drawing in the Arundel Collection, of a lady
-in profile to the right, wearing a flat black cap, which, it has been
-suggested, also represents Anne of Cleves (Parthey, 1545). The
-likeness is not very apparent, nor does the original appear to have
-been by Holbein, as Hollar states. It is reproduced by Dr. Ganz,
-<i>Holbein</i>, p. 198 (2).</p>
-</div>
-
-<div id='pl-24'  class='figcenter id001'>
-<img src='images/pl-24.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 24</span><br />ANNE OF CLEVES<br />1539<br /><span class='sc'>Louvre, Paris</span></p>
-</div>
-</div>
-
-<div class='sidenote'>OTHER PORTRAITS OF ANNE OF CLEVES</div>
-<p class='c023'><span class='pageno' id='Page_183'>183</span>There are several other portraits in existence which are said, with
-little authority, to represent Anne of Cleves; among them a drawing
-in the Windsor Collection,<a id='r393' /><a href='#f393' class='c020'><b>[393]</b></a> which appears at one time to have become
-separated from the others. It came into the possession of Dr. Meade,
-and at his sale in 1755 was bought by Mr. Chetwynd. After the
-latter’s death it was restored by his executors to the royal collection.
-It bears little or no resemblance to the Louvre portrait, and is almost
-certainly a likeness of some English lady. She is shown full-face, with
-a close-fitting cap covering the ears, and a hat over it. The drawing
-has been damaged by having been cut out round the outline. The
-face is a refined one. There are notes in German as to the material
-and colours of the dress, and the pattern of the Spanish work on the
-collar is drawn in detail on the margin. It has no inscription. In
-the National Portrait Exhibition at South Kensington in 1865, a small
-head of “Anne of Cleves” was exhibited by the Earl of Derby. It was
-in oil on panel, oval, about 3 in. by 2½ in., and signed “H. H.” It
-had been injured, and was then in a somewhat dirty condition; the
-face had considerable likeness to the Louvre picture.<a id='r394' /><a href='#f394' class='c020'><b>[394]</b></a></p>
-
-<div class='footnote c021' id='f393'>
-<p class='c022'><span class='label'><a href='#r393'>393</a>.&nbsp;&nbsp;</span>Woltmann, 357; Wornum, not included; Holmes, ii. 2.</p>
-</div>
-
-<div class='footnote c021' id='f394'>
-<p class='c022'><span class='label'><a href='#r394'>394</a>.&nbsp;&nbsp;</span>Wornum, p. 330, note.</p>
-</div>
-
-<p class='c023'>There is, however, one other portrait in addition to the Louvre
-panel which is a contemporary likeness of Anne of Cleves, though not
-by Holbein. This is the small picture in St. John’s College, Oxford,
-a fine work by some unknown painter of the Flemish School. It is a
-half-length, standing three-quarters to the left, behind a parapet upon
-which lie an orange and a pair of jewelled gloves. The head-dress is of
-cloth of gold and white gauze, the latter worked with the motto, “<span class='sc'>A
-bon fine</span>,” as in the Louvre picture. She is wearing a low-cut dress of
-striped gold and black, filled in with white with embroidered bands,
-gold and jewelled necklaces, and a pendant cross, and several rings on
-her fingers. Her left hand is placed against her waistbelt, and in her
-right she holds three carnations. The background is dark, with a
-small canopy or curtain over her head. It is on panel with arched
-top, 19¾ in. by 14¼ in. The costume is of the same style and period
-as the Louvre portrait, though it differs in numerous small details,
-more particularly in the colours of the materials, the shape of the
-sleeves, and the jewelled bands of the head-dress. The general tone
-of colour is golden, and there is excellent painting in all the details of
-<span class='pageno' id='Page_184'>184</span>the elaborate costume. It was included in the Oxford Exhibition of
-Historical Portraits in 1904 (No. 30), and was one of the most interesting
-pictures in the collection.<a id='r395' /><a href='#f395' class='c020'><b>[395]</b></a> As a likeness it bears a strong resemblance
-to Holbein’s portrait, and if not of Anne may well be of her
-sister. The suggestion may be hazarded that it is one of the two
-portraits, painted six months before Holbein and Beard were in Düren,
-which Olisleger had promised to procure for Henry VIII’s ambassadors,
-portraits which Beard, apparently, took with him to London early in
-July 1539.</p>
-
-<div class='footnote c021' id='f395'>
-<p class='c022'><span class='label'><a href='#r395'>395</a>.&nbsp;&nbsp;</span>Reproduced in the Oxford Catalogue, p. 24; <i>Burlington Magazine</i>,
-vol. v., May 1904, p. 214. A very similar picture was lent by Dr.
-Wickham Flower to the New Gallery Winter Exhibition, 1899-1900, No.
-44, as a work of the Early Flemish School. It was described in the
-catalogue as: “Half-length, turned towards left, habited in a rich
-Flemish costume of gold tissue covered with jewellery; head-dress
-ornamented with pearls, and inscribed with the motto ‘A bon fine’; in
-her right hand she holds a red carnation; flat green background.
-Painted on vellum and strained on fine canvas, 15 in. × 14 in. This
-portrait is supposed to have been executed by a Flemish painter a year
-or two previous to Anne’s marriage in 1540.”</p>
-</div>
-
-<p class='c023'>There is no need even to touch upon the concluding stages of this
-miserable story, with which Holbein had nothing to do. Henry married
-Anne at Greenwich on January 6, 1540, and finally divorced her on
-July 12 in the same year. She settled at Richmond in the enjoyment
-of the rank of a princess and a pension of £3000 a year, and
-survived the King by ten years, dying in 1557.</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_185'>185</span>
-  <h2 id='ch-XXIV' class='c012'>CHAPTER XXIV<br /><span class='c017'>THE LAST YEARS: 1540-1543</span></h2>
-</div>
-
-<p class='c037'>Holbein’s work at Whitehall—His residence in the parish of St. Andrew
-Undershaft—In high favour at court—Payments of his salary—Possible
-visit to Basel—Portraits and miniatures of Catherine Howard—Portraits
-of the Duke of Norfolk—The Earl of Surrey—Unknown men at Berlin and
-Vienna—Unknown Englishman at the Hague—Earl of Southampton—Unknown
-man, aged 54, at Berlin—Unknown English lady at Vienna—Simon
-George—Dr. John Chamber—Sir William and Lady Butts—Unknown Englishman
-at Basel—Young English lady in the collection of Count
-Lanckoronski—Lady Rich—Holbein’s self-portraits—A newly-discovered one
-at Basel—Portraits, now lost, etched by Hollar—The Duke of
-Buckingham’s Collection.</p>
-
-<div class='c027'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-Though there is no actual evidence in support of the
-statement of the older writers that Holbein, after he
-entered the royal service, had the use of a permanent
-studio in Whitehall Palace, granted to him by the
-King, there is every possibility that such was the
-case. “One of the earliest of the famous non-royal
-residents in Whitehall Palace,” says Dr. Edgar Sheppard, “was the
-artist Holbein. He had been presented to Henry VIII by Sir
-Thomas More, and the King assigned him a permanent suite of
-apartments in Whitehall, and commissioned him to paint the
-interior of the new Palace, for which work he received two hundred
-florins per annum.”<a id='r396' /><a href='#f396' class='c020'><b>[396]</b></a> While the great wall-painting in the Privy
-Chamber was in progress, it would be necessary for him to have
-a room for his own use within the building, for the storage of
-the materials required for the work, and it is not impossible that
-he was permitted to retain the room as his own, perhaps one of
-those over the so-called “Holbein’s Gate,” for the short remainder
-of his life, more particularly as his practice was almost entirely confined
-to the court, so that a studio in Whitehall would best suit the
-convenience both of the painter and his sitters.<a id='r397' /><a href='#f397' class='c020'><b>[397]</b></a> That he had a “permanent
-suite of apartments” there, as Dr. Sheppard states, is much
-less probable. This would indicate residence, whereas it is known
-<span class='pageno' id='Page_186'>186</span>that during his last years he occupied a house in the east of
-London.</p>
-
-<div class='footnote c021' id='f396'>
-<p class='c022'><span class='label'><a href='#r396'>396</a>.&nbsp;&nbsp;</span><i>The Old Royal Palace of Whitehall</i>, 1901, p. 266.</p>
-</div>
-
-<div class='footnote c021' id='f397'>
-<p class='c022'><span class='label'><a href='#r397'>397</a>.&nbsp;&nbsp;</span>See Appendix (<a href='#app-M'>M</a>).</p>
-</div>
-
-<p class='c023'>It is doubtful, too, whether Holbein carried out any important
-decorative work in the Palace beyond the famous wall-painting already
-described.<a id='r398' /><a href='#f398' class='c020'><b>[398]</b></a> According to a curious entry in Pepys’ <i>Diary</i>, under
-the date August 28, 1668, which is not easy to understand, the room
-known as the Matted Gallery had a painted ceiling of Holbein’s handiwork.
-The passage runs as follows: “With much difficulty, by
-candle-light, walked over the matted gallery, as it is now with the
-mats and boards all taken up, so that we walked over the rafters.
-But strange to see how hard matter the plaister of Paris is, that is
-there taken up, as hard as stone! And pity to see Holben’s work in
-the ceiling blotted on, and only whited over!” The exact sense of
-the concluding words is not very clear, but Pepys appears to mean
-that the ceiling had been formerly painted by Holbein, and that,
-having become damaged in course of time, it had recently been given
-a coat of whitewash. The ceiling was probably decorated with
-coloured plaster-work in relief, and though Holbein may have supplied
-the design, and may even have been responsible for the painting, it
-is much more likely that the plaster-work itself was done by some
-Italian, such as Nicolas Beilin of Modena, who had carried out similar
-undertakings at Fontainebleau.</p>
-
-<div class='footnote c021' id='f398'>
-<p class='c022'><span class='label'><a href='#r398'>398</a>.&nbsp;&nbsp;</span>In 1576 Johann Fischart, quoted by Ganz, <i>Holbein</i>, p. xxxviii.,
-in a description of the Palace, speaks of several of the galleries as
-decorated on both sides with fine emblematic histories, and actions
-and stories in the style of Michelangelo and Holbein. Henry Peacham,
-in his <i>Graphicè</i> (1606), and again in <i>The Compleat
-Gentleman</i> (1634), speaks of works by Holbein in Whitehall. He
-says: “He painted the Chappell at White-Hall, and S. <i>James</i>,
-<i>Joseph of Arimathea</i>, <i>Lazarus</i> rising from the dead, &amp;c.,
-were his.” (See <i>The Compleat Gentleman</i>, ed. G. S. Gordon, 1906,
-p. 128. Also Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 82.) There
-is a drawing in the British Museum representing Henry VIII seated at
-table under a lofty canopy, in a large chamber, with a number of
-standing courtiers in attendance, which appears to be a
-sixteenth-century copy of a preliminary study by Holbein for a wall-decoration,
-possibly for one of the rooms in Whitehall. It is
-inscribed “Holbein Inven<b>t</b>.” Reproduced by Ganz, <i>Holbein</i>, p.
-183.</p>
-</div>
-
-<div class='sidenote'>“DANCE OF DEATH” AT WHITEHALL</div>
-<p class='c023'>The legend that Holbein also painted a “Dance of Death,” composed
-of life-size figures, upon the walls of one of the rooms in Whitehall,
-is probably pure fiction, or, at least, there is much less to be said
-in its favour than for Pepys’ attribution of the ceiling in the Matted
-Gallery to the painter. The writer who first gave currency to the
-story was Francis Douce, in his “Dance of Death,” published in 1833.
-According to his statement, “very soon after the calamitous fire at
-Whitehall in 1697,<a id='r399' /><a href='#f399' class='c020'><b>[399]</b></a> which consumed nearly the whole of that palace,
-a person, calling himself T. Nieuhoff Piccard, probably belonging to
-<span class='pageno' id='Page_187'>187</span>the household of William III, and a man who appears to have been
-an amateur artist,”<a id='r400' /><a href='#f400' class='c020'><b>[400]</b></a> made etchings after nineteen of the cuts in the
-Lyon “Dance of Death.” Impressions of these etchings, accompanied
-with manuscript dedications, are said to have been presented by this
-Piccard to his friends and patrons, and among others to a Mynheer
-Heymans, and to the “high, noble, and well-born Lord William
-Denting, Lord of Rhoon, Pendreght,” &amp;c. In these addresses Piccard
-speaks of a “wall-painting” of the “Dance” by Holbein which
-he himself had seen in Whitehall. In the dedication to Heymans
-he says:</p>
-
-<div class='footnote c021' id='f399'>
-<p class='c022'><span class='label'><a href='#r399'>399</a>.&nbsp;&nbsp;</span>Should be 1698.</p>
-</div>
-
-<div class='footnote c021' id='f400'>
-<p class='c022'><span class='label'><a href='#r400'>400</a>.&nbsp;&nbsp;</span><i>Holbein’s Dance of Death</i>, ed. 1858, p. 124.</p>
-</div>
-
-<p class='c025'>“Sir,—The costly palace of Whitehall, erected by Cardinal Wolsey,
-and the residence of King Henry VIII, contains, among other performances
-of art, a <i>Dance of Death</i>, painted by Holbein in its galleries,
-which, through an unfortunate conflagration, has been reduced to
-ashes.”</p>
-
-<p class='c027'>In the dedication to “Lord William Benting” Piccard is more
-precise:</p>
-
-<p class='c025'>“Sir,—In the course of my constant love and pursuit of works
-of art, it has been my good fortune to meet with that scarce little
-work of Hans Holbein neatly engraved on wood, and which he himself
-had painted as large as life in fresco on the walls of Whitehall.”</p>
-
-<hr class='c031' />
-
-<p class='c023'>As far as can be ascertained, there is not the slightest truth in this
-legend. Nothing is known as to the identity of Heymans, but Lord
-William Benting was evidently William Bentinck (1704-1774), of
-Rhoon and Pendrecht in Holland, and Terrington St. Clements,
-Norfolk, third son of Hans William Bentinck, first Earl of Portland,
-and a Count of the Holy Roman Empire. Douce, who gave
-undeserved authority to this story, made no attempt to trace the
-history of the manuscript “addresses” which accompanied the
-etchings, and though he saw them, does not say to whom they then
-belonged, or even in what language they were written. They may be
-safely set down as forgeries, as far as any wall-paintings of the “Dance
-of Death” by Holbein are concerned. Piccard, whoever he may
-have been, is the sole authority for the existence of these mythical
-works, which are not mentioned by Van Mander or Sandrart, or by
-any of the foreign travellers who visited this country in their
-descriptions of Whitehall, though the wall-painting of Henry VIII
-<span class='pageno' id='Page_188'>188</span>with his wife and parents in the same palace is more than once
-spoken of in such records in terms of high praise. Both Pepys and
-Evelyn are equally silent on the subject, though the latter mentions
-the “Dance of Death” woodcuts, and ascribes them to Holbein by
-name. “We have seen,” he says, “some few things cut in wood
-by the incomparable Hans Holbein the Dane, but they are rare and
-exceedingly difficult to come by; as his <i>Licentiousnesse of the Friers
-and Nuns</i>; <i>Erasmus</i>; <i>Moriae Encomium</i>; <i>the Trial and Crucifixion of
-Christ</i>; <i>The Daunce Macchabree</i>; the <i>Mortis Imago</i>, which he painted
-in great in the Church at Basil, and afterwards graved with no lesse
-art.”<a id='r401' /><a href='#f401' class='c020'><b>[401]</b></a> What he says is by no means free from mistakes, but as, in
-speaking of a visit paid to Whitehall in 1656, he describes the condition
-of the large wall-painting of the two kings Henry VII and Henry VIII,
-and their consorts, it is not probable that he would have failed to
-mention any other important wall-paintings in the palace had they
-existed. Douce thought he had discovered a corroboration of Piccard’s
-story in an entry in Van der Doort’s catalogue of Charles I’s collection,
-which runs: “A little piece, where Death with a green garland about
-his head, stretching both his arms to apprehend a Pilate in the habit
-of one of the spiritual Prince-Electors of Germany. Copied by Isaac
-Oliver from Holbein”; but this, no doubt, was painted from the
-woodcut of the Elector in the Lyon “Dance of Death,” and not from
-a large wall-painting.</p>
-
-<div class='footnote c021' id='f401'>
-<p class='c022'><span class='label'><a href='#r401'>401</a>.&nbsp;&nbsp;</span>Evelyn, <i>Sculptura</i>, ed. 1769, p. 69.</p>
-</div>
-
-<p class='c023'>As already stated, though Holbein may have had a workroom
-within the precincts of Whitehall, his permanent home in London was
-elsewhere. The public records show that in 1541 he was living in the
-parish of St. Andrew Undershaft, in Aldgate Ward. How long he
-had been there is not known, but possibly for the greater part of his
-second sojourn in England. This information is contained in a subsidy
-roll for the City of London, dated 24th October, 33 Hen. VIII (1541).
-Among the “straungers” taxed were:</p>
-
-<div class='fs80'>
-
-<table class='table3' summary=''>
-<colgroup>
-<col width='50%' />
-<col width='50%' />
-</colgroup>
-  <tr>
-    <td class='c016'>“Barnadyne Buttessey, xxx. <i>li.</i></td>
-    <td class='c038'>xxx. <i>s.</i></td>
-  </tr>
-  <tr>
-    <td class='c039'>Hanns Holbene in fee, xxx. <i>li.</i></td>
-    <td class='c038'>iij. <i>li.</i>”</td>
-  </tr>
-</table>
-
-</div>
-
-<p class='c023'>Why Holbein was obliged to pay twice the amount charged to Buttessey
-on an equal assessment of £30 a year is explained by the fact that in
-these subsidies it was usual to tax “lands, fees, and annuities,” at
-<span class='pageno' id='Page_189'>189</span>double the rate of goods. “In the royal accounts,” says Sir
-Augustus W. Franks, “the payments to Holbein are sometimes
-noticed as wages, sometimes as an annuity; while other payments
-of a similar kind, although fees or annuities, are included under the
-general term “wages,” and evidently looked upon as synonymous
-terms for the salaries paid by the King to various members of his
-household. In any case, the salary of Holbein, the painter, rendered
-him liable to be rated, as a foreigner, at the high amount above-mentioned.”<a id='r402' /><a href='#f402' class='c020'><b>[402]</b></a>
-There can be no doubt that this Holbein of the subsidy
-roll was the artist. The amount of his fee, £30, corresponds with the
-salary he received from the royal purse, while Holbein’s will gives his
-place of residence as the parish of St. Andrew Undershaft.</p>
-
-<div class='footnote c021' id='f402'>
-<p class='c022'><span class='label'><a href='#r402'>402</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xxxix. p. 17.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S RESIDENCE IN LONDON</div>
-<p class='c023'>According to a story told by Walpole, Holbein once resided in a
-house on London Bridge. He says: “The father of Lord Treasurer
-Oxford passing over London Bridge, was caught in a shower, and
-stepping into a goldsmith’s shop for shelter, he found there a picture
-of Holbein (who had lived in that house) and his family. He offered
-the goldsmith 100<i>l.</i> for it, who consented to let him have it, but desired
-first to show it to some persons. Immediately after happened the
-fire of London, and the picture was destroyed.”<a id='r403' /><a href='#f403' class='c020'><b>[403]</b></a> This story is apparently
-a mere legend, and there is no evidence to support it; nor
-is it very probable that an important painting by Holbein would have
-remained in the same small house for more than one hundred and
-twenty years. Dallaway, in his notes to Walpole, includes in a
-supplementary list of works by Holbein in England a small picture
-of Holbein, his wife, four boys, and a girl, at Mereworth Castle, Kent,
-which he suggests may be either a repetition or the original picture
-of the London Bridge story; but in the first place, Holbein never
-had a family of four sons, and, secondly, the picture bears no traces
-of Holbein’s manner. He quotes Gilpin’s description of it: “As a
-whole, it has no effect; but the heads are excellent. They are not
-painted in the common flat style of Holbein, but with a round, firm,
-glowing pencil, and yet exact imitation of nature is preserved—the
-boys are very innocent, beautiful characters.” If some such “family”
-picture existed in London at that time, it is much more likely to have
-been a copy or a replica of the genuine family group in the Basel
-Gallery.</p>
-
-<div class='footnote c021' id='f403'>
-<p class='c022'><span class='label'><a href='#r403'>403</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 86, note.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_190'>190</span>The favour with which Holbein was now regarded at court is shown
-by the frequency with which he received a year’s or half a year’s
-salary in advance, a mark of royal condescension which was most
-unusual. Thus under “September A<b>o</b> xxxi” (1539) is the following
-entry: “Item paide by the Kingis highnesse commaundement
-certefied by my lorde privyseales lettres to Hans Holbenne, paynter,
-in the advauncement of his hole yeres wagis beforehande, aftre the
-rate of xxx <i>li.</i> by yere, which yeres advauncement is to be accompted
-from this present Michaelmas, and shall ende ultimo Septembris next
-commynge, the somme of xxx <i>li.</i>”<a id='r404' /><a href='#f404' class='c020'><b>[404]</b></a> Notwithstanding this payment
-in advance, it appears, as already pointed out,<a id='r405' /><a href='#f405' class='c020'><b>[405]</b></a> from the four following
-quarterly entries in the accounts having reference to Holbein, from
-Michaelmas 1539 to Midsummer 1540, that he continued to receive his
-salary of £7, 10<i>s.</i> each quarter as usual.<a id='r406' /><a href='#f406' class='c020'><b>[406]</b></a> If these entries are to be
-depended upon, he clearly received his money twice over, either by
-accident, owing to carelessness in the keeping of the King’s accounts,
-or of set purpose as a further reward for his services.</p>
-
-<div class='footnote c021' id='f404'>
-<p class='c022'><span class='label'><a href='#r404'>404</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv. pt. ii. p. 313, <i>The King’s Payments</i>,
-f. 90 <i>b</i>; and <i>Archæologia</i>, vol. xxxix. p. 9.</p>
-</div>
-
-<div class='footnote c021' id='f405'>
-<p class='c022'><span class='label'><a href='#r405'>405</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_180'>180</a>.</p>
-</div>
-
-<div class='footnote c021' id='f406'>
-<p class='c022'><span class='label'><a href='#r406'>406</a>.&nbsp;&nbsp;</span>The first of these was due to him, and not covered by the year’s advance.</p>
-</div>
-
-<div class='sidenote'>HIS WORK ABOUT THE COURT</div>
-<p class='c023'>In September 1540 he received an advance of half a year:
-“September, A<b>o</b> xxxii—Item paide to Hans Holbyn, the Kingis
-paynter, in advauncement of his wagis for one half yere beforehande,
-the same half yere accompted and reconned fromme Michaelmas last
-paste, the somme of xv <i>li.</i>” This time, however, he did not receive
-his salary twice over, for in the two following entries, at Michaelmas
-and Christmas, 1540, the accounts merely state: “Item, for Hans
-Holbyn, paynter, wages, nihil, quia prius per warrantum.” In the
-following March 1541 he again obtained a half-year’s advance:
-“March, A<b>o</b> xxxii: Item paied to Hans Holben, the Kingis painter, in
-advauncement of his half yeres wages before hande, after the rate of
-xxx <i>li.</i> by yere, which half yere is accompted to beginne primo Aprilis
-A<b>o</b> xxxij. domini Regis nunc, and shall ende ultimo Septembris then
-next ensuynge, the somme of xv <i>li.</i>” The two remaining entries
-of which we have record, at Lady Day and Midsummer following,
-are as follows: “Item for Hans Holben, paynter, wages, nil, quia
-praemanibus”; and “Item for Hans Holbyn, paynter, nihil, quia
-prius.” The volume of accounts closes with the payments for this
-quarter, and no details of the royal expenditure during the next two
-years and a half exist, so that there is no record of the salary Holbein
-received for the remaining years of his life. In a later volume of
-Tuke’s accounts, as treasurer of the household, extending from
-October, 35 Hen. VIII (1543) to November, 36 Hen. VIII (1544), the
-first quarterly payments are for Christmas 1543, and Holbein’s name
-does not occur in them, as he had then been dead for about two
-months. It is rather strange, however, that it does not appear among
-the Christmas payments with “Nihil quia mortuus” after it, as this
-was the usual procedure in case of death. This omission, however,
-may have been due to the fact that he had once again received his
-salary beforehand.</p>
-
-<p class='c023'><span class='pageno' id='Page_191'>191</span>The remaining years of Holbein’s life must have been busy ones,
-judging from the number of preliminary studies for portraits of the
-men and women of Henry’s court which exist in the Windsor Collection
-and in many of the great European museums. These drawings
-are all undated, and cover the whole period of his English career, but
-there are so many of them that his time must have been always fully
-occupied. It is strange, therefore, that so few of his finished portraits
-can be ascribed with any certainty to the year 1540. Although it was
-by no means his invariable custom to put the date on his paintings,
-yet this was his more usual practice, and there is no known picture
-by him which is inscribed 1540, though there are a few dated 1541
-and 1542. Several portraits of the Howard family can be given with
-some certainty to the earlier year, but beyond this nothing has been
-so far discovered. It may be suggested, as some explanation of this,
-that Holbein paid another visit to Basel during the last quarter of
-1540, as the two years’ leave of absence granted him by the Town
-Council came to an end in the middle of October. The Council, who
-had been paying his wife the promised yearly pension of forty gulden,
-expected him to make Basel his permanent residence on the completion
-of this further extension of leave. The terms of their agreement
-with him were fairly generous, and it is not to be supposed that
-the painter would risk losing his rights of citizenship and the stoppage
-of the pension to his wife through a total disregard of the Council’s
-wish. It seems possible, therefore, that he went over to Switzerland
-in order to make personal application for a further and longer leave of
-absence in England than the agreement of 1538 permitted. Unlike
-many of the foreign artists and artificers then resident in this country,
-<span class='pageno' id='Page_192'>192</span>he never became a naturalised British subject, and this, no doubt,
-was due to the fact that he was determined to end his days as a citizen
-of Basel, and regarded his residence here as merely a temporary one,
-and England as a profitable field which, as time passed, would become
-worked out. He could not, of course, foresee that he was to be
-suddenly cut down when a comparatively young man and still in the
-full maturity of his powers. At Michaelmas in the year in question
-he received half a year’s salary in advance, so that it was impossible
-for him to leave England permanently for some time to come.</p>
-
-<p class='c023'>In the summer of 1540 Holbein lost another of his English patrons.
-Henry formally divorced Anne of Cleves on the 12th of July, and on
-the 28th of the same month Thomas Cromwell, then Earl of Essex,
-who had been a good friend to the painter, was beheaded for high
-treason, after a period of eight years during which his influence with
-both King and Parliament had been paramount. During the same
-month Henry privately married Catherine, daughter of Lord Edmund
-Howard, a cousin of Anne Boleyn, and niece of Thomas, third Duke of
-Norfolk. By this marriage the Howards, and through them the
-Catholic party, regained that ascendancy in the councils of the King
-which had received a severe check at the fall of Anne Boleyn; and at
-least three members of this family were painted by Holbein. The new
-Queen was publicly acknowledged on August 8 at Hampton Court
-Palace.</p>
-
-<div class='sidenote'>MINIATURES OF CATHERINE HOWARD</div>
-<p class='c023'>Although it was to be supposed that Henry would employ Holbein
-to paint the portrait of his new queen, until quite recently the only
-known likeness of her from his brush was the miniature portrait in the
-royal collection at Windsor Castle, and the replica of it belonging to
-the Duke of Buccleuch. In 1909, however, the discovery was made
-by Mr. Lionel Cust of a genuine and very beautiful portrait of this
-Queen. In the Windsor miniature (<a href='#pl-31'>Pl. 31</a> (4)),<a id='r407' /><a href='#f407' class='c020'><b>[407]</b></a> which shows her in
-a similar position to the one in the newly-discovered picture, she is
-represented nearly to the waist, turned to the left, her hands folded in
-front of her, the left over the right. Her hair and eyes are brown, and
-she wears a circular hood of the then fashionable French pattern, with a
-fall of black velvet. Her square-cut bodice is of dark cloth of gold,
-<span class='pageno' id='Page_193'>193</span>with sleeves of grey-green silk embroidered with gold, and white ruffles
-with black embroidery. Round her neck, over the white cambric
-filling of the dress, falls an elaborate necklace of pearls, rubies, and
-sapphires. The background, which is bright blue, has no inscription.
-It is painted on the back of a playing card, the eight of diamonds, and
-is 2⅓ inches in diameter. The hands, and the lower part of the arms,
-are badly painted, and appear to be a later addition.</p>
-
-<div class='footnote c021' id='f407'>
-<p class='c022'><span class='label'><a href='#r407'>407</a>.&nbsp;&nbsp;</span>Woltmann, 271. Reproduced by Law, Pl. vii.; Knackfuss, fig. 132;
-Williamson, <i>History of Portrait Miniatures</i>, Pl. ii. No. 2;
-Pollard, <i>Henry VIII</i>, p. 245; Ganz, <i>Holbein</i>, p. 149 (4),
-and Cust, <i>Burlington Magazine</i>, July 1910, p. 195.</p>
-</div>
-
-<p class='c023'>Nothing is known of its history, or as to the date of its acquisition,
-but it did not belong to the Crown in Tudor or Stuart days. Dr. Ganz
-describes it as badly over-painted, and possibly only a copy. Doubts
-have been thrown from time to time on its right to be called a portrait
-of Catherine Howard. Mr. Ernest Law considers the attribution to
-be “very problematical indeed,” and states that it “does not at all
-accord with the Holbein drawing inscribed as ‘Queen Katherine
-Howard.’”<a id='r408' /><a href='#f408' class='c020'><b>[408]</b></a> In this he follows earlier writers. Nichols says that
-though the position and head-dress of the drawing agree with the
-miniature, “the features do not appear to correspond.”<a id='r409' /><a href='#f409' class='c020'><b>[409]</b></a> It is
-difficult, however, to agree with them in this, for a careful comparison
-of the two makes it quite evident that they represent the same lady.
-The version belonging to the Duke of Buccleuch is almost identical
-with the Windsor miniature, but is a better work and slightly smaller,
-being only two inches in diameter. It was last publicly exhibited at
-the Burlington Fine Arts Club, in 1909.<a id='r410' /><a href='#f410' class='c020'><b>[410]</b></a> It was formerly in the
-collection of the Earl of Arundel, and when there was etched by
-Hollar in 1646. It was afterwards owned by Jonathan Richardson
-the younger (1694-1771), and subsequently by Horace Walpole.
-Walpole describes it as: “Catherine Howard, a miniature, damaged,
-it was Richardson’s, who bought it out of the Arundelian collection.
-It is engraved among the Illustrious Heads [of Houbraken]; and by
-Hollar, who called it Mary, Queen of France, wife of Charles Brandon,
-Duke of Suffolk.”<a id='r411' /><a href='#f411' class='c020'><b>[411]</b></a> In this he is wrong, for no name is attached to
-<span class='pageno' id='Page_194'>194</span>it in Hollar’s etching, and it was first identified as Catherine Howard
-by Mr. Cust. In his <i>Description of Strawberry Hill</i>, however,
-Walpole calls it merely “a lady painted by Holbein,” and says that
-it is “probably Mary Tudor, Queen of France, sister of Henry VIII,
-but among the Illustrious Heads called Catherine Howard.” According
-to Granger, it was Vertue who first named it Mary, Queen of France.
-The Duke of Buccleuch also possesses a small oil painting on panel,
-5⅜ in. × 4½ in., which was likewise at the Burlington Fine Arts
-Club (Case C, 24). It is inscribed, by a hand later than that of the
-painter of the portrait, “Catherine Howard Henry VIII.” According
-to Scharf, this is “apparently a French work, and, indeed,
-thoroughly so in personal characteristics.”<a id='r412' /><a href='#f412' class='c020'><b>[412]</b></a> It is in the style of
-Clouet, and the compilers of the Burlington Fine Arts Club catalogue
-suggest that it may represent Anne de Pisseleu, Duchesse
-d’Estampes.</p>
-
-<div class='footnote c021' id='f408'>
-<p class='c022'><span class='label'><a href='#r408'>408</a>.&nbsp;&nbsp;</span>Law, <i>Holbein’s Pictures</i>, &amp;c., p. 24. This was before Mr. Cust’s
-discovery of the larger portrait.</p>
-</div>
-
-<div class='footnote c021' id='f409'>
-<p class='c022'><span class='label'><a href='#r409'>409</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xl. p. 78.</p>
-</div>
-
-<div class='footnote c021' id='f410'>
-<p class='c022'><span class='label'><a href='#r410'>410</a>.&nbsp;&nbsp;</span>Case C, 4. Reproduced in <i>Burlington Fine Arts Club Exhibition
-Catalogue</i>, Pl. xxxiii.; Ganz, <i>Holbein</i>, p. 148 (4); and
-Cust, <i>Burlington Magazine</i>, July 1910, p. 195. Only a part of
-one hand is shown.</p>
-</div>
-
-<div class='footnote c021' id='f411'>
-<p class='c022'><span class='label'><a href='#r411'>411</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. pp. 94-5. Hollar’s etching
-(Parthey, 1546) is reproduced by Ganz, <i>Holbein</i>, p. 198 (3); and
-by Cust, <i>Burlington Magazine</i>, July 1910, p. 195.</p>
-</div>
-
-<div class='footnote c021' id='f412'>
-<p class='c022'><span class='label'><a href='#r412'>412</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xl. p. 87. Reproduced in <i>Burlington Fine
-Arts Club Catalogue</i>, Pl. xxxiv.</p>
-</div>
-
-<p class='c023'>The Windsor drawing<a id='r413' /><a href='#f413' class='c020'><b>[413]</b></a> bears no inscription, and the sitter is turned
-to the right, as in Hollar’s engraving, instead of to the left, but otherwise
-it shows the same type of features, smooth auburn hair, and
-French cap or hood, as in the miniature. The dress, however, in
-Holbein’s usual fashion, is merely indicated with a few lines, showing
-a plain bodice cut square, filled in with white cambric, with a diamond-shaped
-opening revealing neck and bosom. It agrees in the same
-way with the newly-discovered portrait, of which, though reversed,
-it is evidently one of the preliminary studies. The identity with
-Catherine Howard is further proved, as Mr. Lionel Cust points out,
-by the family resemblance, plainly visible, in certain of the features,
-such as the over-accentuated lower jaw, to the portraits of her uncle,
-the Duke of Norfolk, and of his son, the ill-fated Earl of Surrey.</p>
-
-<div class='footnote c021' id='f413'>
-<p class='c022'><span class='label'><a href='#r413'>413</a>.&nbsp;&nbsp;</span>Woltmann, 329; Wornum, ii. 9; Holmes, i. 42. Reproduced in
-<i>Burlington Magazine</i>, vol. xvii., July 1910, p. 195, together
-with the two miniatures and Hollar’s etching.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF CATHERINE HOWARD</div>
-<p class='c023'>In 1898 the Trustees of the National Portrait Gallery acquired a
-portrait of Catherine Howard<a id='r414' /><a href='#f414' class='c020'><b>[414]</b></a> at the sale of the Cholmondeley pictures
-at Condover Hall, Shropshire, which closely follows the Windsor
-drawing, although in the reverse position. The excellence of the
-painting of the hands, and of the details of the dress and jewels, led
-at first to the supposition that it might be a genuine work by Holbein
-<span class='pageno' id='Page_195'>195</span>which had undergone some damage and restoration, but closer examination
-proved that it was merely a careful contemporary school copy,
-or repetition of some lost original. It is inscribed “<span class='sc'>Etatis svæ 21</span>,”
-which corresponds with the known facts of Catherine Howard’s life.
-In the summer of 1909 the original picture of which it is a copy was
-submitted to Mr. Cust, who recognised it at once as not only a portrait
-of Catherine Howard, but as most possibly a genuine work of the
-great master, which proved to be the case on the removal of much
-dirty varnish and some repaints.<a id='r415' /><a href='#f415' class='c020'><b>[415]</b></a> It came from a private collection
-in the west of England, where it had formed part of a series of historical
-portraits which had been in the possession of the same family for
-several generations, and had been regarded at one time as a portrait
-of Eleanor Brandon, Countess of Cumberland, and at another as
-Princess Mary Tudor. It is now in Canada, in the collection of
-Mr. James H. Dunn.</p>
-
-<div class='footnote c021' id='f414'>
-<p class='c022'><span class='label'><a href='#r414'>414</a>.&nbsp;&nbsp;</span>No. 1119. Reproduced by Pollard, <i>Henry VIII</i>, p. 268; and in the
-Illustrated Catalogue, National Portrait Gallery, vol. i. p. 25.</p>
-</div>
-
-<div class='footnote c021' id='f415'>
-<p class='c022'><span class='label'><a href='#r415'>415</a>.&nbsp;&nbsp;</span>See Cust, <i>Burlington Magazine</i>, vol. xvii., July 1910, pp.
-193-9, reproduced, frontispiece; and by Ganz, <i>Holbein</i>, p. 126.</p>
-</div>
-
-<p class='c023'>Henry’s fifth Queen is shown seated, at a little more than half
-length, turned to the left. The hands are in the same position as
-in the miniature, though the fingers are more closely interlaced. Her
-hair is auburn, parted in the middle, and the eyes are blue-grey. She
-wears, too, a costume of a similar fashion, though of different materials.
-The circular French hood, with its heavy band of gold ornament and
-black fall, appears to be the same, but the dress is of black satin, with
-a square black velvet yoke across the bosom, open at the neck and
-turned back to show the white lining. A band or piping of gold
-ornament elaborately pierced, with pairs of gold tags at intervals,
-runs along the outer seam of the sleeves from shoulder to wrist, and
-the white ruffles are embroidered all over with a floral design in black.
-The ornaments she wears are of exceptional interest, as they afford
-actual evidence that Holbein not only painted portraits of royal ladies,
-but also designed their jewellery. Round her neck is a small necklace,
-set with pearls and diamonds, less heavy and elaborate than the one
-represented in the miniatures, and of greater beauty and delicacy of
-design, to which a large pendant jewel is attached. At her breast
-is a brooch from which hangs a circular jewel or medallion of chased
-gold work, with a large oblong diamond in the centre, on which is
-represented the story of Lot’s wife and the flight from Sodom. This
-<span class='pageno' id='Page_196'>196</span>jewel was designed for Catherine by Holbein. It corresponds exactly,
-as Mr. Cust points out, with a most characteristic study, a small
-roundel placed within an octagon, among the wonderful series of
-Holbein’s original drawings for jewellery in the Print Room of the
-British Museum,<a id='r416' /><a href='#f416' class='c020'><b>[416]</b></a> and thus gives particular interest to a portrait
-which in all ways forms a very important addition to the master’s
-work, both on account of the brilliance of its execution and of its
-value as an historical document. Suspended from a chain round her
-waist hangs a still larger circular jewel, only the upper part of which
-is seen. That portion of the subject which is visible represents two
-angels with hands raised in adoration on either side of a crowned and
-bearded figure, most possibly the Almighty. The background of the
-portrait is a plain one, of Holbein’s favourite blue, across which is
-inscribed, as in the National Portrait Gallery copy, “<span class='sc'>Etatis svæ 21</span>,”
-on either side of the head. It is on an oak panel 29 inches high by
-20 inches wide. It must have been painted between August 1540,
-the date of her marriage, and November 1541, when she was deprived
-of her dignity as Queen, and forbidden to wear jewels; most probably
-in the latter year, according to Mr. Cust, which would correspond with
-her accepted age at the time of her marriage. Its importance and
-its genuineness have been accepted by such leading authorities as
-Dr. Bode, Dr. Friedländer, Dr. Paul Ganz, and Sir Sidney Colvin.</p>
-
-<div class='footnote c021' id='f416'>
-<p class='c022'><span class='label'><a href='#r416'>416</a>.&nbsp;&nbsp;</span>British Museum Catalogue, 35(E) Vol. ii. p. <a href='#Page_339'>339</a>. Reproduced in
-<i>Burlington Magazine</i>, vol. xvii., July 1910, p. 195. See p. 283
-and Pl. 50 (2).</p>
-</div>
-
-<p class='c023'>Catherine Howard’s reign as Queen of England was a short one.
-There is no need to describe her tragic fate in detail. Before the
-close of the year 1541 it was discovered that not only had she had two
-lovers, one of them her cousin Francis Dereham, before her marriage,
-but that she had also been unfaithful to the King almost from the
-beginning of her married life, her paramour being one of her gentlemen,
-Thomas Culpeper. The Queen and her accomplice, Lady
-Rochford, were confined in Syon House, pending a parliamentary
-inquiry. Dereham and Culpeper were tried at Guildhall in December,
-pleaded guilty, and were hanged at Tyburn twelve days afterwards;
-and in February 1542, Catherine and Lady Rochford were condemned
-to death, and were beheaded on the 13th of the month, on the same
-spot on which the Queen’s cousin, Anne Boleyn, had suffered the same
-penalty for the same crime.</p>
-
-<p class='c023'><span class='pageno' id='Page_197'>197</span>This fresh tragedy in his life greatly aged the King, as can be
-seen in the portraits of him painted about this period, usually attributed
-to Lucas Hornebolt. A month after the execution, Marillac
-wrote to Francis I, on March 17, 1542, that Henry was “already very
-stout and daily growing heavier, much resembling his maternal grandfather,
-King Edward, being about his age, in loving rest and fleeing
-trouble. He seems very old and grey since the mishap (<i>malheur</i>) of
-this last queen, and will not yet hear of taking another, although he
-is ordinarily in company of ladies, and his ministers beg and urge him
-to marry again.”<a id='r417' /><a href='#f417' class='c020'><b>[417]</b></a></p>
-
-<div class='footnote c021' id='f417'>
-<p class='c022'><span class='label'><a href='#r417'>417</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvii. 178.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF THOMAS HOWARD</div>
-<p class='c023'>The portrait of Thomas Howard, third Duke of Norfolk, uncle by
-marriage to Henry VIII, was painted at about the same time as that
-of Catherine Howard. The inscriptions on the fine original version by
-Holbein in Windsor Castle (<a href='#pl-25'>Pl. 25</a>),<a id='r418' /><a href='#f418' class='c020'><b>[418]</b></a> and the excellent contemporary
-copy in Arundel Castle, both state that it was taken in his sixty-sixth
-year, and as he is said to have been born in 1473, this gives the date of
-the picture as 1539 or early in 1540. He is shown standing, at half-length,
-slightly turned to the left. He is wearing a doublet of dusky
-red silk, edged with brown fur, and a white collar embroidered with
-black silk. His outer robe of dark velvet has a deep collar and border
-of ermine, and on his head is a plain, flat black hat, without a badge,
-over a black skull-cap which covers the ears. In his left hand he holds
-the long white wand of his office of Lord High Treasurer, and in his right
-the shorter gold baton, tipped with black, which he carried as hereditary
-Earl Marshal of England. Across the shoulders hangs the magnificent
-and richly-jewelled collar of the Order of the Garter with the pendant
-George, which is painted with all Holbein’s wonderful mastery in the
-clear rendering of minute ornament. The face, clean-shaven, and of a
-brown complexion, displays remarkable subtlety in the delineation of
-a proud and cruel nature. The cold, unflinching eyes, the thin,
-compressed lips with their faint, ironic smile, and the bony hands
-clasping the staves, reveal the sitter’s true character as it has come
-down to us in the pages of history, pride of race, cruelty almost remorseless
-in its pursuit of power, and inflexibility of purpose both in
-personal aggrandisement and in the service of his royal master.</p>
-
-<div class='footnote c021' id='f418'>
-<p class='c022'><span class='label'><a href='#r418'>418</a>.&nbsp;&nbsp;</span>Woltmann, 267. Reproduced by Law, Pl. vi.; Davies, p. 179; Knackfuss,
-fig. 133; Pollard, <i>Henry VIII</i>, p. 188; Ganz, <i>Holbein</i>, p.
-123.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_198'>198</span>The background is green, and across the top of the panel runs the
-inscription: “<span class='sc'>Thomas · Dvke · off · Norfolk · Marshall · and
-Tresvrer off · Inglonde the · lxvi yere · of · his · age.</span>” It is
-now almost illegible, through the passage of time and over-painting,
-but can be deciphered by the aid of the exactly similar inscription
-on the Arundel picture. This, as already stated, gives the date of the
-portrait as about 1540. The inscription, however, is not contemporary,
-but was probably added some hundred years later, in the reign
-of Charles I, when the picture was in the collection of the Earl of
-Arundel. It was finely etched by Vorsterman when in the Earl’s
-possession, in 1630, though without the inscription, but beneath
-the plate is engraved: “Hans Holbein pinxit. Visitur in Ædibus
-Arondelianis Londini.” This does not necessarily prove that the
-inscription on the panel did not exist at that date, as Vorsterman
-may have omitted it as disfiguring. That it was certainly there
-fifteen years later is proved by a coloured drawing on vellum by
-Philip Fruytiers, the Antwerp painter, dated 1645, a copy of a study
-by Van Dyck representing a large group of Thomas Howard, Earl
-of Arundel, his wife, and family. On the wall in the background
-Van Dyck had inserted, and Fruytiers has copied, on the one side,
-this very portrait of the Duke of Norfolk by Holbein, in which the
-inscription across the top of it in gold letters can be plainly seen, and
-on the other side the portrait of his son, the Earl of Surrey, also evidently
-a work by Holbein, though the original painting is now lost,
-which is inscribed: “<span class='sc'>Henry Howard Erle of Suhry anno ætatis
-svæ 25.</span>” This water-colour drawing, which is signed “An. Vandyke
-inv. Ph. Fruytiers fecit 1645,” is in the collection of the Duke of
-Sutherland, and there is a small copy of it in oils on copper at Norfolk
-House, which also shows the inscription. It was engraved by Vertue
-in 1743. The original sketch or composition by Van Dyck has
-been lost.</p>
-
-<div id='pl-25'  class='figcenter id001'>
-<img src='images/pl-25.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 25</span><br />THOMAS HOWARD, DUKE OF NORFOLK<br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF THOMAS HOWARD</div>
-<p class='c023'>It is supposed that the Windsor version is the one which was in the
-Arundel Collection, but its subsequent history is uncertain. That
-collection was divided in 1686, and the share which fell to the Duke
-of Norfolk may possibly have contained this portrait of his
-ancestor.<a id='r419' /><a href='#f419' class='c020'><b>[419]</b></a>
-<span class='pageno' id='Page_199'>199</span>The Duke’s pictures were sold in 1692, and nothing further is to be
-heard of this portrait until it is mentioned by Walpole as being then
-(1762) in Leicester House, at that time the dower-house of the Dowager
-Princess of Wales, widow of Frederick, Prince of Wales.<a id='r420' /><a href='#f420' class='c020'><b>[420]</b></a> “There
-can be no doubt,” says Mr. Ernest Law, “that the picture passed,
-on the death of the Princess in 1772, into the possession of the Crown
-with the rest of the collection which had been formed by Prince
-Frederick.”<a id='r421' /><a href='#f421' class='c020'><b>[421]</b></a> It is not known from whom that Prince acquired it,
-but many of his pictures were purchased for him on the Continent by
-his agent, Bagnols, and it is not unlikely that Woltmann’s surmise
-is correct, and that it is to be identified with the portrait of the Duke
-which appeared in the catalogue of an anonymous sale of pictures at
-Amsterdam on April 23, 1732, as “Een zeer konstig uitmuntent stuk
-door Hans Holbeen, zynde de Hartog van Nortfolk nooit zoo goet
-gezien,” which must have been a fine work, as it fetched the relatively
-high price of 1120 florins.<a id='r422' /><a href='#f422' class='c020'><b>[422]</b></a> It is quite possible, therefore,
-that the portrait was one of those sold by Lord Stafford in Amsterdam
-in 1654, immediately after the death of the Countess of Arundel, and
-that it was never in the possession of the Duke of Norfolk, but remained
-in that town until 1732.</p>
-
-<div class='footnote c021' id='f419'>
-<p class='c022'><span class='label'><a href='#r419'>419</a>.&nbsp;&nbsp;</span>The only portrait of the Duke mentioned in the Arundel inventory of
-1655 has no artist’s name placed against it, but it comes next to the
-portrait of the Earl of Surrey, which is given to Holbein. It is
-entered as “Ritratto de Tomaso Howard, Ducha de Nordfolk.”</p>
-</div>
-
-<div class='footnote c021' id='f420'>
-<p class='c022'><span class='label'><a href='#r420'>420</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, &amp;c., ed. Wornum, i. p. 83.</p>
-</div>
-
-<div class='footnote c021' id='f421'>
-<p class='c022'><span class='label'><a href='#r421'>421</a>.&nbsp;&nbsp;</span>Law, <i>Holbein’s Pictures</i>, &amp;c., p. 19.</p>
-</div>
-
-<div class='footnote c021' id='f422'>
-<p class='c022'><span class='label'><a href='#r422'>422</a>.&nbsp;&nbsp;</span>Woltmann, ii. pp. 57 and 156.</p>
-</div>
-
-<p class='c023'>The copy at Arundel Castle, about which still less is known, is so
-good that it is only when it is placed side by side with the Windsor
-version, as it was in the Tudor Exhibition in 1890, that the latter is
-seen to be by far the finer work of the two. The Arundel picture is
-slightly the smaller, and was last exhibited at the Burlington Fine
-Arts Club in 1909 (No. 49). There is a second version of this portrait
-in the Norfolk collection, at Norfolk House, in which various alterations
-have been made in the position and the dress, and a more
-elaborate background has been added. It is a work of comparatively
-little merit, and appears to have been painted during the seventeenth
-century by some inferior artist.</p>
-
-<p class='c023'>At the time he sat to Holbein the Duke was at the height of his
-power. He had been the bitter enemy of both Wolsey and Cromwell,
-and had assisted to bring about the downfall of both, and had arrested
-the latter with his own hands. After Cromwell’s execution he became
-the most powerful of Henry’s subjects, and reached his highest summit
-<span class='pageno' id='Page_200'>200</span>of greatness. His influence over the King, however, waned after the
-fall of his niece, Catherine Howard, when he was supplanted by his
-enemies, the Earl of Hertford and the Seymours. In 1546 he was
-attainted, together with his son, the Earl of Surrey, for high treason,
-and only escaped the latter’s fate by the death of the King on the
-day the warrant for his execution was made out. He remained in
-the Tower throughout the reign of Edward VI, but was released on
-the accession of Queen Mary in 1553, and his titles and estates were
-restored to him, but he only lived to enjoy them for a year.</p>
-
-<div id='pl-26'  class='figcenter id001'>
-<img src='images/pl-26.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 26</span><br />HENRY HOWARD, EARL OF SURREY<br />Wrongly inscribed “Thomas Howard”<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAITS OF HENRY HOWARD</div>
-<p class='c023'>That Holbein painted his son, Henry, Earl of Surrey, is proved
-by the small portrait on the wall in Fruytiers’ version of Van Dyck’s
-picture of the Arundel family. The inscription on this miniature
-copy gives his age as twenty-five; and as he was born about 1517,
-Holbein must have painted him about 1541. He is represented with
-reddish hair and beard, and brown eyes, the head slightly turned to
-the right, and wears a black cap with a feather, and a black mantle
-from the folds of which the right hand appears. There is a small
-drawing in the Windsor Collection wrongly inscribed “Tho. Howard
-E. of Surrey,”<a id='r423' /><a href='#f423' class='c020'><b>[423]</b></a> which bears some likeness to the Earl in the Fruytiers
-drawing, and is supposed to represent Henry Howard. It is badly
-rubbed, and has suffered from retouching and certain coarse alterations,
-and has the slightly-wavering touch which marks the so-called
-“Melanchthon” in the same collection. It is apparently the original
-study for the portrait which was engraved by Hollar when it was in
-the Arundel Collection.<a id='r424' /><a href='#f424' class='c020'><b>[424]</b></a> There are two other heads at Windsor
-also named Thomas Howard, Earl of Surrey, but the attribution cannot
-be correct, as Surrey’s son, Thomas, was a small boy of only six or
-seven at the time of Holbein’s death. Whether the drawings represent
-the poet himself is also doubtful. One of them, inscribed “Thomas
-Earl of Surry” (<a href='#pl-26'>Pl. 26</a>),<a id='r425' /><a href='#f425' class='c020'><b>[425]</b></a> in which he is shown full-face, clean-shaven,
-with hair cut straight across the forehead and partly covering the ears,
-and wearing a black cap with scalloped edges and an ostrich feather,
-is one of the finest drawings in the whole collection, conspicuous for
-the delicacy of the modelling and the freedom and expressiveness
-<span class='pageno' id='Page_201'>201</span>of the draughtsmanship. The face is one of considerable charm,
-which is not to be seen in the third drawing,<a id='r426' /><a href='#f426' class='c020'><b>[426]</b></a> inscribed “Tho. Earle
-of Surry,” perhaps a little later in date, in which the head is turned
-slightly to the left, and the hair entirely covered with the black skull-cap
-he wears beneath the feathered bonnet. The dress is only slightly
-indicated, and is rubbed, and a circular medallion suspended from a
-broad ribbon hangs on his breast. A portrait of his wife is also to be
-found among the Windsor heads,<a id='r427' /><a href='#f427' class='c020'><b>[427]</b></a> full-face, wearing the angular
-English head-dress with black fall, and a round jewelled ornament
-hanging from a chain round her neck, and a second medallion on her
-breast. The dress which, like the ornaments, is badly rubbed, was
-of rose-coloured velvet, according to a note in Holbein’s handwriting.
-The portrait for which this drawing was the study, like that of her
-husband, cannot now be traced. The two full-length portraits of
-Henry Howard, dated 1546, at Arundel Castle and at Knole respectively,
-are usually ascribed to the Netherlandish painter Guillim or
-Gillam Stretes, on account of Strype’s statement, already quoted,<a id='r428' /><a href='#f428' class='c020'><b>[428]</b></a>
-that in 1551 the Privy Council ordered a picture “of the late Earl of
-Surrey, attainted,” to be fetched away from “the said Guillim’s
-house.” The Duke of Norfolk’s version of the portrait<a id='r429' /><a href='#f429' class='c020'><b>[429]</b></a> has a very
-elaborate architectural setting, coarsely painted in stone colour, and
-apparently of a somewhat later date than the rest of the picture,
-while the one belonging to Lord Sackville at Knole shows the figure
-only, and is looked upon by some authorities as the original. The
-attribution of these two pictures to Stretes is extremely doubtful.
-The Arundel portrait, in particular, suggests the hand of an Italian,
-and the name of Nicolas Beilin of Modena may be tentatively suggested.
-One of them was in the collection of Thomas Howard, Earl
-of Arundel, where it was attributed to Holbein. It is described in
-the inventory of 1655 as “il ritratto del Conte de Surry grande del
-naturale.”</p>
-
-<div class='footnote c021' id='f423'>
-<p class='c022'><span class='label'><a href='#r423'>423</a>.&nbsp;&nbsp;</span>Woltmann, 312; Wornum, ii. 8; Holmes, ii. 19.</p>
-</div>
-
-<div class='footnote c021' id='f424'>
-<p class='c022'><span class='label'><a href='#r424'>424</a>.&nbsp;&nbsp;</span>Parthey, 1509. Reproduced by Ganz, <i>Holbein</i>, p. 197 (2). The
-portrait itself is described in the Arundel inventory of 1655 as
-“Ritratto de Henrico Howard, Conte de Surrey.”</p>
-</div>
-
-<div class='footnote c021' id='f425'>
-<p class='c022'><span class='label'><a href='#r425'>425</a>.&nbsp;&nbsp;</span>Woltmann, 314; Wornum, ii. 6; Holmes, i. 20. Reproduced by Davies, p. 180, and
-elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f426'>
-<p class='c022'><span class='label'><a href='#r426'>426</a>.&nbsp;&nbsp;</span>Woltmann, 313; Wornum, i. 35; Holmes, i. 21.</p>
-</div>
-
-<div class='footnote c021' id='f427'>
-<p class='c022'><span class='label'><a href='#r427'>427</a>.&nbsp;&nbsp;</span>Woltmann, 330; Wornum, ii. 24; Holmes, i. 22.</p>
-</div>
-
-<div class='footnote c021' id='f428'>
-<p class='c022'><span class='label'><a href='#r428'>428</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_168'>168</a>.</p>
-</div>
-
-<div class='footnote c021' id='f429'>
-<p class='c022'><span class='label'><a href='#r429'>429</a>.&nbsp;&nbsp;</span>Exhib. Burlington Fine Arts Club, 1909, No. 54. Reproduced Arundel
-Club, 1907, No. 3; Pollard, <i>Henry VIII</i>, p. 284.</p>
-</div>
-
-<p class='c023'>Only three dated works of the year 1541 remain; the two fine
-portraits of men in the Berlin and Vienna Galleries, and the miniature
-of Charles Brandon, the younger son of the Duke of Suffolk. The Berlin
-<span class='pageno' id='Page_202'>202</span>panel,<a id='r430' /><a href='#f430' class='c020'><b>[430]</b></a> (No. 586 C), is inscribed at the top, in gold, on either side of
-the cap, “<span class='fss'>ANNO 1541</span>,” and lower down, in smaller letters, level
-with the sitter’s ears: “<span class='fss'>ETATIS : SVÆ : 37.</span>” The coat of arms,
-enamelled in red and white, on the gold ring on his left hand, indicates
-that in all probability this young man was a member of the
-Dutch family of Vos van Steenwijk, though the writer has failed to
-trace the name, or any indication of a sojourn in or visit to England
-on the part of its bearer, in the Calendars of the English State Papers.
-It is a half-length portrait, considerably less than life-size, head and
-body turned to the right, but both eyes shown. The eyes are grey,
-and the finely painted beard and moustache are a reddish brown.
-In his clasped hands he holds a pair of brown gloves. He wears a
-black silk under-dress and a surcoat of black or very dark brown, with
-the collar turned over to show the lining of black watered silk, and
-his flat cap of the same colour has a turned-down brim. He is gazing
-to the spectator’s right with a far-away and slightly melancholy look
-in his eyes, which are wonderfully painted, as is the beautiful and
-expressive left hand. It comes from the Von Sybel, Elberfeld, Merlo
-of Cologne, and Suermondt collections, having been purchased from the
-last-named owner in 1874.</p>
-
-<div class='footnote c021' id='f430'>
-<p class='c022'><span class='label'><a href='#r430'>430</a>.&nbsp;&nbsp;</span>Woltmann, 117. Reproduced by Knackfuss, fig. 134; Ganz,
-<i>Holbein</i>, p. 128.</p>
-</div>
-
-<div id='pl-27'  class='figcenter id001'>
-<img src='images/pl-27.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 27</span><br />PORTRAIT OF AN UNKNOWN YOUNG MAN<br />1541<br /><span class='sc'>Imperial Gallery, Vienna</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF A MAN WITH A FALCON.</div>
-<p class='c023'>The picture of an unknown man, aged twenty-eight, at Vienna<a id='r431' /><a href='#f431' class='c020'><b>[431]</b></a>
-(No. 1479) (<a href='#pl-27'>Pl. 27</a>), is still finer in expression, and, indeed, is one of
-the most brilliant portraits of Holbein’s later years. It is one of his
-customary half-length figures, less than life-size, seated at a table, the
-body turned to the right, and the face looking out at the spectator. His
-doublet is of purple-brown silk, and over it he wears the usual black
-cloak with a deep collar and lining of brown fur, and black cap with
-a brim. The collar of his white shirt is beautifully embroidered with
-black Spanish work and tied with black laces. His grey gloves are
-held in his left hand, and his right rests on the olive-green cloth of
-the table, the forefinger being thrust within the pages of a gilt-edged
-book, near which is placed an inkstand with a red cord. On one of
-his rings is an intaglio. The clean-shaven face, showing blue on chin
-and upper lip, is of a ruddy brown complexion, and the hair, which
-does not cover the ears, is almost concealed by the hat. The unknown
-<span class='pageno' id='Page_203'>203</span>sitter, who appears to be an Englishman, is comely in features, and
-the eyes have a far-seeing, visionary expression, which Holbein has
-rendered with extraordinary vividness and subtlety of drawing.
-The upper part of the background consists of a blue-grey wall, with
-wooden panelling, or the back of a long wooden seat, below, and the
-panel is inscribed on either side of the head: “<span class='fss'>ANNO · DNI · 1541 ·
-ETATIS · SVÆ · 28.</span>” It was in the collection of the Archduke Leopold
-William in the seventeenth century. There is an old copy of this
-picture in the Palermo Gallery (Woltmann, 223).</p>
-
-<div class='footnote c021' id='f431'>
-<p class='c022'><span class='label'><a href='#r431'>431</a>.&nbsp;&nbsp;</span>Woltmann, 254. Reproduced in the Vienna Catalogue, p.
-343; Knackfuss, fig. 136; Ganz, <i>Holbein</i>, p. 127.</p>
-</div>
-
-<p class='c023'>To the year 1542 belongs the small portrait of an unknown Englishman
-in the Hague Gallery (No. 277) (<a href='#pl-28'>Pl. 28</a>),<a id='r432' /><a href='#f432' class='c020'><b>[432]</b></a> which, again, is brilliant
-in execution, the details painted with the minutest care, but with
-a touch both delicate and free from all hardness, and unusual richness
-of colour. The head is full-face, the body turned slightly to the
-left. His closely cropped hair is chestnut in colour, turning to red at
-the ends of his moustache and short pointed beard. It is almost the
-only portrait by Holbein in which the sitter is shown without a hat.
-He wears a dress of black velvet and watered silk with a pattern,
-slashed with red silk at the shoulder and wrist. On his left hand,
-which is gloved, stands his falcon, a large bell on its claw. His right
-hand, in which he holds the bird’s hood, is ungloved, with a gold ring
-set with a stone on the little finger. The light falls from the right,
-and the shadow on the left side of the face is more strongly marked
-than in most of Holbein’s portraits. The modelling is fine, the face
-full of strong character, and, as usual, the hands are most expressively
-painted, the whole presentment being most vivid and life-like. The
-background is a plain blue-grey, of much the same tone as that in
-the portrait of 1541 at Vienna. Across the panel is inscribed, on
-either side of the head, the date 1542, and lower down “<span class='fss'>ANNO · ETATIS ·
-SVÆ · XXVIII</span>.” Little is known about the history of this picture,
-except that it was at one time in the royal collections of England, and
-that it was taken to Holland by William III, and was included in the
-list of works of art reclaimed by Queen Anne after that King’s death.<a id='r433' /><a href='#f433' class='c020'><b>[433]</b></a>
-Like the portrait of Cheseman, however, it remained abroad. It is
-inscribed on the back “The manner of Holbein,” and in old catalogues
-was absurdly described as a portrait of Sir Thomas More.</p>
-
-<div class='footnote c021' id='f432'>
-<p class='c022'><span class='label'><a href='#r432'>432</a>.&nbsp;&nbsp;</span>Woltmann, 160. Reproduced by Mantz, p. 171; Ganz, <i>Holbein</i>, p. 129.</p>
-</div>
-
-<div class='footnote c021' id='f433'>
-<p class='c022'><span class='label'><a href='#r433'>433</a>.&nbsp;&nbsp;</span>No. 21. “A man’s head with a hawk by Holbein.”</p>
-</div>
-
-<div id='pl-28'  class='figcenter id001'>
-<img src='images/pl-28.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 28</span><br />PORTRAIT OF AN UNKNOWN MAN WITH A FALCON<br />1542<br /><span class='sc'>Royal Picture Gallery, Mauritshuis, The Hague</span></p>
-</div>
-</div>
-
-<div class='sidenote'>UNDATED PORTRAITS OF LAST YEARS</div>
-<p class='c023'><span class='pageno' id='Page_204'>204</span>It is probable that during this year Holbein painted Sir William
-Fitzwilliam, created Earl of Southampton in 1538, who died at Newcastle
-in 1543. There is a fine drawing of the head in the Windsor
-Collection,<a id='r434' /><a href='#f434' class='c020'><b>[434]</b></a> turned three-quarters to the right, wearing a black cap
-with a medallion, and ear-flaps, or a coif, tied under the chin; slight
-whiskers are indicated on the cheek-bones. It is a face of strong individuality,
-with a big nose, finely and boldly drawn, the dress only roughly
-indicated. There is a full-length portrait of the Earl, 6 ft. × 3 ft.
-3 in., in the Fitzwilliam Museum, Cambridge (No. ii. 164),<a id='r435' /><a href='#f435' class='c020'><b>[435]</b></a> which is
-described in the catalogue as probably a copy of the original picture
-by Holbein which, in 1793, was destroyed by fire at Cowdray House,
-the estate purchased by the Earl in 1528. He is represented standing
-to the right, and wearing a black cap tied under the chin as in the
-Windsor drawing, a long black cloak with fur collar reaching to the
-knees, dark hose and shoes, and the collar and jewel of the Garter
-round his neck. He grasps a gold-headed staff in both hands, and
-stands on a terrace with a low parapet and a pavement of black and
-red tiles, overlooking a distant landscape consisting of wooded country
-and a land-locked harbour or estuary of a river with ships. His coat
-of arms is in the top left-hand corner, and in the right an inscription
-giving his titles and offices, as Lord Privy Seal and Chancellor of the
-Duchy of Lancaster, and the date 1542. The supposition that this
-picture is a copy after a lost original by Holbein is probably correct;
-it is quite in his manner, though in workmanship it in no way reaches
-to his mastery, the landscape background in particular showing an
-indecisive touch quite unlike his firm handling. A copy of the head,
-evidently taken from this picture, a small panel, 13⅛ in. × 9¾ in., was
-lent to the Burlington Fine Arts Club Exhibition, 1909 (No. 34),<a id='r436' /><a href='#f436' class='c020'><b>[436]</b></a> by
-the Duke of Devonshire, which is inscribed across the brown background,
-in an eighteenth-century hand, “<span class='sc'>Sir Thomas Moore</span>.” The
-compilers of the Burlington Club catalogue do not accept the Cambridge
-portrait on which it is based as a copy after Holbein, but as an
-original work, and clearly by the same hand as the Earl of Surrey at
-Knole, the full-length of a young man in Hampton Court Palace, and
-<span class='pageno' id='Page_205'>205</span>the Sir Thomas Gresham in Mercers’ Hall, with which the name of
-Guillim Stretes has been connected, though on somewhat flimsy foundations.<a id='r437' /><a href='#f437' class='c020'><b>[437]</b></a>
-The Windsor head, however, is in such close accord with the
-Fitzwilliam Museum picture that it seems reasonable to suppose that
-the latter was based on it, or, rather, upon some painting of Holbein’s
-for which it formed the preliminary study. There were two portraits
-of the Earl in the Arundel Collection, both attributed to Holbein.<a id='r438' /><a href='#f438' class='c020'><b>[438]</b></a></p>
-
-<div class='footnote c021' id='f434'>
-<p class='c022'><span class='label'><a href='#r434'>434</a>.&nbsp;&nbsp;</span>Woltmann, 291; Wornum, i. 5; Holmes, i. 17. Reproduced in
-<i>Drawings of Hans Holbein</i> (Newnes), Pl. xl.</p>
-</div>
-
-<div class='footnote c021' id='f435'>
-<p class='c022'><span class='label'><a href='#r435'>435</a>.&nbsp;&nbsp;</span>Reproduced in F. R. Earp’s Catalogue of the collection,
-1902, p. 96; and in <i>Principal Pictures of the Fitzwilliam
-Museum</i>, Gowan &amp; Grey, Ltd., p. 85.</p>
-</div>
-
-<div class='footnote c021' id='f436'>
-<p class='c022'><span class='label'><a href='#r436'>436</a>.&nbsp;&nbsp;</span>Reproduced in the Catalogue, Pl. v.</p>
-</div>
-
-<div class='footnote c021' id='f437'>
-<p class='c022'><span class='label'><a href='#r437'>437</a>.&nbsp;&nbsp;</span>See <i>Burlington Catalogue</i>, p. 86. In one of his articles on the
-Arundel Collection (see <i>Burlington Magazine</i>, vol. xxi., August
-1912, p. 257), Mr. Lionel Cust speaks of this head of the Earl, at
-Hardwick Hall, as “perhaps by Holbein himself,” and states that,
-according to Vertue, in the sale of the Earl of Oxford’s pictures,
-1741, there was sold “Lord Fitzwilliams,” a head by Holbein, for
-fifteen guineas.</p>
-</div>
-
-<div class='footnote c021' id='f438'>
-<p class='c022'><span class='label'><a href='#r438'>438</a>.&nbsp;&nbsp;</span>“Ritratto de ffitzwilliams Conte de Southampton,” and “Conte de
-Southampton Fitzwilliams.”</p>
-</div>
-
-<p class='c023'>In 1542 John Leland’s “Naeniae” on the death of Sir Thomas
-Wyat was published, with the small circular woodcut of the poet after
-a drawing by Holbein, which has been already described;<a id='r439' /><a href='#f439' class='c020'><b>[439]</b></a> but otherwise
-the only dated portrait of this year is the one of the young man
-with the falcon at the Hague, though there are several which must
-have been painted shortly before his death. Those of Dr. John
-Chamber and Sir William Butts and his wife must have been produced
-in 1542 or the earlier half of 1543, while others, such as the
-“Elderly Man” at Berlin, the small portrait of an English lady at
-Vienna, and the Simon George at Frankfurt, may be attributed with
-some certainty to the last seven or eight years of Holbein’s life. It is
-probable, too, that he painted at about this time another portrait of
-the Prince of Wales. No such painting now exists, but the full-faced
-head with a cap in the Windsor Collection<a id='r440' /><a href='#f440' class='c020'><b>[440]</b></a> represents Edward as a
-boy of about five or six years of age, and certainly older than in the
-Hanover picture, while in the profile head with cap and feather in
-the same collection of drawings,<a id='r441' /><a href='#f441' class='c020'><b>[441]</b></a> which forms the basis of numerous
-portraits in the National Portrait Gallery and elsewhere, the boy seems
-even older, though he was only six at the time of Holbein’s death.</p>
-
-<div class='footnote c021' id='f439'>
-<p class='c022'><span class='label'><a href='#r439'>439</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_80'>80</a>.</p>
-</div>
-
-<div class='footnote c021' id='f440'>
-<p class='c022'><span class='label'><a href='#r440'>440</a>.&nbsp;&nbsp;</span>Woltmann, 327; Wornum, ii. 2; Holmes, not included. See above, p. 167.</p>
-</div>
-
-<div class='footnote c021' id='f441'>
-<p class='c022'><span class='label'><a href='#r441'>441</a>.&nbsp;&nbsp;</span>Woltmann, 328; Wornum, ii. 3; Holmes, ii. 1. See above, p. 167.</p>
-</div>
-
-<p class='c023'>The portrait of an Unknown Man, aged fifty-four, in the Berlin
-Gallery (No. 586 I) (<a href='#pl-29a'>Pl. 29 (1)</a>),<a id='r442' /><a href='#f442' class='c020'><b>[442]</b></a> is another work of great power in its
-suggestion of life-like portraiture, and of high technical excellence. He
-<span class='pageno' id='Page_206'>206</span>is shown to the waist, slightly turned to the right. The face is a
-dignified one, with a long nose, and a slight droop in the right eyelid,
-and a look of melancholy absorption about his dark grey eyes. The hair
-and long beard are black, the latter with numerous grey hairs finely
-indicated with all Holbein’s customary minute care. The hands are
-thrust out of sight within the sleeves. His doublet, of which only the
-lower part of the sleeves is visible, is of ruby-red silk or satin, over which
-is a black or dark-brown coat with bands of black velvet, and lined
-with a patterned watered silk. The black cap has gold tags. The plain
-background is a greyish-blue, and on either side of the head is inscribed
-in gold lettering, “<span class='fss'>ÆTATIS · SVÆ · 54</span>.” On the back of the panel
-are the letters “W.E.P.L.C.,” apparently in a sixteenth-century hand,
-probably the mark of some early English collector. The same letters
-appear on the back of the portrait of Robert Cheseman at the Hague,
-and on the portrait of a young man by Joos van Cleve in Berlin
-(No. 633 A), which was formerly in the Marlborough Collection, where
-it was at one time attributed to Holbein. Nothing of the early history
-of the portrait under discussion is known. It belonged at one time
-to Sir J. E. Millais, and was lent by him to the Holbein Exhibition in
-Dresden in 1871, where it was acknowledged by the leading German
-critics to be a splendid example of the master’s later English period.
-It was purchased at the Millais sale, in 1897, for 3000 guineas for
-the Kaiser Friedrich Museum. There is a poor and lifeless copy of
-the head of this portrait in the collection of Mr. John G. Johnson, of
-Philadelphia.<a id='r443' /><a href='#f443' class='c020'><b>[443]</b></a> The panel is a pastiche, for the copyist has attached
-the head of the Millais portrait to the body of the Unknown Young
-Man aged twenty-eight in the Vienna Gallery. In the copy of the
-head the hat is without the gold tags, the beard is slightly shorter,
-and the sitter appears to be somewhat younger. In that of the body
-the dress, hands, the rings, gloves, and book follow the Vienna picture
-closely, but the copyist has removed the two rings on the little finger
-of the right hand to the more usual ring-finger. Mr. C. Ricketts
-regards it as “almost certainly modern. In draughtsmanship it is
-without subtlety, the nostril is preposterous, the under lip like a
-muffin.”<a id='r444' /><a href='#f444' class='c020'><b>[444]</b></a> Mr. F. J. Mather considers it to be old, and of fair quality.</p>
-
-<div class='footnote c021' id='f442'>
-<p class='c022'><span class='label'><a href='#r442'>442</a>.&nbsp;&nbsp;</span>Woltmann, 211. Reproduced in the Berlin Catalogue, p. 178; Ganz,
-<i>Holbein</i>, p. 142; and in colour in <i>Early German Painters</i>,
-folio vi.</p>
-</div>
-
-<div class='footnote c021' id='f443'>
-<p class='c022'><span class='label'><a href='#r443'>443</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Magazine</i>, vol. ix., August 1906,
-p. 357; and Ganz, <i>Holbein</i>, p. 228. It has no inscription.</p>
-</div>
-
-<div class='footnote c021' id='f444'>
-<p class='c022'><span class='label'><a href='#r444'>444</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. ix., September 1906, p. 426.</p>
-</div>
-
-<div id='pl-29a'  class='figcenter id001'>
-<img src='images/pl-29a.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 29a</span><br />PORTRAIT OF AN UNKNOWN ELDERLY MAN<br /><span class='sc'>Kaiser Friedrich Museum, Berlin</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-29b'  class='figcenter id001'>
-<img src='images/pl-29b.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 29b</span><br />PORTRAIT OF AN UNKNOWN ENGLISH LADY<br /><span class='sc'>Imperial Gallery, Vienna</span></p>
-</div>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_207'>207</span>“It is pretty surely of Holbein’s century, and of better quality than
-the reproduction indicates.”<a id='r445' /><a href='#f445' class='c020'><b>[445]</b></a></p>
-
-<div class='footnote c021' id='f445'>
-<p class='c022'><span class='label'><a href='#r445'>445</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. x., November 1906, p. 138.</p>
-</div>
-
-<div class='sidenote'>PORTRAIT OF SIMON GEORGE</div>
-<p class='c023'>The portrait of an unknown English lady in the Imperial Gallery,
-Vienna (No. 1483) (<a href='#pl-29b'>Pl. 29 (2)</a>),<a id='r446' /><a href='#f446' class='c020'><b>[446]</b></a> is almost miniature in size, and is
-characterised by the most delicate brush-work and great charm and
-richness of colour. She is shown to the waist, full-face, the body turned
-slightly to the left, and her hands clasped in front of her. The dress is
-of dark brown or puce, with the yoke and central hanging part of the
-sleeves of black velvet. The sleeves from the elbow are of red velvet
-slashed with white at the wrists. She wears a French head-dress of
-white and gold, with black fall, closely resembling the one in the portrait
-of Catherine Howard. The hair is a dark reddish brown. At her
-breast is suspended a circular gold ornament upon which is represented
-figures sacrificing at an altar, possibly of Holbein’s designing. The
-background is a deep grey-blue, surrounded by a frame imitating
-stonework. It has no inscription.</p>
-
-<div class='footnote c021' id='f446'>
-<p class='c022'><span class='label'><a href='#r446'>446</a>.&nbsp;&nbsp;</span>Woltmann, 253. Reproduced in Vienna Catalogue, p. 346; Knackfuss, fig. 138; Ganz,
-<i>Holbein</i>, p. 140; and in colour in <i>Early German Painters</i>, folio iii.</p>
-</div>
-
-<p class='c023'>Another small work of much beauty and delicacy of workmanship,
-and charm of expression, is the portrait of Simon George, of Quocote,
-in Cornwall, in the Städel Institut in Frankfurt (No. 71),<a id='r447' /><a href='#f447' class='c020'><b>[447]</b></a> a profile
-portrait to the left, showing the head and shoulders only, and the
-right hand, in which the sitter holds a carnation. He has dark, closely-cropped
-hair and pointed beard, with a black cap over the right ear,
-elaborately ornamented with a white feather, many gold tags, an oval
-medallion with a representation of Leda and the Swan, and a small
-bunch of enamelled pansies. His dress is a rich one, and the open
-collar of the shirt is covered with black embroidery of a floral pattern
-of conventional design. The background is of greenish blue, and
-some letters of a two-lined inscription, of later date than the painting,
-mutilated by the reduction of the panel, which appears to have been
-originally round, can still be traced, including the letters NOB and part
-of the painter’s signature, “<span class='fss'>IOHA : H.</span>” It was acquired in 1870
-from the Brentano-Birckenstock sale. The original study for the
-head is in the Windsor Collection,<a id='r448' /><a href='#f448' class='c020'><b>[448]</b></a> and shows the same slight frown
-<span class='pageno' id='Page_208'>208</span>wrinkling the forehead as in the picture. The hairs of the moustache
-are very carefully drawn, but the beard only shows a few days’ growth.
-It is inscribed at the bottom, in cursive writing, “S. George of
-Cornwall.”</p>
-
-<div class='footnote c021' id='f447'>
-<p class='c022'><span class='label'><a href='#r447'>447</a>.&nbsp;&nbsp;</span>Woltmann, 151. Reproduced by Knackfuss, fig. 137; Ganz,
-<i>Holbein</i>, p. 139; and in colour in <i>Early German Painters</i>,
-folio vi.</p>
-</div>
-
-<div class='footnote c021' id='f448'>
-<p class='c022'><span class='label'><a href='#r448'>448</a>.&nbsp;&nbsp;</span>Woltmann, 309; Wornum, i. 15; Holmes, i. 49. Reproduced in <i>Drawings
-of Hans Holbein</i>, Pl. xviii.</p>
-</div>
-
-<p class='c023'>The portrait of Dr. John Chamber or Chambre in the Imperial
-Gallery, Vienna (No. 1480) (<a href='#pl-30'>Pl. 30</a>),<a id='r449' /><a href='#f449' class='c020'><b>[449]</b></a> is one of Holbein’s most
-powerful portraits of old men, the deeply-lined, clean-shaven face
-being full of individuality. He is shown to the waist, turned three-quarters
-to the right, in a plain black doctor’s cap, which covers the hair
-and hides all but the lobe of the ears, and a black gown with brown fur
-collar; and he holds a pair of grey gloves in his hands. The background
-is a very dark blue, and is inscribed, on either side of the head,
-“<span class='fss'>ÆTATIS SVE 88</span>.” The date of John Chamber’s birth has not been
-traced, but the portrait was probably painted in 1541 or 1542, when
-Holbein was engaged upon the big “Barber-Surgeons” picture, in
-which Chamber is introduced in much the same position as in the
-Vienna portrait. He died at an advanced age, well over ninety, in
-1549. He was one of the King’s physicians, and his name was the
-first on the roll of six doctors who in 1518 received letters patent
-from the Crown giving them the privilege of admitting other physicians
-to practise medicine in London, which was the original foundation of
-the Royal College of Physicians. Chamber was joint author with
-Dr. Butts and two others of a manuscript “Pharmacopœia” for the
-use of Henry VIII. As Court physician he attended Anne Boleyn at
-Greenwich Palace at the birth of the Princess Elizabeth, and it was
-he who reported to the Privy Council the critical condition of Jane
-Seymour when Edward VI was born. He married Joan Wardell in
-1545, when he was nearly ninety, and their son was christened in the
-following year, both he and his wife dying within a few weeks of one
-another in 1549. His career, however, was more remarkable for the
-many religious preferments he gained, than for his medical skill.
-Born in Northumberland, he became a priest in early life, and
-was a Fellow, and afterwards Warden, of Merton College, Oxford.
-In 1502 he went to Italy and graduated in physic in Padua. On
-his return to England he succeeded Linacre as the King’s chief
-physician. In 1522 he was Canon of Windsor, in 1536 Dean of the
-<span class='pageno' id='Page_209'>209</span>Collegiate Church of St. Stephen, and later on Archdeacon of Meath.
-A very excellent copy of this portrait is in the possession of Merton
-College, Oxford, and was included in the Oxford Exhibition of Historical
-Portraits in 1904 (No. 27). It is inscribed on the back: “Dr. Chamber,
-phisician of King Henry VIII, copied from Hanns Holbein’s original
-by H. Reinhart. The original, once belonging to the collection of King
-Charles I, was, together with several other pictures of the same master,
-after the execution of this Monarch, sold and became the property of
-Archduke Leopold, Stadtholder of the Low Countries, from whence by
-legacy it passed into the Gallery of the Emperors of Austria (Ob. 1549).”
-The original portrait, however, does not appear at any time to have
-been included in the collection of Charles I, but it formed part of the
-wonderful series of works by Holbein got together by Thomas Howard,
-Earl of Arundel. In the <i>Dictionary of National Biography</i> the date
-of his birth is given as 1470, while the Oxford catalogue suggests the
-date 1469, but neither can be correct, or otherwise the date of the
-Vienna picture would be 1557 or 1558, fourteen years or so after
-Holbein’s death. If the age of the sitter, eighty-eight, as given on
-the panel, is correct, and it is accepted that the portrait was painted
-about 1542, Chamber must have been born about 1454. The Merton
-College copy was exhibited at the Royal Academy Winter Exhibition,
-1901-2 (No. 155), as a work of the school of Holbein. In 1894 the
-Royal College of Physicians became possessed of a miniature portrait
-of Chamber, painted on the back of the ten of clubs, and said to be by
-Isaac Oliver. This is a careful copy of the Vienna picture, and has
-a long Latin inscription, giving Chamber’s titles, and the date of his
-death, round the frame. The original, when in the Arundel Collection,
-was engraved by Hollar (Parthey, 1372), with the inscription
-“D. Chambers Anno Ætatis Svæ 88. Holbein pinxit.” In the
-Arundel inventory it is described as “Doctore John Chambers.” It
-is possibly one of the pictures which remained on the Continent after
-the death of the Countess of Arundel in 1654.</p>
-
-<div class='footnote c021' id='f449'>
-<p class='c022'><span class='label'><a href='#r449'>449</a>.&nbsp;&nbsp;</span>Woltmann, 255. Reproduced in Vienna Catalogue, p. 344; Knackfuss, fig. 147; Ganz,
-<i>Holbein</i>, p. 131.</p>
-</div>
-
-<div id='pl-30'  class='figcenter id001'>
-<img src='images/pl-30.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 30</span><br />DR. JOHN CHAMBER<br /><span class='sc'>Imperial Gallery, Vienna</span></p>
-</div>
-</div>
-
-<div class='sidenote'>PORTRAIT OF DR. JOHN CHAMBER</div>
-<p class='c023'>The portraits of Sir William and Lady Butts,<a id='r450' /><a href='#f450' class='c020'><b>[450]</b></a> which have suffered,
-more particularly the former, from coarse repainting, are probably
-of about the same date as the Dr. Chamber, for Butts is also one of
-the prominent figures in the “Barber-Surgeons” group. The portrait
-<span class='pageno' id='Page_210'>210</span>of the husband has an inscription which has been repainted by an
-ignorant copyist, and now reads “<span class='fss'>ANNO ATATS SVE LIX</span>.” Unfortunately,
-as in the case of Chamber, the year of Butts’ birth is not known,
-so that the exact date of the portrait cannot be proved. It is given
-in the National Portrait Gallery Catalogue as 1485 (?). His tombstone
-at Fulham bears only the date of his death, 1545. The portraits
-show the heads and shoulders only. Sir William is represented in
-profile to the right, in black cap and furred gown, and a heavy gold
-chain upon his shoulders. His face is clean-shaven, and his grey hair
-almost covers the ears. Lady Butts is painted almost full-face, but
-turned slightly to the left. She wears the angular English head-dress
-with black fall, a plain dress with fur-trimmed mantle, and a large
-enamelled rose at her breast. Above her head is inscribed “<span class='fss'>ANNO
-ÆTATIS SVE LVII</span>.” Both portraits were in the National Portrait
-Exhibition, 1866, lent by Mr. W. H. Pole-Carew, and are now in the
-collection of Mrs. John Gardner, Fenway Court, Boston, U.S.A.
-They are about 18 in. × 14 in., and the green backgrounds and inscriptions
-of both pictures have been badly repainted. There is a
-good copy or replica of Sir William in the National Portrait Gallery<a id='r451' /><a href='#f451' class='c020'><b>[451]</b></a>
-(No. 210), and copies of both husband and wife, apparently seventeenth-century
-work, in the collection of Mr. F. A. Newdegate-Newdigate,
-at Arbury, Warwickshire. There is no head of Butts among
-the Windsor drawings, but that collection contains a masterly one
-of his wife,<a id='r452' /><a href='#f452' class='c020'><b>[452]</b></a> in which the lines of the face are very strongly marked.
-She was a daughter of John Bacon of Cambridgeshire. The portrait
-of their third son, Edmund Butts, of Thornham, Norfolk, who died at
-the age of thirty in 1549, is in the National Gallery (No. 1496), and is
-regarded as a work of that little-known English painter John Bettes.
-This portrait is dated 1545, and the age of the sitter is given as twenty-six,
-and on a card on the back is the inscription “<i>faict par Johan
-Bettes Anglois</i>.”<a id='r453' /><a href='#f453' class='c020'><b>[453]</b></a></p>
-
-<div class='footnote c021' id='f450'>
-<p class='c022'><span class='label'><a href='#r450'>450</a>.&nbsp;&nbsp;</span>Woltmann, 204, 205. Reproduced by Ganz, <i>Holbein</i>, pp. 132-3; and
-in Gowan, <i>Masterpieces of Holbein</i>, pp. 41, 42. The portrait of
-Lady Butts engraved by Hollar, 1649.</p>
-</div>
-
-<div class='footnote c021' id='f451'>
-<p class='c022'><span class='label'><a href='#r451'>451</a>.&nbsp;&nbsp;</span>Reproduced in the illustrated edition of the National Portrait Gallery
-Catalogue, vol. i. p. 21.</p>
-</div>
-
-<div class='footnote c021' id='f452'>
-<p class='c022'><span class='label'><a href='#r452'>452</a>.&nbsp;&nbsp;</span>Woltmann, 343; Wornum, ii. 36; Holmes, ii. 13. Reproduced by Davies, p. 220, and
-elsewhere.</p>
-</div>
-
-<div class='footnote c021' id='f453'>
-<p class='c022'><span class='label'><a href='#r453'>453</a>.&nbsp;&nbsp;</span>For some account of Bettes, see pp. 308-9.</p>
-</div>
-
-<p class='c023'>In the exhibition held at the Burlington Fine Arts Club in 1909,
-Prince Frederick Duleep Singh lent a portrait (No. 30), also dated 1545,
-said to represent Edmund Butts, and attributed by the owner to Bettes.
-The armorial bearings on this picture indicate a member of the Butts
-<span class='pageno' id='Page_211'>211</span>family, but the person represented is certainly not the same as in the
-National Gallery portrait, nor do the two appear to be the work of the
-same painter.</p>
-
-<div class='sidenote'>PORTRAIT OF SIR WILLIAM BUTTS</div>
-<p class='c023'>Dr. Butts was in receipt of a salary of £100 a year from the King,
-and was the favourite physician about the Court. He was a native
-of Norfolk, and educated at Cambridge. Many prescriptions in his
-handwriting are preserved in the British Museum. He appears as
-one of the characters in Shakespeare’s <i>Henry VIII</i> (Act v. sc. 2),
-and his name occurs in a number of contemporary letters. Thus, in
-1537, the Earl of Shrewsbury wrote thanking Cromwell “for asking
-the King to licence Dr. Buttes to come to him”;<a id='r454' /><a href='#f454' class='c020'><b>[454]</b></a> and on October 6,
-1542, the Earl of Southampton wrote to Wriothesley from York, when
-upon the expedition against Scotland: “Recommend me to Butts,
-and thank him for his pills. I would not have foregone them at this
-time for all the good I have.”<a id='r455' /><a href='#f455' class='c020'><b>[455]</b></a> In spite of the pills, however, the
-Earl died at Newcastle nine days later.</p>
-
-<div class='footnote c021' id='f454'>
-<p class='c022'><span class='label'><a href='#r454'>454</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xii. pt. i. 328.</p>
-</div>
-
-<div class='footnote c021' id='f455'>
-<p class='c022'><span class='label'><a href='#r455'>455</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvii. 912.</p>
-</div>
-
-<p class='c023'>A small half-length portrait of an Unknown Man in the Basel
-Collection (No. 327),<a id='r456' /><a href='#f456' class='c020'><b>[456]</b></a> belongs to the later period of Holbein’s English
-residence. He is turned three-quarters to the left, and wears the
-customary dark fur-lined surcoat and black cap, and dark purple
-sleeves, and holds his gloves and a paper, upon which the inscription
-is now illegible, in his clasped hands. The beard, moustache, and
-hair are dark. This picture, which was purchased in Basel in
-1862, has been more than once restored, so that Holbein’s handiwork
-has suffered considerably. Another small picture which is also
-now in a damaged state is the portrait of a young English lady
-in the collection of Count Lanckoronski in Vienna,<a id='r457' /><a href='#f457' class='c020'><b>[457]</b></a> which was
-regarded by Woltmann as probably by Holbein, but when exhibited
-in the Dresden Exhibition of 1871 was declared by the critics to
-be a genuine work. It is similar in style to the small portrait of a
-Lady in the Vienna Gallery, and of about the same date. She is
-shown at half-length, turned a little to the spectator’s right, with
-clasped hands, and wearing a dark dress with red puffings and gold
-tags from shoulder to wrist, and a French hood with bands of gold
-ornaments and a black fall. Round her neck is a gold chain with a
-<span class='pageno' id='Page_212'>212</span>pendant with seven flat stones, a second gold chain, and a large brooch
-fastened at her breast with a cameo of a double head, a young man’s
-shown full-face, attached to one of a lady in profile. Across the
-plain green background, on either side of her head, is inscribed “<span class='sc'>Anno
-etatis svæ xvii</span>.” In appearance she is stolid and unattractive, but
-this may be partly due to the present state of the picture.</p>
-
-<div class='footnote c021' id='f456'>
-<p class='c022'><span class='label'><a href='#r456'>456</a>.&nbsp;&nbsp;</span>Woltmann, 22. Reproduced by Ganz, <i>Holbein</i>, p. 141.</p>
-</div>
-
-<div class='footnote c021' id='f457'>
-<p class='c022'><span class='label'><a href='#r457'>457</a>.&nbsp;&nbsp;</span>Woltmann, 260. Reproduced by Ganz, <i>Holbein</i>, p. 144.</p>
-</div>
-
-<p class='c023'>There remains one other portrait of a lady of about this date—that
-of Lady Rich,<a id='r458' /><a href='#f458' class='c020'><b>[458]</b></a> which until 1912 had been for many years in the
-possession of the Moseley family at Buildwas Park, Shropshire. The
-sitter is represented to the waist, slightly turned to the right, and
-wears the English diamond-shaped hood with black fall, and a black
-dress with a gold medallion decorated with the figures of a man and
-woman by a corpse, which, according to Wornum, are “exquisitely
-put in.”<a id='r459' /><a href='#f459' class='c020'><b>[459]</b></a> According to the same writer, it is “a fine expressive
-portrait, with a thin rich carnation.” It is painted on wood, 17 in.
-by 13 in., and has suffered some retouching. The face is a most
-determined one, as can be seen from the fine preliminary drawing in
-the Windsor Castle Collection.<a id='r460' /><a href='#f460' class='c020'><b>[460]</b></a> Lady Rich was the daughter and
-heiress of William Jenks or Gynkes, a rich London grocer, and she
-married, in 1535, Lord Chancellor Rich, of notorious memory, who
-helped to ruin many of the prominent men of his day, such as More
-and Fisher. In the seventeenth century the portrait became the
-property of the Rev. Herbert Croft, Bishop of Hereford, whose granddaughter,
-Elizabeth Croft, married Acton Moseley, of Staffordshire.
-In 1792 the portrait, with some other pictures, was bequeathed by
-Sir Archer Croft to his cousin, Mr. Walter Michael Moseley. The
-latter’s descendant, Captain H. R. Moseley, parted with the picture
-in 1912, and it is now in an American collection.<a id='r461' /><a href='#f461' class='c020'><b>[461]</b></a> It was last
-exhibited at the National Portrait Exhibition at South Kensington in
-1866 as a portrait of “Queen Katherine of Arragon.” There is also
-a drawing of her husband, Richard Rich,<a id='r462' /><a href='#f462' class='c020'><b>[462]</b></a> at Windsor, and Holbein
-must almost certainly have painted his portrait, but all traces of it
-have been lost. A version of it was among the pictures destroyed
-by fire at Knepp Castle in 1904.</p>
-
-<div class='footnote c021' id='f458'>
-<p class='c022'><span class='label'><a href='#r458'>458</a>.&nbsp;&nbsp;</span>Woltmann, 128.</p>
-</div>
-
-<div class='footnote c021' id='f459'>
-<p class='c022'><span class='label'><a href='#r459'>459</a>.&nbsp;&nbsp;</span>Wornum, p. 296.</p>
-</div>
-
-<div class='footnote c021' id='f460'>
-<p class='c022'><span class='label'><a href='#r460'>460</a>.&nbsp;&nbsp;</span>Woltmann, 319; Wornum, ii. 37; Holmes, ii. 10.</p>
-</div>
-
-<div class='footnote c021' id='f461'>
-<p class='c022'><span class='label'><a href='#r461'>461</a>.&nbsp;&nbsp;</span>For a fuller history of the picture, see an article in <i>The Morning
-Post</i>, May 23rd, 1912.</p>
-</div>
-
-<div class='footnote c021' id='f462'>
-<p class='c022'><span class='label'><a href='#r462'>462</a>.&nbsp;&nbsp;</span>Woltmann, 318; Wornum, i. 8; Holmes, ii. 9.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S SELF-PORTRAITS</div>
-<p class='c023'>Among the very last works from Holbein’s hand must have been
-<span class='pageno' id='Page_213'>213</span>the various miniature portraits of himself, dated 1543, described in
-the next chapter.<a id='r463' /><a href='#f463' class='c020'><b>[463]</b></a> The self-portrait in the Uffizi Gallery, Florence,<a id='r464' /><a href='#f464' class='c020'><b>[464]</b></a>
-which is evidently founded on one of them, or on one of the
-small oil-paintings, now lost, has few pretensions, in the writer’s
-opinion, to be regarded as an original work, though it is, of course,
-possible that beneath the brush-work of some later and inferior painter
-there may be an original work by Holbein now practically obliterated.
-It is only right, however, to point out that Dr. Ganz considers it to
-be an original though damaged drawing, and other writers are in
-agreement with him. It is in coloured crayons on a gold ground,
-and the comparatively modern inscription with the date 1543 has been
-painted over an earlier one, which can be still traced below. Dr. Ganz
-suggests that it is probably one of the two portraits which Van Mander
-saw in Amsterdam in 1604.</p>
-
-<div class='footnote c021' id='f463'>
-<p class='c022'><span class='label'><a href='#r463'>463</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_230'>230</a>-<a href='#Page_231'>231</a>. Also Vol. i. pp. 27-8.</p>
-</div>
-
-<div class='footnote c021' id='f464'>
-<p class='c022'><span class='label'><a href='#r464'>464</a>.&nbsp;&nbsp;</span>Woltmann, 150. Reproduced by Ganz, <i>Holbein</i>, p. 134, and elsewhere.</p>
-</div>
-
-<p class='c023'>Of far greater interest is the recently-discovered portrait, first published
-in 1912 by Dr. Ganz,<a id='r465' /><a href='#f465' class='c020'><b>[465]</b></a> which he considers to be a genuine self-portrait
-by Holbein, hitherto unknown. The likeness both to the
-numerous miniatures and to the Uffizi portrait is so great that the
-attribution is most certainly the correct one. It is in all ways much
-more attractive than the last-named work, and has far greater vitality
-and a more subtle expression of character. It is a drawing of the
-head and shoulders only, turned slightly to the spectator’s right, and
-the painter is wearing a dark fur-lined cloak and black cap. Part of
-the left hand only is shown. It is a coloured-crayon drawing touched
-with water-colour, on white paper which has been covered with a
-flesh-coloured ground. The paper has a Zürich water-mark, and was
-only manufactured between 1536-1540, so that the date of the drawing
-can be fixed with some accuracy, and was very probably done in Basel
-during Holbein’s short visit home in the autumn of 1538. It has,
-unfortunately, suffered considerable damage, and here and there has
-been touched up with Indian-ink. On the top right-hand comer of
-the blue background is inscribed, in a later hand, “H. H. 15 ...” It
-was purchased in England in the summer of 1910, and is now in Basel
-in the collection of Dr. Rudolph Geigy-Schlumberger.<a id='r466' /><a href='#f466' class='c020'><b>[466]</b></a></p>
-
-<div class='footnote c021' id='f465'>
-<p class='c022'><span class='label'><a href='#r465'>465</a>.&nbsp;&nbsp;</span>Reproduced by Ganz, <i>Holbein</i>, p. 138.</p>
-</div>
-
-<div class='footnote c021' id='f466'>
-<p class='c022'><span class='label'><a href='#r466'>466</a>.&nbsp;&nbsp;</span>See Ganz, <i>Holbein</i>, pp. xxxix. and 244. He suggests that this
-drawing is perhaps the “ritratto d’homo aquazzo” of the Arundel
-inventory.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_214'>214</span>Several portraits by Holbein, which so far have not been traced,
-were etched by Hollar when they were in the Arundel Collection, and
-these prints, in the absence of the originals, form invaluable records
-for the use of students. Some few of them, however, though Hollar
-has placed Holbein’s name on them, cannot have been painted by
-him, as, for instance, the portrait of Thomas Chaloner,<a id='r467' /><a href='#f467' class='c020'><b>[467]</b></a> which is dated
-1548. All the more important of them are reproduced by Dr. Ganz
-in his <i>Holbein</i> (1912),<a id='r468' /><a href='#f468' class='c020'><b>[468]</b></a> and several have been already described in
-these pages. Among those remaining there is one of an unknown
-bearded man in a black cap,<a id='r469' /><a href='#f469' class='c020'><b>[469]</b></a> and two of unnamed boys.<a id='r470' /><a href='#f470' class='c020'><b>[470]</b></a> The second
-of these boys, whose head is turned three-quarters to the left, appears,
-from the details of the dress he is wearing, to be a Swiss. Holbein’s
-original silver-point study for the portrait from which the etching was
-taken is in the Louvre, and is dated 1520. The connection between
-the two was first pointed out by Dr. Ganz.<a id='r471' /><a href='#f471' class='c020'><b>[471]</b></a> The circular portrait of
-Sir Anthony Denny is inscribed “<span class='fss'>ANNO 1541 ÆTATIS SVÆ 29</span>.”<a id='r472' /><a href='#f472' class='c020'><b>[472]</b></a> The
-original painting, a small roundel, descended, according to Mr. W.
-Barclay Squire, to the Howards of Greystoke Castle, and is now in
-the collection of Mr. J. Pierpont Morgan, junr. There is an old copy
-of it at Longford Castle.<a id='r473' /><a href='#f473' class='c020'><b>[473]</b></a> The large print of an elderly, grey-bearded
-man, with fur coat, and cap with a feather,<a id='r474' /><a href='#f474' class='c020'><b>[474]</b></a> is usually said to
-represent Charles Brandon, Duke of Suffolk, but though it bears
-considerable likeness to the authentic portraits of him, the attribution
-is doubtful. There are several portraits of English ladies among
-Hollar’s work. Of one, in which the sitter is turned to the right,
-and is wearing a round head-dress surmounted by a flat black cap
-with a large feather,<a id='r475' /><a href='#f475' class='c020'><b>[475]</b></a> there is no study known, but for two others,
-which Hollar has reproduced as small roundels, the preliminary
-drawings are to be found in the Windsor Collection, one of them of
-an unknown lady, full-face, wearing the angular head-dress,<a id='r476' /><a href='#f476' class='c020'><b>[476]</b></a> and
-<span class='pageno' id='Page_215'>215</span>the other the drawing inscribed “The Lady Mary after Queen.”<a id='r477' /><a href='#f477' class='c020'><b>[477]</b></a>
-The profile portrait of a lady, which has been considered by some
-writers to represent Anne of Cleves,<a id='r478' /><a href='#f478' class='c020'><b>[478]</b></a> does not appear to be after
-an original by Holbein, though Hollar has placed his name on it.
-It is possible, though not very probable, that some of these
-circular etchings were based on the drawings, and not on finished
-pictures.</p>
-
-<div class='footnote c021' id='f467'>
-<p class='c022'><span class='label'><a href='#r467'>467</a>.&nbsp;&nbsp;</span>Parthey, 1371.</p>
-</div>
-
-<div class='footnote c021' id='f468'>
-<p class='c022'><span class='label'><a href='#r468'>468</a>.&nbsp;&nbsp;</span>pp. 196-200.</p>
-</div>
-
-<div class='footnote c021' id='f469'>
-<p class='c022'><span class='label'><a href='#r469'>469</a>.&nbsp;&nbsp;</span>Parthey, 1544.</p>
-</div>
-
-<div class='footnote c021' id='f470'>
-<p class='c022'><span class='label'><a href='#r470'>470</a>.&nbsp;&nbsp;</span>Parthey, 1551 and 1543.</p>
-</div>
-
-<div class='footnote c021' id='f471'>
-<p class='c022'><span class='label'><a href='#r471'>471</a>.&nbsp;&nbsp;</span>See <i>Holbein</i>, p. 250. The drawing reproduced by Ganz, <i>Hdz.
-von H. H. dem Jüng.</i>, Pl. 9; and by Mantz, p. 34.</p>
-</div>
-
-<div class='footnote c021' id='f472'>
-<p class='c022'><span class='label'><a href='#r472'>472</a>.&nbsp;&nbsp;</span>Parthey, 1387.</p>
-</div>
-
-<div class='footnote c021' id='f473'>
-<p class='c022'><span class='label'><a href='#r473'>473</a>.&nbsp;&nbsp;</span>Reproduced in <i>Magazine of Art</i>, May 1897, p. 42; and in the
-catalogue of the collection of the Earl of Radnor, W. Barclay Squire,
-1909, No. 144. It is 4 in. in diameter, and is given to Holbein in the
-catalogue. Engraved by C. Picart, 1817.</p>
-</div>
-
-<div class='footnote c021' id='f474'>
-<p class='c022'><span class='label'><a href='#r474'>474</a>.&nbsp;&nbsp;</span>Parthey, 1554.</p>
-</div>
-
-<div class='footnote c021' id='f475'>
-<p class='c022'><span class='label'><a href='#r475'>475</a>.&nbsp;&nbsp;</span>Parthey, 1550.</p>
-</div>
-
-<div class='footnote c021' id='f476'>
-<p class='c022'><span class='label'><a href='#r476'>476</a>.&nbsp;&nbsp;</span>Parthey, 1549. Woltmann, 350; Wornum, ii. 38; Holmes, ii. 24.</p>
-</div>
-
-<div class='footnote c021' id='f477'>
-<p class='c022'><span class='label'><a href='#r477'>477</a>.&nbsp;&nbsp;</span>Parthey, 1465. For the drawing, see p. 258.</p>
-</div>
-
-<div class='footnote c021' id='f478'>
-<p class='c022'><span class='label'><a href='#r478'>478</a>.&nbsp;&nbsp;</span>Parthey, 1545. See p. 182, note 4.</p>
-</div>
-
-<div class='sidenote'>DUKE OF BUCKINGHAM’S COLLECTION</div>
-<p class='c023'>Holbein’s practice during his last English period seems to have
-been devoted almost entirely to portraiture, so that an entry in an
-inventory of the Duke of Buckingham’s pictures at York House, made
-in 1635,<a id='r479' /><a href='#f479' class='c020'><b>[479]</b></a> is of exceptional interest, as it shows that he did occasionally
-paint subjects other than portraits. It runs as follows: “Hans
-Holbin.—Jupiter and Jo in Water Coulers.” This picture, of which
-all traces are lost, was hanging in the Vaulted Room. The Duke
-possessed a number of other works by or attributed to Holbein, but
-unfortunately the entries in the inventory are so tantalisingly vague
-that it is impossible to gather much information about them, though
-two of them seem to have been portraits of Steelyard merchants.
-They included “Erasmus Rotterodamm after Holbin”; “A Dutchman
-Sealing a Letter” (possibly the John of Antwerp now at Windsor);<a id='r480' /><a href='#f480' class='c020'><b>[480]</b></a>
-“A Rare piece, being a Dutchman”; “A Queen”; “An other Lady”;
-“A little picture in Linnen”; and “A little picture of Holbin himself,”
-which was probably one of the miniatures. With the exception
-of the last-named, all are described as by “Holbin” or “Hans
-Holbin.”</p>
-
-<div class='footnote c021' id='f479'>
-<p class='c022'><span class='label'><a href='#r479'>479</a>.&nbsp;&nbsp;</span>See Randall Davies, <i>Burlington Magazine</i>, vol. x., March 1907,
-pp. 376-82. Also Walpole, <i>Anecdotes</i>, ed. Wornum, vol. i. p. 94.</p>
-</div>
-
-<div class='footnote c021' id='f480'>
-<p class='c022'><span class='label'><a href='#r480'>480</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_9'>9</a>-<a href='#Page_14'>14</a>.</p>
-</div>
-
-<div class='sidenote'>THE “DANCING PICTURE”</div>
-<p class='c023'>Another subject-picture by Holbein is mentioned by Evelyn in his
-<i>Diary</i>, but so vaguely that it is impossible to guess what it could have
-been. He says, under the date May 8, 1654: “I also call’d at Mr.
-Ducie’s, who has indeede a rare collection of the best masters, and one
-of the largest stories of H. Holbein.” This, however, may have been
-some picture similar to “The Battle of Spurs” at Hampton Court,
-attributed to Holbein in Evelyn’s day, and not a genuine work of the
-master. His judgment was not always infallible, as he speaks of the
-<span class='pageno' id='Page_216'>216</span>well-known “Dancing Picture,”<a id='r481' /><a href='#f481' class='c020'><b>[481]</b></a> which he saw at the Duke of Norfolk’s
-at Weybridge (23rd August 1678) as “that incomparable painting of
-Holbein’s.”</p>
-
-<div class='footnote c021' id='f481'>
-<p class='c022'><span class='label'><a href='#r481'>481</a>.&nbsp;&nbsp;</span>This picture was traditionally said to have been begun in
-France by Janet (Clouet), and Vertue thought it might have been
-retouched by Holbein, “as it was probably painted for his patron, the
-Duke of Norfolk, from whom it descended immediately to the Earl of
-Arundel, out of whose collection the father of the present possessor
-(Colonel Sotheby) purchased it.” (See Walpole, <i>Anecdotes</i>, ed.
-Wornum, i. p. 95.) It was lent to the Tudor Exhibition, 1890, by
-Major-Gen. F. E. Sotheby, No. 145. The only entry in the Arundel
-inventory which it is just possible might refer to this picture is “Un
-quadretto con diverse figure Jocatori, etc.,” which is given to
-Holbein.</p>
-</div>
-
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_217'>217</span>
-  <h2 id='ch-XXV' class='c012'>CHAPTER XXV<br /><span class='c017'>HOLBEIN AS A MINIATURE PAINTER</span></h2>
-</div>
-
-<p class='c018'>Early references to Holbein as a miniature painter—Receives
-instruction from Lucas Hornebolt—Rareness of genuine miniatures by
-him—Sir Thomas More—Lord Abergavenny—Lady Audley—Henry and Charles
-Brandon—Drawing in the British Museum of a lady and children on a
-bench—Miniature of Mrs. Robert Pemberton—Unknown youth in the Queen of
-Holland’s Collection—Miniature paintings of Holbein himself—Thomas
-Cromwell—Anne of Cleves—Jane Seymour—Edward VI—Livina
-Teerlinc—Miniatures of the Holbein school—Miniature of an unknown man,
-possibly the painter Harry Maynert, at Munich.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-The old tradition that Holbein did not practise miniature
-painting until after he had settled in England is probably
-true. Van Mander says that it was only at a
-late period, after he had entered the King’s service,
-that he, who knew how to adapt himself almost to
-everything, took up the art of miniature painting, in
-which he had before done nothing. At that time he met at the
-Court a very famous master in this art, named Master Lukas.
-“With Lukas he kept up mutual acquaintance and intercourse,
-and learned from him the art of miniature painting, which, since
-then, he pursued to such an extent, that in a short time he as
-far excelled Lukas in drawing, arrangement, understanding, and
-execution, as the sun surpasses the moon in brightness.”<a id='r482' /><a href='#f482' class='c020'><b>[482]</b></a> Seventy
-years later Sandrart repeated this statement, which he evidently
-took from Van Mander’s book. The Master Lukas in question
-was undoubtedly Lucas Hornebolt, who was in the employment of
-the King throughout the whole period of Holbein’s residence in
-England. So far, the only pictures extant which have been attributed
-with some certainty to the studio of Lucas and Gerard Hornebolt are
-the portraits of Henry VIII, of the type of the Warwick Castle portrait,
-when that monarch was drawing towards the end of his life; but the
-sister, Susanna, wife of John Parker, Yeoman of the Robes, and one
-of the King’s bowmen, was well known in her day as an excellent
-<span class='pageno' id='Page_218'>218</span>miniaturist, while Guicciardini speaks of Lucas as not only a very
-great painter, but as exceptionally good in the art of illuminating, so
-that it is extremely probable that a number of the miniatures still in
-existence, representing Henry, his wives, and members of his Court,
-which though very excellent, have not the brilliance of execution and
-the unfailing insight into character which mark the few genuine
-miniatures by Holbein, were the work of the members of this family.
-Guicciardini published his book only twenty-four years after Holbein’s
-death, so that his account of the position they occupied at Henry’s
-court, and the estimation in which they were held in England, borne
-out as it is by the royal accounts, is evidently an accurate one.</p>
-
-<div class='footnote c021' id='f482'>
-<p class='c022'><span class='label'><a href='#r482'>482</a>.&nbsp;&nbsp;</span>Quoted by Woltmann from Van Mander, i. p. 407; English translation, p. 370.</p>
-</div>
-
-<p class='c023'>Further confirmation of the fact that Holbein was famous for his skill
-in miniature painting during his residence in England is to be found
-in a manuscript “Treatise concerning the Arte of Limning,” which was
-written, at the request of Richard Haydock, by Nicholas Hilliard, the
-first and one of the finest of English native-born miniature painters,
-who was born in all probability in 1537, and so was a boy of six when
-Holbein died, and based his art on Holbein’s own practice. This
-treatise, which was first published in its entirety by Dr. Philip
-Norman in the first annual volume of the Walpole Society, 1911-12,
-from the original manuscript in the Edinburgh University Library, was
-probably written by Hilliard between 1598-1602. The manuscript, which
-is not in the miniaturist’s own hand, is dated 18th March 1624. In it
-Hilliard extols “King Henry the eight a Prince of exquisit jugment and
-Royall bounty, soe that of cuning stranger even the best resorted unto
-him, and removed from other courts to his. Amongst whom came the most
-excelent Painter and limner Master Haunce Holbean the greatest Master
-Truly in both thosse arts after the liffe that ever was, so Cuning in
-both together and the neatest; and therewithall a good inventor, soe
-compleat for all three, as I never heard of any better then hee. Yet
-had the King in wages for limning Divers others, but Holbean’s maner
-of limning I have ever imitated and howld it for the best, by Reason
-that of truth all the rare Siences especially the arts of Carving,
-Painting, Goudsmiths, Imbroderers, together with the most of all the
-liberall Siences came first unto us from the strangers, and generally
-they are the best and most in number. I heard Kinsard [Ronsard?] the
-great French poet on a time say, that the Ilands indeed seldome bring
-forth any Cunning man,
-<span class='pageno' id='Page_219'>219</span>but when they Doe it is in high perfection; so then I hope there maie
-come out of this ower land such a one, this being the greatest and
-most famous Iland of Europe.”<a id='r483' /><a href='#f483' class='c020'><b>[483]</b></a></p>
-
-<div class='footnote c021' id='f483'>
-<p class='c022'><span class='label'><a href='#r483'>483</a>.&nbsp;&nbsp;</span>Quoted by Holmes, <i>Burlington Magazine</i>, vol. viii.,
-January 1906, p. 229. See also <i>Walpole Society</i>, vol. i., 1912,
-pp. 18-19.</p>
-</div>
-
-<div class='sidenote'>“MINIATURA, OR ART OF LIMNING”</div>
-<p class='c023'>Still further proof of Holbein’s fame as a limner or miniature
-painter is to be found in a manuscript written by Edward Norgate,
-called “Miniatura or the Art of Limning,” now among the Rawlinson
-MSS. in the Bodleian Library, dedicated to Henry Frederick, Earl of
-Arundel. Other versions of this treatise on the “Art of Limning”
-are in the British Museum (Harl. MSS., No. 6000); in the possession
-of the Royal Society, which came from the Arundel Collection; and
-elsewhere. Norgate based a considerable part of his treatise on the
-earlier one by Hilliard. “The incomparable H. Holbein,” he says,
-“who, in all his different and various methods of painting, either in
-oyle, distempre, lymning or crayon, was, it seems, so general an
-artist as never to imitate any man, nor ever was worthily imitated
-by any.”<a id='r484' /><a href='#f484' class='c020'><b>[484]</b></a></p>
-
-<div class='footnote c021' id='f484'>
-<p class='c022'><span class='label'><a href='#r484'>484</a>.&nbsp;&nbsp;</span>Quoted by Dallaway in his notes to Walpole,
-<i>Anecdotes</i>, &amp;c., ed. Wornum, vol. i. pp. 111-2. For a full
-account of Hilliard’s treatise, and the various versions of Norgate’s
-work, see Dr. Philip Norman in the Walpole Society’s publication,
-mentioned above; also Mr. Martin Hardie in vol. ii. of Dr. G. C.
-Williamson’s <i>History of Portrait Miniatures</i>, 1904.</p>
-</div>
-
-<p class='c023'>Van Mander is, no doubt, correct in saying that Holbein received
-instruction in the art of miniature painting from Lucas Hornebolt,
-and that he had not practised it until he came to England; though
-Hornebolt had nothing to teach him but the practical use of a medium
-in which, as applied to portraiture, he had until then had very little
-experience. There is no evidence to show that he produced true
-miniatures while in Basel, though there is one attributed to him in the
-collection of the late Mr. J. Pierpont Morgan, a portrait of a Baseler,
-a certain Arnold Franz, described below, which affords possible proof
-that he did so. Such an isolated example as this, however, may have
-been painted during one of his later visits to Basel, or it may represent
-one of the members of the German colony in London. Several of his
-small circular oil paintings, almost the size of the true miniature, have
-been described in earlier chapters,<a id='r485' /><a href='#f485' class='c020'><b>[485]</b></a> so that he was already skilled in
-working on a small scale, and within it of producing a life-like
-portrait, of the utmost delicacy and truth to nature, while his
-extraordinary
-<span class='pageno' id='Page_220'>220</span>skill and precision in rendering with most minute yet masterly touches
-of the brush all the details of the sitter’s costume, jewellery, and
-accessories, must have left him little to learn when he began to work
-in the new medium. It is evident that he soon set up a standard of
-excellence in this field which both his contemporaries and the
-miniaturists who came after him did their best to reach.</p>
-
-<div class='footnote c021' id='f485'>
-<p class='c022'><span class='label'><a href='#r485'>485</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 180, 184-5; Vol. ii. pp. 14, 20, 70-1.</p>
-</div>
-
-<p class='c023'>His miniatures are now of the greatest rarity, though there are
-many in various English collections which still wrongfully bear his
-name, given to them in less critical days, when every portrait, great
-and small, dating from Tudor times, was ascribed to him. In certain
-of these, very possibly Holbein’s original handiwork has been buried
-beneath repairs and repaints by later and less skilful hands. No
-doubt a number of others have been lost, for so delicate and small an
-object of art as a miniature is soon damaged or mislaid; though
-against this must be set the fact that many of them were kept in
-specially-made ivory boxes, and so would not easily suffer destruction.
-The number of them which, from the perfection of their execution,
-can be said with some approach to certainty to be from his brush,
-can be counted almost on the fingers of one’s hands. These include
-the portraits of Mrs. Pemberton; the two sons of the Duke of Suffolk,
-Henry and Charles Brandon; Lady Audley; Queen Catherine Howard;
-Sir Thomas More; the portrait of an unknown youth in the Queen of
-Holland’s collection; several of the painter himself, done in the last
-year of his life, and two or three others. After these come several
-which, though less perfect in draughtsmanship, have serious claims
-to be considered as his work, and after these, again, there are those
-fairly numerous examples which, though of good execution and of
-real interest and value, have no pretensions to rank as works of
-the great master. Some of these have been attributed tentatively
-to such painters as the Hornebolts, Livina Teerlinc, Stretes, or
-Bettes, though modern criticism has not succeeded as yet in disentangling
-the works of these little masters the one from the other,
-so that the various attributions are at present more or less mere
-guesswork.</p>
-
-<div class='sidenote'>MINIATURES OF SIR THOMAS MORE</div>
-<p class='c023'>The beautiful miniature of Sir Thomas More, rediscovered by Dr.
-Williamson when in the Godolphin-Quicke Collection, and first
-published by him in his <i>History of Portrait Miniatures</i>, which
-is in the late Mr. J. Pierpont Morgan’s collection, has been already
-described when
-<span class='pageno' id='Page_221'>221</span>speaking of the portraits of Sir Thomas.<a id='r486' /><a href='#f486' class='c020'><b>[486]</b></a> A second miniature of More,
-in the collection of the Duke of Buccleuch at Montagu House, was
-first reproduced by Mr. Dudley Heath in <i>The Connoisseur</i>.”<a id='r487' /><a href='#f487' class='c020'><b>[487]</b></a> This,
-though based, like the Pierpont Morgan miniature, on the Huth
-portrait, shows some differences from both. It is smaller than the
-other miniature, and the sitter appears to be some years older. The
-eyes are more downcast and the head slightly bent, while the scanty
-beard is whiter. In other respects the dress, consisting of black cap
-and furred gown, and collar of SS with the Tudor rose, is the same.
-Another interesting point about it is that it is painted, not in water-colours,
-but in oil on a gesso ground, upon a metal plaque which
-appears to be silver. It has, unfortunately, suffered to some extent
-in the course of time, and has been retouched here and there, but it is
-a fine example, very possibly by Holbein, showing, according to Mr.
-Heath, “that vivid realism, yet reserve of expression, that sensitive
-modulation of the tones and contours, that insistent yet flexible drawing
-of the features, which constitute the sign-manual of the great portrait
-painter.” Nothing seems to be known of the history of this miniature,
-which was exhibited at South Kensington in 1862 (No. 2061), in the
-Royal Academy Winter Exhibition in 1879 (Case L, 4), and at the
-Burlington Fine Arts Club in 1909 (Case C, 17). These miniatures
-of More would seem to suggest that Holbein’s earlier biographers
-were wrong in stating that he did not begin to practise in this branch
-of art until after he had entered Henry VIII’s service. It has been
-generally supposed that when he returned to England a second time
-he saw little or nothing of the Chancellor, and if that is so, these
-miniatures must have been painted between 1526 and 1528, when he
-was at work on the big group of his first English patron’s family.
-At that time, however, Holbein had no official connection with the
-court, and was possibly not yet on terms of intimacy with the Hornebolts,
-so that it seems more probable that any miniatures of More
-from his hand were done between 1532, the date of Holbein’s return
-to London, and 1534, when the ex-Chancellor was imprisoned in the
-Tower. Another possible solution is that they were painted after
-More’s death for friends or relations who desired a memorial of him,
-<span class='pageno' id='Page_222'>222</span>and were done from the oil painting or from the preliminary drawings
-still in the painter’s possession.</p>
-
-<div class='footnote c021' id='f486'>
-<p class='c022'><span class='label'><a href='#r486'>486</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 306-7.</p>
-</div>
-
-<div class='footnote c021' id='f487'>
-<p class='c022'><span class='label'><a href='#r487'>487</a>.&nbsp;&nbsp;</span><i>The Connoisseur</i>, vol. xviii. No. 71, July 1907,
-frontispiece (in colour.) Also reproduced in <i>Burlington Fine Arts
-Club Exhibition Catalogue</i>, Pl. xxxiii.</p>
-</div>
-
-<p class='c023'>Another miniature from the Montagu House Collection was also
-reproduced for the first time by Mr. Dudley Heath in the same
-article,<a id='r488' /><a href='#f488' class='c020'><b>[488]</b></a> and was lent by the Duke of Buccleuch to the Burlington
-Fine Arts Club Exhibition (Case C, 22). It represents George Nevill,
-third Lord Abergavenny, and, as already noted,<a id='r489' /><a href='#f489' class='c020'><b>[489]</b></a> is founded on the fine
-drawing in the collection of the Earl of Pembroke, for so long considered
-to be a portrait of Thomas Cromwell. The face, which is that
-of an old man, is turned three-quarters to the spectator’s right, and
-is clean-shaven. His white hair is almost covered by the black cap,
-on which is a gold jewel with three pendant pearls. He wears a black
-fur-lined gown over a black doublet open at the throat, showing his
-white shirt. On the left-hand side of the bright-blue background is
-inscribed “G. Abergaveny.” It is painted, like nearly all miniatures
-of the period, on a playing card, and is 1¾ in. in diameter. It
-was purchased by its present owner, with some other miniatures, at
-the Earl of Westmorland’s sale at Apethorpe Hall, Northamptonshire,
-in 1892. It is in a perfect state of preservation, full of vitality, and
-excellent in modelling, and has considerable claims to be regarded as
-an original. The pale, high tones of the flesh colour are in marked
-contrast to the lower tones of the oil miniature of Sir Thomas More
-in the same collection.</p>
-
-<div class='footnote c021' id='f488'>
-<p class='c022'><span class='label'><a href='#r488'>488</a>.&nbsp;&nbsp;</span><i>The Connoisseur</i>, vol. xviii., July 1907,
-frontispiece (in colour). Also reproduced in <i>Burlington Fine Arts
-Club Exhibition Catalogue</i>, Pl. xxxiii.</p>
-</div>
-
-<div class='footnote c021' id='f489'>
-<p class='c022'><span class='label'><a href='#r489'>489</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_62'>62</a>.</p>
-</div>
-
-<div id='pl-31'  class='figcenter id001'>
-<img src='images/pl-31.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 31</span><br />MINIATURES<br />1. HENRY BRANDON<br />2. CHARLES BRANDON<br />3. LADY AUDLEY<br />4. QUEEN CATHERINE HOWARD<br /><span class='sc'>Windsor Castle</span><br /><br />5. PORTRAIT OF AN UNKNOWN YOUTH<br /><span class='sc'>Queen of Holland’s Collection</span><br />6. THOMAS CROMWELL<br /><span class='sc'>The late Mr. J. Pierpont Morgan’s Collection</span></p>
-</div>
-</div>
-
-<div class='sidenote'>MINIATURE OF LADY AUDLEY</div>
-<p class='c023'>The two almost similar miniatures of Catherine Howard, at
-Windsor Castle (<a href='#pl-31'>Pl. 31 (4)</a>) and Montagu House, have been already
-described;<a id='r490' /><a href='#f490' class='c020'><b>[490]</b></a> both are beautiful examples, and each one is almost
-certainly from Holbein’s own hand, though the former has suffered
-from restoration. In the royal collection at Windsor there are three
-other miniatures which also can be given to him without any hesitation,
-all three being masterpieces of the art of the limner; these are
-the portraits of Lady Audley and the two Brandon boys. The
-miniature of Lady Audley (<a href='#pl-31'>Pl. 31 (3)</a>),<a id='r491' /><a href='#f491' class='c020'><b>[491]</b></a> is of extraordinary delicacy in
-handling and colour, and bears the stamp of Holbein in every minute
-<span class='pageno' id='Page_223'>223</span>and unerring touch. As Mr. Law says, “there was no other artist at
-the court of Henry VIII, or indeed in Northern Europe, who could have
-produced so exquisite a work of art.”<a id='r492' /><a href='#f492' class='c020'><b>[492]</b></a> She is shown to the waist,
-turned to the right, with hands folded in front of her. Her richly-brocaded
-dress is of pale crimson, with under-sleeves of dark grey
-and white ruffles, and she wears a French hood trimmed with pearls,
-and a black fall over her fair hair. Her double necklace is of almost
-the same pattern as the one worn by Catherine Howard. There is
-no inscription on the plain, deep blue background. It is 2½ in. in
-diameter, and is painted on the back of the two of hearts. The identity
-of the sitter is placed beyond doubt by the fine drawing, inscribed
-“The Lady Audley,” in the Windsor Collection (<a href='#pl-37a'>Pl. 37 (1)</a>),<a id='r493' /><a href='#f493' class='c020'><b>[493]</b></a> in which
-the position and features of the sitter, the costume and ornaments, are
-almost exactly the same, while the colour of the dress in the miniature
-agrees with the note in Holbein’s handwriting on the drawing—“damast
-rot.” This drawing is one of the finest and most delicate among the
-heads of women in the Windsor Collection—a long, handsome face, with
-pointed chin and sharp nose, and very expressive eyes. Holbein has
-carefully indicated the details of the ornaments she is wearing. Her
-necklace is of elaborate workmanship, apparently a band of alternate
-links of enamel and pearls arranged as flowers, with a large pendant with
-inset facetted jewels and three hanging pearls. At her breast is a large
-circular ornament of a somewhat similar design. The oil painting for
-which the preliminary study was made, and from which the miniature
-was possibly taken, is now lost. Elizabeth, Lady Audley, was the
-eldest daughter of one who must have been in constant touch with
-Holbein—Sir Bryan Tuke, the Treasurer of the Chamber, whose
-portrait by him has been already described, and from whose hands
-he received his salary. She married John Touchet, ninth Lord Audley.</p>
-
-<div class='footnote c021' id='f490'>
-<p class='c022'><span class='label'><a href='#r490'>490</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_192'>192</a>-<a href='#Page_193'>193</a>.</p>
-</div>
-
-<div class='footnote c021' id='f491'>
-<p class='c022'><span class='label'><a href='#r491'>491</a>.&nbsp;&nbsp;</span>Woltmann, 270. Reproduced by Law, Pl. vii.; Williamson,
-<i>History of Portrait Miniatures</i>, Pl. ii. fig. 3; Ganz,
-<i>Holbein</i>, p. 149 (3). Painted at about the same time as the
-“Catherine Howard.”</p>
-</div>
-
-<div class='footnote c021' id='f492'>
-<p class='c022'><span class='label'><a href='#r492'>492</a>.&nbsp;&nbsp;</span>Law, <i>Holbein’s Portraits at Windsor Castle</i>, p. 25.</p>
-</div>
-
-<div class='footnote c021' id='f493'>
-<p class='c022'><span class='label'><a href='#r493'>493</a>.&nbsp;&nbsp;</span>Woltmann, 342; Wornum, ii. 31; Holmes, ii. 27. Reproduced
-by Davies, p. 220; and elsewhere.</p>
-</div>
-
-<p class='c023'>The portraits of the two young sons of the Duke of Suffolk, Henry
-and Charles Brandon, are acknowledged on all sides to be among the
-very finest of Holbein’s miniatures. Dr. Woltmann, indeed, considered
-the one of the elder brother to be the best which ever came
-from his brush. It is, he says, “the most beautiful miniature painting
-by Holbein that is known to us, and exhibits more strikingly than
-<span class='pageno' id='Page_224'>224</span>any other his artistic style and his spirited and perfect mode of execution,
-true in spite of all its delicacy.”<a id='r494' /><a href='#f494' class='c020'><b>[494]</b></a> This is certainly by no means
-too high praise, for both miniatures are delightful renderings of childhood,
-drawn with all Holbein’s keen perception, and faultless in their
-precision of line and delightfulness of colouring. The elder boy, Henry
-(<a href='#pl-31'>Pl. 31 (1)</a>),<a id='r495' /><a href='#f495' class='c020'><b>[495]</b></a> aged five, is shown to the waist, full-face, leaning with
-his left arm on a table at his side, his head slightly bent in the same
-direction. He is wearing a black velvet dress with green under-sleeves,
-and a black hat with a white feather. His fair hair is cut
-straight across his forehead, and there is a rather sad look in his eyes.
-On the ledge of the table is inscribed, “<span class='fss'>ETATIS SVE 5 6
-SEPDEM</span>,” and below, on the table-leg, “<span class='fss'>ANNO</span>” and the
-date, which has been variously read by different writers. The younger
-brother, Charles (<a href='#pl-31'>Pl. 31 (2)</a>),<a id='r496' /><a href='#f496' class='c020'><b>[496]</b></a> aged three, is also seen to the
-waist and full-face. His dress is a
-bluish grey braided in red, and with black cuffs. His flat black cap has
-no feather; his hair, like his brother’s, is very fair, and his blue eyes
-look straight at the spectator. There is a strong likeness between the
-two. He holds in front of him a paper with the inscription “<span class='fss'>ANN
-1541 ETATIS SVÆ 3 10 MARCI</span>.” Both miniatures are painted on a
-playing card, 2 in. in diameter, and in each the background is the
-usual bright blue. Their pedigree in the royal collection can be traced
-back as far as Charles I, in whose catalogue they appear as: “Done
-by Hans Holbein. Given to the King by Sir H. Vane. No. 64.
-<i>Item.</i> Done upon the wrong light. Upon a round card, one of the
-Duke of Brandon’s children, being in a purple habit laced with red
-velvet lace, with both his hands before him. 2 inches.” “No. 65.
-<i>Item.</i> Another fellow piece of the same Duke of Brandon’s children,
-in a black cap and habit with green sleeves, leaning with his left arm
-upon the table, bending his breast towards his left shoulder, on the
-table written his age, and the year of our Lord, done upon the wrong
-light.” They appear again in James H’s catalogue, No. 646, as:
-“Two heads in one frame, in limning, being the sons of Charles Brandon,
-Duke of Suffolk. By Holbein.”</p>
-
-<div class='footnote c021' id='f494'>
-<p class='c022'><span class='label'><a href='#r494'>494</a>.&nbsp;&nbsp;</span>Woltmann, English translation, p. 371.</p>
-</div>
-
-<div class='footnote c021' id='f495'>
-<p class='c022'><span class='label'><a href='#r495'>495</a>.&nbsp;&nbsp;</span>Woltmann, 268. Reproduced by Law, Pl. vii.; Knackfuss,
-fig. 124; Williamson, Pl. ii. fig. 5; Ganz, <i>Holbein</i>, p. 149
-(2).</p>
-</div>
-
-<div class='footnote c021' id='f496'>
-<p class='c022'><span class='label'><a href='#r496'>496</a>.&nbsp;&nbsp;</span>Woltmann, 269. Reproduced by Law, Pl. vii.; Knackfuss,
-fig. 135; Williamson, Pl. ii. fig. 7; Ganz, <i>Holbein</i>, p. 149
-(1).</p>
-</div>
-
-<div class='sidenote'>HENRY AND CHARLES BRANDON</div>
-<p class='c023'>The boys were the sons of Charles Brandon, first Duke of Suffolk,
-<span class='pageno' id='Page_225'>225</span>who became brother-in-law of the King by his secret marriage in Paris
-on May 13, 1515, with the young Queen Dowager of France, widow of
-Louis XII; and their mother, Suffolk’s fourth wife, was Catherine,
-only daughter and heiress of William, tenth Lord Willoughby de
-Eresby. The year date on the elder boy’s portrait has been usually
-read as 1535. It is so given by Wornum and Woltmann, and other
-writers have followed them, but if the portrait represents Henry
-Brandon, the date is quite impossible. Mary Tudor, the “French
-Queen,” the Duke of Suffolk’s third wife, died on June 25, 1533,
-and in September of the same year Brandon married Catherine Willoughby,
-the mother of these two boys. In Burke, on the other hand,
-it is stated that the marriage took place in 1535; but this appears
-to be incorrect. The <i>Dictionary of National Biography</i> gives the date
-of the elder boy’s birth as September 18, 1535, which date is fixed
-by the <i>inquisitio post mortem</i> held after his father’s death in 1545;
-so that it is quite impossible that the lad could have been five years
-old in 1535. Mr. Ernest Law reads the date on the miniature as
-possibly 1539; to the writer, however, who has not had the privilege
-of examining the original, it appears, from careful examination of the
-excellent reproduction in Mr. Law’s book, to be either 1543 or 1545,
-the third figure being plainly a 4. Neither of these dates, however,
-can be correct, and it is quite possible that at some time the inscription,
-growing illegible, has been repainted, and that in so doing the
-restorer has made a mistake. The lettering on both miniatures lacks
-the precision of an original inscription by Holbein. It is generally
-assumed that the two dates, “6 Sep” and “10 Marci,” refer to the
-boys’ birthdays, and there is no difficulty with regard to the second
-boy, Charles, who was born in March 1538, two and a half years after
-his brother. The two miniatures have every appearance of having
-been painted at about the same time, and it is to be expected that
-the elder of the two would be painted first. The writer suggests,
-therefore, that the correct date of the portrait of Henry is September
-1540, and that of Charles, March 1541.</p>
-
-<p class='c023'>The two boys were very carefully brought up in the Protestant
-faith by their mother. Martin Bucer, the German reformer, was
-appointed their tutor, and they were afterwards in the charge of
-Thomas Wilson, who became Secretary of State to Queen Elizabeth.
-At a later period Henry was sent to Sir John Cheke, and was educated
-<span class='pageno' id='Page_226'>226</span>with Prince Edward, and finally entered St. John’s College, Cambridge,
-where his brother afterwards followed him. While there the two
-boys contracted that scourge of the sixteenth century, the sweating
-sickness. On the occasion of the outbreak they were hastily removed
-for safety to the Bishop of Lincoln’s palace at Brickdon, in Huntingdonshire,
-but too late, for both developed the disease, and died together
-in one bed, on the same day, July 11, 1551, the younger
-within less than an hour of the elder. Their death at so early an age
-made an extraordinary impression at the time, and a pamphlet on the
-subject was published by their tutor, Dr. Walter Haddon. Peter
-Martyr said of Henry that, with the exception of Edward VI, he was
-the most promising youth of his day.</p>
-
-<div id='pl-32'  class='figcenter id001'>
-<img src='images/pl-32.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 32</span><br />STUDY FOR A FAMILY PORTRAIT GROUP<br /><i>Indian-ink wash drawing with brush outline</i><br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<div class='sidenote'>DRAWING OF A FAMILY GROUP</div>
-<p class='c023'>There is a very beautiful drawing of the boys’ mother in the Windsor
-Collection,<a id='r497' /><a href='#f497' class='c020'><b>[497]</b></a> a head turned three-quarters to the left, wearing the
-English angular head-dress with a band of pearls, and a second ornamented
-band of which part of the pattern has been drawn in detail
-by Holbein. The collar is elaborately braided with black velvet, and
-a medallion is indicated at the breast. The brown eyes and the hair
-have been put in with water-colour. The portrait for which it
-was the original study has not been traced. There is a replica of this
-head in the British Museum (No. 10),<a id='r498' /><a href='#f498' class='c020'><b>[498]</b></a> which was formerly in the
-Robinson and Malcolm collections. In this connection, too, a second
-drawing in the British Museum may be cited, which represents a
-woman and children sitting on a bench (No. 8) (<a href='#pl-32'>Pl. 32</a>).<a id='r499' /><a href='#f499' class='c020'><b>[499]</b></a> It is in
-Indian-ink on paper, 5¼ in. × 4¼ in., and comes from the Cosway and
-Utterson collections. It has been reproduced by the Vasari Society,<a id='r500' /><a href='#f500' class='c020'><b>[500]</b></a>
-with a note by Mr. Campbell Dodgson, and by Dr. Paul Ganz.<a id='r501' /><a href='#f501' class='c020'><b>[501]</b></a> Mr.
-Dodgson suggests that the scene represented is the interior of a
-church. An effect of warm sunshine is skilfully suggested by the light
-which falls from a window, not seen, on the right. The mother or nurse
-is seated in the centre of the group, on a high-backed bench with
-panelling of the Tudor “linen” pattern, a baby in long clothes held on
-her lap. On her right a boy with a flat cap and feather, and puffed
-sleeves, is seated, his left elbow resting on the arm of the bench. A
-little girl stands in front of her, looking up, and on the left a
-younger boy,
-<span class='pageno' id='Page_227'>227</span>dressed like his brother, is standing, the whole making a group of the
-greatest charm. It is described in the British Museum Catalogue as an
-admirable example of Holbein’s earlier Basel period, but it is
-evidently of later date, and the costumes are undoubtedly English. It
-has been recently suggested by Mr. Peartree that the woman is “Mother
-Jack,” nurse to Prince Edward.<a id='r502' /><a href='#f502' class='c020'><b>[502]</b></a> In features and costume she bears
-considerable likeness to the unnamed drawing in the Windsor
-Collection,<a id='r503' /><a href='#f503' class='c020'><b>[503]</b></a> which is supposed to be a portrait of that nurse. If
-this supposition be correct, the baby would be the Prince of Wales,
-and the date of the drawing about 1537; but this fails to account for
-the three other children. Dr. Ganz considers it to be a group of
-members of the Brandon family,<a id='r504' /><a href='#f504' class='c020'><b>[504]</b></a> and as far as the two boys are
-concerned, this suggestion has something in its favour. The lad on the
-right is by
-no means unlike Henry Brandon. The position of the head and the
-left arm are exactly the same as in the miniature, and the dress has
-many points of resemblance. The second boy, too, has some likeness
-to Charles, though he does not wear the velvet-braided costume of
-the miniature. Again, however, there is a stumbling-block to this
-theory in the presence of the two younger children, for the Duke’s
-family by his fourth wife consisted of the two boys only. By his
-second marriage with Anne, daughter of Sir Anthony Browne, he
-had two daughters, Anne, afterwards Lady Powys, and Mary, afterwards
-Lady Monteagle, and by his third wife, the King’s sister, he had
-two other daughters, Frances, afterwards Countess of Dorset, and
-Eleanor, afterwards Countess of Cumberland, but these ladies were
-all too old for one of them to have been the little girl represented
-in the drawing. Owing, no doubt, to the wrong date on the miniature of
-Henry Brandon, Dr. Ganz ascribes this drawing to the year 1535, and
-sees signs in the elder boy’s face of approaching illness, although no
-such illness is recorded until the sudden one in 1551, when he was
-nearly sixteen. Both explanations are ingenious, but neither is
-entirely satisfactory. On the margin of the drawing, in a later hand,
-is written—“exaltate Cedrus. H. Holbein,” which, apparently, is a
-reference to Ecclesiasticus xxiv. 17, “Quasi cedrus exaltata sum in
-Libano.”</p>
-
-<div class='footnote c021' id='f497'>
-<p class='c022'><span class='label'><a href='#r497'>497</a>.&nbsp;&nbsp;</span>Woltmann, 334; Wornum, ii. 21; Holmes, i. 26. Reproduced
-by Knackfuss, fig. 140; and Ganz, <i>Hdz. von H. H. dem Jüng.</i>, Pl.
-34.</p>
-</div>
-
-<div class='footnote c021' id='f498'>
-<p class='c022'><span class='label'><a href='#r498'>498</a>.&nbsp;&nbsp;</span>Woltmann, 210.</p>
-</div>
-
-<div class='footnote c021' id='f499'>
-<p class='c022'><span class='label'><a href='#r499'>499</a>.&nbsp;&nbsp;</span>Woltmann, 189.</p>
-</div>
-
-<div class='footnote c021' id='f500'>
-<p class='c022'><span class='label'><a href='#r500'>500</a>.&nbsp;&nbsp;</span>1905-6, No. 18.</p>
-</div>
-
-<div class='footnote c021' id='f501'>
-<p class='c022'><span class='label'><a href='#r501'>501</a>.&nbsp;&nbsp;</span><i>Hdz. von H. H. dem Jüng.</i>, Pl. 35.</p>
-</div>
-
-<div class='footnote c021' id='f502'>
-<p class='c022'><span class='label'><a href='#r502'>502</a>.&nbsp;&nbsp;</span>Vasari Society, Pt. i. No. 18 (1905-6), note by Mr.
-Campbell Dodgson.</p>
-</div>
-
-<div class='footnote c021' id='f503'>
-<p class='c022'><span class='label'><a href='#r503'>503</a>.&nbsp;&nbsp;</span>Woltmann, 353; Wornum, ii. 14; Holmes, i. 10. Reproduced
-in <i>Drawings by Hans Holbein</i> (Newnes), Pl. xxvi.</p>
-</div>
-
-<div class='footnote c021' id='f504'>
-<p class='c022'><span class='label'><a href='#r504'>504</a>.&nbsp;&nbsp;</span>Ganz, <i>Hdz. von H. H. dem Jüng.</i>, p. 56.</p>
-</div>
-
-<p class='c023'><span class='pageno' id='Page_228'>228</span>The utmost perfection in miniature painting is to be found in the
-portrait of Mrs. Robert Pemberton (#Pl. 33 (1)pl-33#),<a id='r505' /><a href='#f505' class='c020'><b>[505]</b></a> in the late Mr. J.
-Pierpont Morgan’s collection (No. iv.), which bears in every touch the
-unapproachable skill and rare individuality of the artist. It was
-formerly in the collection of Mr. C. Heywood Hawkins, and at his sale
-on May 15, 1904, realised £2750, afterwards passing into the
-possession of Mr. Morgan, by whose courtesy it is reproduced in this
-book. In the Hawkins Sale-Catalogue it was described as the portrait
-of Frances Howard, Duchess of Norfolk, but without authority, for
-there was no Duchess of Norfolk of that name in Holbein’s time. When
-exhibited by Mr. Hawkins at South Kensington in 1865, it was described
-in the catalogue as merely—“Portrait of a Lady, Anno Aetatis Suae 23.
-Her coat of arms is affixed to the case.” This coat, described by Sir
-Richard Holmes in the <i>Burlington Magazine</i>,<a id='r506' /><a href='#f506' class='c020'><b>[506]</b></a> in a note
-accompanying a reproduction of the portrait, is dated <span class='fss'>MDLVI</span>,
-and in style
-and painting is about a century later than the miniature. These
-arms, as Sir Richard first pointed out, are those of the Pemberton
-family. Further researches, undertaken by Dr. Williamson, and embodied
-in his catalogue of Mr. Pierpont Morgan’s Miniatures, prove,
-almost without doubt, that the lady represented was Mrs. Robert
-Pemberton. He says: “The arms of the wyverns’ heads which are
-quartered with those of Pemberton belong to the family of Jago di
-Lago, gentleman, of Newcastle-under-Lyme, Staffordshire; and
-Robert Pemberton, of Rushden, Northants, M.P. for Northampton
-in 1478, married Alice, daughter and co-heir of this Jago di Lago....
-Major-General R. C. B. Pemberton, to whom I am indebted for
-these interesting references, is of opinion that the lady in the
-miniature is Margaret, daughter of Richard Throgmorton, of Higham
-Park, co. Northants, who was buried at Rushden, 27th October 1576. She
-married Robert Pemberton, of Pemberton, co. Lancs., and of Rushden,
-eldest son of William Pemberton, of the same places, and he died in
-September 1594. The arms would be those of this Robert Pemberton,
-whose grandfather certainly bore them.”<a id='r507' /><a href='#f507' class='c020'><b>[507]</b></a></p>
-
-<div class='footnote c021' id='f505'>
-<p class='c022'><span class='label'><a href='#r505'>505</a>.&nbsp;&nbsp;</span>Reproduced in Mr. Morgan’s Catalogue, Pl. iv., No. 2, and
-in colour in <i>édition de luxe</i>, No. 4; <i>Burlington
-Magazine</i>, vol. v., July 1904, frontispiece; <i>Portrait
-Miniatures</i> (<i>Studio</i> Spring No.), 1910, Pl. i.; <i>Burlington
-Fine Arts Club Exhibition Catalogue</i>, 1909, Pl. xxxii.; Ganz,
-<i>Holbein</i>, p. 148 (3); <i>Connoisseur</i>, Dec. 1906.</p>
-</div>
-
-<div class='footnote c021' id='f506'>
-<p class='c022'><span class='label'><a href='#r506'>506</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. v., July 1904, p. 337.</p>
-</div>
-
-<div class='footnote c021' id='f507'>
-<p class='c022'><span class='label'><a href='#r507'>507</a>.&nbsp;&nbsp;</span>Williamson, Mr. J. Pierpont Morgan’s Catalogue, p. 9.</p>
-</div>
-
-<div id='pl-33'  class='figcenter id003'>
-<img src='images/pl-33.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 33</span><br />MINIATURES<br /><br />MRS. PEMBERTON<br /><span class='sc'>The Late Mr. J. Pierpont Morgan’s Collection</span><br /><br />PORTRAIT OF HOLBEIN BY HIMSELF<br /><span class='sc'>Wallace Collection</span></p>
-</div>
-</div>
-
-<div class='sidenote'>MINIATURE OF AN UNKNOWN YOUTH</div>
-<p class='c023'><span class='pageno' id='Page_229'>229</span>In this very beautiful little masterpiece the lady is shown
-three-quarters face to the right, wearing a black velvet bodice and
-small white linen cape, and a lawn collar and cuffs, embroidered with
-a geometrical design in black. She has a red carnation fastened in her
-dress, and round her neck a thin black cord with gold filigree ends,
-and holds a single green leaf in her crossed hands. Her hair, which is
-parted in the centre, is almost concealed beneath her white linen cap.
-The background is, as usual, blue, and across it, in gold letters,
-runs the inscription, “<span class='fss'>ANNO ETATIS SVÆ 23</span>.” It is painted on
-the back of a playing card, and is still in its original frame,
-decorated with white and black enamel and three pearls.</p>
-
-<p class='c023'>The miniature in the Queen of Holland’s collection (<a href='#pl-31'>Pl. 31 (5)</a>)
-equals, if it does not surpass, in the brilliance and delicacy of its
-execution and in the subtlety of its characterisation, the portrait of
-Mrs. Pemberton; in some ways, indeed, it is the most perfect example
-of Holbein’s mastery of this branch of art which remains. Its
-discovery was due to Sir Richard Holmes, who, in 1903, first
-attributed it to Holbein, in a communication to the <i>Burlington
-Magazine</i>,<a id='r508' /><a href='#f508' class='c020'><b>[508]</b></a> accompanied by a reproduction of the miniature. It
-forms one of a collection of some four hundred, of which about fifty
-are of English origin, in the royal collections of Holland at the
-Hague. It represents a youth of about fifteen or sixteen, who so far
-has not been identified. The head and shoulders only are shown, turned
-three-quarters to the spectator’s right, the eyes cast down. The hair
-is cut close, and the dress is a brown doublet trimmed with black,
-with a small open, falling collar with white strings attached. There
-is no inscription on the background. With the exception of slight
-discoloration of the collar through the oxidization of the pigment,
-this miniature is in faultless condition. “Its extraordinary power and
-beauty,” says Sir Richard, “were manifest at first sight, and a close
-examination has convinced me that it can be attributed only to
-Holbein, of whose work in this branch of portraiture I have long been
-a student, as well as of his crayon drawings. It has all the restraint
-of power so characteristic of him, and the exquisite delicacy of line
-combined with firmness and precision, which never united in the same
-degree in any master with whose work I am acquainted.”<a id='r509' /><a href='#f509' class='c020'><b>[509]</b></a> The same
-writer suggested that it is possibly the portrait of a member of the
-family of one of the German merchants of the Steelyard. The facial
-characteristics, however,
-<span class='pageno' id='Page_230'>230</span>appear to be more English than German, and it most probably represents
-the son of some personage about Henry’s court. It was
-exhibited at the Exhibition of Miniatures in Rotterdam in 1910, and
-again at Brussels in 1912 (No. 846). Another fine miniature in the
-Queen of Holland’s collection, the portrait of an unknown man in
-black (Brussels Exhibition, No. 847), was first pointed out by Dr.
-Williamson in his <i>History of Portrait Miniatures</i> as very probably the
-work of Holbein; and since its exhibition at Brussels in 1912 the
-attribution has been accepted by some of the leading Dutch critics.<a id='r510' /><a href='#f510' class='c020'><b>[510]</b></a></p>
-
-<div class='footnote c021' id='f508'>
-<p class='c022'><span class='label'><a href='#r508'>508</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. i., April 1903, p. 218,
-and frontispiece; Ganz, <i>Holbein</i>, p. 147 (2).</p>
-</div>
-
-<div class='footnote c021' id='f509'>
-<p class='c022'><span class='label'><a href='#r509'>509</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. i., April 1903, p. 218.</p>
-</div>
-
-<div class='footnote c021' id='f510'>
-<p class='c022'><span class='label'><a href='#r510'>510</a>.&nbsp;&nbsp;</span>See <i>Hist. Portrait Miniatures</i>, vol. i. p. 11, and Pl. iii. 1.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S MINIATURES OF HIMSELF</div>
-<p class='c023'>A fine miniature portrait of the artist himself, painted in the last
-year of his life, is in the possession of the Duke of Buccleuch,<a id='r511' /><a href='#f511' class='c020'><b>[511]</b></a> and was
-exhibited at the Royal Academy Winter Exhibition, 1879 (Case F, 25),
-and at the Burlington Fine Arts Club in 1909 (Case C, 23). It is a
-bust portrait, turned three-quarters to the left, the head facing the
-spectator. He is represented in the act of painting, the left hand
-supporting the right, and is dressed in a plain black costume with white
-pleated collar and cuffs, and a round black skull-cap. He has dark
-hair and a closely-cut beard. Across the blue background is inscribed,
-“<span class='fss'>H.H. AN. 1543. ÆTATIS SVÆ 45.</span>” It was formerly in the collection
-of Horace Walpole, and at the Strawberry Hill sale in 1842 was purchased
-by Mr. W. Blamire, and when the latter’s collection was disposed
-of in 1863 it passed into the possession of the Duke of Buccleuch.
-It is one of the best of several similar miniatures, and is very fine in
-execution, and has been usually ascribed to Holbein himself. The
-best of all is in the Wallace Collection (Case B, 93) (<a href='#pl-33'>Pl. 33 (2)</a>),<a id='r512' /><a href='#f512' class='c020'><b>[512]</b></a> and
-appears to be from the painter’s own hand. A number of copies are to
-be found in various collections; one of them, in the Mayer van den Bergh
-Collection, Antwerp, is reproduced by Dr. Ganz.<a id='r513' /><a href='#f513' class='c020'><b>[513]</b></a> Woltmann considered
-that the Montagu House portrait was “scarcely the original, but an
-old and contemporaneous copy,”<a id='r514' /><a href='#f514' class='c020'><b>[514]</b></a> but it is too excellent in execution
-to be the work of a mere copyist. There is a second and larger version
-in the Buccleuch Collection, with the same date, 1543, also attributed
-<span class='pageno' id='Page_231'>231</span>to Holbein. The first-named example may possibly be the small round
-mentioned by Van Mander as being in Amsterdam in his day. Lucas
-Vorsterman’s circular engraving was evidently based on this miniature
-or the somewhat larger portrait now lost,<a id='r515' /><a href='#f515' class='c020'><b>[515]</b></a> of which the exceedingly
-poor likeness of the painter in the Uffizi Gallery gives but a feeble echo.
-The print follows the miniature closely, but is reversed, so that Holbein
-is represented as painting with his left hand. Hollar’s engraving,
-dated 1647, in which the painter’s left hand is omitted, was taken,
-according to the inscription, from an original in the collection of the
-Earl of Arundel, though Wornum was of opinion that it was based
-upon Vorsterman’s version. Both are described in an earlier chapter.<a id='r516' /><a href='#f516' class='c020'><b>[516]</b></a>
-The inscription across the background in Hollar’s print—“<span class='sc'>HH. Æ 45.
-AN<b>o</b> 1543</span>”—agrees with the second miniature in the Buccleuch Collection.
-Van Mander states that Holbein painted with his left hand,
-and in this Sandrart and Patin follow him, but that this was a legend
-is proved by the original miniature in which the artist has represented
-himself holding his brush. Vorsterman’s engraving, which appears
-to bear out Van Mander’s statement, through his failure to reverse
-his drawing on the wood block, if not the original source of the error,
-may have helped to spread it. Sir George Scharf, however, suggested
-another cause as the source of this tradition. “Most of the portraits
-of Henry VIII,” he says, “more especially those attributed to Holbein,
-have the light coming in from the spectator’s right, a circumstance
-which may have tended, in some degree, to establish the tradition
-that Holbein was left-handed. These are specified by Van der Dort
-as done upon the wrong light.”<a id='r517' /><a href='#f517' class='c020'><b>[517]</b></a></p>
-
-<div class='footnote c021' id='f511'>
-<p class='c022'><span class='label'><a href='#r511'>511</a>.&nbsp;&nbsp;</span>Woltmann, 371 (9). Reproduced in <i>Burlington Fine Arts
-Club Exhibition Catalogue</i>, Pl. xxxiii.; Williamson, <i>Hist.
-Portrait Miniatures</i>, Pl. ii. 4.</p>
-</div>
-
-<div class='footnote c021' id='f512'>
-<p class='c022'><span class='label'><a href='#r512'>512</a>.&nbsp;&nbsp;</span>Reproduced by A. F. Pollard, <i>Henry VIII</i>, p. 125;
-Ganz, <i>Holbein</i>, p. 150 (2); Williamson, <i>Hist. Portrait
-Miniatures</i>, Pl. iii. 3. According to the new edition of the
-Catalogue of the Wallace Collection there is engraved on the back of
-the case, “Hans Holbens—given to Me by Lord Bolingbroke, 1757.”</p>
-</div>
-
-<div class='footnote c021' id='f513'>
-<p class='c022'><span class='label'><a href='#r513'>513</a>.&nbsp;&nbsp;</span><i>Holbein</i>, p. 227 (4).</p>
-</div>
-
-<div class='footnote c021' id='f514'>
-<p class='c022'><span class='label'><a href='#r514'>514</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 477. English translation, p. 450.</p>
-</div>
-
-<div class='footnote c021' id='f515'>
-<p class='c022'><span class='label'><a href='#r515'>515</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 27-8, and Vol. ii. p. <a href='#Page_213'>213</a>.</p>
-</div>
-
-<div class='footnote c021' id='f516'>
-<p class='c022'><span class='label'><a href='#r516'>516</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 27-8.</p>
-</div>
-
-<div class='footnote c021' id='f517'>
-<p class='c022'><span class='label'><a href='#r517'>517</a>.&nbsp;&nbsp;</span><i>Old London</i>, 1867, p. 320.</p>
-</div>
-
-<p class='c023'>The discovery of another miniature by Holbein was made by
-Dr. G. C. Williamson in 1911,<a id='r518' /><a href='#f518' class='c020'><b>[518]</b></a> and is one of exceptional interest, as
-it is an undoubted likeness of Thomas Cromwell, Earl of Essex, K.G.
-(<a href='#pl-31'>Pl. 31 (6)</a>). It came from a private source, and is now in the late Mr.
-Pierpont Morgan’s collection. It was fully described, and compared
-with other portraits of Cromwell, by Mr. Lionel Cust in the
-<i>Burlington Magazine</i>.<a id='r519' /><a href='#f519' class='c020'><b>[519]</b></a> He is represented in a black cloak with fur
-<span class='pageno' id='Page_232'>232</span>collar, black cloth cap, and wearing the chain of the Garter with
-the pendant George. The background is blue. It is about two
-inches in diameter, painted on vellum or chicken-skin, pasted on
-card. “It is encased,” says Mr. Cust, “in an ivory box, carved on
-the back with a rose and other ornaments, similar to, though in no
-way so fine or so rich as, the ivory box which contains the miniature
-portrait of Anne of Cleves, lately bequeathed to the nation by Mr.
-George Salting, and now in the Victoria and Albert Museum. In the
-case, however, of Mr. Morgan’s portrait of Cromwell, the lower half
-of the box has been separated from the lid, cut down, and set in a gold
-frame, which is ornamented by a series of small deformed pearls.
-This gold framework is the work of a highly-efficient goldsmith, but
-hardly seems to date from the days of Henry VIII.” As Cromwell
-is shown wearing the Garter chain and badge, of which order he was
-made a knight in August 1537, the miniature was no doubt painted
-at some date between August and December in that year, to commemorate
-his election. In this connection it is of interest to note that
-in Cromwell’s accounts, preserved in the Record Office, there is an entry
-under 4th January 1538: “Hanns the painter, 40<i>s.</i>”<a id='r520' /><a href='#f520' class='c020'><b>[520]</b></a> This payment
-would suggest that, in all probability, Holbein presented him
-with this miniature as a New Year’s gift, and that in return he received
-the forty shillings from his old patron as an acknowledgment.<a id='r521' /><a href='#f521' class='c020'><b>[521]</b></a> The
-miniature is thus some three or four years later in date than the
-portrait at Tyttenhanger, painted not later than the spring of 1534,
-when he was Master of the Jewel House.<a id='r522' /><a href='#f522' class='c020'><b>[522]</b></a></p>
-
-<div class='footnote c021' id='f518'>
-<p class='c022'><span class='label'><a href='#r518'>518</a>.&nbsp;&nbsp;</span>Communicated by him to <i>The Times</i>, 25th May 1911.</p>
-</div>
-
-<div class='footnote c021' id='f519'>
-<p class='c022'><span class='label'><a href='#r519'>519</a>.&nbsp;&nbsp;</span>“A Newly-discovered Miniature of Thomas Cromwell,” vol.
-xx., October 1911, pp. 5, 6. The miniature reproduced p. 7 (1). Since
-the date of this article Dr. Williamson has traced back the history of
-this miniature to a member of the Cromwell family who settled and died
-near Munich.</p>
-</div>
-
-<div class='footnote c021' id='f520'>
-<p class='c022'><span class='label'><a href='#r520'>520</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xiv., pt. ii., 782 (f. 117).</p>
-</div>
-
-<div class='footnote c021' id='f521'>
-<p class='c022'><span class='label'><a href='#r521'>521</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. xx., December 1911,
-p. 175.</p>
-</div>
-
-<div class='footnote c021' id='f522'>
-<p class='c022'><span class='label'><a href='#r522'>522</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_58'>58</a>-<a href='#Page_60'>60</a>.</p>
-</div>
-
-<div class='sidenote'>MINIATURES OF HENRY VIII</div>
-<p class='c023'>Unfortunately this miniature has suffered severely during its past
-career, and has been so rubbed down that little of the details of the
-dress or ornaments can now be distinguished beyond the mere outlines.
-“The face,” says Mr. Cust, “is faded and also rubbed, but here the
-skilful drawing of the features reveals a master-hand which could be
-no other but Holbein’s. Very subtle, however, and recognizable are the
-distinctive features of Thomas Cromwell, the vulgar nose, with its sunken
-bridge, the cunning eyes with the puckered skin at their corners.”<a id='r523' /><a href='#f523' class='c020'><b>[523]</b></a></p>
-
-<div class='footnote c021' id='f523'>
-<p class='c022'><span class='label'><a href='#r523'>523</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xx., October 1911, p. 5.</p>
-</div>
-
-<p class='c023'>The scope of this book does not permit any detailed description
-of the very numerous miniatures of Henry VIII and the members of
-<span class='pageno' id='Page_233'>233</span>his family which are to be found in various collections in England,
-the more important of which have been publicly exhibited from time to
-time. In the royal collection in Windsor Castle there are four of the
-King himself, but none of them can be given to Holbein. Three of them
-appear to have been painted immediately before Holbein’s first visit
-to England, and the fourth shortly after his death. Two, in which
-Henry is beardless, and of youthful appearance, were in Charles I’s
-collection, and are entered in his catalogue as being among “the
-limned pictures which my Lord of Suffolk gave to the King.” One of
-them is inscribed, in two lines, “<span class='sc'>H.R. VIII. AN<b>o</b> ETATIS
-XXXV<b>o</b></span>,” which gives the date as 1525-6; the other, which it
-resembles closely, has no date, but merely “<span class='fss'>REX HENRICUS.
-OCTAVVS</span>.”<a id='r524' /><a href='#f524' class='c020'><b>[524]</b></a> The third Windsor miniature is inscribed “<span class='sc'>H.R.
-VIII. AN<b>o</b> XXXV</span>.” In the spandrils four golden angels, on a
-bright red ground, are holding the letters H and K in golden cords,
-and linked with true-lovers’ knots. Sir George Scharf considered these
-initials to refer to the King’s last marriage, on July 12, 1543, with
-Catherine Parr, and the “<span class='sc'>XXXV<b>o</b></span>” as referring, not to Henry’s
-age, but to his regnal year. “The face,” he says, “at first sight
-looks youthful, but it is fat, and, on careful inspection, has a worn
-and very artificial appearance, as if means had been employed to
-conceal age.”<a id='r525' /><a href='#f525' class='c020'><b>[525]</b></a> Mr. Wornum, on the other hand, considered the
-numerals to refer to the King’s actual age, and not to his reign, and
-the initial K to Katherine of Aragon.<a id='r526' /><a href='#f526' class='c020'><b>[526]</b></a> It is only possible to say of
-the earlier of these miniatures that they are not the work of Holbein.
-As to the real author of them, the name of one or other member of the
-Hornebolt family can only be tentatively given, without any real proof
-in support of it, beyond the fact that the Hornebolts were settled in
-this country before 1526, the name appearing in the accounts of the
-expenses of the royal household in that year, and that there appears
-to have been no other foreign artist of like importance living in
-London at that date. Mr. Lionel Cust, in the Burlington Fine Arts Club
-Exhibition Catalogue, suggests the name of Jehan Perréal, or Jehan de
-Paris, as the possible author of some of the early portraits in
-miniature of the King, painted before Holbein’s arrival in England.
-Perréal was over here at the time of the marriage of
-<span class='pageno' id='Page_234'>234</span>Louis XII, whose official painter he was, with Princess Mary Tudor,
-for the purpose of designing the new Queen’s dresses. His visit,
-however, could have been but a short one, and does not account for
-miniatures of the year 1526.</p>
-
-<div class='footnote c021' id='f524'>
-<p class='c022'><span class='label'><a href='#r524'>524</a>.&nbsp;&nbsp;</span>Both reproduced by Law, <i>Holbein’s Pictures at Windsor Castle</i>, Pl. vii.</p>
-</div>
-
-<div class='footnote c021' id='f525'>
-<p class='c022'><span class='label'><a href='#r525'>525</a>.&nbsp;&nbsp;</span>“Remarks on Some Portraits from Windsor Castle, Hampton Court, and Wilton House,”
-<i>Archæologia</i>, vol. xxxix., 1863, p. 252.</p>
-</div>
-
-<div class='footnote c021' id='f526'>
-<p class='c022'><span class='label'><a href='#r526'>526</a>.&nbsp;&nbsp;</span>Wornum, p. 281.</p>
-</div>
-
-<p class='c023'>The fourth miniature of the King at Windsor is in oils on oak, 2¾ in.
-in diameter, in which he is wearing a thin beard and whiskers. It is
-inscribed, “<span class='fss'>HENR. 8 REX. ANGL. ÆTA. S: 57</span>.” Its date, therefore,
-must refer to the last year of the King’s reign, 1546, though there is
-a mistake in the age, as he never entered his fifty-seventh year. According
-to Charles I’s catalogue, it was “supposed to be done by
-Holben, and given to the King by my Lord Suffolk.” In type it
-corresponds very closely to the portrait of Henry in St. Bartholomew’s
-Hospital, London. There is yet another miniature of the King at
-Windsor, by Nicholas Hilliard, which appears to have been copied
-from some lost original by Holbein or by Hornebolt. It is one of the
-customary full-face versions, with beard, and is one of the four fine
-miniatures which were appended to an elaborate jewel which Hilliard
-executed in enamels and gold, possibly for Edward VI, representing the
-Battle of Bosworth Field, which was bought by Charles I from Laurence
-Hilliard, the painter’s son. The three other miniatures represent
-Henry VII, Jane Seymour, evidently copied from the well-known
-portrait by Holbein, and Edward VI, which recalls more than one of
-the portraits of the young King usually attributed to Guillim Stretes.
-The one of Henry VIII is inscribed in gold: “<span class='fss'>1536. ÆTATIS SVÆ 46.</span>”</p>
-
-<div class='sidenote'>MINIATURES OF HENRY VIII</div>
-<p class='c023'>No less than five miniatures of the King were lent to the Burlington
-Fine Arts Club Exhibition by the Duke of Buccleuch, two of which are
-attributed to Holbein. One is a reduced copy of Holbein’s portrait of
-Henry belonging to Earl Spencer (Case C, 6). A second<a id='r527' /><a href='#f527' class='c020'><b>[527]</b></a> is inscribed
-“<span class='sc'>H.R. VIII. AN<b>o</b> XXXV</span>,” and appears to be the original from
-which the Windsor miniature, described above, was copied (Case C, 7).
-It was formerly in the Magniac Collection. The catalogue suggests that
-it is possibly the work of an illuminator of the French school. A
-third (Case C, 25), with a very similar inscription, is evidently a
-second copy of the same miniature. The fourth (Case C, 8
-(<span class='fss'>D</span>)), forms one of a series of eight in an ebony frame, which
-were formerly in the collection of Charles I. It is a full-face, with
-grey beard, and, according to the royal catalogue, was “done by Hans
-Holbein,
-<span class='pageno' id='Page_235'>235</span>given to the King by my Lord Suffolk.”<a id='r528' /><a href='#f528' class='c020'><b>[528]</b></a> The companion miniatures
-represent Henry VII, Elizabeth of York (“copied by Hoskins after
-an ancient ould coloured piece”), Katherine of Aragon, Anne Boleyn
-(also copied by John Hoskins “after an ould colured piece”), Queen
-Mary (“done by Ant. More”), Edward VI, and Queen Elizabeth (“done
-by Old Hilliard”). The “Henry VIII” is fine, and in the Burlington
-catalogue is attributed to Holbein, but it is more probably another
-copy from “an ould coloured piece” by the master. It has considerable
-resemblance to the fifth miniature from Montagu House<a id='r529' /><a href='#f529' class='c020'><b>[529]</b></a>
-(Case C, 2), also ascribed to Holbein, but not by him.</p>
-
-<div class='footnote c021' id='f527'>
-<p class='c022'><span class='label'><a href='#r527'>527</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Fine Arts Club Catalogue</i>, Pl. xxxiii.</p>
-</div>
-
-<div class='footnote c021' id='f528'>
-<p class='c022'><span class='label'><a href='#r528'>528</a>.&nbsp;&nbsp;</span>Reproduced by Williamson, <i>Hist. Portrait
-Miniatures</i>, Pl. ii. 6.</p>
-</div>
-
-<div class='footnote c021' id='f529'>
-<p class='c022'><span class='label'><a href='#r529'>529</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Fine Arts Club
-Catalogue</i>, Pl. xxxiii.</p>
-</div>
-
-<p class='c023'>The very fine miniature portrait of the King in the Pierpont
-Morgan Collection was included in the same exhibition (Case B, 1).<a id='r530' /><a href='#f530' class='c020'><b>[530]</b></a>
-Old tradition says that this portrait was presented by the King himself
-to Anne of Cleves. Tradition in this case may be correct, though this
-Queen is the least likely of all to have been the recipient of such a gift.
-The correspondence with reference to the suggested marriages with
-the Duchess of Longueville, the Duchess of Milan, and Anne herself,
-shows that Henry always refused to send a portrait of himself while
-such negotiations were in progress. His anxiety was to see a portrait
-of the lady first, and, if possible, the lady herself, before making his final
-decision, and to send one of himself before such final decision had been
-made would have been too compromising. It is not likely, therefore,
-that he sent one to Anne in Düren, and as he took the strongest aversion
-to her directly he saw her, it is still less probable that she received
-a gift of so personal a nature after she arrived in England. Dr.
-Williamson, in his catalogue of Mr. Morgan’s miniatures, gives a very
-interesting account of the history of this fine little portrait,<a id='r531' /><a href='#f531' class='c020'><b>[531]</b></a> and the
-companion one of Anne of Cleves, both at one time in the possession
-of the Barrett family, of Lee Priory, Kent, and later in that of the
-Meyricks, of Goodrich Court, to which reference has been made in an
-earlier chapter.<a id='r532' /><a href='#f532' class='c020'><b>[532]</b></a> Some years before the death of General Meyrick,
-who had succeeded to the Goodrich Court Collection, the miniature
-of Henry VIII disappeared, and was supposed to have been stolen.
-<span class='pageno' id='Page_236'>236</span>It is said to have travelled as far as Vienna, but four years or so after
-General Meyrick’s death it reappeared in England, and was repurchased
-for the family, from whom, in 1906, it was acquired by
-Mr. Morgan.</p>
-
-<div class='footnote c021' id='f530'>
-<p class='c022'><span class='label'><a href='#r530'>530</a>.&nbsp;&nbsp;</span>Woltmann, 157. Reproduced in Mr. Morgan’s Catalogue, Pl.
-ii., and in colour in the <i>édition de luxe</i>, No. 2; <i>Burlington
-Fine Arts Club Catalogue</i>, Pl. xxxii.; Ganz, <i>Holbein</i>, p. 227
-(3).</p>
-</div>
-
-<div class='footnote c021' id='f531'>
-<p class='c022'><span class='label'><a href='#r531'>531</a>.&nbsp;&nbsp;</span>See Mr. Pierpont Morgan’s Catalogue, pp. 4-7.</p>
-</div>
-
-<div class='footnote c021' id='f532'>
-<p class='c022'><span class='label'><a href='#r532'>532</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>.</p>
-</div>
-
-<p class='c023'>It represents the head and shoulders only, full-face, with grey beard
-and moustache. Henry wears a black cap trimmed with jewels, loops
-of pearls, and a white feather, a brown fur coat over a grey doublet
-embroidered with black, a narrow white collar, and a gold chain round
-his neck. There is no inscription on the blue background. It is 1¼ in.
-in diameter, and is still preserved within its original turned ivory box,
-ornamented at top and bottom with the Tudor rose, and covered with
-a piece of rock crystal. There is some resemblance between it and
-the crayon drawing of the King at Munich, and, in the details of the
-costume, to the large cartoon at Chatsworth and the full-face portrait
-in Windsor Castle, which has been considered by some critics to be
-a copy of a lost picture by Holbein, and by others as an original portrait
-by some such court painter as Lucas Hornebolt. The differences
-in the costume are slight, and the dress is in its main features the same.
-Fine as this miniature is, it is difficult to ascribe it to Holbein himself;
-it is more probably only an excellent old copy of a lost original, or the
-work of some capable miniaturist adapted from one of Holbein’s
-paintings.</p>
-
-<p class='c023'>The miniature of Anne of Cleves, which is slightly larger than the
-one of Henry VIII, and is enclosed within a similar turned ivory box
-delicately carved to represent a Tudor rose, has been already described.<a id='r533' /><a href='#f533' class='c020'><b>[533]</b></a>
-It is of the finest workmanship, and may be given to Holbein with little
-hesitation. It was included in the Burlington Club Exhibition, 1909
-(Case B, 4), and the catalogue states that in all probability it was painted
-in July 1539, at Düren. Holbein’s visit to that place was of longer
-duration than was usual when he was sent to take likenesses of the
-ladies who were candidates for Henry’s hand.<a id='r534' /><a href='#f534' class='c020'><b>[534]</b></a> As a rule, he only
-remained just long enough to make a study in coloured crayons, but he
-stayed at Düren for a week or two, and so may have had time to paint
-both the large portrait and the miniature, though it must be remembered
-that he also painted or drew the lady’s sister, the Princess Amelia.
-It is much more probable that the miniature was taken from the
-larger portrait, or that both were done from some lost crayon study,
-<span class='pageno' id='Page_237'>237</span>than that the Louvre picture should have been painted from the
-miniature.</p>
-
-<div class='footnote c021' id='f533'>
-<p class='c022'><span class='label'><a href='#r533'>533</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>.</p>
-</div>
-
-<div class='footnote c021' id='f534'>
-<p class='c022'><span class='label'><a href='#r534'>534</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_176'>176</a>.</p>
-</div>
-
-<div class='sidenote'>MINIATURES OF JANE SEYMOUR</div>
-<p class='c023'>There are several miniatures of Queen Jane Seymour in existence, in
-most cases attributed to Holbein, all, with one exception, closely
-following the portrait of that Queen in the Vienna Gallery, upon which
-they are evidently based. Among the best are two which were in the
-Burlington Fine Arts Club Exhibition, lent by Mr. Vernon Watney and by
-the Duke of Buccleuch. The former (Case B, 2),<a id='r535' /><a href='#f535' class='c020'><b>[535]</b></a> inscribed merely
-“<span class='sc'>A<b>o</b>N XXV</span>,” is said to have belonged originally to the
-Seymour family, and to have been given by Charles, Duke of Somerset,
-to his granddaughter, Elizabeth Wyndham, wife of the Right Hon. George
-Grenville, from whom it passed into the possession of the Duke of
-Buckingham. It was afterwards in the Sackville Bale and Lumsden
-Propert collections. Sir George Scharf considered this miniature to be
-a portrait of Anne Boleyn, and regarded the “<span class='fss'>XXV</span>” as the
-King’s regnal date, and not as that of the lady’s age;<a id='r536' /><a href='#f536' class='c020'><b>[536]</b></a> but the
-likeness to Jane Seymour is stronger, though not very marked. Mr. C.
-F. Bell points out<a id='r537' /><a href='#f537' class='c020'><b>[537]</b></a> that the likeness of the sitter to Lady
-Hemingham or Heveningham
-(“Henegham”), as she is represented in the fine drawing at Windsor,<a id='r538' /><a href='#f538' class='c020'><b>[538]</b></a>
-is much more pronounced, and he suggests that the miniature was
-painted from the portrait of that lady, taken from the drawing, which has
-now disappeared. Mr. Watney’s miniature, however, closely resembles
-the one belonging to the Duke of Buccleuch (Case C, 5),<a id='r539' /><a href='#f539' class='c020'><b>[539]</b></a> though the
-latter has no inscription and the pendant jewel set with large pearls is
-absent. This last portrait belonged to Horace Walpole, and by him was
-regarded as representing Katherine of Aragon, and under that name it
-passed from the Strawberry Hill sale into the hands of Mr. Blamire,
-and afterwards into its present ownership. It appears to be, however,
-an undoubted portrait of Henry’s third queen. Another miniature of
-Jane Seymour was lent to the same exhibition by Mr. H. Dent-Brocklehurst
-(Case B, 6),<a id='r540' /><a href='#f540' class='c020'><b>[540]</b></a> attributed like the others to Holbein, which
-was also formerly in the possession of Horace Walpole. The portrait of
-this queen is also among the four miniatures attached to the enamelled
-<span class='pageno' id='Page_238'>238</span>jewel, of Nicholas Hilliard’s workmanship, in the royal collection at
-Windsor, mentioned above. It is inscribed “<span class='fss'>ANŌ DNĪ 1536 ÆTATIS
-SVÆ 27</span>,” which no doubt appeared on the original miniature by
-Holbein, now lost, from which all these others are also derived.</p>
-
-<div class='footnote c021' id='f535'>
-<p class='c022'><span class='label'><a href='#r535'>535</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Fine Arts Club
-Catalogue</i>, Pl. xxxii.; Ganz, <i>Holbein</i>, p. 148 (1).</p>
-</div>
-
-<div class='footnote c021' id='f536'>
-<p class='c022'><span class='label'><a href='#r536'>536</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xl., 1866, p. 81.</p>
-</div>
-
-<div class='footnote c021' id='f537'>
-<p class='c022'><span class='label'><a href='#r537'>537</a>.&nbsp;&nbsp;</span>In a communication to Dr. Ganz. See <i>Holbein</i>, p. 245.</p>
-</div>
-
-<div class='footnote c021' id='f538'>
-<p class='c022'><span class='label'><a href='#r538'>538</a>.&nbsp;&nbsp;</span>Woltmann, 333; Wornum, ii. 25; Holmes, ii. 12.</p>
-</div>
-
-<div class='footnote c021' id='f539'>
-<p class='c022'><span class='label'><a href='#r539'>539</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Fine Arts Club
-Catalogue</i>, Pl. xxxii.</p>
-</div>
-
-<div class='footnote c021' id='f540'>
-<p class='c022'><span class='label'><a href='#r540'>540</a>.&nbsp;&nbsp;</span>Reproduced in the <i>Burlington Fine Arts Club
-Catalogue</i>, Pl. xxxii.</p>
-</div>
-
-<p class='c023'>The miniatures of Catherine Howard have been already described.<a id='r541' /><a href='#f541' class='c020'><b>[541]</b></a> It
-is doubtful whether Holbein painted Queen Catherine Parr, for the King
-did not marry her until July 12, 1543, only a month or two before the
-artist died. A miniature in the possession of Mr. H.
-Dent-Brocklehurst, lent by him to the Burlington Fine Arts Club
-Exhibition (Case B, 7), is said to represent this Queen and to be by
-Holbein, but both attributions are probably incorrect. It is inscribed
-“<span class='fss'>ANO XXXII</span>,” and if this is to be read as the regnal year, it
-must have been painted between April 1540 and April 1541, and, if it
-represents this Queen, more than two years before her marriage. She
-wears a scarlet, black, and white circular French hood with black
-fall, and cloth of gold dress. Sir George Scharf considered it to be a
-portrait of Catherine Howard.<a id='r542' /><a href='#f542' class='c020'><b>[542]</b></a></p>
-
-<div class='footnote c021' id='f541'>
-<p class='c022'><span class='label'><a href='#r541'>541</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_192'>192</a>-<a href='#Page_193'>193</a>.</p>
-</div>
-
-<div class='footnote c021' id='f542'>
-<p class='c022'><span class='label'><a href='#r542'>542</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xl., 1866, p. 84.</p>
-</div>
-
-<p class='c023'>Several miniatures of Edward VI exist—there are three in the
-Buccleuch Collection—though not one has been so far discovered from
-the hand of Holbein himself. Most of them represent the boy at a
-period after Holbein’s death, and the name of Guillim Stretes has
-been suggested as their author.<a id='r543' /><a href='#f543' class='c020'><b>[543]</b></a> The beautiful little circular drawing
-of the Prince, at a very early age, in the Basel Gallery,<a id='r544' /><a href='#f544' class='c020'><b>[544]</b></a> is apparently
-Holbein’s first study for a miniature which has now disappeared, and
-may have been the “portrait of the Prince’s Grace” which the artist
-presented to Henry VIII on New Year’s Day, 1539.<a id='r545' /><a href='#f545' class='c020'><b>[545]</b></a></p>
-
-<div class='footnote c021' id='f543'>
-<p class='c022'><span class='label'><a href='#r543'>543</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_168'>168</a>-<a href='#Page_189'>189</a>.</p>
-</div>
-
-<div class='footnote c021' id='f544'>
-<p class='c022'><span class='label'><a href='#r544'>544</a>.&nbsp;&nbsp;</span>Woltmann, 110 (82).</p>
-</div>
-
-<div class='footnote c021' id='f545'>
-<p class='c022'><span class='label'><a href='#r545'>545</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_164'>164</a>.</p>
-</div>
-
-<div class='sidenote'>LIVINA TEERLINC</div>
-<p class='c023'>Certain of these miniatures, and others not described here, some
-of them apparently copies after Holbein, while others are original
-works, were no doubt produced by Susanna Hornebolt, Livina<a id='r546' /><a href='#f546' class='c020'><b>[546]</b></a> Teerlinc,
-and Stretes, all three of whom were in turn much employed about the
-court, and enjoyed royal pay. It has been impossible, so far, to
-separate the works of these artists, or to find any starting-point in
-the shape of a signed miniature from which any judgment of their
-particular methods and style can be formed. What little is known
-of Susanna Hornebolt has been given in an early chapter. Livina
-Teerlinc, eldest daughter of the miniaturist, Simon Binnink of Bruges,
-married George Teerlinc of Blankenberghe, near Bruges, and after
-<span class='pageno' id='Page_239'>239</span>the death of her husband’s father, in 1545, they came to England.<a id='r547' /><a href='#f547' class='c020'><b>[547]</b></a>
-She is mentioned by Vasari in a short passage as “Levina, daughter
-of the above-named Master Simon of Bruges, who was nobly married
-in England by Henry VIII, was held in great esteem by Queen Mary,
-and is now in much favour with Queen Elizabeth,” an account which
-Guicciardini copies and slightly elaborates.<a id='r548' /><a href='#f548' class='c020'><b>[548]</b></a> Her name does not occur
-in the royal accounts, however, until Midsummer, 1547, under Edward
-VI, when, as “maistris Levyn Terling paintrix,” she received a quarter’s
-wages of £10. She held the same appointment under Mary and Elizabeth
-and at the same salary, £40 a year. On New Year’s Day, 1556, she
-presented Queen Mary with a small picture of the Trinity, and two
-years later her New Year’s gift to Queen Elizabeth was a portrait
-of her Majesty “finely painted upon a card,” for which she received
-in return a silver-gilt casting-bottle weighing 2¾ oz. In 1561, on a
-like occasion, there was given to the same Queen, “By Mrs. Levina
-Terling, the Queenes personne and other personnages in a box fynely
-painted,” which so pleased Elizabeth that she retained it in her own
-keeping, and gave “Maistris Levyn Terling” in return a silver-gilt
-covered salt-cellar weighing 5½ oz.<a id='r549' /><a href='#f549' class='c020'><b>[549]</b></a> George Teerlinc returned to Bruges,
-and died there before 25th August 1580; and Mr. Weale conjectures
-that his wife died before him, probably in England, but there is no
-documentary evidence of this. In any case, Vasari, and Guicciardini
-after him, were wrong in stating that while at the English court she
-was “nobly married.”</p>
-
-<div class='footnote c021' id='f546'>
-<p class='c022'><span class='label'><a href='#r546'>546</a>.&nbsp;&nbsp;</span>Also spelt Levina.</p>
-</div>
-
-<div class='footnote c021' id='f547'>
-<p class='c022'><span class='label'><a href='#r547'>547</a>.&nbsp;&nbsp;</span>See Weale, <i>Burlington Magazine</i>, vol. viii.,
-February 1906, p. 356.</p>
-</div>
-
-<div class='footnote c021' id='f548'>
-<p class='c022'><span class='label'><a href='#r548'>548</a>.&nbsp;&nbsp;</span>The latter says: “Levina, figliuola di maestro Simone di
-Bruggia già mentionato, la quale nel miniare come il padre è tanto
-felice et eccellente, che il prefato Henrice Re d’Inghilterra la volle
-con ogni premio haver’ a ogni modo alla sua corte, ove fu poi maritata
-nobilmente, fu molto amata dalla Regina Maria, et hora è amatissima
-dalla Regina Elisabetta.”</p>
-</div>
-
-<div class='footnote c021' id='f549'>
-<p class='c022'><span class='label'><a href='#r549'>549</a>.&nbsp;&nbsp;</span>See J. Gough Nichols, <i>Archæologia</i>, xxxix. pp.
-39-40.</p>
-</div>
-
-<p class='c023'>In the case of Livina, as with Susanna Hornebolt, it is impossible
-to point with certainty to any work as being indubitably from her hand.
-The two beautiful miniatures in the Salting Collection representing two
-little girls, sisters, aged five and four respectively, which were formerly
-in the collection of Mr. C. H. T. Hawkins, were attributed by both
-these owners to Livina Teerlinc, and were so described in the catalogue
-of the Burlington Fine Arts Club Exhibition (Case B, 5).<a id='r550' /><a href='#f550' class='c020'><b>[550]</b></a> The richness
-of the costume indicates that they were the children of some
-important personage about the court. Each one is dated “<span class='fss'>ANO DNI</span>
-<span class='pageno' id='Page_240'>240</span><span class='small'>1590</span>,” and they are enclosed in a contemporary turned ivory case.
-Dr. Williamson states that at one time they had attached to them
-“a strip of parchment on which was recorded, in handwriting undoubtedly
-contemporary, that the two little portraits were ‘fynely’
-painted by Lavina Teerlinc in 1590 at Greenwich.”<a id='r551' /><a href='#f551' class='c020'><b>[551]</b></a> It is impossible
-however, that miniatures painted in 1590 can be her work if Mr.
-Weale’s conjecture<a id='r552' /><a href='#f552' class='c020'><b>[552]</b></a> that she died before 1580 is correct; but Dr.
-Williamson, who has been good enough to re-examine his notes, made
-when the miniatures were in the Hawkins collection, is now of opinion
-that the date on the parchment is not 1590, but 1570. The third
-figure is indistinct, but appears to be 7. If this is so, the attribution
-of these charming little works to Livina is very probably a true one,
-and the artist may still have predeceased her husband, as Mr. Weale
-surmises. There is an interesting miniature in Earl Spencer’s collection,
-signed with an “L,” and dated 1526, a double portrait, said
-to represent Sir John Boling and his mother, though the couple
-appear to be man and wife, which has been ascribed by some writers
-to Lucas d’Heere, though the date, of course, makes such authorship
-impossible. Mr. J. J. Foster<a id='r553' /><a href='#f553' class='c020'><b>[553]</b></a> states that when he examined it he
-thought he could discern a “T” following the “L,” and suggests
-that it was the work of Livina Teerlinc; but this is equally impossible,
-for, according to Mr. Weale’s researches, she and her husband
-did not reach England until about 1545, while in 1526 she must have
-been a mere child.</p>
-
-<div class='footnote c021' id='f550'>
-<p class='c022'><span class='label'><a href='#r550'>550</a>.&nbsp;&nbsp;</span>Reproduced in <i>Burlington Fine Arts Club Catalogue</i>,
-Pl. xxxii.</p>
-</div>
-
-<div class='footnote c021' id='f551'>
-<p class='c022'><span class='label'><a href='#r551'>551</a>.&nbsp;&nbsp;</span>Williamson, <i>History of Portrait Miniatures</i>, vol.
-i., Addendum, p. xx.</p>
-</div>
-
-<div class='footnote c021' id='f552'>
-<p class='c022'><span class='label'><a href='#r552'>552</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. viii., February 1906, p.
-356, and vol. ix., July 1906, p. 278.</p>
-</div>
-
-<div class='footnote c021' id='f553'>
-<p class='c022'><span class='label'><a href='#r553'>553</a>.&nbsp;&nbsp;</span><i>British Miniature Painters</i>, 1898, p. 14 and Pl. v.</p>
-</div>
-
-<div class='sidenote'>MINIATURE OF KRATZER</div>
-<p class='c023'>There are several very interesting miniatures in the Pierpont Morgan
-Collection which, although they cannot be given to Holbein himself,
-are certainly of his school and period. One of the finest represents a
-Baseler named Arnold Franz, a man with a brown beard and moustache,
-dressed in black.<a id='r554' /><a href='#f554' class='c020'><b>[554]</b></a> It is in a richly-enamelled gold frame with
-pendant pearls, and the sitter’s age, “<span class='fss'>AET. 32</span>,” enamelled on
-the front, and on the reverse, “Arnold Franz, Holbein Pinx.” It was
-procured at the sale of a collection in Basel, and was stated to have
-been in the possession of the descendants of the sitter ever since it
-was painted. There was also an unbroken family tradition that Holbein
-himself had painted it, and that Franz, said to have been a
-<span class='pageno' id='Page_241'>241</span>printer and a friend of Froben’s, was intimately acquainted with the
-artist. The Franz family, now extinct, are also said to have possessed
-for many years a letter from Holbein to his friend, in which the miniature
-is mentioned, but the document has been lost.<a id='r555' /><a href='#f555' class='c020'><b>[555]</b></a> A second miniature
-in Mr. Morgan’s collection is a portrait of Niklaus Kratzer, and is
-evidently by the same hand as the one of Arnold Franz. It is not a
-reduced version of the Louvre picture, which was painted in 1528,
-but appears, in Dr. Williamson’s opinion, to have been painted some
-years earlier than that date, though, if that be the case, it is not very
-likely that Holbein was its author. The face is nearly in profile, to
-the left, and the astronomer is wearing the customary fur-lined black
-coat and black cap, and a gold chain round his neck. In his hand he
-holds a brass armillary sphere. A third miniature, in the same possession,
-which has considerable affinity in style to the two just mentioned,
-represents Charles Brandon, Duke of Suffolk. It was formerly
-in the possession of the royal house of Holland, and afterwards in the
-Propert and Tomkinson collections. Dr. Williamson suggests that
-some of the Holbeinesque miniatures, such as these, which exist in
-considerable numbers, may have been the work of Hans Mielich (1515-1572),
-of Munich, who painted portraits and miniatures of some merit,
-and was for a time court painter to the Duke Albrecht V of Bavaria.
-There is no record, however, of any visit paid by him to England.
-Others may be possibly the work of such painters as Thomas and John
-Bettes and Guillim Stretes, who are dealt with in a succeeding
-chapter.<a id='r556' /><a href='#f556' class='c020'><b>[556]</b></a></p>
-
-<div class='footnote c021' id='f554'>
-<p class='c022'><span class='label'><a href='#r554'>554</a>.&nbsp;&nbsp;</span>Pierpont Morgan Catalogue, No. 3, and Pl. iii., No. 1, and colour
-plate, <i>édition de luxe</i>, No. 3.</p>
-</div>
-
-<div class='footnote c021' id='f555'>
-<p class='c022'><span class='label'><a href='#r555'>555</a>.&nbsp;&nbsp;</span>Williamson, <i>History of Portrait Miniatures</i>, vol. i., Addendum,
-p. xx.</p>
-</div>
-
-<div class='footnote c021' id='f556'>
-<p class='c022'><span class='label'><a href='#r556'>556</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. viii., February 1906, p. 356, and
-vol. ix., July 1906, p. 278.</p>
-</div>
-
-<p class='c023'>There remains one other miniature to be noted, which until recently
-was regarded as the work of Hans Mielich, but is now, with apparent
-justice, given to Holbein. It is in the Bavarian National Museum,
-Munich, and represents a young man, turned slightly to the right, with
-a fair pointed beard and moustache, and wearing a black dress and
-cap. It is inscribed upon the blue background, on either side of the
-sitter’s head, “<span class='fss'>H.M. ÆTATIS SVÆ 27</span>.”<a id='r557' /><a href='#f557' class='c020'><b>[557]</b></a> It was once thought to be a
-portrait of Melanchthon, and afterwards, on account of the initials it
-bears, it was regarded as a portrait of Mielich by himself. Its attribution
-to Holbein was due to Dr. Hans Buchheit, the director of the
-<span class='pageno' id='Page_242'>242</span>National Museum, who published it in 1911 as a work of the painter’s
-later time. The initials upon it are undoubtedly those of the sitter,
-and not of the artist, and it has been suggested that it represents the
-painter, Harry Maynert, one of the witnesses to Holbein’s will.<a id='r558' /><a href='#f558' class='c020'><b>[558]</b></a>
-Whether this is so or not, the miniature itself is a fine one, and, judging
-from a photograph alone, its attribution to Holbein by Dr. Buchheit
-must be accepted as the correct one.</p>
-
-<div class='footnote c021' id='f557'>
-<p class='c022'><span class='label'><a href='#r557'>557</a>.&nbsp;&nbsp;</span><i>British Miniature Painters</i>, 1898, p. 14 and Pl.
-v.</p>
-</div>
-
-<div class='footnote c021' id='f558'>
-<p class='c022'><span class='label'><a href='#r558'>558</a>.&nbsp;&nbsp;</span>Pierpont Morgan Catalogue, No. 3, and Pl. iii., No. 1,
-and colour plate, <i>édition de luxe</i>, No. 3.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_243'>243</span>
-  <h2 id='ch-XXVI' class='c012'>CHAPTER XXVI<br /><span class='c017'>THE WINDSOR DRAWINGS AND OTHER STUDIES</span></h2>
-</div>
-
-<p class='c018'>The history of the book of drawings by Holbein in the royal collection
-at Windsor Castle—Early references to it—Sir John Cheke—The book’s
-various changes of ownership—Charles I exchanges it with the Earl of
-Pembroke for a Raphael—Afterwards in the Arundel Collection—Discovery
-of the drawings in Kensington Palace by Queen Charlotte—John
-Chamberlaine’s publication of them from engravings by
-Bartolozzi—Methods of their execution—Their present
-condition—Description of the more important of them—And of similar
-portrait-drawings at Berlin and Basel—Holbein and the Clouets—The
-“Queen of Sheba” miniature painting at Windsor—The “Death of Virginia”
-at Dresden—Drawing of a ship at Frankfurt—Drawings of animals.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-i.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-IF, through some great misfortune, nothing remained
-of Holbein’s work but the wonderful series of drawings
-of the heads of the men and women of Henry
-VIII’s court, in the royal library at Windsor, this
-collection alone would still afford irresistible proof of
-his right to the title of one of the very greatest
-masters of portraiture. The history of these drawings can be
-traced with some exactness, though there are certain breaks in
-the continuity of the story. In whatever way they may have
-been preserved by Holbein during his lifetime, they were, shortly
-after his death, bound together in book form, and so remained
-until their rediscovery in the eighteenth century. Although they
-are not included in the elaborate inventory of the royal collection
-of works of art, dated 24th April 1542, or in the second inventory
-taken five years later, in the first year of Edward VI’s reign,
-it may be conjectured that they came into the possession of the Crown
-on Holbein’s death in 1543, or very shortly afterwards. His death
-was so sudden, that they may have been left behind in his painting-room
-at Whitehall, unknown to his executors, and so remained in
-royal keeping, though this is not a very likely surmise. It is certain,
-in any case, that the book containing them was at one time in the
-possession of Edward VI. This is proved by an entry in the Lumley
-inventory of 1590, to which reference has been already made more
-<span class='pageno' id='Page_244'>244</span>than once. The entry is as follows: “A greate booke of Pictures
-doone by Haunce Holbyn of certeyne Lordes, Ladyes, gentlemen and
-gentlewomen in King Henry the 8: his tyme, their names subscribed
-by S<b>r</b> John Cheke Secretary to King Edward the 6 w<b>ch</b> book was
-King Edward the 6.”</p>
-
-<p class='c023'>There is no reason to doubt the statement that the names on
-many of the drawings were supplied by Sir John Cheke, who, at
-one time professor of Greek at Cambridge, became one of the tutors of
-the young Prince before he ascended the throne, and died in 1557.
-He must thus have been intimately acquainted with a certain number
-of Holbein’s sitters, though not with all of them. This would account
-for the fact that although many of the names he has written on the
-drawings are the right ones, certain others are incorrect, while some
-fourteen of them are not named at all. He made mistakes, for
-instance, over some of the earlier drawings, such as several of the
-sitters in the More Family Group, with whom he was not likely to
-have been acquainted, and in some doubtful cases he probably indulged
-in guesswork. The late Sir Richard Holmes considered that
-he merely made a list of the drawings, which has not survived, and
-that from this list the names were inscribed on the sheets by some
-later hand.<a id='r559' /><a href='#f559' class='c020'><b>[559]</b></a> There is an entry in the accounts of Sir Thomas Carwarden,
-Master of the Revels, preserved among the Loseley MSS.,
-which very probably refers to this very book of drawings. The document
-is undated, but is considered to be of the reign of Edward VI.
-It is as follows: “Item for a peynted booke of Mr. Hanse Holby
-making, 6 <i>li.</i>” It is, of course, quite possible that this “peynted
-booke” may have had nothing to do with the Windsor drawings, but
-there is no other known work of Holbein’s to which the description
-would so well apply. The supposition that it was the very book, and
-that it was purchased by Sir Thomas for Edward VI, fits in well with
-the fact, established by the Lumley inventory, that the youthful
-monarch at one time possessed it. If this be so, the suggestion that
-Henry VIII obtained it immediately after Holbein’s death is, of course,
-incorrect.</p>
-
-<div class='footnote c021' id='f559'>
-<p class='c022'><span class='label'><a href='#r559'>559</a>.&nbsp;&nbsp;</span>Holmes in Introduction to Hanfstaengl’s <i>Portraits of Illustrious
-Personages of the Court of Henry VIII.</i></p>
-</div>
-
-<div class='sidenote'>HISTORY OF THE BOOK OF DRAWINGS</div>
-<p class='c023'>It would appear that the book came into the possession of Henry
-Fitz-Alan, Earl of Arundel, after the death of Edward VI, either by
-<span class='pageno' id='Page_245'>245</span>gift or purchase, and was preserved at Nonsuch, together with the
-various portraits by Holbein, already mentioned, some of which were
-certainly at one time in the royal possession; and on his death in
-1580, passed to his son-in-law, Lord Lumley. The palace and estate
-of Nonsuch reverted to the Crown in 1591, by exchange for other
-property, but at what time the numerous pictures by Holbein left the
-possession of the Lumley family is not known. At Lord Lumley’s
-death in 1609 the greater number of his books passed into the hands
-of Henry, Prince of Wales, elder brother of Charles I, and it is very
-probable that the “greate booke of Pictures doone by Haunce Holbyn”
-accompanied them, and once again formed part of the royal collections.<a id='r560' /><a href='#f560' class='c020'><b>[560]</b></a>
-It is usually stated, however, that Charles I obtained them through
-the good offices of M. de Liancourt, the French ambassador, this statement
-being based on a note in Abraham Van der Doort’s catalogue of
-that monarch’s pictures, which, if correct, indicates that at some time
-between the drawing up of the Lumley inventory (1590) and the list
-of King Charles’ pictures (1639), the book of drawings had been taken
-into France, and so cannot have belonged to Henry, Prince of Wales.
-It seems certain, nevertheless, that this supposed journey to France
-and back again never took place. Mr. Lionel Cust’s suggestion is
-evidently correct, and the mistake has arisen through a confusion
-between Holbein’s book of drawings and a very similar book of drawings
-by a French hand, representing illustrious personages of the French
-court, both of which were in the King’s collection, and are separately
-described in Van der Doort’s catalogue. It was the latter book, no
-doubt, which was procured through M. de Liancourt, some such
-volume as that now at Knowsley, or the collection formerly at Castle
-Howard, now at Chantilly,<a id='r561' /><a href='#f561' class='c020'><b>[561]</b></a> or the numerous albums of a similar kind
-scattered about France. Holbein’s book of drawings, on the other
-hand, came to Charles I from his brother.</p>
-
-<div class='footnote c021' id='f560'>
-<p class='c022'><span class='label'><a href='#r560'>560</a>.&nbsp;&nbsp;</span>See Cust, <i>Burlington Magazine</i>, vol. xviii., February 1911, p. 269.</p>
-</div>
-
-<div class='footnote c021' id='f561'>
-<p class='c022'><span class='label'><a href='#r561'>561</a>.&nbsp;&nbsp;</span>These were purchased by the fifth Earl of Carlisle in
-Flanders, probably towards the close of the eighteenth century.</p>
-</div>
-
-<p class='c023'>The King, however, did not retain the volume for long, but exchanged
-it with the Earl of Pembroke for the beautiful little picture of “St.
-George slaying the Dragon,” by Raphael, which is now in the Hermitage
-Gallery, St. Petersburg. This latter is entered in Van der Doort’s
-catalogue as “A little St. George, which the King had in exchange of
-<span class='pageno' id='Page_246'>246</span>My Lord Chamberlain, Earl of Pembroke, for the book of Holbein’s
-drawings.” This picture was sold by the Commonwealth for £150,
-and after passing through the La Noue, De Sourdis, and Crozat collections,
-found a final resting-place in the Hermitage. In 1627, while
-still in the Earl of Pembroke’s possession, it was engraved by Lucas
-Vorsterman, so that the exchange with the King may have taken place
-in 1628 or thereabouts. Lord Pembroke, in his turn, did not keep
-the drawings, but almost at once passed them on to the great collector,
-Thomas Howard, Earl of Arundel, who, according to Sir Edward
-Walker, who wrote his life, had “more of that exquisite master, Hans
-Holbein, than are in the world besides.” Whether Lord Pembroke
-gave the drawings to him, or in his turn carried out a second exchange,
-is not known.</p>
-
-<p class='c023'>Their presence in the Arundel Collection is proved by a contemporary
-reference in the manuscript among the Harleian MSS.<a id='r562' /><a href='#f562' class='c020'><b>[562]</b></a> in the British
-Museum entitled, “An exact &amp; Compendious Discours concerning the
-Art of Miniatura or Limning,” on the fly-leaf of which is written, in
-an eighteenth-century hand, “of Limning by Hilliard,” to which
-attention has been already called.<a id='r563' /><a href='#f563' class='c020'><b>[563]</b></a> As the Holbein drawings were
-still in the possession of Charles I in 1627, the paragraph in the
-“discours” which speaks of them as in the Arundel Collection cannot
-have been penned by Nicholas Hilliard himself, who died in 1619.
-The compiler was almost certainly Edward Norgate, who held Holbein
-in the highest estimation. Speaking of the painting of shadows, he
-says:—</p>
-
-<div class='footnote c021' id='f562'>
-<p class='c022'><span class='label'><a href='#r562'>562</a>.&nbsp;&nbsp;</span>No. 6000.</p>
-</div>
-
-<div class='footnote c021' id='f563'>
-<p class='c022'><span class='label'><a href='#r563'>563</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_219'>219</a>.</p>
-</div>
-
-<p class='c025'>“The black must be deepened with ivory black, and if in working
-in the heightenings and light-reflections, you will mingle with your
-ordinary black a little lake and indigo, or rather a little litmus instead
-of indigo, you will find your black to render a rare and admirable reflection
-like to that of the well-dyed satin, especially if your lights be
-strong and hard; the manner whereof if you please to see inimitably
-expressed, you will find abundantly for your content in the gallery of
-my most noble Lord the Earl of Arundell, Earl Marshal of England,
-and done by the incomparable pencil of that rare master, Hans Holbein,
-who in all his different and various manners of painting, either in oil,
-distemper, limning, or crayon, it seems was so general and absolute
-<span class='pageno' id='Page_247'>247</span>an artist, as never to imitate any man, or ever was worthily imitated
-by any.”<a id='r564' /><a href='#f564' class='c020'><b>[564]</b></a></p>
-
-<div class='footnote c026' id='f564'>
-<p class='c022'><span class='label'><a href='#r564'>564</a>.&nbsp;&nbsp;</span>Quoted by Wornum, pp. 397-8. Also by Dallaway with slight
-differences (see p. 219 above).</p>
-</div>
-
-<div class='sidenote'>NORGATE’S REFERENCES</div>
-<p class='c023'>The reference to the Windsor drawings occurs in the chapter
-dealing with crayon-painting. “I shall not need,” the writer says,
-“to insist upon the particulars of this manner of working; it shall
-suffice, if you please, to view of a book of pictures by the life, by the
-incomparable Hans Holbein, servant to King Henry the Eighth.
-They are the pictures of most of the English lords and ladies then
-living, and were the patterns whereby that excellent painter made
-his pictures in oil by; they are all done in this latter manner of
-crayons I speak of, and though many of them be miserably spoiled
-by the injury of time, and the ignorance of some who formerly have
-had the keeping of the book, yet you will find in those ruinous remains
-an admirable hand, and a rare manner of working in few lines and no
-labour in expressing of the life and likeness, many times equal to his
-own, and ever excelling other men’s oil pictures. The book hath been
-long a wanderer; but is now happily fallen into the hands of my
-noble lord the Earl Marshal.”<a id='r565' /><a href='#f565' class='c020'><b>[565]</b></a></p>
-
-<div class='footnote c021' id='f565'>
-<p class='c022'><span class='label'><a href='#r565'>565</a>.&nbsp;&nbsp;</span>Quoted by Wornum, p. 398. Dallaway, in his notes to
-Walpole, vol. i. p. 84, quotes this passage with slight differences,
-and adds after “Earl Marshal”—“a most eminent patron to all painters
-who understood the arte; and who therefore preserved this book with
-his life, till both were lost together”—which is not consistent with
-the words preceding it.</p>
-</div>
-
-<p class='c023'>A second contemporary reference to the drawings occurs in
-the Bodleian Library manuscript, <i>Miniatura or the Art of Limning,
-etc.</i>, also by Edward Norgate, to which reference has been already
-made.<a id='r566' /><a href='#f566' class='c020'><b>[566]</b></a> Norgate, when dealing with crayon drawings, says: “A
-better way was used by Holbein, by priming a large paper with a
-carnation or complexion of flesh-colour, whereby he made pictures by
-the life, of many great lords and ladies of his time, with black and
-red chalke, with other flesh colours, made up hard and dry, like small
-pencil sticks. Of this kind was an excellent booke, while it remained
-in the hands of the most noble Earl of Arundel and Surrey. But I
-heare it has been a great traveller, and wherever now, he hath got
-his errata, or (which is as good) hath met with an index expurgatorius,
-and is made worse with mending.”<a id='r567' /><a href='#f567' class='c020'><b>[567]</b></a> That the book was described
-<span class='pageno' id='Page_248'>248</span>as a “great traveller” is, no doubt, due to the fact that from 1642
-until his death, four years later, the Earl was living on the
-Continent, and that he took all his works of art with him. “After
-her husband’s death,” says Mr. Cust,<a id='r568' /><a href='#f568' class='c020'><b>[568]</b></a> “the Countess of Arundel
-continued to reside at various places on the Continent, accompanied
-by her collections, until her own death at Amsterdam in 1654. Litigation
-then ensued between her sons as to the disposal of her property.
-A good part of the valuable Arundel Collection was disposed of in Holland
-by the Countess’s younger son, Lord Stafford, but a considerable
-part eventually returned to the family of the Duke of Norfolk in
-England.” There is every reason to suppose that among the latter
-the Holbein book was included.</p>
-
-<div class='footnote c021' id='f566'>
-<p class='c022'><span class='label'><a href='#r566'>566</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_219'>219</a>. This manuscript is Norgate’s final version of
-the “discours,” written some twenty years or so later than the British
-Museum manuscript, which was his first compilation.</p>
-</div>
-
-<div class='footnote c021' id='f567'>
-<p class='c022'><span class='label'><a href='#r567'>567</a>.&nbsp;&nbsp;</span>Quoted by Dallaway, in his notes to Walpole’s
-<i>Anecdotes</i>, vol. i. p. 84; and by Wornum, p. 398.</p>
-</div>
-
-<div class='footnote c021' id='f568'>
-<p class='c022'><span class='label'><a href='#r568'>568</a>.&nbsp;&nbsp;</span>See Cust, <i>Burlington Magazine</i>, vol. xviii., February 1911, p. 269.</p>
-</div>
-
-<div class='sidenote'>LATER HISTORY OF THE DRAWINGS</div>
-<p class='c023'>It should be noted that, according to Charles I’s catalogue, the
-number of drawings was only fifty-four. Van der Doort may have
-made a mistake in the entry, putting a 5 instead of an 8, otherwise it
-must be supposed that Lord Arundel already possessed some thirty
-of these “heads,” which he added to the book after Lord Pembroke
-had given it to him. The collection as it now exists does not contain
-the whole of the portrait-drawings of Holbein’s English period. The
-fine head of Lord Abergavenny at Wilton appears to have been kept
-back, or to have been accidentally retained, by Lord Pembroke when he
-parted with the remainder of the collection, and there are several others
-in continental museums and elsewhere, some of which are known to
-have once formed part of the Arundel Collection. At Basel there are
-Sir Nicholas Carew, an unknown English lady, and a second English
-lady and her husband; at Dresden the Count Moretta; at Munich
-the head of Henry VIII; at Berlin a fine head of an unknown
-Englishman; in the Salting Collection the magnificent study of a
-lady already described;<a id='r569' /><a href='#f569' class='c020'><b>[569]</b></a> and the two heads in the Duke of Devonshire’s
-Collection at Chatsworth.<a id='r570' /><a href='#f570' class='c020'><b>[570]</b></a> If, therefore, Van der Doort is
-correct in stating that there were only fifty-four drawings in the
-book when it was in his keeping, the one person in England most
-likely to have added so considerably to their number was the Earl
-of Arundel, who was unceasing in his search for original works from
-Holbein’s hand. There is no record to show at what time the book
-returned to the royal collections, though the tradition noted by
-<span class='pageno' id='Page_249'>249</span>Dallaway, in his edition of Walpole’s <i>Anecdotes</i>, that they were purchased
-for James II at the sale of the possessions of Henry, Duke
-of Norfolk, in 1686, is no doubt the correct one.<a id='r571' /><a href='#f571' class='c020'><b>[571]</b></a> A list of the
-drawings was included in James II’s catalogue, which was published
-by Bathoe in 1758. After this the drawings themselves were laid
-aside and forgotten, and it was not until early in the reign of
-George II that they were rediscovered by Queen Caroline hidden
-away in a folio in an old bureau in Kensington Palace, together with
-a volume of equal importance containing the drawings of Leonardo
-da Vinci, which now form so valuable a part of the royal collection at
-Windsor. Queen Caroline had them framed and glazed, and for many years
-they decorated her own apartments, first at Richmond,
-and afterwards in Kensington Palace. Early in the succeeding reign
-they were removed to the Queen’s House, now Buckingham Palace,
-where they were taken from the frames and bound up in two volumes,
-forming a part of the large collection of drawings, similarly bound,
-got together by George III. The suggestion that they should be engraved
-originated with Dalton, the keeper of the King’s drawings,
-but the work was so badly done that it was abandoned in 1774 after
-ten plates only had been issued. The engraver was George Vertue,
-who, according to Walpole, was the originator of the project. “It
-is a great pity,” he says, “that they have not been engraved; not
-only that such frail performances of so great a genius might be preserved,
-but that the resemblances of so many illustrious persons,
-nowhere else existing, might be saved from destruction. Vertue had
-undertaken this noble work; and after spending part of three years
-on it, broke off, I do not know why, after having traced off, on oil
-paper, but about five and thirty. These I bought at his sale; and
-they are so exactly taken as to be little inferior to the originals.”<a id='r572' /><a href='#f572' class='c020'><b>[572]</b></a>
-This tracing was done by Vertue and Müntz when the drawings were
-hanging in Queen Caroline’s room at Kensington. There were thirty-four
-of them, and they were framed and hung in what Walpole called
-his Holbein Chamber at Strawberry Hill. Somewhat later the projected
-publication was taken up again more successfully, on the suggestion,
-according to Dallaway, of Horace Walpole, under the direction of
-John Chamberlaine, who succeeded Dalton as keeper of the drawings.
-The engravings were published between 1792 and 1800 in fourteen
-<span class='pageno' id='Page_250'>250</span>numbers, containing eighty-two portraits, forming two large folio
-volumes, under the title of <i>Imitations of Original Drawings by Hans
-Holbein, in the Collection of His Majesty, for the Portraits of Illustrious
-Persons of the Court of Henry VIII, with Biographical Tracts</i>. The
-historical notices were written by Edmund Lodge, Lancaster Herald,
-and the plates, with the exception of eight, were engraved by F. Bartolozzi,
-R.A. F. C. Lewis was also engaged to take part in the work,
-but his plate of “Cecilia Heron” was in all ways so much finer than
-Bartolozzi’s efforts that Chamberlaine had the plate destroyed,
-fearing that if it were published side by side with the others, the latter
-would suffer so severely from the contrast that the success of the publication
-would be endangered. As transcripts of Holbein’s drawings,
-Bartolozzi’s engravings have very little artistic merit. Many of them,
-indeed, have small likeness to the originals, and all of them lack the
-strength and character and the searching truth of line which make
-the drawings themselves such masterpieces of art. In more recent
-years the drawings have been frequently photographed and published,
-the most important series being that issued by Mr. F. Hanfstaengl in
-two volumes, with an introduction and descriptive notes by the late Sir
-Richard Holmes, F.S.A. It should be added that under Queen Victoria
-the two volumes were broken up, and the drawings properly mounted
-and arranged. They are now kept in four portfolios.</p>
-
-<div class='footnote c021' id='f569'>
-<p class='c022'><span class='label'><a href='#r569'>569</a>.&nbsp;&nbsp;</span>See Vol. i. p. 309.</p>
-</div>
-
-<div class='footnote c021' id='f570'>
-<p class='c022'><span class='label'><a href='#r570'>570</a>.&nbsp;&nbsp;</span>See Vol. i. pp. 336-7.</p>
-</div>
-
-<div class='footnote c021' id='f571'>
-<p class='c022'><span class='label'><a href='#r571'>571</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, vol. i. p. 84
-<i>note</i>.</p>
-</div>
-
-<div class='footnote c021' id='f572'>
-<p class='c022'><span class='label'><a href='#r572'>572</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, pp. 85-86.</p>
-</div>
-
-<p class='c023'>In Walpole’s day the collection consisted of eighty-nine sketches,
-but in more recent times two have been withdrawn, as the work of
-Jacob Binck. One of the two heads of Sir Thomas Wyat is only a
-good, careful copy of the other, in which the hair of the beard is
-drawn with great elaboration, from the hand of some follower or
-imitator of Holbein, and in one or two other cases the drawings are,
-perhaps, only copies of lost originals, or even original drawings by
-some other hand, such as the so-called “Melanchthon,” with its
-faltering line, which lacks much of Holbein’s customary strength and
-certitude.</p>
-
-<div class='sidenote'>THE METHOD OF THEIR EXECUTION</div>
-<p class='c023'>The drawings were executed in almost all cases in black and coloured
-chalks. During his first visit to England Holbein used, as a rule,
-white paper, the outlines being drawn in black and the features modelled
-in red chalk. The series of heads of members of Sir Thomas More’s
-family, and contemporary drawings such as the Warham and Guldeford,
-are done in this manner. Later on it was his custom to use a paper
-<span class='pageno' id='Page_251'>251</span>covered entirely with a ground of flesh or salmon colour, upon which
-the features were modelled in black chalk, and slight touches of red,
-after which the outlines were strengthened and the details of the hair,
-dress, and ornaments put in with pen or brush and Indian-ink. In
-some cases the whole face was completely modelled with the greatest
-delicacy, and as a rule the eyes, hair, and beard were drawn in with
-water-colour or coloured crayons in their natural hues. Upon a
-number of the drawings the colour and material of the costume worn
-by the sitter are indicated by notes in Holbein’s own handwriting,
-and in some of them details of the ornaments or embroideries have
-been drawn on the margin of the sheet with the brush with the sure
-and rapid hand of a master. In one instance—the portrait of John
-Godsalve—the drawing is entirely finished in water-colours, and the
-figure is shown against a blue background; and in one of the two heads
-of Sir Thomas More the holes with which it was pricked for tracing
-on the panel can still be seen. The earlier drawings are usually the
-largest, the one last-named being about 16 in. high by 12 in. wide.
-The Warham is 17 in. by 12 in., the Guldeford 15 in. by 11 in., and the
-Godsalve the same size. One of the largest of all is the Jane Seymour,
-which is 20½ in. by 11 in.</p>
-
-<div class='sidenote'>THE METHOD OF THEIR EXECUTION</div>
-<p class='c023'>“Some have been rubbed,” says Walpole, “and others traced
-over with a pen on the outlines by some unskilful hand.”<a id='r573' /><a href='#f573' class='c020'><b>[573]</b></a> In a
-few instances, it is true, these strengthening touches appear to be by
-some other hand than Holbein’s, but in most of the drawings they are
-just as certainly his. The studies have suffered considerable damage
-during the passage of time. They are stained, and many of them
-badly rubbed, so that the more delicate modelling and colouring
-carried out in crayons has almost vanished. In consequence the
-brush-work, which has better withstood rough usage, at first sight
-appears to be a little hard, and in some instances even coarse, thus
-slightly marring that perfect harmony of effect which characterised
-the drawings when fresh from the artist’s hand. The finer details
-have been worn away, leaving certain lines more prominent than Holbein
-intended. A closer study, however, as Sir Richard Holmes points
-out, shows that it is to the wonderful strength and delicacy combined
-of these touches that the portraits owe the vivid and life-like quality
-which they so pre-eminently possess. “On some of the heads these
-<span class='pageno' id='Page_252'>252</span>touches occur only on the eyes, nostrils, and lips, where the marvellous
-accuracy of modelling, particularly in the corners of the mouth, is not
-to be excelled in the work of any other master.”<a id='r574' /><a href='#f574' class='c020'><b>[574]</b></a> It must be remembered,
-too, that these studies were, in almost all cases, working
-drawings, done for transference or for copying on the panel, and are
-in that sense not finished works, some parts and details being emphasised
-more strongly than others. In certain of the drawings the beard
-and the hair have been put in with the brush with that careful and
-elaborate detail with which such features were usually carried out by
-Holbein in his finished portraits; for instance, in the long beard of
-Sir Thomas Wyat or the close-cut hair of Simon George. In other
-drawings the unshaven stubble on a man’s chin or upper lip is put
-in with a few masterly strokes. Here and there high lights have
-been indicated with a touch of white, as in the heads of Lord and Lady
-Vaux. It may be taken, then, that in the greater number of cases,
-the only hand which can be traced in these drawings is that of Holbein
-himself, dimmed here and there by the passing of the years, or rough
-or careless usage at some time or other during their earlier wanderings.
-Certain critics, however, consider that in many of them, some later
-hand has attempted to revivify the fading lines, with results quite
-contrary to those intended. Mr. Campbell Dodgson, speaking of
-the lovely head of an Englishwoman in the Salting Collection, describes
-it as being “entirely free from the retouching which disfigures
-many of the Windsor heads.”<a id='r575' /><a href='#f575' class='c020'><b>[575]</b></a> Mr. Gerald Davies is also among
-those who consider that the drawings have been retouched by some
-other hand than Holbein’s. “I am quite persuaded,” he says, “that
-the strengthening of the outlines, either by chalk lines or in many cases
-by Indian-ink, is not due to the hand of Holbein himself. Among the
-drawings are a few which have never been so touched. The lines of
-these are of great delicacy and of the most expressive quality—an
-artistic dream which has almost faded from the paper. These are
-the select few which, having suffered most from rubbing, and having
-the faintest indications to guide the hand of the reinforcer, have been
-left in their ghostly beauty. Others have been revived by the application
-of a bolder chalk line of the proper colour in parts where the
-outline seemed most to need it. It has been done on the whole well, if
-<span class='pageno' id='Page_253'>253</span>such a thing can ever be said to have been well done at all. But these
-same lines will be found to be hard and wiry, and somewhat unfeeling
-as compared to the subtly sympathetic outline of the master himself.
-There remains yet the further manner of reinforcement by a strong
-outlining, often accompanied by a slight thickening in parts by means
-of a wash, in what appears to be Indian-ink. The ink has toned
-now, and has lost much of the offence of its once strong contrast with
-the rest of the delicate modelling. But remembering what that contrast
-would have been when the ink was fresh, I find it impossible to
-believe that it was added by the hand of Holbein.”<a id='r576' /><a href='#f576' class='c020'><b>[576]</b></a> Mr. Davies
-suggests that this Indian-ink strengthening took place when the drawings
-came into the hands of Charles I, and that possibly Wenceslaus
-Hollar was employed for the purpose. It is difficult to follow him in
-this suggestion of Hollar’s retouching, nor can the writer agree with
-him in his opinion that a more or less wholesale retouching of the drawings
-has ever been undertaken by any hand than that of Holbein
-himself. A more credible suggestion is that of Mr. Lionel Cust, who
-says: “It is very probable that the drawings were refreshed by outlines
-very soon after Holbein’s death, if not by the painter himself.
-Since that date the most likely time for them to have suffered any
-alteration would have been after their rediscovery at Kensington,
-when they were for a time in the hands of George Vertue, an expert
-crayon-artist himself as well as engraver.”<a id='r577' /><a href='#f577' class='c020'><b>[577]</b></a></p>
-
-<div class='footnote c021' id='f573'>
-<p class='c022'><span class='label'><a href='#r573'>573</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 85
-<i>note</i>.</p>
-</div>
-
-<div class='footnote c021' id='f574'>
-<p class='c022'><span class='label'><a href='#r574'>574</a>.&nbsp;&nbsp;</span>Holmes in Introduction to Hanfstaengl’s <i>Portraits of
-Illustrious Personages</i>, &amp;c.</p>
-</div>
-
-<div class='footnote c021' id='f575'>
-<p class='c022'><span class='label'><a href='#r575'>575</a>.&nbsp;&nbsp;</span>Vasari Society, Pt. ii. (1905-6), No. 31.</p>
-</div>
-
-<div class='footnote c021' id='f576'>
-<p class='c022'><span class='label'><a href='#r576'>576</a>.&nbsp;&nbsp;</span>Davies, <i>Holbein</i>, p. 122.</p>
-</div>
-
-<div class='footnote c021' id='f577'>
-<p class='c022'><span class='label'><a href='#r577'>577</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xviii., February 1911,
-p. 270.</p>
-</div>
-
-<p class='c023'>Some part of the damage done to them may have been due to wear
-and tear in the artist’s own studio, for it is possible that he employed
-an assistant or two; though if that had been the case, it is strange that
-there is no record among the State papers of a licence granting him
-leave to employ journeymen, such as was necessary under the Act
-dealing with foreign residents. It is possible, too, though far from
-probable, that he may have had one or two pupils—though here again
-there is no record of them—who would copy his drawings, and might
-be entrusted occasionally with the tracing of the drawings upon the
-panel, or even in painting parts of the replicas of portraits which must
-sometimes have been ordered. It is evident that these drawings
-were made solely for the artist’s own purposes, both in order to avoid
-a too frequent attendance of his sitters at his studio, and also because
-it was the method of working which best suited him. They remained,
-<span class='pageno' id='Page_254'>254</span>therefore, in his own possession, and were never handed over to his
-patrons. The fashion of collecting portraits of celebrities which was
-in vogue in France throughout the sixteenth century was only imitated
-in a very minor degree in England. In France, as M. Dimier points
-out, “the result of this rage for portraits was that people were not
-content with the necessarily limited number of originals. The works of
-the masters of the time were copied and recopied a hundred times,
-often by unskilful and sometimes by absolutely clumsy hands. This
-was the case not only with the portraits of kings and queens, which
-have been multiplied thus in all ages, but with those of any one at
-court—a feature which is peculiar to the period under consideration.
-Not even the number of painted portraits and painted copies was
-enough; there was a demand for quicker and cheaper satisfaction.
-The original chalk-drawings were copied, in the same medium, an
-infinite number of times, far oftener, indeed, than the paintings;
-and these drawings were commonly bound into albums and preserved
-as family treasures. A vast number of these albums must have
-perished, but a vast number still exist.”<a id='r578' /><a href='#f578' class='c020'><b>[578]</b></a> Nothing of this kind
-occurred on this side of the Channel. Holbein’s original drawings,
-after his death, were preserved in a volume in this fashion, but they
-formed an unique example. Though copies or duplicates of one or
-two of them exist, such as the John Fisher and the Duchess of Suffolk
-in the British Museum, the Guldeford, Fisher and Poyntz formerly in
-the Heseltine Collection, and the head called Sir Charles Wingfield in
-the collection of Sir John Leslie, Bart., recently published by Mr.
-Lionel Cust,<a id='r579' /><a href='#f579' class='c020'><b>[579]</b></a> the collection as a whole was never copied in this way,
-as it would have been in France. It is doubtful if most of these duplicates,
-fine as they are, are actually from Holbein’s own hand.</p>
-
-<div class='footnote c021' id='f578'>
-<p class='c022'><span class='label'><a href='#r578'>578</a>.&nbsp;&nbsp;</span>Dimier, <i>French Painting in the Sixteenth Century</i>, p. 29.</p>
-</div>
-
-<div class='footnote c021' id='f579'>
-<p class='c022'><span class='label'><a href='#r579'>579</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. xviii., February 1911, p. 271.</p>
-</div>
-
-<div class='sidenote'>STUDIES FOR LOST PORTRAITS</div>
-<p class='c023'>It may be taken for granted that portraits were painted from
-nearly all these Windsor studies, more than eighty in number, though
-possibly a few, drawn during the last months of his life, were not carried
-out in this way. It is, therefore, a little extraordinary that less than
-thirty of such finished oil portraits have so far been traced, the remainder
-having disappeared; and of these latter only about one half
-are original paintings by Holbein, the remainder being copies of lost
-originals. Among the first-named we have Jane Seymour, Catherine
-<span class='pageno' id='Page_255'>255</span>Howard, the Prince of Wales, Sir Thomas More, Warham, Guldeford,
-Southwell, John Godsalve, Reskimer, Simon George, Lady Vaux,
-Lady Rich, Lady Butts, Lady Audley (miniature only), and one or
-two others; in the second class the More Family Group is the most
-important, there being no less than seven studies for this great work
-at Windsor, including the one of Sir Thomas himself.</p>
-
-<p class='c023'>There still remain more than fifty drawings in England alone of
-which no paintings are known. It seems impossible that the whole
-of these pictures should have perished. Some of them, it is to be
-hoped, may yet be discovered, hidden away in some remote country
-house, perhaps obscured by dirt and disfigured by repaintings, so
-that hitherto they have remained unrecognised. It is not very likely
-that drawings of this size were made as preliminary studies for miniatures,
-or otherwise this might account for some of the missing portraits,
-as such small works would be much more easily lost than panel paintings.
-It is true that in a few instances, such as the portraits of Lady
-Audley and the Earl of Abergavenny, we have miniatures closely following
-the drawings, but no large portraits; but it does not follow
-that the latter were not painted.</p>
-
-<p class='c023'>On the other hand, there are a considerable number of Holbein’s
-portraits—between thirty and forty—for which no preliminary studies
-remain, and these range over every period of his career. This, however,
-is not so extraordinary, for drawings disappear more easily than
-pictures. In some instances, too, their absence may be explained
-by the artist’s method of work. It was his occasional habit, more
-particularly in the earlier half of his career, to fasten down the preliminary
-study upon the panel, and use it as the ground-work of his
-painting, so that the drawing naturally was lost. The portrait of his
-wife and children at Basel has been carried out in this way, and the
-Anne of Cleves in the Louvre is painted on vellum or parchment,
-afterwards mounted on canvas. This, however, was not his more
-regular practice, which was to transfer the study to the panel by tracing
-or pricking. Not a single study exists for any one of the portraits
-of the German merchants of the Steelyard, or for such portraits as the
-Duchess of Milan, Jean de Dinteville and the Bishop of Lavaur,
-Kratzer, Thomas Godsalve, Sir Henry Wyat, Cromwell, Tuke, the Duke
-of Norfolk, Cheseman, Dr. Chamber, and the painted portraits of
-various unknown men at Berlin, Vienna, Basel, and elsewhere. For
-<span class='pageno' id='Page_256'>256</span>the portraits of Erasmus there is only a study for the hands, while
-there is no drawing for the Amerbach or Froben. On the other hand,
-among a number of fine drawings in continental museums there are,
-in addition to the two earlier and three later ones of the members of
-the Meyer family, only two—the Morette in Dresden and the Sir
-Nicholas Carew in Basel—of which the finished paintings still exist.</p>
-
-<p class='c023'>There is no doubt that Holbein’s practice as a portrait painter
-during his second and longer residence in England was almost entirely
-confined to the court and to those who were in the King’s employment.
-The Windsor drawings, a number of which have been described in previous
-chapters of this book, make this sufficiently clear. Included
-among the heads which have not been described are John Russell,
-Earl of Bedford; Sir William Parr, afterwards Marquis of Northampton;
-Thomas Boleyn, Earl of Wiltshire and Ormonde; Edward
-Stanley, Earl of Derby; George Brooke, Lord Cobham; Thomas,
-Lord Vaux; Sir Thomas Parry; Sir William Sherrington; Sir Thomas
-Wentworth; Edward, Lord Clinton; Sir Thomas le Strange; Sir
-George Carew; Lord Chancellor Rich, and others; and among
-the ladies, Lady Parker, Lady Ratcliffe, Mary Zouch, Lady Rich,
-Lady Henegham, the Marchioness of Dorset, Lady Mewtas, Lady
-Monteagle, and Lady Borough.</p>
-
-<div id='pl-34a'  class='figcenter id001'>
-<img src='images/pl-34a.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 34a</span><br />UNKNOWN ENGLISHMAN<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-34b'  class='figcenter id001'>
-<img src='images/pl-34b.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 34b</span><br />WILLIAM PARR<br />Marquis of Northampton<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>DESCRIPTIONS OF SOME OF THE HEADS</div>
-<p class='c023'>The study of William Parr, Marquis of Northampton (<a href='#pl-34b'>Pl. 34 (2)</a>),<a id='r580' /><a href='#f580' class='c020'><b>[580]</b></a>
-is one of the few in which the hands are shown. The head, with close-cropped
-hair and short, round beard, has suffered from rubbing, but
-remains a fine and strongly individualised study of character. The
-dress and jewellery are indicated with some elaboration, to which are
-added notes in Holbein’s handwriting, and detailed sketches of his hat
-ornaments and other jewellery are drawn in the margin. The medallion
-he wears appears to be of open-work with a figure of St. George, and
-one of the links of his chain is inscribed with the word “<span class='sc'>Mors</span>.” In
-the Thomas Boleyn,<a id='r581' /><a href='#f581' class='c020'><b>[581]</b></a> also, the right hand is shown, and the dress is
-drawn with much more detail than in most of the companion drawings,
-while the face is one of the most carefully elaborated in the whole
-series, the individual hairs of the beard and moustache being indicated
-with minute precision. Equally careful drawing of the hair is to be
-seen in the head of Lord Stanley,<a id='r582' /><a href='#f582' class='c020'><b>[582]</b></a> with its expressive face and fine
-<span class='pageno' id='Page_257'>257</span>eyes. Another very powerful drawing is the full-face portrait of Lord
-Cobham,<a id='r583' /><a href='#f583' class='c020'><b>[583]</b></a> with open doublet showing his bare chest, a head of most
-striking individuality. One of the most beautiful among the more
-finished studies is that of Lord Vaux (<a href='#pl-35'>Pl. 35</a>),<a id='r584' /><a href='#f584' class='c020'><b>[584]</b></a> in which the hair,
-cut straight across the forehead, and the beard and moustache are put
-in with almost microscopic detail, as well as the design upon the white
-collar with its strings of black and white cord. There is a second study
-of Lord Vaux<a id='r585' /><a href='#f585' class='c020'><b>[585]</b></a> in the collection. It is, of course, impossible to give
-even a short description of the whole of the drawings, but among the
-numerous studies of “unknown men” two in particular cannot be
-overlooked. The one is the head of a handsome young man with a
-long, sharp nose,<a id='r586' /><a href='#f586' class='c020'><b>[586]</b></a> thin whiskers, and a small beard, the head turned
-slightly to the right, and both eyes shown (<a href='#pl-34a'>Pl. 34 (1)</a>). He wears large
-ostrich feathers in his black hat, which has a medallion, the design
-not indicated, and gold tags. The dress, very roughly sketched in,
-is badly rubbed. The drawing is one of great beauty, very delicate
-and refined in its treatment and feeling. The second, to which reference
-has been already made, is the very striking likeness of a man
-with a flat, broad nose, bushy, curly beard, and hair falling over the
-ears, his eyes cast slightly downwards, one of the most powerful
-drawings in the Windsor Collection, which Miss Hervey suggests is
-possibly a study for a second portrait of Jean de Dinteville (<a href='#pl-36a'>Pl. 36# (1)</a>).<a id='r587' /><a href='#f587' class='c020'><b>[587]</b></a>
-Dr. Paul Ganz considers the sitter to be a man of pronounced southern
-French type, and probably a member of the French embassy which
-was in London in 1533.<a id='r588' /><a href='#f588' class='c020'><b>[588]</b></a> It is just as probable, however, that this
-unknown nobleman was English, for the type, though unusual, is to
-be met with occasionally.</p>
-
-<div class='footnote c021' id='f580'>
-<p class='c022'><span class='label'><a href='#r580'>580</a>.&nbsp;&nbsp;</span>Woltmann, 316; Wornum, ii. 5; Holmes, i. 15.</p>
-</div>
-
-<div class='footnote c021' id='f581'>
-<p class='c022'><span class='label'><a href='#r581'>581</a>.&nbsp;&nbsp;</span>Woltmann, 288; Wornum, i. 21; Holmes, i. 16.</p>
-</div>
-
-<div class='footnote c021' id='f582'>
-<p class='c022'><span class='label'><a href='#r582'>582</a>.&nbsp;&nbsp;</span>Woltmann, 310; Wornum, i. 16; Holmes, i. 18.</p>
-</div>
-
-<div class='footnote c021' id='f583'>
-<p class='c022'><span class='label'><a href='#r583'>583</a>.&nbsp;&nbsp;</span>Woltmann, 315; Wornum, i. 44; Holmes, i. 19.</p>
-</div>
-
-<div class='footnote c021' id='f584'>
-<p class='c022'><span class='label'><a href='#r584'>584</a>.&nbsp;&nbsp;</span>Woltmann, 320; Wornum, i. 26; Holmes, i. 23.</p>
-</div>
-
-<div class='footnote c021' id='f585'>
-<p class='c022'><span class='label'><a href='#r585'>585</a>.&nbsp;&nbsp;</span>Woltmann, 322; Wornum, i. 41; Holmes, i. 31.</p>
-</div>
-
-<div class='footnote c021' id='f586'>
-<p class='c022'><span class='label'><a href='#r586'>586</a>.&nbsp;&nbsp;</span>Woltmann, 346; Wornum, i. 25; Holmes, i. 51.</p>
-</div>
-
-<div class='footnote c021' id='f587'>
-<p class='c022'><span class='label'><a href='#r587'>587</a>.&nbsp;&nbsp;</span>Woltmann, 345; Wornum, i. 12; Holmes, i. 52. See p. <a href='#Page_44'>44</a>.</p>
-</div>
-
-<div class='footnote c021' id='f588'>
-<p class='c022'><span class='label'><a href='#r588'>588</a>.&nbsp;&nbsp;</span><i>Hdz. von H. H. dem Jüng.</i>, p. 54.</p>
-</div>
-
-<div id='pl-35'  class='figcenter id001'>
-<img src='images/pl-35.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 35</span><br />THOMAS, LORD VAUX<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-36a'  class='figcenter id001'>
-<img src='images/pl-36a.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 36a</span><br />UNKNOWN MAN<br />(said to be Jean de Dinteville)<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-36b'  class='figcenter id001'>
-<img src='images/pl-36b.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 36b</span><br />MARY ZOUCH<br /><i>Drawning in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-37a'  class='figcenter id001'>
-<img src='images/pl-37a.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 37a</span><br />LADY AUDLEY<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-37b'  class='figcenter id001'>
-<img src='images/pl-37b.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 37b</span><br />LADY MEWTAS<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-38'  class='figcenter id001'>
-<img src='images/pl-38.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 38</span><br />“THE LADY HENEGHAM”<br />(Possibly Margaret Roper)<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<p class='c023'>Among the portraits of ladies it is unfortunate that several of the
-finest have suffered from bad rubbing. Such an one is the head of
-Mary, daughter of the Duke of Norfolk, and wife of the King’s natural
-son, Henry, Duke of Richmond, which has been already described.<a id='r589' /><a href='#f589' class='c020'><b>[589]</b></a> The
-fine head of Lady Mewtas (<a href='#pl-37b'>Pl. 37# (2)</a>),<a id='r590' /><a href='#f590' class='c020'><b>[590]</b></a> the face a strong
-<span class='pageno' id='Page_258'>258</span>one, is very delicately modelled, and unspoilt by the presence of too
-forcible outlines. Her jewelled ornaments include a circular pendant
-with five dark table stones and three hanging pearls, suspended from a
-thin chain, with beads round the neck, a circular medallion at the breast
-with a figure subject now almost obliterated, and across the top of
-the bodice a band of pearls set in groups of five like flowers. The
-incorrectly-named “Lady Mary, after Queen,”<a id='r591' /><a href='#f591' class='c020'><b>[591]</b></a> whom it certainly does
-not represent, is another fine drawing which has suffered considerable
-damage. It has been gone over with the tracing point for transference
-to panel, but no painting after it is now known to exist. The
-same is the case with the head of the Marchioness of Dorset,<a id='r592' /><a href='#f592' class='c020'><b>[592]</b></a> the
-daughter of Charles Brandon and the King’s sister, Mary, which also
-shows indications of tracing. This is a good example of a drawing in
-which the fine modelling of the face has now almost disappeared, so
-that the darker lines stand out too insistently. There is most brilliant
-and subtle drawing of the eyes, nose, and mouth in the very expressive
-and beautiful head of the so-called Lady Henegham (<a href='#pl-38'>Pl. 38</a>),<a id='r593' /><a href='#f593' class='c020'><b>[593]</b></a> wife
-of Sir Anthony Hemingham or Heveningham, of Ketteringham in
-Norfolk, which remains in very excellent condition. She wears a small
-pendant ornament with one hanging pearl at her neck, and on the
-breast an upright oval medallion with a figure within a Renaissance
-framework. It has been suggested that this fine head really represents
-Margaret Roper, and the features are not unlike those of several
-members of the More family; but against this attribution must be
-placed the fact that the drawing, unlike all the other studies for the
-family picture, is not on white paper. Among the best of the other
-heads of women are Lady Parker,<a id='r594' /><a href='#f594' class='c020'><b>[594]</b></a> Lady Lister,<a id='r595' /><a href='#f595' class='c020'><b>[595]</b></a> Lady Rich,<a id='r596' /><a href='#f596' class='c020'><b>[596]</b></a> Lady
-Elyot,<a id='r597' /><a href='#f597' class='c020'><b>[597]</b></a> Lady Audley, already described (<a href='#pl-37a'>Pl. 37 (1)</a>), an unknown
-lady, wearing a white cap or bonnet covering the hair and ears and
-reaching to the chin<a id='r598' /><a href='#f598' class='c020'><b>[598]</b></a>—a large drawing on white paper, something of
-<span class='pageno' id='Page_259'>259</span>the type of the More family, but rather more freely drawn—and Mary
-Zouch (<a href='#pl-36b'>Pl. 36 (2)</a>).<a id='r599' /><a href='#f599' class='c020'><b>[599]</b></a> The last-named is one of the most attractive of the
-whole series. The face, seen in full, is modelled with extreme delicacy
-and expression. She wears a French circular hood with bands of ornament
-over her smooth, yellow hair, parted in the middle and covering
-the ears. Her dress is of black velvet, as noted in Holbein’s handwriting,
-and the medallion at her breast, surrounded with a Renaissance
-framework, has an almost obliterated subject, apparently a
-female figure with flying draperies seated on a rock, possibly Perseus
-and Andromeda. This drawing is inscribed “M. Souch,” and Sir
-Richard Holmes, following Wornum, suggests that the drawing
-represents Joan, wife of Richard Zouch, son of Lord Zouch of Haringworth.
-It is, however, more probably Mary Zouch, a member of the
-same family, who was a maid of honour to Jane Seymour, and, after
-the Queen’s death, received an annuity of £10 on April 6th, 1542, in
-recognition of her services, which was to be continued until she “was
-married or otherwise provided for.”<a id='r600' /><a href='#f600' class='c020'><b>[600]</b></a></p>
-
-<div class='footnote c021' id='f589'>
-<p class='c022'><span class='label'><a href='#r589'>589</a>.&nbsp;&nbsp;</span>Woltmann, 324; Wornum, ii. 17; Holmes, ii. 23. See pp. <a href='#Page_110'>110</a>-<a href='#Page_111'>111</a>.</p>
-</div>
-
-<div class='footnote c021' id='f590'>
-<p class='c022'><span class='label'><a href='#r590'>590</a>.&nbsp;&nbsp;</span>Woltmann, 339; Wornum, ii. 20; Holmes, ii. 16.</p>
-</div>
-
-<div class='footnote c021' id='f591'>
-<p class='c022'><span class='label'><a href='#r591'>591</a>.&nbsp;&nbsp;</span>Woltmann, 331; Wornum, ii. 39; Holmes, ii. 15. Etched by Hollar (Parthey, 1465); the
-etching reproduced by Ganz, <i>Holbein</i>, p. 199 (3).</p>
-</div>
-
-<div class='footnote c021' id='f592'>
-<p class='c022'><span class='label'><a href='#r592'>592</a>.&nbsp;&nbsp;</span>Woltmann, 332; Wornum, ii. 16; Holmes, ii. 14.</p>
-</div>
-
-<div class='footnote c021' id='f593'>
-<p class='c022'><span class='label'><a href='#r593'>593</a>.&nbsp;&nbsp;</span>Woltmann, 333; Wornum, ii. 25; Holmes, ii. 12.</p>
-</div>
-
-<div class='footnote c021' id='f594'>
-<p class='c022'><span class='label'><a href='#r594'>594</a>.&nbsp;&nbsp;</span>Woltmann, 338; Wornum, ii. 28; Holmes, i. 27.</p>
-</div>
-
-<div class='footnote c021' id='f595'>
-<p class='c022'><span class='label'><a href='#r595'>595</a>.&nbsp;&nbsp;</span>Woltmann, 336; Wornum, ii. 26; Holmes, i. 28.</p>
-</div>
-
-<div class='footnote c021' id='f596'>
-<p class='c022'><span class='label'><a href='#r596'>596</a>.&nbsp;&nbsp;</span>Woltmann, 319; Wornum, ii. 37; Holmes, ii. 10.</p>
-</div>
-
-<div class='footnote c021' id='f597'>
-<p class='c022'><span class='label'><a href='#r597'>597</a>.&nbsp;&nbsp;</span>Woltmann, 285; Wornum, ii. 19; Holmes, i. 39.</p>
-</div>
-
-<div class='footnote c021' id='f598'>
-<p class='c022'><span class='label'><a href='#r598'>598</a>.&nbsp;&nbsp;</span>Woltmann, 350; Wornum, ii. 13; Holmes, ii. 11.</p>
-</div>
-
-<div class='footnote c021' id='f599'>
-<p class='c022'><span class='label'><a href='#r599'>599</a>.&nbsp;&nbsp;</span>Woltmann, 344; Wornum, ii. 27; Holmes, i. 30.</p>
-</div>
-
-<div class='footnote c021' id='f600'>
-<p class='c022'><span class='label'><a href='#r600'>600</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xvii. 283 (28). (April 6, 1542.)</p>
-</div>
-
-<div class='sidenote'>STUDIES IN BERLIN AND BASEL</div>
-<p class='c023'>The Berlin Print Room possesses a remarkably fine portrait-drawing
-of an unknown Englishman,<a id='r601' /><a href='#f601' class='c020'><b>[601]</b></a> with deep blue eyes, straight brown
-hair, a scanty beard, and a thoughtful, expressive face, slightly turned
-to the left. He wears a small flat cap, unornamented, and the usual
-gown with heavy fur collar. Only slight touches of colour have been
-used on the eyes, hair, and lips, and the paper has been covered with
-a pale red wash.</p>
-
-<div class='footnote c021' id='f601'>
-<p class='c022'><span class='label'><a href='#r601'>601</a>.&nbsp;&nbsp;</span>Woltmann, 120. Reproduced by Ganz, <i>Hdz. von H. H. dem
-Jüng.</i>, Pl. 36; Davies, p. 224.</p>
-</div>
-
-<p class='c023'>Among the portrait-drawings in the Basel Gallery, some fourteen
-in all, most of which have been already described, the finest is perhaps
-that of an unknown young man in a large, broad-brimmed black hat,<a id='r602' /><a href='#f602' class='c020'><b>[602]</b></a>
-which is certainly one of the most beautiful of his drawings now
-existing (<a href='#pl-39'>Pl. 39</a>). The sitter, a handsome and dignified man, with a
-large, straight nose, and refined features—evidently a man of culture
-of the type of Bonifacius Amerbach—is turned to the left, the face seen
-almost in profile, though both eyes are shown. The lips of the mobile
-mouth are slightly parted, and the expressive eyes gaze into the distance,
-<span class='pageno' id='Page_260'>260</span>as though he were lost in thought. The brown, bushy hair, which
-covers the ears and falls over the forehead, is drawn with rapid, masterly
-touches, and the profile of the face stands out with great effect
-against the dark background formed by the underside of his large hat.
-The flesh tints are suggested with simple but subtle touches of the
-chalk. The dress is merely sketched in with a few lines, though the
-brown fur collar of his coat is sufficiently indicated just where it comes
-under the beardless chin. This superb drawing, in which the artist
-has seized upon and set down with unerring insight the finest traits of
-the sitter’s character, is in black and coloured chalks. The type
-of face, in the opinion of Woltmann and Dr. Ganz, is distinctly
-German. From its technique, which, on the one hand, has much in
-common with the later studies of the Meyer family made for the Darmstadt
-“Madonna,” and on the other with the drawings for the More
-Family Group, it may be surmised that this study was made in Basel
-shortly before Holbein left for his first visit to England. It has much
-in common, too, with the coloured drawing in Basel of Holbein himself,
-and it may be noted, as a small point, that the hat the unknown youth
-is wearing is similar to the one the artist wears, though rather larger,
-and is of a different fashion from the black head-gear worn by Holbein’s
-English sitters.</p>
-
-<div class='footnote c021' id='f602'>
-<p class='c022'><span class='label'><a href='#r602'>602</a>.&nbsp;&nbsp;</span>Woltmann, 38. Reproduced by Ganz, <i>Hdz. Schwz.
-Mstr.</i>, i. 54, and <i>Holbein</i>, p. xxxi.; Knackfuss, fig. 106.</p>
-</div>
-
-<p class='c023'>Among the other portraits of unknown personages at Basel are
-two heads of an Englishman and his wife,<a id='r603' /><a href='#f603' class='c020'><b>[603]</b></a> and a third, still finer, of
-a lady wearing the angular English head-dress and black fall, who was
-evidently a member of the court circle.<a id='r604' /><a href='#f604' class='c020'><b>[604]</b></a> This drawing, which is also in
-black and coloured chalks, must be placed among the best of Holbein’s
-studies of women. It has been conjectured that it represents Lady
-Carew, and also Lady Guldeford. The equally beautiful drawing of Sir
-Nicholas Carew<a id='r605' /><a href='#f605' class='c020'><b>[605]</b></a> has been described already. All the drawings just
-mentioned form part of the Amerbach Collection, and it may be suggested,
-though the suggestion is not a very plausible one, that at least
-those of them which represent English people were taken to Basel by
-Holbein himself, on one or other of his visits home, and were left
-behind when he returned to England, together with the sketch-book,
-<span class='pageno' id='Page_261'>261</span>also in the Amerbach Collection, which is undoubtedly of the English
-period; or, on the other hand, they may have been sent over from
-London to his widow with his personal belongings by his executors
-after his death.</p>
-
-<div class='footnote c021' id='f603'>
-<p class='c022'><span class='label'><a href='#r603'>603</a>.&nbsp;&nbsp;</span>Woltmann, 36, 37. The lady reproduced by Ganz, <i>Hdz.
-Schwz. Mstr.</i>, i. 11. Already described. See Vol. i. p. 321, and
-Plate 82, Vol. i.</p>
-</div>
-
-<div class='footnote c021' id='f604'>
-<p class='c022'><span class='label'><a href='#r604'>604</a>.&nbsp;&nbsp;</span>Woltmann, 32. Reproduced by Davies, p. 224; Knackfuss,
-fig. 105. Already described. See Vol. i. p. 321, and Plate 81 (2),
-Vol. i.</p>
-</div>
-
-<div class='footnote c021' id='f605'>
-<p class='c022'><span class='label'><a href='#r605'>605</a>.&nbsp;&nbsp;</span>Woltmann, 31. Reproduced by Ganz, <i>Hdz. Schwz.
-Mstr.</i>, iii. 40; and in <i>Holbein</i>, p. xxxiii.</p>
-</div>
-
-<div id='pl-39'  class='figcenter id001'>
-<img src='images/pl-39.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 39</span><br />PORTRAIT OF AN UNKNOWN YOUNG MAN<br /><i>Drawing in black and coloured chalks</i><br /><span class='sc'>Basel Gallery</span></p>
-</div>
-</div>
-
-<div class='sidenote'>HOLBEIN AND THE CLOUETS</div>
-<p class='c023'>Altogether apart from their artistic merits, these drawings of
-Holbein’s are of the utmost historical value, both on account of their
-number, including as they do so many of the leading characters who
-played a part in the making of England in Tudor days, and also because
-of the perfection of their draughtsmanship and the corresponding
-life-likeness of their portraiture, so that they form true documents
-in every sense of the word. Holbein’s genius shows us Henry’s
-ministers and the lords and ladies who surrounded him, just as they
-were in life, without any attempt at flattery, but with every feature
-set down with unfaltering truth, and, above all, with a grasp of character
-which the portrait drawings of no other great master of his period
-show in the same degree. He has left behind, as a mine of wealth for
-the use of the student of history, in drawings alone, without taking
-into account his numerous painted portraits for which no drawings
-now exist, a series of more than one hundred representations of Tudor
-men and women. In only one other instance can we turn to a similar
-series of contemporary portraits—the chalk drawings of French men
-and women of the same century by the two Clouets, Jean and François,
-father and son. These, though of the utmost value as historical portraiture,
-and also of great beauty and even fascination as works of
-art, fall short of the greatness which stamps Holbein’s work of a like
-nature. The elder Clouet had not his mastery of drawing; his knowledge
-was more limited and his means more restricted. His drawings
-have “a stiffness and dryness which are very far from the flowing
-and supple handling of the Basle master.”<a id='r606' /><a href='#f606' class='c020'><b>[606]</b></a> His son had considerably
-more science. “His drawing in reality is extremely profound, and
-as exactly calculated as any known. In tracing the human face and
-all the parts presented by the model, he has the ability of a specialist,
-whose long practice of an art that is deep rather than wide has enabled
-him to accumulate a mass of information and experience. He reaches
-perfection in the proportion of the features, in the exact placing of all
-the fine fugitive, mobile parts of the face, in the careful study of the
-extremely subtle relations from which the mass of form draws its solidity,
-<span class='pageno' id='Page_262'>262</span>and in skill in constructing the unity of impression of a face and of a
-type.”<a id='r607' /><a href='#f607' class='c020'><b>[607]</b></a> He has little or nothing, however, of Holbein’s beauty of
-style. Holbein’s drawings are matchless in the delicacy of their modelling,
-every little depression or prominence in the contours of the face
-being indicated with an exactitude and a simplicity of means unrivalled
-in work of such nature; and also for the way in which this
-delicacy of touch in handling the crayon, and subtlety and precision
-of the strengthening lines with brush or pencil, are combined with the
-wonderful vigour and sense of life with which each individual drawing
-is filled. Added to their truthfulness in portraiture there is that
-remarkable insight into the true nature and feelings of the sitter
-which is one of the greatest qualities of Holbein’s art. It is owing to
-the knowledge and mastery which are the basis of these Portrait-Studies—studies
-usually made with rapidity, but in which nothing essential
-has been missed by the penetrating eye and unerring hand of the artist—that
-so perfect a result is obtained with means apparently so slight.
-Delicacy and strength meet in them in exquisite combination; the
-flexibility and refinement of his line are always kept well under control,
-and there is no over-elaboration of detail to the detriment of character.
-Each drawing bears upon it the stamp of a style, and of a great
-style, which was Holbein’s own individual possession, in which freedom
-and truth are tempered and perfected by self-restraint.</p>
-
-<div class='footnote c021' id='f606'>
-<p class='c022'><span class='label'><a href='#r606'>606</a>.&nbsp;&nbsp;</span>Dimier, <i>French Painting in the Sixteenth Century</i>,
-p. 44.</p>
-</div>
-
-<div class='footnote c021' id='f607'>
-<p class='c022'><span class='label'><a href='#r607'>607</a>.&nbsp;&nbsp;</span>Dimier, p. 205.</p>
-</div>
-
-<div id='pl-40'  class='figcenter id001'>
-<img src='images/pl-40.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 40</span><br />THE QUEEN OF SHEBA’S VISIT TO KING SOLOMON<br /><i>Silver-point drawing washed with colour</i><br /><span class='sc'>Windsor Castle</span></p>
-</div>
-</div>
-
-<div class='sidenote'>“THE QUEEN OF SHEBA”</div>
-<p class='c023'>To attempt even a list of Holbein’s more important drawings
-other than his portrait-studies would be quite beyond the scope of
-this book, in the course of which, however, many of them have been
-touched upon; but there still remain several which cannot be passed
-over in silence. Chief among them is the small drawing on parchment,
-highly finished like a miniature, in the Library, Windsor Castle, which
-represents the “Queen of Sheba’s visit to King Solomon” (<a href='#pl-40'>Pl. 40</a>).<a id='r608' /><a href='#f608' class='c020'><b>[608]</b></a>
-It is a composition containing no less than thirty-four small figures,
-and so, after the wall-paintings in the Basel Town Hall and the
-“Triumphs” of the London Steelyard, is one of the most considerable
-arrangements of grouping ever attempted by him. King Solomon
-is seated on a throne on a high daïs approached by a number of steps
-within a large chamber, the roof of which is supported by slender columns
-<span class='pageno' id='Page_263'>263</span>of Renaissance architecture. Behind the throne is suspended a large
-curtain, and on the steps on either side are placed groups of the elders
-and long-bearded wise men of Solomon’s kingdom. In the centre
-the Queen mounts the steps, her hands outstretched as though in wonder
-and admiration of the great king. In the foreground a procession of
-her ten ladies, walking two and two, passes towards the left, and on
-the right are a group of her attendants bearing rich presents, some
-of them kneeling with uplifted baskets. The drawing is in silver-point,
-slightly washed with grey and brown, and touched here and there
-with water-colour; the fruits in one of the baskets are red and green,
-and some of the draperies and details are touched with dead gold. The
-background between the pillars is blue powdered with gold stars.
-The Renaissance architecture of the setting is purer and less florid
-in style than is the case with many of Holbein’s earlier studies for glass
-paintings. The figures of the women are gracefully conceived and
-grouped, and the heads of the men have character and expression. In
-its general arrangement the upper half of this miniature drawing recalls
-the “Rehoboam” wall-painting in the Basel Town Hall, though the
-setting is more richly treated; while in the general gracefulness of
-its design it is Italian in feeling, and has close affinity to the “Triumph
-of Riches” drawing for the decoration of the Steelyard. It was
-probably done at about the same date as the latter, perhaps as a
-present for the King, the subject having been chosen as conveying
-a subtle and flattering suggestion that Henry and Solomon were alike
-in their possession of great wisdom. It is finished with such minute
-care that it does not seem likely that it is merely the preparatory
-sketch for some larger picture or wall-painting. There is no record
-of any wall-decoration of this subject, either in the Steelyard or at
-Whitehall, though Holbein may have had some idea when at work
-upon it that it might serve for such a purpose afterwards if it met
-with the King’s approval; or, on the other hand, it may be a miniature
-copy from one of his frescoes in grisaille, which has disappeared,
-made by Holbein himself as a gift for his royal master. It was at one
-time in the Arundel Collection, and while there was engraved by Hollar.
-In the inventory of that collection it is entered as “Regina de Saba
-in miniatura chiaroscuro.” There is a picture in the Dresden Gallery
-representing the “Death of Virginia,” which appears to be an early
-copy of another of Holbein’s lost frescoes in grisaille, which has many
-<span class='pageno' id='Page_264'>264</span>points in common with the “Queen of Sheba” miniature painting,
-and is carried out in a similar scheme of colouring. Both were, no
-doubt, the work of his second English residence.<a id='r609' /><a href='#f609' class='c020'><b>[609]</b></a></p>
-
-<div class='footnote c021' id='f608'>
-<p class='c022'><span class='label'><a href='#r608'>608</a>.&nbsp;&nbsp;</span>Woltmann, 272. Reproduced in Ganz, <i>Hdz. von H. H. dem
-Jüng.</i>, Pl. 32, and in <i>Holbein</i>, p. 182; Knackfuss, fig.
-145.</p>
-</div>
-
-<div class='footnote c021' id='f609'>
-<p class='c022'><span class='label'><a href='#r609'>609</a>.&nbsp;&nbsp;</span>See Woltmann, ii. p. 124. Reproduced by Ganz,
-<i>Holbein</i>, p. 174.</p>
-</div>
-
-<p class='c023'>Another important drawing, of an earlier date, in the Städel
-Institut at Frankfurt, represents a transport ship about to put out to
-sea.<a id='r610' /><a href='#f610' class='c020'><b>[610]</b></a> It is a three-masted vessel, with high poop, crowded with small
-figures, among them a troop of landsknechte, one of whom stands in
-the stern, a fine figure, holding aloft a banner which flaps in the wind.
-Others play drum and trumpets, some hold pikes, and one of them
-embraces a girl. The anchor has been hauled up, and most of the
-sailors are at work in the rigging unfurling the sails; but several of
-them are taking parting drinks from large jars, even at the masthead,
-and one of the number is already overcome with sea-sickness. Below,
-on the left, a boat with two rowers is pulling vigorously towards the
-ship, either to put on board a late comer or to fetch off those for the
-shore. The exact date of this drawing is uncertain. It is possible
-that Holbein saw some such vessel during his visit to Amerbach in
-the south of France, or that he made it a year or two later at Antwerp
-on his way to England for the first time.</p>
-
-<div class='footnote c021' id='f610'>
-<p class='c022'><span class='label'><a href='#r610'>610</a>.&nbsp;&nbsp;</span>Woltmann, 152. Reproduced by Knackfuss, fig. 70.
-Water-colour has been used for the faces, dresses, and other parts of
-the drawing.</p>
-</div>
-
-<p class='c023'>His skill in the representation of animals is shown in a number
-of drawings. There are some fine horses in the “Triumph of Riches”
-study, and also in the “Samuel and Saul” and the “Sapor and
-Valerian” drawings for the Basel Town Hall paintings, as well as in
-the woodcut of “The Ploughman” in the “Dance of Death” series
-and in others of his woodcut illustrations; the latter also showing good
-studies of sheep, dogs, and other animals. The early drawings of a
-lamb and a bat have been described on a previous page.<a id='r611' /><a href='#f611' class='c020'><b>[611]</b></a></p>
-
-<div class='footnote c021' id='f611'>
-<p class='c022'><span class='label'><a href='#r611'>611</a>.&nbsp;&nbsp;</span>See Vol. i. p. 161.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_265'>265</span>
-  <h2 id='ch-XXVII' class='c012'>CHAPTER XXVII<br /><span class='c017'>DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS</span></h2>
-</div>
-
-<p class='c018'>Holbein as a practical designer for craftsmen in the different
-branches of art workmanship—Architectural designs—The “Holbein Gate”
-at Whitehall—The Porch at Wilton—Drawing of a royal chimney-piece in
-the British Museum—Ceilings in St. James’s Palace and the Matted
-Gallery, Whitehall—Sculptured capitals in the More Chapel, Chelsea
-Church—Glass window in Shelton Church, Norfolk—Number of his designs
-for jewellers, goldsmiths, and armourers—The Jane Seymour Cup—Other
-designs for cups in the Basel Museum—Sir Anthony Denny’s clock—Sword
-and dagger hilts and sheaths—Henry VIII’s love of
-jewellery—Pendants—Book covers—Monograms—Panels of ornament—Designs
-for circular medallions or <i>enseignes</i> in the British Museum and
-at Chatsworth and Basel—The leading English and foreign jewellers in
-London—Holbein’s probable connection with some of them.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-h.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-Holbein was a master in all crafts, and Erasmus’ description
-of him in his letter to Peter Ægidius,<a id='r612' /><a href='#f612' class='c020'><b>[612]</b></a> not
-as painter, or sculptor, but simply as a fine workman
-(<i>insignis artifex</i>), was a true one. His great technical
-powers in every department of decorative
-design, his practical knowledge of the various processes
-employed in the different branches of art workmanship for
-which he supplied the craftsmen with patterns and working drawings,
-show him to have been a real master of arts in every sense of the word.</p>
-
-<div class='footnote c021' id='f612'>
-<p class='c022'><span class='label'><a href='#r612'>612</a>.&nbsp;&nbsp;</span>See Vol. i. p. 255.</p>
-</div>
-
-<p class='c023'>“The artistic quality he possessed in the highest degree,” says Mr.
-M. Digby Wyatt, “was, I consider, the intensity with which he realised
-‘form.’ Able master as he was of delineation, what gives the stamp
-of enduring truth to his work is the feeling of assurance his delineation
-conveys to the mind of the spectator, that what he has drawn from life
-was the <i>vera effigies</i> of what he saw—that what he designed could
-never be executed with equal propriety in any other way than as his
-drawing defined it. There is never any uncertainty as to his intention
-or meaning—what he says was, was—what he says should be,
-should be. In this precise conception of pure form and power of
-conveying his own sense of it to others, he stood upon the same platform
-as the great men to whose universal genius I have already alluded—Albert
-<span class='pageno' id='Page_266'>266</span>Dürer and Leonardo da Vinci. The artist who possesses
-in a high degree any such power as that I have attempted to define,
-must of necessity have the requisite aptitude for success in either
-painting, architecture, or sculpture, or all three; since the power in
-question lies at the root of and is indispensable to the satisfactory
-practice of either or all. Architects will do well to look earnestly at
-such reliques as time has spared of the genius of Dürer, Da Vinci,
-and especially of Hans Holbein, since, so far as I know, they were the
-best makers of working drawings who ever lived. Of whatever they
-drew they gave every characteristic, and their slightest sketches never
-fail to mark essentials and to omit secondaries of form and expression.”<a id='r613' /><a href='#f613' class='c020'><b>[613]</b></a></p>
-
-<div class='footnote c021' id='f613'>
-<p class='c022'><span class='label'><a href='#r613'>613</a>.&nbsp;&nbsp;</span>M. Digby Wyatt, “Foreign Artists employed in England,”
-&amp;c., <i>Transactions of the Royal Institute of British Architects</i>,
-1868, p. 229.</p>
-</div>
-
-<p class='c023'>Horace Walpole, speaking of the rise of Renaissance architecture
-in England—“Grecian art plaistered on Gothic,” he calls it—says that
-“the beginning of reformation in building seems owing to Holbein. His
-porch at Wilton, though purer than the works of his successors, is of this
-bastard sort; but the ornaments and proportions are graceful and well
-chosen. I have seen drawings of his, too, in the same kind. Where
-he acquired this taste is difficult to say; probably it was adopted
-from his acquaintance with his fellow-labourers at court.”<a id='r614' /><a href='#f614' class='c020'><b>[614]</b></a> Though
-there is no doubt that Holbein would have been a fine architect had
-his inclination led him to practise that branch of art—the backgrounds
-of his designs for painted glass afford ample proof of his aptitude for
-design in the new architectural manner of the Italian Renaissance—Walpole’s
-assertion cannot be accepted as the truth. Henry VIII
-had at least two good Italian architects in his employment—first,
-Girolamo da Treviso, and afterwards John of Padua, as well as sculptors
-and modellers of architectural detail such as Benedetto da Rovezzano
-and Giovanni da Maiano, and it is the influence of such Italians as
-these that is to be most clearly discerned in the buildings which were
-erected in England at this period. Holbein produced a few designs
-of an architectural nature, but no building exists of which it can be
-said that he was the architect.</p>
-
-<div class='footnote c021' id='f614'>
-<p class='c022'><span class='label'><a href='#r614'>614</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. 128.</p>
-</div>
-
-<div class='sidenote'>“HOLBEIN’S GATE” AT WHITEHALL</div>
-<p class='c023'>The gateway which, according to tradition, he designed, and hence
-known as “Holbein’s Gate,” was one of Henry VIII’s additions to
-Whitehall, and connected the tennis court, the cock-pit, and the
-<span class='pageno' id='Page_267'>267</span>bowling-green with the palace, besides providing the King with a
-gallery into the park, from which he could witness the sports which
-took place there on special occasions. It was built, according to Walcott,
-of stone mixed with small squares of flint, and tesselated, and
-was “very neatly set.” J. T. Smith, in his <i>Antiquities of Westminster</i>,
-describes it as being in the Tudor style of architecture, with battlements
-and four lofty towers, the whole enriched with <i>bustos</i> on the north
-and south sides. Pennant, who had himself seen the gate, says:
-“To Holbein was owing the most beautiful gate at Whitehall, built
-with bricks of two colours, glazed and disposed in a tesselated fashion.
-The top, as well as an elegant tower on each side, were embattled.
-On each front were four busts, in baked clay, which resisted to the last
-every attack of the weather.” An excellent idea of its appearance
-is to be obtained from the engraving by G. Vertue (1725) in the
-“Vetusta Monumenta.”</p>
-
-<p class='c023'>The gateway was pulled down in 1759 in order to widen Parliament
-Street. The materials were obtained by the Duke of Cumberland,
-Ranger of Windsor Park, with the intention of re-erecting the gate at
-the end of the Long Walk. In the end, however, they were worked up
-in several buildings the Duke built in the park. Two of the medallions
-were put in front of the park lodges, but most of them appear to have
-been stolen when the gateway was pulled down. Three of them
-eventually came into the possession of a coachbuilder named Wright,
-who, in 1769, employed John Flaxman, the sculptor, then a boy, to
-repair them. They were in terra-cotta, coloured and gilt, and the
-ornaments included the rose and crown and the King’s initials.
-Wright had them removed to Hatfield Priory, Essex, where they
-were still to be seen in 1803, in which year J. T. Smith went down there
-to copy them. They were larger than life, and were said to be representations
-of Henry VII, Henry VIII when sixteen, and Bishop
-Fisher. The two which decorated the front of the park lodges were
-afterwards removed to Hampton Court, where, says Allan Cunningham,
-“they are made to do duty as two of the Roman emperors described
-by Hentzner in his <i>Travels</i>.” It seems probable that they were the work
-of Giovanni da Maiano. In its design there is nothing to suggest that
-Holbein was the architect of this famous gateway, and it is much more
-probable that one of the Italians employed by the King was responsible
-for it; and the legend which connects Holbein with it may have
-<span class='pageno' id='Page_268'>268</span>arisen from the fact that he had rooms in Whitehall, possibly in the
-very gateway to which his name has been so long attached. It contained,
-says Dallaway, “several apartments, but the most remarkable
-was the ‘little study, called the New Library,’ in which Holbein was
-accustomed to employ himself in his art, and the courtiers to sit for
-their portraits.”<a id='r615' /><a href='#f615' class='c020'><b>[615]</b></a></p>
-
-<div class='footnote c021' id='f615'>
-<p class='c022'><span class='label'><a href='#r615'>615</a>.&nbsp;&nbsp;</span>Dallaway, notes to Walpole’s <i>Anecdotes</i>, ed.
-Wornum, p. 133.</p>
-</div>
-
-<div class='sidenote'>THE PORCH AT WILTON</div>
-<p class='c023'>Tradition has also long associated the name of Holbein with the Porch
-at Wilton, the seat of the Earl of Pembroke. This porch or loggia is
-of no great beauty, but it is free from any admixture of Gothic detail,
-and is a good example of the early adaptation in England of Renaissance
-architecture and ornamentation. It originally formed part of the
-house, but in the nineteenth century, when some alterations to the
-buildings were made, it was removed to the end of a walk in the gardens.
-The dissolution of the monastery of St. Edith, on the site of which the
-house stands, took place in 1539, and the abbey and its rich possessions
-were granted by the King to Sir William Herbert shortly afterwards.
-In the erection of his mansion the first Earl no doubt employed one
-of the architects then attached to Henry’s court, for there is little in
-the design of this small porch to support the tradition that the man
-he selected was Holbein, rather than one of the Italians whose business
-it was to invent and embellish such buildings. It is, indeed, simpler
-in design and less lavish in ornamental detail than those architectural
-backgrounds to his windows which Holbein produced when in Basel,
-based upon recollections of his visit to Italy. The size of the porch
-may be gauged by the entrance-way, which measures 8 feet in height.
-Round the three outer doorways runs an interlaced design cut in low
-relief, which still retains much of its original colour, the ground a rich
-red and the ornament yellow, from which the original gilding has worn
-away. In the corners a wreath of fruit and flowers encircles a small
-wyvern on a blue background. Above the capitals of the fluted pillars,
-and just below the projecting mouldings that divide the upper and
-lower portions of the porch, is a broad band filled with a pattern of
-intersecting circles, painted on a flat surface in light blue and yellow,
-lined and touched with darker blue and red. Probably the whole
-surface was originally painted and gilded. In the upper part the double
-pillars are repeated, but with rich acanthus capitals. On the three
-faces over the openings are panels with the Pembroke coat of arms,
-<span class='pageno' id='Page_269'>269</span>with a circular medallion on each side, containing heads of men and
-women in relief, those on the front being apparently busts of the Earl
-and his wife. The vigorous heraldic design supported by the Talbot
-dogs and wyverns forms a novel finish to the crown. The interior
-has a ribbed and vaulted ceiling, and brackets and other details in
-bold relief, including a number of figures on pedestals. It is, of course,
-possible that Holbein provided drawings for the building of this porch,
-but there is no real evidence of this, and the style of the design does
-not suggest his invention. It is much more likely to have been due to
-one of Henry’s Italians, such as Antonio Toto. “The character of the
-whole,” says Woltmann, “as is shown especially in the crowning, is
-far too feeble for us to think of Holbein as its architect; and, besides
-this, the costume of the half-length figures, introduced in several of
-the medallions, shows that the work was executed near the close of
-the sixteenth century.”<a id='r616' /><a href='#f616' class='c020'><b>[616]</b></a> Wornum also calls attention to the lateness
-of the costumes, and says of the porch itself that it displays
-“neither taste nor knowledge of the style.” He adds: “As for the
-Whitehall Gate, it was a mongrel of Gothic and Renaissance quite
-unworthy of Holbein, and, I should imagine, an impossible design for
-him; it was similar in general character to the gate of St. James’s
-Palace, at the bottom of St. James’s Street.”<a id='r617' /><a href='#f617' class='c020'><b>[617]</b></a> Waagen says that
-the medallions contain busts of Edward VI and the Pembroke family.<a id='r618' /><a href='#f618' class='c020'><b>[618]</b></a></p>
-
-<div class='footnote c021' id='f616'>
-<p class='c022'><span class='label'><a href='#r616'>616</a>.&nbsp;&nbsp;</span>Woltmann, Eng. trans., p. 419.</p>
-</div>
-
-<div class='footnote c021' id='f617'>
-<p class='c022'><span class='label'><a href='#r617'>617</a>.&nbsp;&nbsp;</span>Wornum, pp. 359-60.</p>
-</div>
-
-<div class='footnote c021' id='f618'>
-<p class='c022'><span class='label'><a href='#r618'>618</a>.&nbsp;&nbsp;</span>For drawings of this porch and its various details, and a
-description of it as it now is, see an article in the <i>Art
-Journal</i>, 1897, pp. 45-8, written and illustrated by Mr. G.
-Fidler.</p>
-</div>
-
-<p class='c023'>Among the architectural works by Holbein, which, if they were
-ever carried out, cannot now be traced, must be placed his very admirable
-design in the British Museum for a magnificent chimney-piece<a id='r619' /><a href='#f619' class='c020'><b>[619]</b></a>
-for one of Henry VIII’s palaces, in all probability Bridewell.
-It is conceived in the finest Renaissance taste, and is covered with
-elaborate and beautiful ornamentation. It is in two stages, each
-flanked by a pair of fluted pillars carrying richly-decorated entablatures.
-The upper part is divided into six divisions, the three higher ones containing
-the royal arms and motto, and the king’s initials and badges,
-the portcullis and fleur-de-lis. The central panel of the lower range
-represents a battle of horsemen, and the two on either side contain
-<span class='pageno' id='Page_270'>270</span>circular medallions with figures of Charity and Justice, charming
-compositions, in which beauty of form is rendered with all that freedom
-and life-like accuracy which characterise everything Holbein produced,
-even his most hasty sketches. The lower part of the fireplace, over
-the open hearth, on which the logs are shown burning across two fire-dogs,
-is filled with a semicircular lunette, with a second scene of
-horsemen engaged in furious combat, in the centre of which is a
-wreathed medallion with figures of Esther and Ahasuerus. In the
-spandrels are smaller rounds with the heads of a lady and a helmeted
-warrior. On the bases of the pillars on either side are blank tablets
-for inscriptions, surrounded by scroll-work. This splendid fireplace
-was evidently intended to occupy an important position in one of the
-King’s buildings, as the frequent occurrence of his initials and the
-presence of the royal coat of arms and badges indicate. Peacham,
-in his <i>Compleat Gentleman</i>, when speaking of Holbein, says that he has
-seen “of his owne draught with a penne, a most curious chimney-peece
-K. <i>Henry</i> had bespoke for his new built pallace at <i>Bridewell</i>,” and there
-is no doubt that this is the drawing to which he referred. It is in pen
-and ink, with Indian-ink wash and slight colour, 21¼ in. × 16¾ in.,
-and was formerly in the Arundel,<a id='r620' /><a href='#f620' class='c020'><b>[620]</b></a> Richardson, and Walpole collections.
-It is possible that Holbein made similar designs for Nonsuch Palace.
-In this drawing Mr. Digby Wyatt thought he saw the same designer
-as the one who produced the beautiful woodwork of King’s College
-Chapel, Cambridge. This important work, he says, “I cannot hesitate
-to believe must have been executed from his designs.... In
-its way it is a model of Renaissance wood-carving, revealing in every
-arabesque, and especially in the ornaments of the lunettes, the
-peculiarities of classical form as they were first, if I may use the expression,
-<i>translated</i> from the Italian into German by Albert Dürer,
-Altdorfer, Peter Vischer, and others, including Holbein.”<a id='r621' /><a href='#f621' class='c020'><b>[621]</b></a> The ceiling
-of the chapel of St. James’s Palace has also been attributed to
-Holbein, though without any evidence but that of style. This ceiling,
-says Wornum, “is a curious work, a panelled Renaissance design,
-and tastefully coloured. It was repaired in 1836 by Sir R. Smirke;
-the general ground is blue; the panellings are defined by ribs of wood
-gilt; there are also ornaments in foliage, painted green; and there
-<span class='pageno' id='Page_271'>271</span>are many coats of arms emblazoned in their proper colours. A small
-running open ornament, cast in lead, enriches the under sides of the
-ribs. The date 1540 occurs in several places, and various short inscriptions
-are scattered about, as—Henricus Rex 8—H and A, for
-Henry and Anne of Cleves, with a lover’s knot between them.”<a id='r622' /><a href='#f622' class='c020'><b>[622]</b></a> His
-work in connection with the internal decoration of Whitehall, including
-the great fresco in the Privy Chamber and the ceiling in the Matted
-Gallery, mentioned by Pepys, has been already described.<a id='r623' /><a href='#f623' class='c020'><b>[623]</b></a></p>
-
-<div class='footnote c021' id='f619'>
-<p class='c022'><span class='label'><a href='#r619'>619</a>.&nbsp;&nbsp;</span>British Museum Catalogue, 16 (vol. i. p. 330). Woltmann,
-197. Reproduced by His, Pls. 48-50; Davies, p. 224. The work was
-probably carried out by Nicolas Bellin, “maker of his Majesty’s
-chimneys.”</p>
-</div>
-
-<div class='footnote c021' id='f620'>
-<p class='c022'><span class='label'><a href='#r620'>620</a>.&nbsp;&nbsp;</span>Countess of Arundel’s inventory—“Disegno per Ornamento
-d’un Camino.”</p>
-</div>
-
-<div class='footnote c021' id='f621'>
-<p class='c022'><span class='label'><a href='#r621'>621</a>.&nbsp;&nbsp;</span>M. Digby Wyatt, <i>Transactions Royal Institute of
-British Architects</i>, 1868, p. 233.</p>
-</div>
-
-<div class='footnote c021' id='f622'>
-<p class='c022'><span class='label'><a href='#r622'>622</a>.&nbsp;&nbsp;</span>Wornum, p. 309, note. A view of the ceiling is given in
-Richardson’s <i>Architectural Remains of the Reigns of Elizabeth and
-James I</i>, 1838, Pl. 12.</p>
-</div>
-
-<div class='footnote c021' id='f623'>
-<p class='c022'><span class='label'><a href='#r623'>623</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_93'>93</a>-<a href='#Page_98'>98</a> and <a href='#Page_185'>185</a>-<a href='#Page_188'>188</a>.</p>
-</div>
-
-<div class='sidenote'>MORE CHAPEL IN CHELSEA CHURCH</div>
-<p class='c023'>One more work of an architectural nature, attributed to Holbein
-by Mr. F. M. Nichols in his paper, to which reference has been already
-made, read before the Society of Antiquaries in March 1898, must be
-noted. In the design of the two capitals<a id='r624' /><a href='#f624' class='c020'><b>[624]</b></a> supporting the arch which
-divides the chancel of old Chelsea Church from the More Chapel he
-“recognised at once the characteristic invention of Holbein.” Each
-capital is “founded upon the suggestion of a classical capital of the
-composite order. But the antique model is treated with a freedom
-which would scarcely have commended itself to the taste of an Italian
-artist.” They are capitals of half columns, there being only a single
-arch between the chapel and the chancel, and each capital, like the
-pillars, has five sides, as the columns, if completed, would be octagonal.
-In the eastern capital the volutes terminate in a projecting human
-head, and in each hollow of the abacus above is inserted the winged
-head of a cherub. The acanthus-leaf design which covers the lower
-part has various objects introduced among the foliage, such as a
-shield with More’s arms and his crest of a Moor’s head, a sword crossed
-with a sceptre, a mace, and two ornamented tablets, one of which
-bears the date 1528 in Arabic numerals. The western capital is of a
-somewhat similar design. Human heads take the place of those of
-the cherubs, and the five sides below display various religious emblems
-and ornaments, such as crossed candlesticks, a bundle of tapers, a
-pail of holy water with sprinkling-brush, a clasped prayer-book or
-missal, and a blank shield. These objects clearly have reference to
-the religious ceremonies in which More was accustomed to take part
-in the chapel, while the ornaments on the other capital may have
-<span class='pageno' id='Page_272'>272</span>reference to his secular employments. The Holbeinesque character
-of the designs, combined with the locality of Chelsea, the association
-with Sir Thomas, and the date 1528, during the earlier part of which
-year Holbein was still in England, are sufficient, in Mr. Nichols’
-opinion, to prove that Holbein was the designer. Mr. Beaver, in his
-<i>Memorials of Chelsea</i>, in discussing the authorship of these capitals,
-rejects their attribution to Holbein on the ground that they have an
-Italian character, and may be more probably ascribed to one of the
-Italian artists then employed in this country; and most architects
-who have made a close study of this period are in agreement with him.
-“But,” says Mr. Nichols, “there are abundant examples in Holbein’s
-work of his fondness for architectural details of a Renaissance type....
-An Italian architect would scarcely have dealt so freely with the just
-proportions of the classic capital upon which his design was founded.
-And I am inclined to think that there was only one artist in England
-at that time who combined the fertility of invention and the graceful
-mastery of detail shown in these capitals with the boldness and freedom
-with which the classic model is treated.”<a id='r625' /><a href='#f625' class='c020'><b>[625]</b></a> Mr. Reginald Blomfield is
-of opinion that these carvings are of French origin. He says: “The
-names of French artists or workmen scarcely ever occur in the State
-Papers, and there are few instances of Renaissance work in England
-which can be attributed to them. The capitals to the arch between
-the More chantry and the chancel of old Chelsea Church are an unusual
-instance. They closely resemble French work of the early sixteenth
-century such as is found along the banks of the Seine between Paris
-and Rouen. The monument in the Oxenbrigge Chapel in Brede
-Church, Sussex, dated 1537, is another rare example. It is of Caen
-stone, admirably carved, and was probably made in France and shipped
-to the port of Rye, some nine miles distant from Brede.”<a id='r626' /><a href='#f626' class='c020'><b>[626]</b></a></p>
-
-<div class='footnote c021' id='f624'>
-<p class='c022'><span class='label'><a href='#r624'>624</a>.&nbsp;&nbsp;</span>Reproduced from photographs in Mr. Nichols’ paper,
-<i>Proceedings Soc. of Antiq.</i>, second series, vol. xvii. No. 1
-(March 1898), pp. 132-45.</p>
-</div>
-
-<div class='footnote c021' id='f625'>
-<p class='c022'><span class='label'><a href='#r625'>625</a>.&nbsp;&nbsp;</span>See Nichols, <i>Proceedings Soc. of Antiq.</i>, second
-series, vol. xvii. No. 1, p. 143.</p>
-</div>
-
-<div class='footnote c021' id='f626'>
-<p class='c022'><span class='label'><a href='#r626'>626</a>.&nbsp;&nbsp;</span>Blomfield, <i>History of Renaissance Art in England</i>,
-1897, i. 18. In a letter to the present writer, in 1901, Mr.
-Blomfield, after his attention had been called to Mr. Nichols’ paper,
-states that he adheres to his opinion that the Chelsea capitals are of
-French origin.</p>
-</div>
-
-<p class='c023'>In the same paper Mr. Nichols also draws attention to a two-light
-stained-glass window in the south chapel of the village church of
-Shelton in Norfolk, which contains figures of Sir John Shelton and his
-wife, Ann, daughter of Sir William Boleyn and aunt to Henry VIII’s
-second queen, a lady well known about the court, who at one time had
-charge of the Princesses Mary and Elizabeth. The work, in Mr.
-<span class='pageno' id='Page_273'>273</span>Nichols’ opinion, is evidently of foreign origin, being totally different
-from the English glass of the same period within a few feet of it, and
-the faces and figures being executed more in the manner of a picture
-than of stained glass. The foreign origin of the work is shown, among
-other indications, by the peculiar treatment of the heraldry, which
-has a decidedly German character. Both figures are represented
-kneeling, Sir John in a crimson robe lined with fur, and his dame in a
-contemporary dress of crimson, with the English angular head-dress.
-The heads appear to have been carefully drawn from good portrait-studies
-supplied to the glazier. Calculating from the known age and
-date of Sir John Shelton’s death and his appearance in the window,
-Mr. Nichols holds that these portrait-studies must have been made
-about 1527, and he is of opinion that Holbein’s was the hand which
-supplied some foreign glazier with the designs for them. Neither of
-the heads, however, is to be found among the Windsor series.</p>
-
-<div class='sidenote'>HOLBEIN’S DESIGNS FOR JEWELLERS</div>
-<p class='c023'>It is when we turn to Holbein’s work for jewellers and silversmiths
-that the extraordinary fertility and happiness of his invention and the
-beauty of his design are seen to the greatest advantage. Some hundreds
-of his working drawings in this branch of art still exist, the
-greater number of which are in the British Museum and at Basel, those
-in the latter collection being for the most part contained in a sketch-book
-of his later English period; indeed, most of the drawings which
-have survived were produced in England, though he must have carried
-out a considerable body of work of the same nature while in Basel.
-When he came to London he was already a master of decorative design
-as applied to most of the handicrafts, and his influence soon made
-itself felt among a number of the craftsmen employed by Henry and
-his court. His wonderful skill in the production of fine Renaissance
-ornamentation of the purest taste, combined with a happy use of the
-human figure, set a fashion in jewellery and personal ornament, and
-inspired those who carried out his designs to a greater beauty and
-delicacy of workmanship. The impetus he gave was in the direction
-of fresh models of beautiful form in place of the mannerisms of Gothic
-art into which the decorative crafts had sunk in this country at the
-period of his first arrival in England. Even at so early an age he
-already possessed, in addition to his skill in painting and drawing
-and book illustration, a thorough knowledge of the rules of composition
-and design according to the best Italian traditions, and was
-<span class='pageno' id='Page_274'>274</span>well versed in the use of the forms and proportions of classical architecture
-and ornament, in addition to possessing practical skill in the
-true application of design to the various art crafts and industries.</p>
-
-<div id='pl-41'  class='figcenter id005'>
-<img src='images/pl-41.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 41</span><br />QUEEN JANE SEYMOUR’S CUP<br /><i>Pen-and-ink drawing</i><br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<div class='sidenote'>DESIGNS FOR CUPS AND GOBLETS</div>
-<p class='c023'>Holbein’s most elaborate design for goldsmiths’ work which has
-survived is the one known as the Jane Seymour Cup, which was evidently
-made to the order of the King at about the time of his marriage
-with that lady in 1536. Two drawings for this exist in pen and ink, the
-more highly-finished one, which is washed with colour and gold, being
-in the Bodleian Library, Oxford,<a id='r627' /><a href='#f627' class='c020'><b>[627]</b></a> and the other in the British Museum,<a id='r628' /><a href='#f628' class='c020'><b>[628]</b></a>
-the latter (<a href='#pl-41'>Pl. 41</a>), which is 17¾ in. × 9½ in., showing slight modifications.
-The cup is a covered one, of a very beautiful shape, the lines of
-which are not disguised or confused by the lavish ornamentation with
-which it is covered. The body is set with four circular medallions
-containing busts of “antique heads” in high relief, the one facing the
-spectator being a woman with bared breast. Above them is a deep band
-of exceptionally beautiful interlacing ornament of floriated design;
-and below a smaller band with the initials of Henry and his Queen,
-entwined with true-lovers’ knots, alternating with square-cut precious
-stones set as flowers, and similar bands of precious stones at the base,
-and round the rim of the cover. The stem is decorated with hanging
-pearls and dolphins, cupids’ heads, and wreaths, and a narrow band
-containing the motto of the Queen, “Bound to Obey and Serve,”
-which is repeated on the cover. The latter is of very light and graceful
-design, with two grotesque figures terminating in fish-tails blowing
-foliated trumpets, and above them two cupids supporting a shield
-surmounted by the royal crown. When carried out in gold the general
-effect must have been one of extraordinary richness and beauty.
-That it was so completed is proved by the fact that the cup itself was
-still in the royal collection at the accession of Charles I in 1625. In
-an inventory of that date it is thus described: “Item a faire standing
-Cupp of Goulde, garnished about the cover with eleaven Dyamonds,
-and two poynted Dyamonds about the Cupp, seaventeene Table Dyamonds
-and one Pearle Pendent uppon the Cupp, with theis words
-<span class='fss'>BOVND TO OBEY AND SERVE</span>, and H and I knitt together; in the
-Topp of the Cover the Queenes Armes, an Queene Janes Armes houlden
-by twoe Boyes under a Crowne Imperiall, weighing Threescore and
-<span class='pageno' id='Page_275'>275</span>five ounces and a halfe.” No further traces of this masterpiece of
-the goldsmith’s art exist. In spite of its beauty, it was most
-probably melted down, like much of the royal plate, to meet the
-demands of an impoverished exchequer. It is, indeed, a matter
-of the keenest regret that, in spite of the hundreds of designs with
-which Holbein furnished the London goldsmiths or the Basel
-armourers, not a single example of work so carried out remains, and
-his achievements in this branch of art can only be judged from his
-working drawings.</p>
-
-<div class='footnote c021' id='f627'>
-<p class='c022'><span class='label'><a href='#r627'>627</a>.&nbsp;&nbsp;</span>Woltmann, 222. Reproduced by His, Pl. xlv.</p>
-</div>
-
-<div class='footnote c021' id='f628'>
-<p class='c022'><span class='label'><a href='#r628'>628</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 18. Reproduced by Davies, p. 204; Ganz,
-<i>Hdz. von H. H. dem Jüng.</i>, Pl. 47.</p>
-</div>
-
-<div id='pl-42'  class='figcenter id003'>
-<img src='images/pl-42.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 42</span><br />HANS OF ANTWERP’S CUP<br /><i>Pen and wash drawing</i><br /><span class='sc'>Basel Gallery</span></p>
-</div>
-</div>
-
-<p class='c023'>His designs for cups with covers, goblets, tankards, and other
-table vessels, which from the richness of their ornament were evidently
-intended for ceremonious occasions, are numerous. Some of them are
-only known through Hollar’s etchings, while the drawings for the
-remainder are for the most part in the Basel Gallery. The most
-interesting of them is the standing cup and cover in the Basel sketch-book,
-which Holbein designed for his friend Hans von Antwerp (<a href='#pl-42'>Pl. 42</a>),<a id='r629' /><a href='#f629' class='c020'><b>[629]</b></a>
-which may have been intended by the latter as an addition to the
-collection of plate in the guild-hall of the Steelyard merchants. The
-left-hand half has been drawn with the pen, from which the other half
-has been transferred by damping and pressure. The broad, flat body
-has a deep band of ornament containing nude figures blowing trumpets
-amid foliage, and a somewhat similar band round the base, and
-on the crest of the cover is the nude figure of Truth holding a book
-and a lighted torch. By the side is an alternative design for this
-figure. Round the rim of the cover is inscribed <span class='fss'>HANS VON ANT[WERPEN]</span>.
-Another cup and cover, or table ornament, with a wide stand, of which
-only the left side is shown, though much more hasty in execution, is
-a more highly elaborated piece of decoration, in which small nude
-standing figures are combined with leafage and festoons.<a id='r630' /><a href='#f630' class='c020'><b>[630]</b></a> On the
-side of the sheet are a number of alternative sketches for various details.
-There is no need to describe at length the other designs for
-covered cups in the Basel Gallery, one of which is surmounted by the
-nude figure of a woman with right arm extended and the left hand
-resting on a shield;<a id='r631' /><a href='#f631' class='c020'><b>[631]</b></a> while a second design has a figure of Justice,
-and on the base a medallion with the bust of a lady in sixteenth-century
-<span class='pageno' id='Page_276'>276</span>costume.<a id='r632' /><a href='#f632' class='c020'><b>[632]</b></a> Several studies for tankards are to be found among Hollar’s
-etchings. These etchings indicate the existence at one time of
-a third sketch-book or set of designs, which, at the time when Hollar
-worked from it, was in the possession of the Earl of Arundel, but has
-since disappeared.</p>
-
-<div class='footnote c021' id='f629'>
-<p class='c022'><span class='label'><a href='#r629'>629</a>.&nbsp;&nbsp;</span>Woltmann, 110 (104). Reproduced by His, Pl. xxvii. 1. See
-Vol. ii. p. <a href='#Page_11'>11</a>.</p>
-</div>
-
-<div class='footnote c021' id='f630'>
-<p class='c022'><span class='label'><a href='#r630'>630</a>.&nbsp;&nbsp;</span>Woltmann, 110 (99). Reproduced by His, Pl. xxxi. 2.</p>
-</div>
-
-<div class='footnote c021' id='f631'>
-<p class='c022'><span class='label'><a href='#r631'>631</a>.&nbsp;&nbsp;</span>Woltmann, 109. Reproduced by His, Pl. xxvi. 2.</p>
-</div>
-
-<div class='footnote c021' id='f632'>
-<p class='c022'><span class='label'><a href='#r632'>632</a>.&nbsp;&nbsp;</span>Woltmann, 110 (100). Reproduced by His, Pl. xxvi. 3;
-Ganz, <i>Hdz. Schwz. Mstr.</i>, i. 12.</p>
-</div>
-
-<div id='pl-43'  class='figcenter id006'>
-<img src='images/pl-43.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 43</span><br />SIR ANTHONY DENNY’S CLOCK<br /><i>Indian ink wash and pen drawing</i><br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<p class='c023'>One of the most important of Holbein’s designs in the British
-Museum is the large drawing in pen and ink and Indian-ink wash, of
-an astronomical clock, which was formerly in the Mariette and Horace
-Walpole collections (<a href='#pl-43'>Pl. 43</a>).<a id='r633' /><a href='#f633' class='c020'><b>[633]</b></a> This clock, the design for which must
-have been one of Holbein’s last undertakings, was presented to Henry
-VIII by Sir Anthony Denny on New Year’s Day, 1544, shortly after the
-painter’s death. It consists of an hour-glass enclosed within a case,
-the doors of which stand open in the drawing, with a terminal figure
-of a satyr in the centre, which recalls the very similar figure in the
-full-length woodcut portrait of Erasmus. The hour-glass rests on a
-pedestal with legs, supported at the corners with other terminal
-figures of satyrs, and having a circular space in the centre left blank
-in the drawing. On the decorated crown of the case stand two nude
-boys—for which there is an alternative design in the British Museum
-on one of the leaves of the Sloane sketch-book<a id='r634' /><a href='#f634' class='c020'><b>[634]</b></a>—each pointing to a
-sundial of metal curved outwards in an arc, for which their fingers
-serve as gnomon. On their heads rests a mechanical clock with a
-sun-face in the centre of the dial with fiery locks, one of which forms
-the pointer, the whole surmounted by a crown. On the left side of
-the sheet is a compass, probably intended to fit inside the clock-case.
-The drawing is inscribed, in Sir Anthony Denny’s own handwriting:
-“Strena facta pro anthony deny camerario regio quod in initio novi
-anni 1544 regi dedit.” He was then King’s Chamberlain, and was
-knighted in the September of the year in which he made his royal
-master this handsome gift. Other notes occur on the drawing, here
-and there illegible, made evidently for the guidance of the craftsman
-who carried out Holbein’s design, which is simpler, though no less
-characteristic in style, than his drawing for Queen Jane Seymour’s
-gold cup.</p>
-
-<div class='footnote c021' id='f633'>
-<p class='c022'><span class='label'><a href='#r633'>633</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 17. Woltmann, 193. Reproduced by His,
-Pl. xlvii.; Ganz, <i>Hdz. von H. H. dem Jüng.</i>, Pl. 48.</p>
-</div>
-
-<div class='footnote c021' id='f634'>
-<p class='c022'><span class='label'><a href='#r634'>634</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 22 (<i>a</i>); Woltmann, 194.
-Reproduced by His, Pl. xlvi.</p>
-</div>
-
-<div class='sidenote'>DESIGNS FOR SHEATHS AND HILTS</div>
-<p class='c023'>His designs for sword and dagger hilts, sheaths, and various ornaments
-<span class='pageno' id='Page_277'>277</span>for sword-belts and weapons are numerous, and again display
-his extraordinary fertility of invention and his power of combining
-the human figure with conventional floral and grotesque Renaissance
-ornament into a decorative whole of the utmost elegance and beauty.
-One of the finest, and most elaborate, is the large pen-and-wash drawing,
-17⅞ in. × 4⅝ in., in the British Museum, which was purchased in
-1874 from the Earl of Wicklow’s collection (<a href='#pl-44'>Pl. 44</a>).<a id='r635' /><a href='#f635' class='c020'><b>[635]</b></a> The handle has
-spiral bands set with stones, and numerous pearls are also set in the
-sheath, the hilt, and the guard. These gems are held or supported by a
-number of nude figures of women, old men, satyrs, and children amid
-foliage, each one full of individual character, and drawn as only Holbein
-could draw them. It was evidently intended for execution in
-chiselled gold or silver, and produces an effect of great splendour. Only
-the right half of the sheath is drawn, as the design was to be repeated
-on the other side. There is an alternative design for parts of
-the hilt in the Basel Gallery.<a id='r636' /><a href='#f636' class='c020'><b>[636]</b></a> In the latter collection there is
-also a study for the sheath of a short sword or cutlass in which a
-somewhat similar arrangement has been carried out.<a id='r637' /><a href='#f637' class='c020'><b>[637]</b></a> It is an offset
-taken by Holbein from a pen-and-ink drawing. Another of the Basel
-designs is for a powder-flask, possibly to be executed in bone or
-ivory, in which naked cupids are intermingled with the foliage.<a id='r638' /><a href='#f638' class='c020'><b>[638]</b></a></p>
-
-<div class='footnote c021' id='f635'>
-<p class='c022'><span class='label'><a href='#r635'>635</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 19. Reproduced by His, Pl. xxix.;
-Davies, p. 206.</p>
-</div>
-
-<div class='footnote c021' id='f636'>
-<p class='c022'><span class='label'><a href='#r636'>636</a>.&nbsp;&nbsp;</span>Woltmann, 110 (97). Reproduced by His, Pl. xxx. 3.</p>
-</div>
-
-<div class='footnote c021' id='f637'>
-<p class='c022'><span class='label'><a href='#r637'>637</a>.&nbsp;&nbsp;</span>Woltmann, 110 (28). Reproduced by His, Pl. xxxi. 1.</p>
-</div>
-
-<div class='footnote c021' id='f638'>
-<p class='c022'><span class='label'><a href='#r638'>638</a>.&nbsp;&nbsp;</span>Reproduced by His, xxxi. 3.</p>
-</div>
-
-<p class='c023'>There is a splendid design for a dagger sheath in the Bernburg Ducal
-Library, which is divided into four compartments, the three upper ones
-containing figures in settings of Renaissance architecture.<a id='r639' /><a href='#f639' class='c020'><b>[639]</b></a> In the
-uppermost is a group representing the Judgment of Paris. The youth, in
-sixteenth-century costume, reclines with his back against a pillar
-with Mercury bending over him and offering him the apple, the three
-goddesses standing in front of him, and Cupid aiming at him with a bow
-and arrow. The next division shows the deaths of Pyramus, a cleverly
-foreshortened figure beneath a fountain, and Thisbe, who is stabbing
-herself by his body. Below is Venus within a scalloped niche, with the
-long ass’s ears of a jester, and a blindfolded cupid at her feet. The
-lowest compartment contains scroll-work, the whole terminating in a
-cherub’s head within volutes, with the initial H. at the bottom.
-<span class='pageno' id='Page_278'>278</span>There is a slighter preliminary pen study for this sheath in the Basel
-Gallery, which shows a number of differences (<a href='#pl-45'>Pl. 45 (3)</a>).<a id='r640' /><a href='#f640' class='c020'><b>[640]</b></a> Another
-dagger sheath at Basel is of particular interest because it is dated
-1529,<a id='r641' /><a href='#f641' class='c020'><b>[641]</b></a> and so must have been drawn in Basel after Holbein’s return
-from his first visit to England (<a href='#pl-45'>Pl. 45 (1)</a>). The design consists
-entirely of conventional foliage, seen against a black background, as
-though to be executed in chiselled open-work over some black material
-such as velvet, or to be filled in with niello. There are other sheaths
-in which the subject stands out against a plain black background,
-one, in Berlin, with a Dance of Death,<a id='r642' /><a href='#f642' class='c020'><b>[642]</b></a> of which there is a repetition at
-Basel (<a href='#pl-46'>Pl. 46 (1)</a>),<a id='r643' /><a href='#f643' class='c020'><b>[643]</b></a> which appears to be an impression taken from the
-Berlin drawing, strengthened and finished with Indian-ink, by some
-other hand than Holbein’s; and another in the British Museum, with
-a Triumph of Bellona,<a id='r644' /><a href='#f644' class='c020'><b>[644]</b></a> of which only the sheath is by him. The hilt
-is obviously the work of some other designer, in all probability, according
-to the British Museum catalogue, Peter Flötner of Nuremberg.
-It was formerly in the Beckford Collection, and consists of two pieces
-of paper joined together, the hilt on one and the sheath on the other.
-Another sheath in the Basel Gallery is decorated with a Roman
-Triumph (<a href='#pl-46'>Pl. 46 (2)</a>),<a id='r645' /><a href='#f645' class='c020'><b>[645]</b></a> slightly drawn, in the manner of Mantegna,
-recalling the frieze in the 1517 portrait of Benedikt von Hertenstein;
-and a second of a like quality, representing Joshua’s Passage of the
-Jordan (<a href='#pl-46'>Pl. 46 (3)</a>).<a id='r646' /><a href='#f646' class='c020'><b>[646]</b></a> Other designs for the knobs and cross-pieces
-of dagger hilts will be found in the British Museum (<a href='#pl-47'>Pl. 47</a>).</p>
-
-<div class='footnote c021' id='f639'>
-<p class='c022'><span class='label'><a href='#r639'>639</a>.&nbsp;&nbsp;</span>Woltmann, 124. Reproduced by Woltmann, i. p. 434.</p>
-</div>
-
-<div class='footnote c021' id='f640'>
-<p class='c022'><span class='label'><a href='#r640'>640</a>.&nbsp;&nbsp;</span>Woltmann, 60. Reproduced by His, Pl. xxiii. 3; Ganz,
-<i>Hdz. von H. H. dem Jüng.</i>, Pl. 40.</p>
-</div>
-
-<div class='footnote c021' id='f641'>
-<p class='c022'><span class='label'><a href='#r641'>641</a>.&nbsp;&nbsp;</span>Woltmann, 56. Reproduced by His, Pl. xxiii. 2; Knackfuss,
-fig. 108.</p>
-</div>
-
-<div class='footnote c021' id='f642'>
-<p class='c022'><span class='label'><a href='#r642'>642</a>.&nbsp;&nbsp;</span>Woltmann, 123 (Bauakademie-Beuth-Schinkel Museum).</p>
-</div>
-
-<div class='footnote c021' id='f643'>
-<p class='c022'><span class='label'><a href='#r643'>643</a>.&nbsp;&nbsp;</span>Woltmann, 57. Reproduced by His, Pl. xxi. 3; Knackfuss,
-fig. 109.</p>
-</div>
-
-<div class='footnote c021' id='f644'>
-<p class='c022'><span class='label'><a href='#r644'>644</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 39. Woltmann, 196. Reproduced by
-Davies, p. 206.</p>
-</div>
-
-<div class='footnote c021' id='f645'>
-<p class='c022'><span class='label'><a href='#r645'>645</a>.&nbsp;&nbsp;</span>Woltmann, 58. Reproduced by His, Pl. xxi. 1; Ganz,
-<i>Hdz. Schwz. Mstr.</i>, i. 41 (<i>a</i>).</p>
-</div>
-
-<div class='footnote c021' id='f646'>
-<p class='c022'><span class='label'><a href='#r646'>646</a>.&nbsp;&nbsp;</span>Woltmann, 59. Reproduced by Ganz, <i>Hdz. Schwz.
-Mstr.</i>, i. 41 (<i>b</i>).</p>
-</div>
-
-<div id='pl-44'  class='figcenter id003'>
-<img src='images/pl-44.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 44</span><br />DESIGN FOR DAGGER HILT AND SHEATH<br /><i>Pen-and-ink and Indian-ink wash drawing</i><br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-45'  class='figcenter id003'>
-<img src='images/pl-45.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 45</span><br />DAGGER SHEATH WITH FOLIATED ORNAMENT<br />Dated 1529<br /><br />UPRIGHT BAND OF ORNAMENT<br />Piper and Bears<br /><br />DAGGER SHEATH WITH THE JUDGMENT OF PARIS<br /><span class='sc'>Basel Gallery</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-46'  class='figcenter id003'>
-<img src='images/pl-46.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 46</span><br />1. DAGGER SHEATH WITH A DANCE OF DEATH<br />2. DAGGER SHEATH WITH A ROMAN TRIUMPH<br />3. DAGGER SHEATH WITH JOSHUA’S PASSAGE OF THE JORDAN<br /><span class='sc'>Basel Gallery</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-47'  class='figcenter id003'>
-<img src='images/pl-47.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 47</span><br />DESIGNS FOR DAGGER HILTS<br />1. B.M. 20 (<i>b</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. B.M. 20 (<i>a</i>)<br />2. B.M. 20 (<i>c</i>)<br />4. B.M. 20 (<i>e</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. B.M. 20 (<i>d</i>)<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<div class='sidenote'>DESIGNS FOR PENDANTS AND JEWELS</div>
-<p class='c023'>The sketch-book bequeathed to the British Museum by Sir Hans
-Sloane in 1753 contains nearly two hundred drawings, almost all of
-them designs for jewellery and other small objects for personal use
-or adornment, such as belt tassels and buckles, book covers with rings
-for attachment to girdles, seals, portable sundials, pendants and
-brooches. Henry VIII was lavish in his use of jewellery, and the
-fashion he set was slavishly followed by his courtiers. Dresses were
-loaded with gems and elaborate specimens of the goldsmith’s art,
-<span class='pageno' id='Page_279'>279</span>and this delight in finery was carried to such an extent that it was a
-topic for jest and sarcasm among foreigners. More than one contemporary
-account gives details of the King’s costume and the many jewels
-which adorned it, and the long inventories of his clothes and personal
-ornaments which still exist prove that continental visitors to his
-court did not exaggerate in the descriptions of his person which they
-sent home. French and Italian jewellers paid frequent visits to London,
-and sold him many gems and beautiful specimens of gold and silver
-work and other art objects, while he regularly employed a large number
-of English and resident foreign jewellers. Their services were most
-in demand about New Year’s Day, when gifts were showered upon
-his Majesty, and he in return made many presents, often of great
-value. There is no doubt that some of these gifts were designed by
-Holbein, and that he served as designer to several of the leading
-London goldsmiths. The British Museum Collection contains many
-designs for pendants and for jewels which were suspended round the
-neck by a ribbon or chain, this attachment being shown in a number
-of the studies (<a href='#pl-48'>Pl. 48</a>). In most of them table diamonds and other
-flat stones, together with pearls, are arranged in geometric patterns,
-the interstices being filled with strap, scroll, or ribbon-work, or
-some conventional floral design. Occasionally at the top of the jewel
-there is
-a small grotesque or nude figure (<a href='#pl-49'>Pl. 49</a>). Many of the designs have a
-black ground indicating niello or champlevé enamel. In some instances,
-however, the blackening may have been done merely to indicate the
-design more clearly to the craftsman who was to carry it out. Some
-of them are coloured and are often touched with gold, so that it is
-possible to tell the jewels and materials it was intended to use.
-Several pendants are in the shape of a cross, and others heart-shaped;
-one of the latter is of gold, with three pendant pearls, and two doves
-billing on a green bough in enamel, with the motto, <span class='fss'>TVRTVRVM CONCORDIA</span>
-(<a href='#pl-48'>Pl. 48 (3)</a>).<a id='r647' /><a href='#f647' class='c020'><b>[647]</b></a> Another shows the bust of a woman in Tudor
-dress holding between her hands a large table-cut stone, across which is
-written, apparently in another hand, “Well Laydi Well” (<a href='#pl-49'>Pl. 49 (9)</a>).<a id='r648' /><a href='#f648' class='c020'><b>[648]</b></a>
-Several pendants are in the form of monograms, a very fine one consisting
-of the letters R. and E. in gold, with two rubies, an emerald,
-and a garnet at the four corners, hung by a ribbon above and with
-<span class='pageno' id='Page_280'>280</span>three pearls below (<a href='#pl-48'>Pl. 48 (7)</a>);<a id='r649' /><a href='#f649' class='c020'><b>[649]</b></a> many of the designs, in fact, show
-one or more pearls suspended in this fashion. A jewel very similar
-to the last-named, formed of the sacred monogram, is worn by Jane
-Seymour in her portrait at Vienna. Another pendant monogram, with
-the initials H and I and an emerald in the centre (<a href='#pl-48'>Pl. 48 (6)</a>), was
-evidently designed for the King and his third Queen.<a id='r650' /><a href='#f650' class='c020'><b>[650]</b></a> Several of them
-have mottoes, such as <span class='fss'>QVAM ACCIPERE DARE MVLTO BEATIVS</span> (<a href='#pl-49'>Pl. 49 (7)</a>),<a id='r651' /><a href='#f651' class='c020'><b>[651]</b></a>
-or <span class='fss'>PRVDENTEMENT ET PAR COMPAS INCONTINENT VIENDRAS</span>,<a id='r652' /><a href='#f652' class='c020'><b>[652]</b></a> the latter
-on a round device of two horns of plenty, two dolphins and a pair of
-compasses with serpents writhing round them (<a href='#pl-50'>Pl. 50 (8)</a>). Among the
-brooches there is one consisting of three diamonds enwreathed by a
-scroll, on which is inscribed, <span class='sc'>Mi Ladi Prinsis</span>, and the same motto
-occurs on a second.<a id='r653' /><a href='#f653' class='c020'><b>[653]</b></a></p>
-
-<div class='footnote c021' id='f647'>
-<p class='c022'><span class='label'><a href='#r647'>647</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 27 (<i>b</i>). Woltmann, 199 (30).
-Reproduced by His, Pl. xliii.</p>
-</div>
-
-<div class='footnote c021' id='f648'>
-<p class='c022'><span class='label'><a href='#r648'>648</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 28 (<i>a</i>). Reproduced by His, Pl.
-xli.</p>
-</div>
-
-<div class='footnote c021' id='f649'>
-<p class='c022'><span class='label'><a href='#r649'>649</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 27 (<i>e</i>). Reproduced by His, Pl.
-xliii.</p>
-</div>
-
-<div class='footnote c021' id='f650'>
-<p class='c022'><span class='label'><a href='#r650'>650</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 27 (<i>f</i>). Reproduced by His, Pl.
-xliii.</p>
-</div>
-
-<div class='footnote c021' id='f651'>
-<p class='c022'><span class='label'><a href='#r651'>651</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 28 (<i>f</i>). Reproduced by His, Pl.
-xli.</p>
-</div>
-
-<div class='footnote c021' id='f652'>
-<p class='c022'><span class='label'><a href='#r652'>652</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>i</i>). Reproduced by His, Pl.
-xl.</p>
-</div>
-
-<div class='footnote c021' id='f653'>
-<p class='c022'><span class='label'><a href='#r653'>653</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 30 (<i>a</i> and <i>b</i>). Reproduced
-by His, Pl. xxxiv.</p>
-</div>
-
-<div class='sidenote'>DESIGNS FOR MEDALLIONS</div>
-<p class='c023'>There are two designs for book bindings with rings for suspension, no
-doubt covers for a prayer book. They are decorated with metal and
-enamel in arabesque patterns, and one of them has the initials T.W. in
-the centre, which are repeated in the corners, T.W. above and W.T.
-below.<a id='r654' /><a href='#f654' class='c020'><b>[654]</b></a> On the second the same initials are combined with an I,<a id='r655' /><a href='#f655' class='c020'><b>[655]</b></a>
-and in both cases it is probable that they were intended for Sir
-Thomas Wyat. Two very similar designs appear to be for a jewelcase,
-or perhaps a portable reliquary.<a id='r656' /><a href='#f656' class='c020'><b>[656]</b></a> There is also an interesting
-drawing of a seal with the coat of arms of Charles Brandon, Duke of
-Suffolk, within the garter and its motto, and around the whole a
-circular band inscribed <span class='fss'>CAROLVS DVX SVFFYCIE PRO HONORE SVO
-RICHEMOND</span> (<a href='#pl-50'>Pl. 50 (4)</a>).<a id='r657' /><a href='#f657' class='c020'><b>[657]</b></a> Among the remaining studies are
-various devices, coats of arms, including Holbein’s own (<a href='#pl-50'>Pl. 50 (6)</a>),
-book clasps, bracelets, chains (<a href='#pl-50'>Pl. 51 (3, 4, and 5)</a>), collars, rings,
-a number of monograms (<a href='#pl-48'>Pl. 48 (1)</a>), some of them
-containing as many as eleven letters, probably concealing a complete
-name or the initials of the words of some device, grotesque figures,
-winged warriors, nude women, and satyrs—the latter in some cases
-certainly intended for the foot of a
-<span class='pageno' id='Page_281'>281</span>vase, box, or salt-cellar, or some such table ware—together with a
-variety of ornaments for which the exact purpose is not indicated.
-These last are largely fragments of circular borders or segments of
-discs, decorated with arabesques on enamel (<a href='#pl-52'>Pl. 52</a>). In some of
-these designs for enamel the pattern is in white on a ground of blue and
-red or blue and black.</p>
-
-<div class='footnote c021' id='f654'>
-<p class='c022'><span class='label'><a href='#r654'>654</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 31 (<i>b</i>). Woltmann, 191.
-Reproduced by His, Pl. xliv.; Davies, p. 226.</p>
-</div>
-
-<div class='footnote c021' id='f655'>
-<p class='c022'><span class='label'><a href='#r655'>655</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 31 (<i>a</i>). Woltmann, 191.
-Reproduced by His, Pl. xliv.; Davies, p. 226.</p>
-</div>
-
-<div class='footnote c021' id='f656'>
-<p class='c022'><span class='label'><a href='#r656'>656</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 31 (<i>c</i> and <i>d</i>). Reproduced
-by His, Pl. xliv.; Davies, p. 226.</p>
-</div>
-
-<div class='footnote c021' id='f657'>
-<p class='c022'><span class='label'><a href='#r657'>657</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>a</i>); Woltmann, 199 (44).
-Reproduced by His, Pl. xl.</p>
-</div>
-
-<p class='c023'>Among the designs at Basel is a very charming and humorous
-upright band or panel, for goldsmith’s work (#Pl. 45 (2):pl-45),<a id='r658' /><a href='#f658' class='c020'><b>[658]</b></a> in which
-eight bears are shown climbing among the leaves of a vine accompanied
-by a little man with a high peaked cap blowing a trumpet and
-beating a drum, a design no doubt suggested to Holbein by the sight
-of some travelling showman with a troupe of performing animals.
-Two other bands of ornament in the Basel Gallery, in which the design
-is arranged horizontally, represent in one case a humorous frieze with
-nude children,<a id='r659' /><a href='#f659' class='c020'><b>[659]</b></a> and in the other similar children with dogs hunting
-a hare, chasing one another, and blowing horns (<a href='#pl-51'>Pl. 51 (1 and 2)</a>)<a id='r660' /><a href='#f660' class='c020'><b>[660]</b></a>
-The latter is a carefully-finished drawing, in which the small figures
-are arranged with great decorative effect among curved Renaissance
-ornamentation of conventional floriated design. In the same collection
-there are several elaborately decorated mirror-frames.</p>
-
-<div class='footnote c021' id='f658'>
-<p class='c022'><span class='label'><a href='#r658'>658</a>.&nbsp;&nbsp;</span>Woltmann, 54. Reproduced by His, Pl. xxii. 2; Knackfuss, fig. 111.</p>
-</div>
-
-<div class='footnote c021' id='f659'>
-<p class='c022'><span class='label'><a href='#r659'>659</a>.&nbsp;&nbsp;</span>Woltmann, 61.</p>
-</div>
-
-<div class='footnote c021' id='f660'>
-<p class='c022'><span class='label'><a href='#r660'>660</a>.&nbsp;&nbsp;</span>Woltmann, 55. Reproduced by His, Pl. xxv. 4; Knackfuss, fig. 110.</p>
-</div>
-
-<div id='pl-48'  class='figcenter id001'>
-<img src='images/pl-48.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol II., Plate 48</span><br />DESIGNS FOR PENDANTS AND ORNAMENTS<br />1. B.M. 33 (<i>f</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. B.M. 33 (<i>g</i>)<br />3. B.M. 27 (<i>b</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4. B.M. 27 (<i>d</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. B.M. 27 (<i>c</i>)<br />6. B.M. 27 (<i>f</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;7. B.M. 27 (<i>e</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. B.M. 27 (<i>a</i>)<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-49'  class='figcenter id001'>
-<img src='images/pl-49.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 49</span><br />DESIGNS FOR PENDANTS<br />1. B.M. 28 (<i>m</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. B.M. 28 (<i>g</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. B.M. 28 (<i>e</i>)<br />4. B.M. 28 (<i>k</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. B.M. 28 (<i>l</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. B.M. 28 (<i>i</i>)<br />7. B.M. 28 (<i>f</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. B.M. 28 (<i>d</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;9. B.M. 28 (<i>a</i>)<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-50'  class='figcenter id001'>
-<img src='images/pl-50.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 50</span><br />DESIGNS FOR MEDALLIONS OR ENSEIGNES<br />1. B.M. 35 (<i>d</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. B.M. 35 (<i>e</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. B.M. 35 (<i>c</i>)<br />4. B.M. 29 (<i>a</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. B.M. 29 (<i>l</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. B.M. 29 (<i>e</i>)<br />7. B.M. 29 (<i>b</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. B.M. 29 (<i>i</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;9. B.M. 29 (<i>g</i>)<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<p class='c023'>There remains one particular form of personal ornament for which
-Holbein’s services as designer were in constant demand. This was the
-circular medallion or <i>enseigne</i> worn on the hat, and also, in
-the case of ladies, as a pendant at the end of a chain or ribbon, or
-in the shape of a brooch fastened to the front of the dress. They
-usually bore some figure-subject, the earlier examples being, as a
-rule, religious, with figures or emblems of saints or scenes from the
-Scriptures. In course of time subjects taken from classical story or
-mediæval legend were used, and designs of a fanciful and allegorical
-nature. They became highly popular forms of personal adornment, and
-French and Italian jewellers brought numbers of them over to London.
-“Every one, from the highest rank downwards,” says Mr. H. Clifford
-Smith, “had his personal <i>devise</i> or <i>impresa</i>, or more
-often a series of them. It was worn as an emblem—an ingenious
-expression of some conceit of the wearer, the outcome of his peculiar
-frame of mind. It usually
-<span class='pageno' id='Page_282'>282</span>contained some obscure meaning, the sense of which, half hidden and
-half revealed, was intended to afford some play for the ingenuity of
-the observer. The love of the time for expressing things by riddles
-led to the publication of sets of emblems, like those of Alciatus, which
-had imitations in all directions. Every one, in fact, tried his hand at
-these ‘toys of the imagination.’”<a id='r661' /><a href='#f661' class='c020'><b>[661]</b></a></p>
-
-<div class='footnote c021' id='f661'>
-<p class='c022'><span class='label'><a href='#r661'>661</a>.&nbsp;&nbsp;</span>H. Clifford Smith, <i>Jewellery</i>, The Connoisseur’s
-Library, 1908, p. 223.</p>
-</div>
-
-<div id='pl-51'  class='figcenter id001'>
-<img src='images/pl-51.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 51</span><br />1. BAND OF ORNAMENT Children at Play<br />2. BAND OF ORNAMENT Children and Dogs hunting a Hare<br /><span class='sc'>Basel Gallery</span><br /><br />3. DESIGN FOR A COLLAR WITH NYMPHS AND SATYRS (35<b><i>h</i></b>)<br />4. DESIGN FOR A CHAIN (35<b><i>f</i></b>)<br />5. DESIGN FOR A BRACELET OR COLLAR WITH DIAMONDS AND PEARLS (35<b><i>a</i></b>)<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<hr class='c028' />
-
-<div id='pl-52'  class='figcenter id001'>
-<img src='images/pl-52.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 52</span> DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS<br /><span class='sc'>British Museum</span></p>
-</div>
-</div>
-
-<p class='c023'>That these hat-badges and brooches were worn by almost every
-one at Henry’s court is shown by their representation in many of
-Holbein’s pictures and in a large number of the Windsor drawings.
-In the latter, unfortunately, the subjects are so slightly indicated
-that it is impossible in most cases to make them out. They are to be
-found almost invariably in the portraits of courtiers, the learned
-doctors and the more soberly-attired German merchants not using
-them. Those worn by the more wealthy were generally of gold, with
-the design in repoussé work, frequently enamelled in colours, and
-often with precious stones set in them. They were, as a rule, surrounded
-by a border or framework of similar workmanship, sometimes set with
-jewels. Some of them were fastened with a pin, like a brooch, others
-had loops or small holes round the edges so that they could be sewn
-to the hat. Henry VIII possessed a large collection of these ornaments.
-In a list dated 1526 there is mentioned, among many others,
-a crimson velvet bonnet, double turfed, with a brooch of St. Michael
-set with diamonds, and a white rose on one side and a red rose on the
-other; and another of a buttoned cap of black velvet with a diamond
-and a brooch of Paris work of St. James. Other hats had brooches
-representing “three men and a pearl in the back of one of them”;
-a lady leading a brace of greyhounds; Venus and Cupids; a lady holding
-a heart in her hand; another lady holding a crown; another with
-a cameo head and a hanging pearl; “a man standing on a faggot of
-fire”; “a handful of feathers”; “a gentleman in a lady’s lap”;
-and St. George, Hercules, and so on.<a id='r662' /><a href='#f662' class='c020'><b>[662]</b></a> In another list, two years later
-in date, there is mentioned “a brooch with a gentlewoman luting,
-with a scripture over it.”<a id='r663' /><a href='#f663' class='c020'><b>[663]</b></a> Occasionally these <i>enseignes</i> are described
-as “valentines of goldsmith’s work.” Most of the King’s hats were
-also lavishly decorated with gold aglets.</p>
-
-<div class='footnote c021' id='f662'>
-<p class='c022'><span class='label'><a href='#r662'>662</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. i. 1907.</p>
-</div>
-
-<div class='footnote c021' id='f663'>
-<p class='c022'><span class='label'><a href='#r663'>663</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. ii. 5114. See vol. i. p. 357.</p>
-</div>
-
-<div class='sidenote'>DESIGNS FOR MEDALLIONS</div>
-<p class='c023'><span class='pageno' id='Page_283'>283</span>None of the jewels included in these earlier lists can have been
-designed by Holbein; but after he became attached to the court he
-appears to have been constantly employed in this way, and it became,
-no doubt, the fashion to wear an <i>enseigne</i> or medallion of his
-devising. Among his drawings, in the British Museum, at Basel, and at
-Chatsworth, there are a number of small circular designs with
-figure-subjects which were evidently intended for such purposes.
-Unfortunately, only in one single case has a design been found among
-his sketches which corresponds with the gold-and-enamel badge worn by
-the sitter in one of his finished pictures—the beautiful little
-drawing of “Lot and his Daughters” in the British Museum (<a href='#pl-50'>Pl. 50 (2)</a>),
-which, as recently pointed out by Mr. Lionel Cust, was the design for
-the medallion shown in the portrait of Catherine Howard.<a id='r664' /><a href='#f664' class='c020'><b>[664]</b></a> Very
-possibly some of the other <i>enseignes</i> or pendant roundels
-represented in his portraits were of his own devising, but they are
-painted on so small a scale that the subjects upon them are difficult
-to decipher.</p>
-
-<div class='footnote c021' id='f664'>
-<p class='c022'><span class='label'><a href='#r664'>664</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_195'>195</a>-<a href='#Page_196'>196</a>.</p>
-</div>
-
-<p class='c023'>The medallion of “Lot and his Daughters” forms one of a numerous
-series of roundels, usually about 2½ in. in diameter, with subjects
-taken from the Old Testament, the greater number of which are in
-the Basel sketch-book. Among the latter are three different studies
-on one sheet for the subject of Hagar and Ishmael in the Wilderness,<a id='r665' /><a href='#f665' class='c020'><b>[665]</b></a>
-and a fourth with Sarah giving Hagar to her husband;<a id='r666' /><a href='#f666' class='c020'><b>[666]</b></a> the Sacrifice
-of Cain and Abel;<a id='r667' /><a href='#f667' class='c020'><b>[667]</b></a> Jacob embracing Rachel;<a id='r668' /><a href='#f668' class='c020'><b>[668]</b></a> Jacob causing the
-stone to be removed from the well for Rachel,<a id='r669' /><a href='#f669' class='c020'><b>[669]</b></a> a very beautiful little
-drawing with an interesting group of buildings in the background;
-David and the Woman of Tekoah kneeling before him;<a id='r670' /><a href='#f670' class='c020'><b>[670]</b></a> the Sacrifice
-of Elijah, in which a jewel is inset to depict the fire on the altar;<a id='r671' /><a href='#f671' class='c020'><b>[671]</b></a>
-and Moses and the destruction of Korah and his company.<a id='r672' /><a href='#f672' class='c020'><b>[672]</b></a> This
-last is set within an open-work border with mermaids and cupids
-amid scroll-work. Several other subjects from the Old Testament,
-such as Judah and Tamar, and David playing before Saul, are to be
-found among the engravings made by Wenceslaus Hollar from drawings
-by Holbein, now lost, when in the Arundel Collection. Among
-<span class='pageno' id='Page_284'>284</span>the subjects from the New Testament at Basel are the Baptism of
-Christ,<a id='r673' /><a href='#f673' class='c020'><b>[673]</b></a> the Last Judgment,<a id='r674' /><a href='#f674' class='c020'><b>[674]</b></a> and the Repentant Magdalen.<a id='r675' /><a href='#f675' class='c020'><b>[675]</b></a> Two
-designs of the Archangel Michael slaying the Dragon are for the badge
-accompanying a chain of the order of St. Michael, and may have been
-drawn from the badge belonging to Dinteville.<a id='r676' /><a href='#f676' class='c020'><b>[676]</b></a> Another represents
-the kneeling figures of a young couple in English dress holding a cup
-with a heart over it, evidently for “a valentine of goldsmith’s work.”<a id='r677' /><a href='#f677' class='c020'><b>[677]</b></a>
-Among the unknown subjects is one in which a nude man is standing
-upon a prostrate knight, who with one hand shatters Cupid’s bow and
-with the other breaks the fallen man’s sword;<a id='r678' /><a href='#f678' class='c020'><b>[678]</b></a> one which repeats
-one of the subjects of the Basel Town Hall wall-paintings—the blinding
-of Zaleucus;<a id='r679' /><a href='#f679' class='c020'><b>[679]</b></a> and others representing Juno and Callisto, Pomona,
-Leucothea on a dolphin, and two Centaurs.<a id='r680' /><a href='#f680' class='c020'><b>[680]</b></a></p>
-
-<div class='footnote c021' id='f665'>
-<p class='c022'><span class='label'><a href='#r665'>665</a>.&nbsp;&nbsp;</span>Woltmann, 110 (37-43). Reproduced by Ganz, <i>Hdz. Schwz.
-Mstr.</i>, ii. 5.</p>
-</div>
-
-<div class='footnote c021' id='f666'>
-<p class='c022'><span class='label'><a href='#r666'>666</a>.&nbsp;&nbsp;</span>Woltmann, 110 (67). Reproduced by Ganz, <i>Hdz. von H. H.
-dem Jüng.</i>, Pl. 45.</p>
-</div>
-
-<div class='footnote c021' id='f667'>
-<p class='c022'><span class='label'><a href='#r667'>667</a>.&nbsp;&nbsp;</span>Woltmann, 110 (71).</p>
-</div>
-
-<div class='footnote c021' id='f668'>
-<p class='c022'><span class='label'><a href='#r668'>668</a>.&nbsp;&nbsp;</span>Woltmann, 110 (68).</p>
-</div>
-
-<div class='footnote c021' id='f669'>
-<p class='c022'><span class='label'><a href='#r669'>669</a>.&nbsp;&nbsp;</span>Woltmann, 110 (76). Reproduced by Ganz, <i>Hdz. von H. H.
-dem Jüng.</i>, Pl. 45.</p>
-</div>
-
-<div class='footnote c021' id='f670'>
-<p class='c022'><span class='label'><a href='#r670'>670</a>.&nbsp;&nbsp;</span>Woltmann, 110 (70).</p>
-</div>
-
-<div class='footnote c021' id='f671'>
-<p class='c022'><span class='label'><a href='#r671'>671</a>.&nbsp;&nbsp;</span>Woltmann, 110 (63, 65).</p>
-</div>
-
-<div class='footnote c021' id='f672'>
-<p class='c022'><span class='label'><a href='#r672'>672</a>.&nbsp;&nbsp;</span>Woltmann, 110 (77). Reproduced by Ganz, <i>Hdz. von H. H.
-dem Jüng.</i>, Pl. 42.</p>
-</div>
-
-<div class='footnote c021' id='f673'>
-<p class='c022'><span class='label'><a href='#r673'>673</a>.&nbsp;&nbsp;</span>Woltmann, 110 (73).</p>
-</div>
-
-<div class='footnote c021' id='f674'>
-<p class='c022'><span class='label'><a href='#r674'>674</a>.&nbsp;&nbsp;</span>Woltmann, 110 (75).</p>
-</div>
-
-<div class='footnote c021' id='f675'>
-<p class='c022'><span class='label'><a href='#r675'>675</a>.&nbsp;&nbsp;</span>Woltmann, 110 (55, 56).</p>
-</div>
-
-<div class='footnote c021' id='f676'>
-<p class='c022'><span class='label'><a href='#r676'>676</a>.&nbsp;&nbsp;</span>Woltmann, 110 (64).</p>
-</div>
-
-<div class='footnote c021' id='f677'>
-<p class='c022'><span class='label'><a href='#r677'>677</a>.&nbsp;&nbsp;</span>Woltmann, 110 (88).</p>
-</div>
-
-<div class='footnote c021' id='f678'>
-<p class='c022'><span class='label'><a href='#r678'>678</a>.&nbsp;&nbsp;</span>Woltmann, 110 (62).</p>
-</div>
-
-<div class='footnote c021' id='f679'>
-<p class='c022'><span class='label'><a href='#r679'>679</a>.&nbsp;&nbsp;</span>Woltmann, 110 (61).</p>
-</div>
-
-<div class='footnote c021' id='f680'>
-<p class='c022'><span class='label'><a href='#r680'>680</a>.&nbsp;&nbsp;</span>Woltmann, 110 (53, 74, 81, 83).</p>
-</div>
-
-<p class='c023'>The subjects of similar medallions in the British Museum include
-one of the Annunciation,<a id='r681' /><a href='#f681' class='c020'><b>[681]</b></a> with the legend “<span class='fss'>ORIGO MVNDI MELIORIS</span>”
-round it, with a border of daisies in yellow and green enamel; one of
-the Trinity,<a id='r682' /><a href='#f682' class='c020'><b>[682]</b></a> with the legend “<span class='fss'>TRINITATIS GLORIA SATIABIMVR</span>”
-(<a href='#pl-50'>Pl. 50 (5)</a>), and a border of roses in enamel, both of which are in pen
-and ink washed with water-colours; and a third with a standing
-figure of St. John the Baptist (<a href='#pl-50'>Pl. 50 (3)</a>).<a id='r683' /><a href='#f683' class='c020'><b>[683]</b></a> Yet another depicts Time
-extracting Truth from the Rock (<a href='#pl-50'>Pl. 50 (1)</a>,<a id='r684' /><a href='#f684' class='c020'><b>[684]</b></a> also with a Latin quotation
-round the edge, and a second, with the motto, “<span class='fss'>PRVDENTEMENT
-ET PAR COMPAS INCONTINENT VIENDRAS</span>,” already described.<a id='r685' /><a href='#f685' class='c020'><b>[685]</b></a> Further
-designs for <i>enseignes</i> contain such subjects as a sleeping boy lying
-under a fountain, which jets its water upon him (<a href='#pl-50'>Pl. 50 (9)</a>);<a id='r686' /><a href='#f686' class='c020'><b>[686]</b></a> and a
-woman in flames, with her father and mother lamenting over her,
-which is said by Woltmann to represent Dido on the funeral
-pyre.<a id='r687' /><a href='#f687' class='c020'><b>[687]</b></a> Among other roundels, two contain Holbein’s own coat
-of arms (<a href='#pl-50'>Pl. 50 (6)</a>),<a id='r688' /><a href='#f688' class='c020'><b>[688]</b></a> and two others a device with a hand issuing
-from a cloud and resting on a book which lies on a rock, and
-<span class='pageno' id='Page_285'>285</span>the Italian motto, “<span class='fss'>SERVAR’ VOGLIO QVEL CHE HO GVIRATO</span>”
-(<a href='#pl-50'>Pl. 50 (7)</a>).<a id='r689' /><a href='#f689' class='c020'><b>[689]</b></a></p>
-
-<div class='footnote c021' id='f681'>
-<p class='c022'><span class='label'><a href='#r681'>681</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>k</i>). Woltmann, 199 (19).
-Reproduced by His, Pl. xl.</p>
-</div>
-
-<div class='footnote c021' id='f682'>
-<p class='c022'><span class='label'><a href='#r682'>682</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>l</i>). Woltmann, 199 (13).
-Reproduced by His, Pl. xl.</p>
-</div>
-
-<div class='footnote c021' id='f683'>
-<p class='c022'><span class='label'><a href='#r683'>683</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 35 (<i>c</i>).</p>
-</div>
-
-<div class='footnote c021' id='f684'>
-<p class='c022'><span class='label'><a href='#r684'>684</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 35 (<i>d</i>).</p>
-</div>
-
-<div class='footnote c021' id='f685'>
-<p class='c022'><span class='label'><a href='#r685'>685</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>i</i>). Reproduced by His, Pl.
-xl.</p>
-</div>
-
-<div class='footnote c021' id='f686'>
-<p class='c022'><span class='label'><a href='#r686'>686</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>g</i>). Reproduced by His, Pl.
-xl.</p>
-</div>
-
-<div class='footnote c021' id='f687'>
-<p class='c022'><span class='label'><a href='#r687'>687</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>h</i>). Woltmann, 199 (15).
-Reproduced by His, Pl. xl.</p>
-</div>
-
-<div class='footnote c021' id='f688'>
-<p class='c022'><span class='label'><a href='#r688'>688</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>e</i>, <i>f</i>).  Woltmann,
-199 (42). Reproduced by His, Pl. xl.</p>
-</div>
-
-<div class='footnote c021' id='f689'>
-<p class='c022'><span class='label'><a href='#r689'>689</a>.&nbsp;&nbsp;</span>Brit. Mus. Catg., 29 (<i>b</i>, <i>c</i>). Woltmann, 199
-(22). Reproduced by His, Pl. xl.</p>
-</div>
-
-<p class='c023'>At Chatsworth there is a sheet of drawings containing six <i>enseignes</i>
-and one larger design which appears to be for some kind of a sheath.<a id='r690' /><a href='#f690' class='c020'><b>[690]</b></a>
-They are among the very finest examples of Holbein’s work in this
-field, drawn with the greatest delicacy, and admirable in composition.
-They represent (1) Hagar and Ishmael (<a href='#pl-53'>Pl. 53 (2)</a>), a variant of the
-Basel design, in which the angel is flying towards Hagar, who is seated
-under a tree, with the naked infant asleep under a bush, and on a
-scroll the names “Hagar” and “Ismael”; (2) The Last Judgment
-(<a href='#pl-53'>Pl. 53 (3)</a>), with Christ seated on clouds, and men and women kneeling
-below, with figures struggling out of graves, and on one side the yawning
-mouth of a dragon representing hell; (3) Icarus falling into the
-sea (<a href='#pl-53'>Pl. 53 (1)</a>), his wings melted by the sun, and Phœbus driving his
-chariot drawn by four winged horses through the sky; (4) Diana and
-Actæon (<a href='#pl-53'>Pl. 53 (5)</a>), with four nude women standing in water on the
-left, and Actæon on the bank already turning into a stag, with his
-dogs attacking him, and others rushing through the wood in the background;
-(5) three beehives on a wooden stand under a roof of rushes
-(<a href='#pl-53'>Pl. 53 (6)</a>), with Cupid, blindfolded, his bow on the ground, holding
-up his hands as though stung by the bees which are flying round him, and
-below a shield for a coat of arms, coloured blue, and the motto, “<span class='fss'>NOCET
-EMPTA DOLORE VOLUPTA</span>,” on a ribbon scroll, the whole surrounded
-by a band of conventional scroll pattern; (6) a man in sixteenth-century
-costume, with folded arms, asleep on the grass, under an oak
-tree on a rocky piece of ground (<a href='#pl-53'>Pl. 53 (7)</a>). On the right is a large
-clock with hanging weights, the hands pointing to twelve o’clock, and
-the figure of a small child pulling the rope of the hammer which strikes
-the bell. Round the trunk of the tree is a scroll with the legend
-“<span class='fss'>ASPETTO LA HORA</span>” (I await the hour). This is possibly the design
-for a watch-back. These medallions are in pen and bistre, with
-touches of red in some of the figures, and green here and there in trees
-or grass. The remaining design seems to be for a short, broad sheath,
-but not, apparently, for a weapon (<a href='#pl-53'>Pl. 53 (4)</a>). It represents the Rape
-of Helen, who stands on the seashore, seized by the arms by two men,
-<span class='pageno' id='Page_286'>286</span>one wearing a helmet. A boat containing figures—some of them
-waving their hands—is coming towards them over the water. There
-are some buildings on the left, and at the bottom, in the foreground,
-two nude figures with long spades digging in the sand. The leg of
-one of these two figures projects beyond the boundary-line of the
-sheath, showing that the design was not intended for a flat ornament,
-but was to be continued on both sides of the object.<a id='r691' /><a href='#f691' class='c020'><b>[691]</b></a></p>
-
-<div class='footnote c021' id='f690'>
-<p class='c022'><span class='label'><a href='#r690'>690</a>.&nbsp;&nbsp;</span>Woltmann, 131-7. All reproduced by S. Arthur Strong, in
-his <i>Drawings by Old Masters at Chatsworth</i>, and in <i>Critical
-Studies and Fragments</i>, Pl. xviii. p. 132; and in <i>Burlington
-Magazine</i>, vol. i. No. iii., May 1903, frontispiece.</p>
-</div>
-
-<div class='footnote c021' id='f691'>
-<p class='c022'><span class='label'><a href='#r691'>691</a>.&nbsp;&nbsp;</span>In the <i>Burlington Magazine</i> (vol. i. No. iii., May
-1903, p. 354) some doubt is thrown upon the correctness of the
-attribution of the Chatsworth roundels to Holbein, but in every touch
-his handiwork is unmistakable.</p>
-</div>
-
-<div id='pl-53'  class='figcenter id001'>
-<img src='images/pl-53.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 53</span><br />DESIGNS FOR MEDALLIONS, ETC.<br />1. ICARUS&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. HAGAR AND ISHMAEL<br />3. THE LAST JUDGMENT&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4. THE RAPE OF HELEN<br />5. DIANA AND ACTÆON&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. CUPID AND BEES<br />7. “I AWAIT THE HOUR”<br />Duke of Devonshire’s Collection<br /><span class='sc'>Chatsworth</span></p>
-</div>
-</div>
-
-<p class='c023'>The wide range of subject shown in these badges affords remarkable
-proof of the fertility of Holbein’s invention. The great
-number of them, too, indicates that he must have found regular and
-lucrative employment in work for the London jewellers and goldsmiths.
-Possibly those which remain formed only a small part of his
-total output. It has been suggested, indeed, that none of the studies
-which have survived were actually carried out as ornaments, but were
-rather designs either rejected by the goldsmith or the patron for whom
-Holbein was working, or were merely drawn by the artist as part of
-his stock-in-trade, from which clients could make their selection.<a id='r692' /><a href='#f692' class='c020'><b>[692]</b></a>
-This supposition is based on the fact that the drawings have always
-been carefully preserved in the original sketch-books, and bear no
-traces of having undergone the rough usage of a goldsmith’s workshop.
-It does not seem at all probable, however, that this was the
-case; it is, indeed, absurd to suppose that these designs, several hundreds
-in number, and many of them of the greatest beauty, could have
-been rejected as not good enough by those for whom they were prepared.
-It has been seen that the design for the medallion with the
-subject of Lot and his Daughters was actually carried out for the
-adornment of Catherine Howard, to say nothing of those larger drawings
-for the Jane Seymour Cup and the Denny astronomical clock,
-which, in any case, cannot have been rejected designs. A much
-simpler explanation is that Holbein kept his original designs by him
-for future reference, and made other versions or copies, possibly
-sometimes more elaborate in detail, for the use of the craftsmen who
-carried them out.</p>
-
-<div class='footnote c021' id='f692'>
-<p class='c022'><span class='label'><a href='#r692'>692</a>.&nbsp;&nbsp;</span>See R. E. D. Sketchley, “Holbein as Goldsmith’s
-Designer,” in <i>Art Journal</i>, June 1910, p. 175.</p>
-</div>
-
-<p class='c023'>With the exception of the cup designed for Hans of Antwerp,
-<span class='pageno' id='Page_287'>287</span>which shows that the two men worked together, it is impossible to
-connect Holbein’s name directly with that of any one of the many
-goldsmiths who served the court; but it is probable that he was employed
-by at least several of them, and almost certainly by Cornelis
-Hayes. There were an extraordinary number of such craftsmen, both
-native and foreign, in London at that period, and many others, more
-particularly Frenchmen and Italians, who paid periodical visits to
-England in order to sell works of art and jewels to the King and the
-nobility.</p>
-
-<div class='sidenote'>THE KING’S JEWELLERS</div>
-<p class='c023'>The leading London jeweller of the earlier part of Henry’s reign was
-Robert Amadas, of Lombard Street, an alderman, who in 1526 was
-appointed Master of the Jewel House, a post which he held until his
-death in 1532, when he was succeeded by Thomas Cromwell. Other leading
-goldsmiths were Alderman Sir John Mundy, appointed justice to
-the merchants of the Steelyard in 1525,<a id='r693' /><a href='#f693' class='c020'><b>[693]</b></a> Alderman Robert Fenrother,
-Gerard Hughes, Robert Lord, Nicholas and Henry Wooley, Thomas
-Trappes, William Holland, John Twiselton, John van Utricke, and
-Henry Holtesweller. Large sums were spent in New Year’s gifts,
-the King both giving and receiving many very valuable presents.
-Thus in 1520 £1208, 17<i>s.</i> 6<i>d.</i> was paid to Amadas, Twiselton, and
-Holland for supplying such gifts, and in 1521 no less than £1679,
-15<i>s.</i> 10<i>d.</i>, while smaller sums were received by other goldsmiths.<a id='r694' /><a href='#f694' class='c020'><b>[694]</b></a> There
-was also constant demand for gold and silver plate for presentation
-to foreign ambassadors and envoys, and for christening presents for
-the children of the King’s favourites. Amadas supplied many of
-these, as well as seals, jewels, spangles and other ornaments for the
-jackets of the King’s Guards, silver bells, bosses, and nails for his
-Majesty’s use, and many other articles which need not be specified.
-Amadas was dead before Holbein became attached to the court, and
-it is not at all likely that the latter designed for him. He must, however,
-have been well acquainted with the Dutchman, Cornelis Hayes,
-or Heyes, who became a naturalised Englishman in January 1523,<a id='r695' /><a href='#f695' class='c020'><b>[695]</b></a>
-and was afterwards one of the most regularly employed of the goldsmiths
-specially appointed to the King’s service. He received licence
-to keep six alien apprentices and twelve journeymen, notwithstanding
-<span class='pageno' id='Page_288'>288</span>the statute of 14 &amp; 15 Hen. VIII.<a id='r696' /><a href='#f696' class='c020'><b>[696]</b></a> He supplied many jewels for Anne
-Boleyn, including “a diamond in a brooch of our Lady of Boulogne,”
-and was employed, after Wolsey’s downfall, to remove the coat of
-arms from the Cardinal’s plate and place thereon the royal arms instead.
-He was also frequently occupied in repairing and altering the royal
-jewels and badges. His possible co-operation with Holbein, in 1534,
-in connection with the making of a silver cradle and figures of Adam
-and Eve has been already mentioned,<a id='r697' /><a href='#f697' class='c020'><b>[697]</b></a> and also that the piece of plate
-given to Holbein by the King in return for the portrait of Prince
-Edward was made by Hayes.<a id='r698' /><a href='#f698' class='c020'><b>[698]</b></a> Holbein and Hayes had a common
-friend in Bourbon, the French poet, who stayed with the goldsmith
-when in London.</p>
-
-<div class='footnote c021' id='f693'>
-<p class='c022'><span class='label'><a href='#r693'>693</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iv. pt. i. 1298.</p>
-</div>
-
-<div class='footnote c021' id='f694'>
-<p class='c022'><span class='label'><a href='#r694'>694</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iii. pt. ii. pp. 1539, 1544 (King’s
-Book of Payments).</p>
-</div>
-
-<div class='footnote c021' id='f695'>
-<p class='c022'><span class='label'><a href='#r695'>695</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. iii. pt. ii. 2807 (28).</p>
-</div>
-
-<div class='footnote c021' id='f696'>
-<p class='c022'><span class='label'><a href='#r696'>696</a>.&nbsp;&nbsp;</span>In May 1531. <i>C.L.P.</i>, vol. v. 278 (8).</p>
-</div>
-
-<div class='footnote c021' id='f697'>
-<p class='c022'><span class='label'><a href='#r697'>697</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_92'>92</a>-<a href='#Page_93'>93</a>.</p>
-</div>
-
-<div class='footnote c021' id='f698'>
-<p class='c022'><span class='label'><a href='#r698'>698</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_164'>164</a>.</p>
-</div>
-
-<div id='pl-54'  class='figcenter id001'>
-<img src='images/pl-54.jpg' alt='' class='ig001' />
-<div class='ic001'>
-<p><span class='sc'>Vol. II., Plate 54</span><br />HENRY VIII GRANTING A CHARTER TO THE BARBER-SURGEONS’ COMPANY<br /><span class='sc'>Barber-Surgeons’ Hall, London</span></p>
-</div>
-</div>
-
-<p class='c023'>Another goldsmith of importance was the Welshman Morgan
-Wolf, Fenwolf, or Phillip, one of the sewers of the chamber, and keeper
-of the castle and lordship of Abergavenny. Both he and the Englishman
-John Freeman supplied many New Year’s gifts and other goldsmith’s
-work to Henry. The latter was a protégé of Cromwell’s, who
-found him much employment in connection with the dissolution of
-the monasteries, and granted him a number of fat appointments.
-Morgan Wolf engraved the Great Seal of England in 1543.<a id='r699' /><a href='#f699' class='c020'><b>[699]</b></a> Among
-the foreign jewellers who came frequently to England, and some of
-whom eventually settled here, were Alart Plumier, or Plymmer, as he
-is called in the royal accounts, of Paris, who had frequent dealings
-with the King; Jehan Lange, of the same city, who came over as the
-representative of several Parisian houses; Hubert Morett,<a id='r700' /><a href='#f700' class='c020'><b>[700]</b></a> Christopher
-Herrault, Peter Romaynes, Guillim Ottener, John Crispin, Latronet,
-and Martin Garrard, the latter obtaining a patent of denization in
-1535. To prolong the list of names would be only tedious, for it is
-impossible to connect Holbein’s name definitely with any one of them,
-though there is every probability that Cornelis Hayes and John of
-Antwerp both worked in conjunction with him.</p>
-
-<div class='footnote c021' id='f699'>
-<p class='c022'><span class='label'><a href='#r699'>699</a>.&nbsp;&nbsp;</span><i>C.L.P.</i>, vol. xviii. pt. i. 463 (f. 87).</p>
-</div>
-
-<div class='footnote c021' id='f700'>
-<p class='c022'><span class='label'><a href='#r700'>700</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_68'>68</a>.</p>
-
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_289'>289</span>
-  <h2 id='ch-XXVIII' class='c012'>CHAPTER XXVIII<br /><span class='c017'>THE BARBER-SURGEONS PICTURE AND THE PAINTER’S DEATH</span></h2>
-</div>
-
-<p class='c018'>Holbein’s last important work, the Barber-Surgeons picture, left
-unfinished by him—Description of it—Copy of it made for James I—Pepys’
-attempt to purchase the original—Holbein’s death from the plague in
-the autumn of 1543—Discovery of his will—His executor, John of
-Antwerp, and his witnesses, Anthony Snecher, Olryck Obinger, and Harry
-Maynert—Old mistake in the date of his death—History of Holbein’s
-family—Englishmen named Holbein—His imitators—Painters who were
-working in England at the time of his death and shortly
-afterwards—Johannes Corvus and Gerlach Fliccius—Guillim Stretes—Hans
-Eworthe—Thomas and John Bettes—Nicholas Lyzarde—Amberger—Copies of
-Holbein’s pictures in English collections.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-t.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-The last important work upon which Holbein was engaged,
-a work left unfinished owing to his sudden
-death, was the large picture still hanging in the old
-hall of the Barber-Surgeons’ Company in Monkwell
-Street, London (<a href='#pl-54'>Pl. 54</a>).<a id='r701' /><a href='#f701' class='c020'><b>[701]</b></a> It was painted to commemorate
-the unification of the Company of Barbers and
-the Guild of Surgeons by Act of Parliament in the thirty-second year
-of Henry’s reign (1540-41), and must have been begun shortly after
-the passing of the Act. At an earlier period the barbers and
-the surgeons of London had formed a single company, but in
-course of time had become separated; and upon their second
-coming together Holbein was called in to furnish a permanent
-record of the event. During the progress of the work he painted
-separate portraits of at least two of the sitters in the big picture—Dr.
-John Chamber and Sir William Butts—just as he had painted individual
-likenesses of Sir Thomas and Lady More when engaged upon the big
-group of the Chancellor’s family.</p>
-
-<div class='footnote c021' id='f701'>
-<p class='c022'><span class='label'><a href='#r701'>701</a>.&nbsp;&nbsp;</span>Woltmann, 202. Reproduced by A. F. Pollard, <i>Henry
-VIII</i>, p. 270; Ganz, <i>Holbein</i>, p. 130.</p>
-</div>
-
-<p class='c023'>The truth of Van Mander’s statement that Holbein left this large
-picture unfinished is apparent after even a cursory examination of it.
-That writer, who regarded it as an “unusually splendid work,” says:</p>
-
-<p class='c023'>“According to the feeling of some, Holbein is said not to have
-completed the piece himself, but that the deficient parts were painted
-by some one else. Nevertheless, if this be the truth, it must lead to
-<span class='pageno' id='Page_290'>290</span>the conclusion that the completer of the work must have understood
-how to follow Holbein’s manner so judiciously that no painter or
-artist can from good reasons decide that various hands have been
-engaged in it.”<a id='r702' /><a href='#f702' class='c020'><b>[702]</b></a></p>
-
-<div class='footnote c021' id='f702'>
-<p class='c022'><span class='label'><a href='#r702'>702</a>.&nbsp;&nbsp;</span>Quoted by Woltmann, i. p. 474. Eng. trans., p. 444.</p>
-</div>
-
-<p class='c023'>The latter part of Van Mander’s statement, however, is far from
-correct, for the hand of a very inferior craftsman is plainly enough to
-be discerned over a greater part of the picture. The general arrangement
-of the kneeling figures in the front rank, and the position assigned
-to the King, were evidently Holbein’s, who had probably finished the
-heads, and even the robes, of several of the leading members of the
-Guild, while the heads of others had possibly been traced on the panel
-from his own preliminary studies before death cut short his labours.
-For the rest, the picture appears to have suffered from more than
-one later attempt to finish it.</p>
-
-<div class='sidenote'>DESCRIPTION OF THE PICTURE</div>
-<p class='c023'>The composition consists of nineteen figures. Henry VIII is
-shown full-length on his throne, which is not placed in the centre of
-the picture, but somewhat to the spectator’s left. He is crowned
-and dressed in his full robes of state, holding the sword in his right
-and the charter in his left hand. He is represented as far larger
-in size than the other figures kneeling in front of him, something in
-the manner of earlier days, when the importance of the principal person
-in a painting was brought home to the spectator by the simple plan
-of depicting him much bigger than those who surrounded him. This is
-a trick to which such a master as Holbein would never have descended;
-indeed, the figure of the King, who stares straight out of the picture
-with a dull, wooden countenance, without evincing the slightest interest
-in the ceremony in which he is the chief performer, cannot even
-have been sketched in by Holbein, and is a stiff and clumsy performance
-at the best. The head has evidently been copied from one of the
-numerous likenesses of Henry of the type of the Warwick portrait,
-without any attempt to alter the position of the face or to connect
-it with the presentation which is taking place. The position of the head
-may have been indicated by Holbein on the panel, and Woltmann is
-probably right in his conjecture that it was his intention to represent
-him standing on the steps of the throne, and not seated, which would
-account for the height of the face as it now is above the surrounding
-figures.<a id='r703' /><a href='#f703' class='c020'><b>[703]</b></a> On the King’s right hand only three members of the Guild
-<span class='pageno' id='Page_291'>291</span>are kneeling—Chamber in the front, with Butts next, and T. Alsop
-behind him. The three may have been thus placed in the position of
-honour as the King’s personal physicians. All three wear a furred
-gown and a doctor’s cap. The head of Chamber is excellent, and
-appears to be wholly Holbein’s work, with little or no retouching;
-that of Butts has suffered more severely from incompetent hands,
-while the Alsop is much weaker. It is in this part of the picture, and
-in one or two of the heads on the opposite side, that Holbein carried
-his work almost entirely to completion. Eight men kneel in the front
-row on the King’s left, headed by T. Vicary, who receives the charter
-from the royal hand, five of them with beards, and some of them with
-skull-caps, and wearing more elaborate costumes and gowns than those
-opposite to them. The second figure, T. Aylif, the Warden, is one of
-the most effective, the head, though here again retouching is very
-evident, being perhaps the best of all. The heads of Harman and
-Monforde are noteworthy among the remainder of the figures, the
-greater number of which have been so badly repainted that no touch
-of Holbein’s hand is now visible; though it is possible that in some
-cases he was responsible for the outline. According to Dr. Woltmann,
-traces of the pinholes by means of which the transference of Holbein’s
-original sketches of the heads to the panel was made, can still be
-seen in several instances. Behind the eight kneeling members of the
-Company on the spectator’s right there appears an upper row of seven
-figures, which must have been added at a considerably later date than
-that of the finishing process given to the picture at some time shortly
-after Holbein’s death. These later figures are so badly placed that they
-entirely spoil the composition, and are quite devoid of artistic merit,
-being the work of a still weaker hand than that of the unknown
-“finisher.” They evidently formed no part of the original arrangement,
-but represent later members of the company who wished their
-portraits to be included. The panel is further marred by the fact that
-over each sitter, with the exception of five in the last-named row,
-his name is inscribed in large letters. Another late addition, which
-also helps to spoil the general effect, is a large white tablet on the wall
-on the right, which contains a long Latin inscription in prose and verse
-in praise of the King. Originally this space was occupied by a window,
-through which could be seen the old tower of the church of St. Bride’s,
-showing that the ceremony was represented as taking place in the
-<span class='pageno' id='Page_292'>292</span>palace of Bridewell. Behind the King hangs a large gold-embroidered
-curtain, and on either side of it the space is roughly filled in with
-flowers and fruit representing tapestry. According to Dr. Ganz,<a id='r704' /><a href='#f704' class='c020'><b>[704]</b></a>
-it is the same chamber, with the same hangings, probably the throne-room
-in Whitehall, as in the large picture of the family of Henry VIII
-at Hampton Court (No. 340 (510)),<a id='r705' /><a href='#f705' class='c020'><b>[705]</b></a> which has been attributed by some
-writers to Guillim Stretes; and again, in a portrait of Queen Elizabeth
-in the possession of the Earl of Buckinghamshire. It is possible that
-the King may have sat for the picture at Whitehall, and that
-Holbein made use of the surroundings at his hand, but the view
-from the window in the copy of the Barber-Surgeons painting,
-mentioned below, seems to indicate that the room represented was in
-Bridewell. There is no resemblance between the patterns of the carpets
-in the two pictures. It is painted on a panel made up of a number
-of thick, vertical oak boards, and is 10 ft. 3 in. wide by 6 ft. high. In
-Woltmann’s opinion, “the picture is nothing but a ruin, in which we
-have to search with difficulty for the traces of Holbein.”<a id='r706' /><a href='#f706' class='c020'><b>[706]</b></a></p>
-
-<div class='footnote c021' id='f703'>
-<p class='c022'><span class='label'><a href='#r703'>703</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 475.</p>
-</div>
-
-<div class='footnote c021' id='f704'>
-<p class='c022'><span class='label'><a href='#r704'>704</a>.&nbsp;&nbsp;</span>See <i>Holbein</i>, p. 243.</p>
-</div>
-
-<div class='footnote c021' id='f705'>
-<p class='c022'><span class='label'><a href='#r705'>705</a>.&nbsp;&nbsp;</span>The central part of this picture, showing Henry VIII
-enthroned, with Edward VI and Queen Catherine Parr on either side of
-him, is reproduced by Mr. Ernest Law in <i>The Royal Gallery of
-Hampton Court</i>, p. 130.</p>
-</div>
-
-<div class='footnote c021' id='f706'>
-<p class='c022'><span class='label'><a href='#r706'>706</a>.&nbsp;&nbsp;</span>Woltmann, Eng. trans., p. 446.</p>
-</div>
-
-<p class='c023'>This opinion, and an almost similar one given by Wornum, were
-regarded by the late Sir Charles Robinson as far too scathing.<a id='r707' /><a href='#f707' class='c020'><b>[707]</b></a> He
-considered that Holbein’s hand had worked more or less over every part
-of the great panel—very elaborately and minutely in some parts and
-very slightly in others; but that nowhere had the finishing touches
-and work required to give final truth and perfection of representation
-been bestowed. He thought that an interval of some twenty or thirty
-years must have elapsed before the Barber-Surgeons, in an inauspicious
-moment, determined on the completion of their picture, the
-superadded work seeming to be that of a somewhat advanced Elizabethan
-period. It must always be a matter of deep regret that they
-did not leave it in the state in which it came to them from Holbein’s
-studio, for it would have been of infinitely greater value than it is now.
-Finished by him it could not have been less than a masterpiece; but
-even in its incomplete state it would have been of equal interest as
-forming an invaluable example of his technique and methods of working.</p>
-
-<div class='footnote c021' id='f707'>
-<p class='c022'><span class='label'><a href='#r707'>707</a>.&nbsp;&nbsp;</span>In a letter to <i>The Times</i>, 28th August 1895.</p>
-</div>
-
-<div class='sidenote'>COPY MADE FOR JAMES I</div>
-<p class='c023'><span class='pageno' id='Page_293'>293</span>On the 13th of January 1618 James I wrote from Newmarket to
-the Company asking that the picture should be lent to him, as he was
-anxious to have a copy made of it, and promising that this should be
-done expeditiously, and the original redelivered safely. “We are
-informed,” he said, “there is a table of Painting in your Hall whereon
-is the Picture of our Predecessor of famous memorie K. Henry the 8th.,
-together w<b>h</b> diverse of y<b>r</b> Companie, w<b>h</b> being both like him and well
-done Wee are desirous to have copyd.”<a id='r708' /><a href='#f708' class='c020'><b>[708]</b></a> Holbein’s name is not mentioned
-in this letter. The copy then made is in all probability the one
-now in the possession of the Royal College of Surgeons,<a id='r709' /><a href='#f709' class='c020'><b>[709]</b></a> which is smaller
-than the original, and an indifferent version of it, on paper attached
-to canvas. The figure of Alsop, on the extreme right of the King,
-is omitted, and in place of the tablet with the inscription, the window
-with a view of the church tower is shown, proving that even if it is
-not the copy ordered by James I, it is at least a very early version of
-the original. It was at one time in the collection of Desenfans, and
-at his sale in 1786 was purchased by the Surgeons’ Company for fifty
-guineas. It has been incorrectly described as the original cartoon
-for the picture, and it has also been said, but this again is wrong, that
-it belonged at one time to the Barber-Surgeons’ Company, and that
-when the two branches of the Guild were finally separated in 1745, the
-College retained the copy or cartoon and the Company kept the picture.<a id='r710' /><a href='#f710' class='c020'><b>[710]</b></a></p>
-
-<div class='footnote c021' id='f708'>
-<p class='c022'><span class='label'><a href='#r708'>708</a>.&nbsp;&nbsp;</span>The original letter is in the possession of the Company.</p>
-</div>
-
-<div class='footnote c021' id='f709'>
-<p class='c022'><span class='label'><a href='#r709'>709</a>.&nbsp;&nbsp;</span>The College also possesses a second copy of the picture.</p>
-</div>
-
-<div class='footnote c021' id='f710'>
-<p class='c022'><span class='label'><a href='#r710'>710</a>.&nbsp;&nbsp;</span>In 1789 this copy was cleaned and put in order by a man
-named Lloyd, who asked £400 for his labours, but eventually took fifty
-guineas.</p>
-</div>
-
-<p class='c023'>The next reference to the picture occurs in Pepys’ <i>Diary</i>, under
-the date August 29, 1668. The entry runs: “At noon, comes by
-appointment Harris to dine with me; and after dinner, he and I to
-Chirurgeons’ Hall, where they are building it new, very fine; and
-there to see their theatre, which stood all the fire, and, which was
-our business, their great picture of Holbein’s, thinking to have
-bought it, by the help of Mr. Pierce, for a little money. I did think
-to give 200<i>l.</i> for it, it being said to be worth 1000<i>l.</i>;
-but it is so spoiled that I have no mind to it, and is not a pleasant
-though a good picture.” The fire of which Pepys speaks was the great
-fire of 1666, and the damage to which he refers may have been caused
-to some extent by the smoke, though it is more probable that the
-injury he noted was merely that caused by time and restoration. Wornum
-suggests that it underwent restoration
-<span class='pageno' id='Page_294'>294</span>shortly after the Great Fire, and that the tablet with the inscription
-was then introduced in place of the original window.<a id='r711' /><a href='#f711' class='c020'><b>[711]</b></a> The entry in
-the <i>Diary</i> further shows how high a value the Company placed on the
-picture even in those days, and also that they were prepared to sell
-it at their own price.<a id='r712' /><a href='#f712' class='c020'><b>[712]</b></a></p>
-
-<div class='footnote c021' id='f711'>
-<p class='c022'><span class='label'><a href='#r711'>711</a>.&nbsp;&nbsp;</span>Wornum, p. 352, who quotes the whole of the Latin
-inscription.</p>
-</div>
-
-<div class='footnote c021' id='f712'>
-<p class='c022'><span class='label'><a href='#r712'>712</a>.&nbsp;&nbsp;</span>See Appendix (<a href='#app-M'>M</a>).</p>
-</div>
-
-<p class='c023'>In 1734 the Company commissioned Bernard Baron to engrave
-the picture for the sum of 150 guineas. The plate, which is a large one,
-and a fairly accurate transcript of the original, except that it is reversed,
-was published in 1736. It was dedicated to the Earl of
-Burlington, with a Latin inscription. In 1856 it was engraved on
-wood for the <i>Illustrated London News</i> by Henry Linton.<a id='r713' /><a href='#f713' class='c020'><b>[713]</b></a> In 1895 the
-Company were again anxious to sell it, and an effort was made to purchase
-it for the nation, but unfortunately the scheme fell through,
-possibly because the extravagant price of £15,000 was asked for it.</p>
-
-<div class='footnote c021' id='f713'>
-<p class='c022'><span class='label'><a href='#r713'>713</a>.&nbsp;&nbsp;</span>Reproduced in Mantz, p. 172.</p>
-</div>
-
-<p class='c023'>While still engaged upon this important work, Holbein’s life was
-cut short by the plague, which raged so severely in London in the
-summer and autumn of 1543 that hundreds of people died each week
-from it. According to Hall, “Thys yeare was in London a great
-death of the Pestilence, and therefore Mighelmas Tearme was adjourned
-to Saynt Albons”; and Stow repeats this statement almost
-word for word.<a id='r714' /><a href='#f714' class='c020'><b>[714]</b></a> Holbein succumbed to it on some date between the
-7th of October and 29th of November. This was proved by the discovery
-of his will in February 1861, by Mr. W. H. Black, F.S.A., who
-found it in one of the Registers of the Commissary of London, at that
-time preserved in the Record Room at St. Paul’s Cathedral. It is
-included in the book called “Beverly,” on folios 116 and 121, that
-volume covering the period from 1539 to 1548. It runs as follows:</p>
-
-<div class='footnote c021' id='f714'>
-<p class='c022'><span class='label'><a href='#r714'>714</a>.&nbsp;&nbsp;</span>Hall, <i>The Union of the Two Noble and Illustrate
-Families of Lancastre and Yorke</i>, 1548, p. 257. Stow, <i>The
-Annales</i>, &amp;c., 1615, p. 585.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S WILL</div>
-<p class='c025'>“<i>Holbeine.</i>—In the name of God the father, sonne, and holy
-gohooste, I, Johñ Holbeine, servaunte to the Kynges Magestye, make
-this my Testamente and last will, to wyt, that all my goodes shalbe
-sold and also my horse, and I will that my debtes be payd, to wete,
-fyrst to Mr. Anthony, the Kynges servaunte, of Grenwiche, y<b>e</b> of [<i>sic</i>]
-summe of ten poundes thurtene shyllynges and sewyne pence sterlinge.
-And more over I will that he shalbe contented for all other thynges
-<span class='pageno' id='Page_295'>295</span>betwene hym and me. Item, I do owe unto Mr. John of Anwarpe,
-goldsmythe, sexe poundes sterling, wiche I will also shalbe payd unto
-hym with the fyrste. Item, I bequeythe for the kynpyng [keeping] of my
-two Chylder wich be at nurse, for every monethe sewyn shyllynges and
-sex pence sterlynge. In wytnes, I have sealed and sealed [<i>sic</i>]
-this my testament the vijth day of Octaber, in the yere of o<b>r</b> Lorde
-God M<b>l</b>vCxliij. Wytnes, Anthoney Snecher, armerer, Mr. Johñ of
-Anwarpe, goldsmythe before said, Olrycke Obynger, merchaunte, and
-Harry Maynert, paynter.”</p>
-
-<p class='c027'>To this the following official act was appended on the 29th
-November:</p>
-
-<p class='c025'>“XXIX<b>o</b> die mensis Novembris anno Domini predict. Johannes
-Anwarpe executor nominat, in testamento sive ultima voluntate
-Johannis alias Hans Holbein nuper parochie sancti Andree Vndershafte
-defuncti comparuit coram Magistro Johanne Croke, &amp;c., Commissario
-generali, ac renunciavit omni executioni hujus modi testamenti,
-quam renunciationem dominus admisit, deinde commisit administracionem
-bonorum dicti defuncti prenominato Johanni Anwarpe
-in forma juris jurato et per ipsum admissa pariter et acceptata. Salvo
-jure cujuscumque. Dat. etc.”</p>
-
-<p class='c030'>[On the 29th November in the aforesaid year of our Lord, John
-Anwarpe, appointed executor in the testament or last will of John
-<i>alias</i> Hans Holbein, recently deceased in the parish of St. Andrew
-Undershaft, appeared before Master John Croke, Commissary-General,
-and renounced the execution of the said will, which renunciation was
-allowed, and the administration of the property left was consigned to
-the before-mentioned John Anwarpe as sworn in, which was admitted
-and accepted by him. The right of each intact.</p>
-
-<p class='c027'>This is followed on folio 121 of the book by the entry:</p>
-
-<p class='c025'>“<i>Holbene.</i>—XXIX<b>no</b> die mensis predicti commissa fuit administracio
-bonorum Johannis alias Hans Holbeñ parochie sancti Andrei
-Undershaft nuper abintestato defuncti Johanni Anwarpe in forma
-juris jurato, ac per ipsum admissa pariter et acceptata. Salvo jure
-cujuscumque. Dicto die, mens, &amp;c.”</p>
-
-<p class='c030'>[<i>Holbene.</i>—The 29th of the aforesaid month the administration
-of the property of John <i>alias</i> Hans Holben, recently deceased <i>ab</i>
-<span class='pageno' id='Page_296'>296</span><i>intestato</i> in the parish of St. Andrew Undershaft, was consigned to John
-Anwarpe as sworn in, and was admitted and accepted by him. The
-right of each intact. Said day of month, &amp;c.]<a id='r715' /><a href='#f715' class='c020'><b>[715]</b></a></p>
-
-<div class='footnote c026' id='f715'>
-<p class='c022'><span class='label'><a href='#r715'>715</a>.&nbsp;&nbsp;</span>See Sir A. W. Franks, <i>Archæologia</i>, vol. xxxix., p.
-2, and W. H. Black, same vol., p. 275.</p>
-</div>
-
-<p class='c023'>According to these entries, John of Antwerp was Holbein’s executor,
-although he is not so mentioned in the will, and on the 29th November
-he renounced all execution of it, and took out letters of administration
-only. The will itself appears to have been drawn up carelessly and
-in haste; probably Holbein was already sickening when he made it,
-so that it had to be done in a hurry, or he may have been merely
-alarmed, owing to the number of people daily dying around him,
-including, as Mr. Lionel Cust points out,<a id='r716' /><a href='#f716' class='c020'><b>[716]</b></a> some members of John of
-Antwerp’s own household, in whose dwelling, he suggests, Holbein may
-himself have contracted the disease. The meaning of the two official
-acts is not easy to follow, but the explanation given by Sir Augustus
-W. Franks, F.S.A., procured from a legal source, is no doubt the correct
-one. “Though the two official acts which follow the copy of the Will
-may at first appear inconsistent both with the Will and also with each
-other; yet, if we suppose that John Anwarpe was considered to have
-been appointed executor by implication (which the law allowed), much
-of the seeming inconsistency will disappear. The object of the renunciation
-may have been either to obviate some doubt which existed as
-to whether John Anwarpe was so made executor (for the language is
-hardly strong enough), or to avoid certain liabilities that would have
-affected him as executor, but not as administrator. Formerly a
-person was said to have died intestate, not only when he left no Will,
-but also when he left a Will and appointed no executor, or appointed
-executors and they all renounced. In this administration act the
-testator is accordingly said to have died intestate. The great difficulty
-in these official acts is how John Anwarpe could have been executor
-and Mr. Anthony not. The second of the two is almost a repetition
-of the first, and both are dated on the same day.”<a id='r717' /><a href='#f717' class='c020'><b>[717]</b></a></p>
-
-<div class='footnote c021' id='f716'>
-<p class='c022'><span class='label'><a href='#r716'>716</a>.&nbsp;&nbsp;</span><i>Burlington Magazine</i>, vol. viii., February 1906, p.
-360. See also p. 13.</p>
-</div>
-
-<div class='footnote c021' id='f717'>
-<p class='c022'><span class='label'><a href='#r717'>717</a>.&nbsp;&nbsp;</span><i>Archæologia</i>, vol. xxxix. p. 15.</p>
-</div>
-
-<div class='sidenote'>HOLBEIN’S WILL</div>
-<p class='c023'>The will is of great interest, not only as proving the date of Holbein’s
-death within a week or two, but also as affording some information as
-to his worldly position and his personal friends. Although his
-practice in London was a large one, he died somewhat heavily in debt,
-<span class='pageno' id='Page_297'>297</span>and the inference is that he had not saved money. What his personal
-possessions consisted of, the document, so hastily drawn, does not say,
-but, unlike a number of his fellow-artists, he does not seem to have
-owned any property in London. It does not necessarily follow, however,
-that he was extravagant in his habits, though he kept a horse and owed
-money. It has been assumed that the frequent payment of his salary
-in advance was due to improvidence; but there is nothing beyond
-the terms of his will to support this, or to show that he spent all his
-income on himself, and that he failed to send money regularly to Basel
-in support of his wife and family. The reference to his two children
-at nurse indicates some irregular connection in England, which may
-have been one of the reasons which made him disinclined to return
-permanently to Basel in accordance with the wish of his fellow-townsmen.
-Considering the laxity of morals at that period, the fact
-that he had a second family in London is not very surprising. It has
-been suggested that the mother of these children died of the plague
-shortly before the artist, and that his will was made through anxiety
-to provide for them should he in turn be taken with the rapid and
-usually fatal disease, to which most victims succumbed within three
-days. The amount bequeathed for these children’s maintenance,
-about three half-pence a day each, does not seem much, but when the
-relative value of money at that time is taken into consideration, it
-was no doubt enough for their simple needs. What eventually became
-of them is not known.</p>
-
-<p class='c023'>With regard to the four witnesses to the will, all of whom were, no
-doubt, personal friends of the painter, nothing is known with any
-certainty except as regards John of Antwerp. The Mr. Anthony of
-Greenwich, one of the King’s servants, to whom Holbein owed the
-considerable amount of £10, 13<i>s.</i> 7<i>d.</i>, is evidently the
-same individual who witnessed the will as Anthony Snecher, armourer,
-although the words “before said” do not occur against his name as
-witness as they do in the case of John of Antwerp. Both Mr. Black and
-Sir A. Franks, however, appear to have regarded them as two distinct
-persons.<a id='r718' /><a href='#f718' class='c020'><b>[718]</b></a> The former suggested that “Mr. Anthony” was Anthony
-Anthony, one of the officers of the Ordnance Department, who had some
-skill as an illuminator, if the embellishments of certain rolls
-dealing with the navy and signed by him were from his hand, as is
-probable. The latter
-<span class='pageno' id='Page_298'>298</span>thought that Anthony Snecher was possibly one of the body of German
-armourers in the regular employment of the King at Greenwich, of
-whom Erasmus Kirkheimer was the chief, and that Holbein may have
-supplied him with designs for the ornamentation of weapons. Mr. J.
-Gough Nichols suggested that Mr. Anthony may have been Anthony
-Toto, the painter, with whom Holbein must have been acquainted,
-and with whom he may have worked in conjunction with other foreign
-artists upon the decoration of Nonsuch Palace.</p>
-
-<div class='footnote c021' id='f718'>
-<p class='c022'><span class='label'><a href='#r718'>718</a>.&nbsp;&nbsp;</span>See <i>Archæologia</i>, vol. xxxix. pp. 13-14, and 274.</p>
-</div>
-
-<p class='c023'>Of Olryck Obinger, the merchant, nothing is known, but from his
-name he must have been a Swiss or German, possibly a merchant
-of the Steelyard, though there is no reference to him in the State
-Papers, which contain the names of a large number of the members
-of that body. From his name, too, Harry Maynert, the painter,
-also appears to have been a German or a Fleming. He remains an
-indefinite figure at present.<a id='r719' /><a href='#f719' class='c020'><b>[719]</b></a> Mr. Black suggested that he might be
-a relation of the John Maynard who was one of the painters employed
-on the tomb of Henry VII. A relationship is also possible with the
-Katherine Maynors, of Antwerp, a painter, who obtained letters of
-denization in England in 1540, at which time she was a widow.</p>
-
-<div class='footnote c021' id='f719'>
-<p class='c022'><span class='label'><a href='#r719'>719</a>.&nbsp;&nbsp;</span>The fine miniature by Holbein at Munich, bearing the
-initials H. M., which Dr. Ganz suggests may be a portrait of Harry
-Maynert, is described on pp. 241-2.</p>
-</div>
-
-<div class='sidenote'>THE PLACE OF HIS BURIAL</div>
-<p class='c023'>The discovery of the will put an end to the tradition which had
-existed from the beginning of the seventeenth century that Holbein
-died in 1554. This mistake is to be traced back to the publication
-of Carel van Mander’s <i>Het Schilder Boeck</i>, published in 1604, two years
-before the writer’s death. In his account of Holbein he concludes by
-saying: “Soo is Holbeen in groote benoutheydt te Londen ghestorven
-van de Pest A<b>o</b> 1554, oudt 56 Jaren.” [Thus did Holbein die in London,
-of the plague, in great distress, in the year 1554, fifty-six years old.
-Succeeding writers copied from Van Mander. Joachim von Sandrart
-repeated the statement in his <i>Teutsche Akademie</i>—“Wurde er 1554
-im 56 Jahre seines Alters von der damals in Londen wütenden Pest
-hingerafft”—and later biographers continued the error, which led to
-great confusion, as it added eleven years to the painter’s life, and caused
-almost all Tudor portraits bearing dates between 1544 and 1554
-to be attributed to him. Wornum suggests that the letter from the
-Burgomaster of Basel to Jacob David, the Parisian goldsmith, with
-reference to Philip Holbein, which is dated 1545 and speaks of Holbein,
-<span class='pageno' id='Page_299'>299</span>the father, as then deceased, may have been shown to Van Mander
-or copied for him, and that in transcribing it, or even in the printing
-of his book, the last two figures of the date were accidentally transferred,
-so that 45 was turned into 54.<a id='r720' /><a href='#f720' class='c020'><b>[720]</b></a> Such mistakes are not of uncommon
-occurrence, and this solution may be the true one. There was no
-plague raging in London in 1554, while in 1543 there was an unusually
-severe visitation. Otherwise Van Mander’s account of the painter’s
-death is substantially correct. The place of his burial remains uncertain,
-but according to tradition, as voiced by Strype, he was interred
-in the church of St. Catherine Cree. Strype, in his additions to Stow’s
-<i>Survey of the Cities of London and Westminster</i>,<a id='r721' /><a href='#f721' class='c020'><b>[721]</b></a> says: I have been told
-that <i>Hans Holben</i>, the great and inimitable painter in King Henry
-VIII’s Time, was buried in this Church; and that the Earl of <i>Arundel</i>,
-the great Patron of Learning and Arts, would have set up a Monument
-to his Memory here, had he but known whereabouts the Corps
-lay.”</p>
-
-<div class='footnote c021' id='f720'>
-<p class='c022'><span class='label'><a href='#r720'>720</a>.&nbsp;&nbsp;</span>Wornum, p. 23.</p>
-</div>
-
-<div class='footnote c021' id='f721'>
-<p class='c022'><span class='label'><a href='#r721'>721</a>.&nbsp;&nbsp;</span>1720, Book II. p. 64.</p>
-</div>
-
-<p class='c023'>The same story was told by Sandrart, without mentioning the
-church. He supposed that the Earl’s difficulty arose from the fact
-that so many people were dying daily, and had to be buried in such
-haste, that Holbein probably shared a common grave with others,
-and that no record would be kept. There can be little doubt that he
-would be buried in or near the parish in which he was residing. The
-church of St. Catherine Cree, though in the next parish, is not many
-hundred yards distant from the Church of St. Andrew Undershaft,
-and it is probable that Holbein was interred in one or the other of them,
-possibly the latter, confusion as to the exact locality having arisen at
-a later date owing to the close proximity of the two churches. Unfortunately
-no registers of the time are available. St. Andrew Undershaft
-escaped the Great Fire, but its register from 1538 to 1579 has
-disappeared, while that of St. Catherine Cree begins only in 1663.</p>
-
-<p class='c023'>Holbein’s wife and family are not mentioned in his will, and what
-little is known of their further history is largely due to the researches
-of Dr. His-Heusler in the Basel archives. His wife survived him for
-six years, dying early in 1549, after a somewhat lengthy illness, as on
-the 9th of July in the preceding year she appointed, for this reason, a
-deputy to manage her affairs. It is to be gathered that she was left
-by Holbein in a fairly comfortable position, what with the annual
-<span class='pageno' id='Page_300'>300</span>pension allowed her by the civic authorities, the two houses which her
-husband had purchased fifteen years earlier, and the legacy from his
-uncle Sigmund, which the painter does not appear to have touched.
-Nor does it follow, because she was not mentioned in the will, that he
-had failed to send to her at least a part of his English earnings. An
-inventory taken on the 8th of March 1549, shortly after her death,
-shows that she was fairly well provided with worldly goods. In
-addition to furniture, an ample supply of linen, and the more ordinary
-household utensils, she possessed two silver-gilt covered cups, six
-silver goblets, a dozen silver-plated spoons, and a valise with a portion
-of her deceased husband’s wardrobe, including a black cap, a Spanish
-cape trimmed with velvet, a doublet of smoke-coloured Florentine
-taffeta, and others of black satin, crimson silk, and black damask.
-These garments must have been left behind by Holbein when he
-visited Basel in 1538, rather than forwarded after his death by his
-executor, who, according to the terms of the will, was obliged to sell
-everything. His stepson, Franz Schmid, who carried on his father’s
-tanning business, died before his mother, leaving two children.</p>
-
-<div class='sidenote'>HOLBEIN’S DESCENDANTS</div>
-<p class='c023'>Some years after 1545, Holbein’s eldest son, Philip, having completed
-his apprenticeship to Jacob David in Paris, from whose service
-he only obtained release after the Basel Town Council had come to
-his assistance, worked for a time as a goldsmith in Lisbon, and finally
-settled in Augsburg, where he founded a diamond-cutting business.
-He in turn had a son named Philip, who, in 1611, petitioned the Emperor
-Matthias for a confirmation and augmentation of “his old and
-noble coat of arms.” In this document, in which he describes himself
-as Imperial court jeweller and a citizen of Augsburg, he speaks of his
-grandfather Johann, as “the painter at that time celebrated throughout
-Europe,” and asserts that the Holbeins were descended from a
-noble family of the “city of Uri.” This last statement, however, was
-largely imaginary, and had its sole foundation in the fact that the
-Holbein arms<a id='r722' /><a href='#f722' class='c020'><b>[722]</b></a> were the same as those of the canton of Uri, with the
-exception that the latter lacked the star between the bull’s horns.
-This Philip Holbein, who, according to Von Mechel, had been living in
-Vienna since 1600, had his petition granted on the 1st October in the
-following year, 1612. In 1756 one of his descendants, Johann Georg
-Holbein, who was connected with the Court of Chancery, obtained a
-<span class='pageno' id='Page_301'>301</span>confirmation of the noble rank granted to his family in 1612, with the
-surname of Holbeinsberg, and in 1787 was raised to the rank of a Knight
-of the Empire, with the title of a noble of Holbeinsberg.</p>
-
-<div class='footnote c021' id='f722'>
-<p class='c022'><span class='label'><a href='#r722'>722</a>.&nbsp;&nbsp;</span>See Vol. i. p. 83.</p>
-</div>
-
-<p class='c023'>Holbein’s elder daughter, Katherine, married in 1545 a butcher
-named Jacob Gyssler, a widower with a grown-up daughter. Among
-the papers of Ludwig Iselin there is a list of all the deaths which occurred
-in Basel between 1588 and 1612, from which we learn that she
-died on February 8, 1590. She is described as Katharina Holbeinin,
-daughter of the deceased Hans Holbein, the distinguished painter,
-wife of a butcher. The second daughter, Küngolt, or Kunigunde,
-after the death of her mother, married a miller named Andreas Syff.
-They had a numerous family, and one of their granddaughters married
-Friedrich Merian, brother of the well-known engraver, Matthaüs Merian.
-Küngolt, according to Iselin’s list, died seven months after her
-sister, on September 15, 1590. She is described in the same terms,
-as the daughter of the celebrated artist. In this list there also occurs
-the name of a third lady of the Holbein family, who died on the 17th
-September 1594, but she is merely described as “Felicitas Holbein,
-wife of Conrad Volmar, died of the plague,” and it is not certain that
-she was one of the painter’s daughters. Nothing is known of the
-younger son, Jacob Holbein, except that he also became a goldsmith,
-and that he came to England and died in London in the summer of
-1552. In 1549, at the time of his mother’s death, he was still a minor,
-and the document in the Basel archives dealing with the division of
-his property after his death is dated June 27, 1552. No other record
-of his presence in London has been so far traced.</p>
-
-<p class='c023'>The name occurs in England both before and after Hans Holbein’s
-residence here, but in every case the bearers of it were almost certainly
-Englishmen. Walpole mentions a Holbein, on the authority of an
-entry in a register at Wells,<a id='r723' /><a href='#f723' class='c020'><b>[723]</b></a> as living in the reign of Henry VII, and
-conjectures him to have been a foreigner, and even a relation of Hans,
-and the possible author of some early paintings, including a portrait
-of Henry VII. In this, however, he was wrong. His Holbein was
-evidently an English country gentleman, and probably some relative
-of a certain Johannes Holbyn of North Stoke, close to Bath, who died
-in 1548, and left a sum of money to the Cathedral of Wells. The
-wills of two other well-to-do persons of this name occur in the registry
-<span class='pageno' id='Page_302'>302</span>of the Archidiaconal Court of Canterbury—that of John Holbein of
-Folkestone, dated August 21, 1534, who bequeathed forty-six shillings
-and eightpence for a new covered font for the parish church,
-and of his widow, who died shortly after him, which is dated November
-25, 1534, and was proved in the following January. These people
-were all English, and had no connection with the painter.<a id='r724' /><a href='#f724' class='c020'><b>[724]</b></a></p>
-
-<div class='footnote c021' id='f723'>
-<p class='c022'><span class='label'><a href='#r723'>723</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 49.</p>
-</div>
-
-<div class='footnote c021' id='f724'>
-<p class='c022'><span class='label'><a href='#r724'>724</a>.&nbsp;&nbsp;</span>See Sir A. W. Franks, <i>Archæologia</i>, vol. xxxix. p.
-16; W. H. Hart, <i>Proceedings Soc. of Antiq.</i>, 16th April 1863;
-and Wornum, p. 372.</p>
-</div>
-
-<p class='c023'>Holbein founded no school of painting either in England or Switzerland,
-and there is no evidence to show that he had any pupils. It is
-probable that he employed assistants when engaged upon such wall-paintings
-as those he carried out in Whitehall, but whoever they may
-have been, their engagement was only a temporary one. As already
-noted, there is no record, as there is in the case of several other foreign
-artists then resident in this country, of a royal warrant according
-him the privilege of employing in regular service a number of alien
-assistants or servants in spite of the Act which made such a proceeding
-illegal. No pupil of his is mentioned by any of his early biographers,
-and it seems almost certain that no one directly studied under him.
-If there had been such a painter, some record of him is almost certain to
-have survived. There are a number of portraits, as a rule of no very
-great artistic merit, in various private collections in England, which
-were evidently painted indirectly under his influence. Such examples
-are to be expected, for it was impossible for so great a master to be at
-work in London for so many years without a certain number of imitators
-springing up, who attempted to work in his methods and to copy
-his style. It is hardly possible now that even the names of these
-third-rate imitators and ineffectual rivals will be unearthed.</p>
-
-<div class='sidenote'>GUILLIM STRETES</div>
-<p class='c023'>As already stated, prior to the discovery of his will almost all paintings
-bearing dates between 1543 and 1554 were ascribed to him; even
-to-day, in some instances, the owners, in spite of the impossibility,
-still adhere to the great name, as the catalogues of most of the exhibitions
-held within recent years dealing with the Tudor period afford
-proof. The authorship of these pictures must be sought for elsewhere,
-though in many cases the task is one of extreme difficulty. Several
-painters of considerable talent were at work at the English court
-during the years immediately following Holbein’s death, and in some
-instances signed and authenticated works by them exist which enable
-<span class='pageno' id='Page_303'>303</span>comparisons to be made and certain unsigned works from their hands
-to be identified with some confidence. Such men as these were Johannes
-Corvus and Gerlach Fliccius; but in other cases, such as that of
-Guillim Stretes, only the names and a few scanty records remain, and
-it is impossible to point to any picture which can be said with absolute
-certainty to have been produced by them. Lucas Hornebolt died in
-1544, about six months later than Holbein, and in the same year
-Girolamo da Treviso was killed by a cannon-ball at the siege of Boulogne.
-Several of the leading Italian artists, however, continued to
-serve the court during the remainder of Henry VIII’s life and throughout
-the succeeding reign, such as Antonio Toto, the sergeant-painter,
-his colleague, Bartolommeo Penni, and Nicolas Bellin of Modena,
-though no signed or authenticated picture by any one of them has
-survived.</p>
-
-<p class='c023'>One of the most important of Holbein’s immediate successors was
-the Dutch painter, Guillim or Gillam Stretes, though so far no mention
-of him has been found prior to the accession of Edward VI.
-Strype’s extract from the records of the Privy Council, having reference
-to a payment of fifty marks made to him for two pictures of
-the young King and one of the Earl of Surrey, has been already
-quoted,<a id='r725' /><a href='#f725' class='c020'><b>[725]</b></a> as well as the fact that in 1553 he was receiving, as King’s
-painter, an annuity of £62, 10<i>s.</i>, more than double Holbein’s salary,
-showing that he was a person of importance among the painters of
-Edward’s reign. Reference has also been made to the attribution to
-Stretes of the full-length portrait of Henry Howard, Earl of Surrey,
-in the collection of the Duke of Norfolk at Arundel Castle,<a id='r726' /><a href='#f726' class='c020'><b>[726]</b></a> and of the
-duplicate version, without the painted framework, at Knole.<a id='r727' /><a href='#f727' class='c020'><b>[727]</b></a> The
-attribution of these two works to Stretes is based entirely on the
-Privy Council order. Dr. Waagen<a id='r728' /><a href='#f728' class='c020'><b>[728]</b></a> stated that the Arundel Castle
-portrait was inscribed “William Strote,” but no one else has succeeded
-in discovering this signature, and very possibly the name he quotes
-was seen by him on some old label then attached to the frame and
-since removed. These two portraits, as already noted, have been
-grouped with several other full-lengths, including the young man in
-<span class='pageno' id='Page_304'>304</span>red at Hampton Court Palace (No. 345 (315)), wrongly described as a
-portrait of the Earl of Surrey,<a id='r729' /><a href='#f729' class='c020'><b>[729]</b></a> that of Sir Thomas Gresham, dated
-1544, in Mercers’ Hall, the beautiful portrait of William West, Lord
-Delawarr,<a id='r730' /><a href='#f730' class='c020'><b>[730]</b></a> belonging to Lieut.-Col. G. L. Holford, C.I.E., C.V.O.,
-and the one of the Earl of Southampton, 1542, in the Fitzwilliam
-Museum.<a id='r731' /><a href='#f731' class='c020'><b>[731]</b></a> These portraits display somewhat close affinities, though
-it is not possible to allow that all are by the same hand. The portrait
-of William West is a work of great power and character, and has been
-attributed to Holbein himself, but the style of the painting does not
-accord with his. All these works are of considerably earlier date
-than that of the Privy Council order, which is the earliest reference
-so far discovered touching this painter, and it is extremely doubtful
-whether he had anything to do with them. One is on safer ground
-in attributing to him some of the portraits of King Edward, which
-exist in considerable numbers, two of which he certainly painted,
-and very possibly others. These portraits of the young King, and
-Stretes’ probable connection with them, have been dealt with in an
-earlier chapter.<a id='r732' /><a href='#f732' class='c020'><b>[732]</b></a> One other picture Stretes is known to have painted,
-for it is recorded that on New Year’s Day, 1556, he presented Queen
-Mary with “a table of her Majesty’s Marriage.”<a id='r733' /><a href='#f733' class='c020'><b>[733]</b></a> This picture,
-which must have been one of particular interest, has completely disappeared.
-Dr. Williamson records a signed miniature by him of
-Edward VI, almost full-face, wearing a jewelled cap, in Earl Beauchamp’s
-collection at Madresfield Court,<a id='r734' /><a href='#f734' class='c020'><b>[734]</b></a> and he also attributes to
-the same painter a second miniature of the young King, as a little boy,
-in the Rijks Museum, Amsterdam.<a id='r735' /><a href='#f735' class='c020'><b>[735]</b></a></p>
-
-<div class='footnote c021' id='f725'>
-<p class='c022'><span class='label'><a href='#r725'>725</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_168'>168</a>-<a href='#Page_170'>170</a>.</p>
-</div>
-
-<div class='footnote c021' id='f726'>
-<p class='c022'><span class='label'><a href='#r726'>726</a>.&nbsp;&nbsp;</span>Exhib. Burl. Fine Arts Club, 1909, No. 54. Reproduced
-Arundel Club, 1907, No. 3; Pollard, <i>Henry VIII</i>, p. 284.</p>
-</div>
-
-<div class='footnote c021' id='f727'>
-<p class='c022'><span class='label'><a href='#r727'>727</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_201'>201</a>.</p>
-</div>
-
-<div class='footnote c021' id='f728'>
-<p class='c022'><span class='label'><a href='#r728'>728</a>.&nbsp;&nbsp;</span>Waagen, <i>Treasures of Art in Great Britain</i>, vol.
-iii. p. 30.</p>
-</div>
-
-<div class='footnote c021' id='f729'>
-<p class='c022'><span class='label'><a href='#r729'>729</a>.&nbsp;&nbsp;</span>Reproduced by Law, <i>Royal Gallery of Hampton Court</i>,
-p. 136.</p>
-</div>
-
-<div class='footnote c021' id='f730'>
-<p class='c022'><span class='label'><a href='#r730'>730</a>.&nbsp;&nbsp;</span>Exhibited Royal Academy Winter Exhibitions, 1870, No. 23;
-1880, No. 167; 1908, No. 2; Burl. Fine Arts Club, 1909, No. 51.
-Reproduced Arundel Club, 1908, No. 10; and Burl. Fine Arts Club
-Catalogue, Pl. xvii.</p>
-</div>
-
-<div class='footnote c021' id='f731'>
-<p class='c022'><span class='label'><a href='#r731'>731</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a>.</p>
-</div>
-
-<div class='footnote c021' id='f732'>
-<p class='c022'><span class='label'><a href='#r732'>732</a>.&nbsp;&nbsp;</span>See pp. <a href='#Page_168'>168</a>-<a href='#Page_170'>170</a>.</p>
-</div>
-
-<div class='footnote c021' id='f733'>
-<p class='c022'><span class='label'><a href='#r733'>733</a>.&nbsp;&nbsp;</span><i>Queen Elizabeth’s Progresses</i>, vol. i. p. xxxv.,
-and Nichols’ <i>Illustrations of Ancient Times</i>, p. 14.</p>
-</div>
-
-<div class='footnote c021' id='f734'>
-<p class='c022'><span class='label'><a href='#r734'>734</a>.&nbsp;&nbsp;</span>Williamson, <i>History of Portrait Miniatures</i>, 1904,
-vol. i. p. 12. Reproduced, Pl. v. fig. 3.</p>
-</div>
-
-<div class='footnote c021' id='f735'>
-<p class='c022'><span class='label'><a href='#r735'>735</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, Pl. xlvii. fig. 6.</p>
-</div>
-
-<div class='sidenote'>GERLACH FLICCIUS</div>
-<p class='c023'>Of Johannes Corvus, the Fleming, and his portraits of Richard
-Foxe, Bishop of Winchester, and of Mary Tudor, sister of Henry VIII,
-the one undated, and the other of the year 1532, some account has
-been already given.<a id='r736' /><a href='#f736' class='c020'><b>[736]</b></a> Little is known of this painter, or of Gerlach
-<span class='pageno' id='Page_305'>305</span>Fliccius or Flicke, who, like Holbein, was German, and appears to
-have settled in London towards the end of Henry VIII’s reign, where
-he died in 1558. Recent researches by Miss Mary Hervey<a id='r737' /><a href='#f737' class='c020'><b>[737]</b></a> have,
-however, added considerably to our knowledge of this painter and his
-work. His will, recently discovered, which is dated 24th January
-1558, and was proved by his widow on the 11th February following,
-shows that he was living in the parish of St. Giles without Cripplegate,
-and that he possessed lands and goods in Osnabrüch, of which
-place he was no doubt a native. In this document he calls himself
-“Drawer,” and gives his name as Garlick Flicke, and it was under the
-name of Garlick that he was generally known in this country. The
-Lumley inventory includes three portraits by him—a full-length,
-described as “The Statuary of Thomas first Lo: Darcy of Chiche,
-created by King Edw. 6. L<b>d</b> Chamberlayne to the said K. Edw.:
-drawn by Garlicke,” and two small ones of “Queen Marye, drawne
-by Garlicke,” and “Thomas, the third Duke of Northfolke, drawne
-by Garlicke.” Unfortunately these three portraits have disappeared—the
-full-length of Lord Darcy in quite modern times. Until 1854 it
-was hanging in Irnham Hall, Lincolnshire, but in that year the house
-and its contents were sold, and the present whereabouts of the picture
-has so far not been traced. Miss Hervey gives a list of eight portraits
-which can be attributed with more or less certainty to Fliccius. In
-addition to the three from the Lumley Collection, there are three
-others in the collection of the Marquis of Lothian at Newbattle Abbey,
-Dalkeith, the portrait of Archbishop Cranmer in the National Portrait
-Gallery, and the small double portrait of the painter himself and his
-friend, Richard Strangeways. The three at Newbattle Abbey<a id='r738' /><a href='#f738' class='c020'><b>[738]</b></a> are
-of great interest, though it is impossible to describe them in detail
-here. The finest, which is dated 1547, and is signed “Gerlacius
-Fliccūs Germanūs faciebat,” represents an unknown man of the age
-of forty, whom Miss Hervey tentatively suggests to be William, Lord
-Grey of Wilton, clad in a slit buff jerkin and a black velvet surcoat
-trimmed with fur. It is a portrait of considerable power, and though
-it has suffered from repainting still appears to have been the work of a
-man of more than ordinary artistic talents. The second portrait at
-<span class='pageno' id='Page_306'>306</span>Newbattle—of Sir Peter Carew—has many points in common with it,
-and was probably painted at about the same time. The portrait of
-Archbishop Cranmer in the National Portrait Gallery is stiffer in style
-than these, and suggests a more obvious attempt to follow the manner
-of Holbein, but though very carefully painted and with every appearance
-of truth of portraiture, lacks the vitality which stamps everything
-from the hand of the master. It is signed “Gerbicus Flicciis Germanus
-faciebat,” and though undated was, according to the sitter’s
-age, painted in 1545. The curious double portrait, on a small oak panel,
-of Flicke and his friend Strangeways or Strangwish, the gentleman
-privateer, known as the “Red Rover,” was painted in prison in 1554.
-The artist seems to have been mixed up in Wyat’s rebellion, and as a
-result he and his friend were imprisoned, but afterwards released.
-Over each head is painted a verse, that above Flicke’s in Latin, which,
-translated, runs: “Such in appearance was Gerlach Fliccius, what
-time he was a painter in the City of London. This portrait he painted
-from a mirror for his dear friends, that they might be able to remember
-him after his death.” The lines over Strangeways are in English:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Strangwish thus strangely depicted is,</div>
-      <div class='line in1'>One prisoner for thother hath done this;</div>
-      <div class='line in1'>Gerlin hath garnisht for his delight,</div>
-      <div class='line in1'>This woorck whiche you se before youre sight.”</div>
-    </div>
-  </div>
-</div>
-
-<div class='footnote c021' id='f736'>
-<p class='c022'><span class='label'><a href='#r736'>736</a>.&nbsp;&nbsp;</span>See Vol. i. p. 269.</p>
-</div>
-
-<div class='footnote c021' id='f737'>
-<p class='c022'><span class='label'><a href='#r737'>737</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. xvii., May 1910, pp.
-71-9, and June 1910, pp. 147-8, from which most of the following facts
-have been taken; and J. G. Nichols, <i>Archæologia</i>, xxxix. pp.
-40-41.</p>
-</div>
-
-<div class='footnote c021' id='f738'>
-<p class='c022'><span class='label'><a href='#r738'>738</a>.&nbsp;&nbsp;</span>All reproduced by Miss Hervey in <i>Burlington
-Magazine</i>, as quoted.</p>
-</div>
-<p class='c022'>The background is blue. The present ownership of this picture is
-unknown. The remaining picture, at Newbattle Abbey, is a small
-portrait of Jacques de Savoie, duc de Nemours, showing the head and
-shoulders only of a young man with fair hair and a very slight beard and
-moustache, in French dress, and wearing the Order of St. Michael. It
-betrays the influence of the French school, and is in style of marked
-difference to his other known works. It was identified in 1909 by
-M. Dimier, who discovered three crayon drawings taken from it, all of
-them bearing the title given above. The original picture is signed
-“G. Fliccus ft.,” and on the back is an old label with “Origl. Fliccus
-ft.” Miss Hervey suggests that it was painted on the Continent
-about 1555.<a id='r739' /><a href='#f739' class='c020'><b>[739]</b></a></p>
-<div class='footnote c021' id='f739'>
-<p class='c022'><span class='label'><a href='#r739'>739</a>.&nbsp;&nbsp;</span>Reproduced by Miss Hervey, <i>Burlington Magazine</i>,
-vol. xvii., June 1910, p. 148, together with one of the French
-drawings.</p>
-</div>
-
-<div class='sidenote'>HANS EWORTHE OR EEUWOUTS</div>
-<p class='c023'><span class='pageno' id='Page_307'>307</span>Recent researches on the part of Mr. Lionel Cust have established
-the identity of another foreign painter of considerable skill,
-who was at work in England some years after Holbein’s death, but
-who hitherto has been known only under the initials H. E.<a id='r740' /><a href='#f740' class='c020'><b>[740]</b></a> This
-monogram occurs on a number of pictures of important personages
-bearing dates from 1550 to 1568, the earliest of them being on a portrait
-at Longford Castle, formerly known as Sir Anthony Denny, but now
-recognised as Sir Thomas Wyndham. These portraits have usually
-been given to Lucas d’Heere,<a id='r741' /><a href='#f741' class='c020'><b>[741]</b></a> of Ghent, although all that is known of
-that painter’s life, including the fact that he did not come to England
-before 1568, made the attribution of any one of them to him one of
-great difficulty. Mr. Cust, by means of certain entries in the Lumley
-inventory, has proved that the real author of them was a certain Jan
-Eeuwouts, of Antwerp, whose name became anglicised into Haunce
-or Hans Eworthe. Three of the Lumley portraits are described as
-the work of Eworthe—“Mr. Edw. Shelley slayne at Mustleborough
-fielde, drawen by Haunce Eworthe”; “Haward a Dutch Juello<b>r</b>,
-drawne for a Maisters prize by his brother, Haunce Eworthe”; and
-“Mary Duches of Northfolke, daughter to the last Earle of Arundell
-Fitzallan, doone by Haunce Eworthe,” the last one being in all probability
-the portrait now at Arundel Castle, which is signed H. E. in
-monogram. Several other portraits in the Lumley inventory, though
-no painter’s name is given, still exist, and bear this monogram, such as
-the small double portrait of Lord Darnley and his brother, Charles
-Stewart, at Windsor Castle; Lord Maltravers at Arundel Castle;
-Sir John Lutterel, dated 1550, at Dunster Castle; and Sir Thomas
-Wyndham, also dated 1550, at Longford Castle.<a id='r742' /><a href='#f742' class='c020'><b>[742]</b></a> These portraits
-prove that Eworthe was much employed by Lord Lumley or his father-in-law,
-the last Earl of Arundel, at Nonsuch Palace. Mr. Cust has
-traced him as a resident alien in London in 1552 in the parish of
-St. Saviour’s, Southwark. He is described in the return as “John
-Ewottes, paynter,” and assessed at the high rate of eight guineas, and
-he employed a servant named John Mychell, who was assessed at
-eightpence. As “Jan Eeuwouts, schilder,” he was admitted a free
-<span class='pageno' id='Page_308'>308</span>master of the Guild of St. Luke in Antwerp in 1540. It is thus possible
-that he was a native of that city.<a id='r743' /><a href='#f743' class='c020'><b>[743]</b></a></p>
-
-<div class='footnote c021' id='f740'>
-<p class='c022'><span class='label'><a href='#r740'>740</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. xiv., pp. 366-8.</p>
-</div>
-
-<div class='footnote c021' id='f741'>
-<p class='c022'><span class='label'><a href='#r741'>741</a>.&nbsp;&nbsp;</span>For an account of d’Heere’s work in England, see Lionel
-Cust in <i>Dict. of National Biography</i>, 1888, vol. xiv., in the
-<i>Magazine of Art</i>, 1891, and in the <i>Proceedings of the
-Huguenot Society of London</i>, vol. vii. No. 1, 1903.</p>
-</div>
-
-<div class='footnote c021' id='f742'>
-<p class='c022'><span class='label'><a href='#r742'>742</a>.&nbsp;&nbsp;</span>Reproduced in the Catalogue of the Earl of Radnor’s
-Pictures, 1909, No. 165.</p>
-</div>
-
-<div class='footnote c021' id='f743'>
-<p class='c022'><span class='label'><a href='#r743'>743</a>.&nbsp;&nbsp;</span>For further details concerning Hans Eworthe, see Mr.
-Cust’s paper, already quoted, in the <i>Burlington Magazine</i>, and
-Mr. W. Barclay Squire’s notes to the portrait of Sir Thomas Wyndham in
-the Earl of Radnor’s Catalogue. The latter describes all the portraits
-which so far can be attributed to Eworthe with any degree of
-certainty.</p>
-</div>
-
-<p class='c023'>The present writer ventures to suggest that Eworthe was also the
-author of a picture included in the inventory of the Duke of Buckingham’s
-pictures at York House in 1635. The entry is as follows: “Hans
-Evolls—A little head of Queen Mary.”<a id='r744' /><a href='#f744' class='c020'><b>[744]</b></a> The spelling of most of the
-names in this inventory is largely phonetic, and evidently the work of
-some person with little knowledge of such matters, so that he may
-easily have turned Eworthe into Evolls.<a id='r745' /><a href='#f745' class='c020'><b>[745]</b></a> The following statement
-of Walpole’s also suggests a possible connection with Eworthe:
-“Another picture of Edward VI was in the collection of Charles I,
-painted by Hans Hueet, of whom nothing else is known. It was
-sold for 20<i>l.</i> in the civil war.”<a id='r746' /><a href='#f746' class='c020'><b>[746]</b></a></p>
-
-<div class='footnote c021' id='f744'>
-<p class='c022'><span class='label'><a href='#r744'>744</a>.&nbsp;&nbsp;</span>See <i>Burlington Magazine</i>, vol. x., March 1907, p.
-382.</p>
-</div>
-
-<div class='footnote c021' id='f745'>
-<p class='c022'><span class='label'><a href='#r745'>745</a>.&nbsp;&nbsp;</span>Or the double <i>l</i> may be merely a mistake of the
-compiler of the catalogue for a double <i>t</i>.</p>
-</div>
-
-<div class='footnote c021' id='f746'>
-<p class='c022'><span class='label'><a href='#r746'>746</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 136.</p>
-</div>
-
-<div class='sidenote'>THOMAS AND JOHN BETTES</div>
-<p class='c023'>It is impossible to mention more than the names of certain better-known
-foreigners who practised in England under Mary and Elizabeth,
-such as Mor, who came over in 1553, Joos van Cleve, who did so in
-1554, and Lucas d’Heere. Of the few known native painters working
-in London in the years immediately following Holbein’s death the
-records are so scanty that little remains but their names, but, taking
-them as a body, they must have been men of very modest talent,
-and in portraiture, when they essayed it, merely feeble imitators either
-of Holbein or one of the other leading foreigners at Henry’s court.
-Among them were John Shute, painter and architect, and John Bettes,
-both of whom are described as miniature painters by Richard Haydock
-in his translation of <i>Lomazzo on Painting</i> (1598), and, apparently, as
-contemporaries of Nicholas Hilliard. “Limnings,” he says, “much
-used in former times in church-books, as also in drawing by the life
-in small models, of late years by some of our countrymen, as <i>Shoote</i>,
-<i>Betts</i>, &amp;c., but brought to the rare perfection we now see by the most
-ingenious, painful, and skilful master, Nicholas Hilliard.”<a id='r747' /><a href='#f747' class='c020'><b>[747]</b></a> Meres,
-in <i>Palladis Tamia, Wits Treasury</i>, the second part of his <i>Wits Commonwealth</i>,
-<span class='pageno' id='Page_309'>309</span>also published in 1598, in giving a list of the leading painters
-in England at that time, mentions “Thomas and John Bettes.” From
-these two entries it seems clear that Bettes was an Elizabethan miniature
-painter, and Vertue, who was of opinion that he learned from
-Hilliard, mentions a miniature by him of Holbein’s sitter, Sir John
-Godsalve, in which he was represented with his spear and shield, with
-the inscription “Captum in castris ad Boloniam 1540.”<a id='r748' /><a href='#f748' class='c020'><b>[748]</b></a> There is,
-however, in the National Gallery a small portrait of Edmund Butts
-(No. 1496), a son of Sir William Butts, another of Holbein’s sitters,
-to which reference has been already made,<a id='r749' /><a href='#f749' class='c020'><b>[749]</b></a> which is attributed to
-John Bettes, and bears the date 1545. If this attribution, based
-on a French inscription on the back of the panel, be correct, the
-date indicates that the painter was at work at a considerably earlier
-period than is to be inferred from the only two almost contemporary
-references to him, quoted above, which have been so far discovered,
-and that he may even have been personally acquainted with Holbein.
-The portrait in the National Gallery is a work of considerable merit,
-and possesses certain Holbeinesque characteristics. In any case,
-the date upon it makes it impossible, if painted by Bettes, that he
-could have been Hilliard’s pupil, as Vertue asserted. Little or
-nothing is known of his work, though, according to Dr. Williamson,
-there is a fine miniature of an unknown man by him in the Montagu
-House Collection, signed “J. B. 1580”;<a id='r750' /><a href='#f750' class='c020'><b>[750]</b></a> and a second, of a somewhat
-earlier date, a portrait of Gaspard de Coligny, Admiral of France,
-apparently unsigned, in Lord Beauchamp’s possession at Madresfield
-Court.<a id='r751' /><a href='#f751' class='c020'><b>[751]</b></a> Dr. Williamson also notes a quaint miniature of Edward
-VI as a baby in the Rijks Museum, Amsterdam, which in an old
-inventory of the Dutch royal possessions is attributed to Bettes.<a id='r752' /><a href='#f752' class='c020'><b>[752]</b></a>
-Fox, in his <i>Ecclesiastical History</i>, states that John Bettes drew the
-vignettes for Hall’s <i>Chronicle</i>. Still less is known of Thomas Bettes,
-but there was a miniature in the Propert Collection of John Digby,
-Earl of Bristol, which was given to him.</p>
-
-<div class='footnote c021' id='f747'>
-<p class='c022'><span class='label'><a href='#r747'>747</a>.&nbsp;&nbsp;</span>Quoted by Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 172.</p>
-</div>
-
-<div class='footnote c021' id='f748'>
-<p class='c022'><span class='label'><a href='#r748'>748</a>.&nbsp;&nbsp;</span>Walpole, <i>Anecdotes</i>, ed. Wornum, i. p. 138.</p>
-</div>
-
-<div class='footnote c021' id='f749'>
-<p class='c022'><span class='label'><a href='#r749'>749</a>.&nbsp;&nbsp;</span>See p. <a href='#Page_210'>210</a>.</p>
-</div>
-
-<div class='footnote c021' id='f750'>
-<p class='c022'><span class='label'><a href='#r750'>750</a>.&nbsp;&nbsp;</span>Williamson, <i>History of Portrait Miniatures</i>, 1904,
-vol. i. p. 13; reproduced Pl. iv. fig. 2.</p>
-</div>
-
-<div class='footnote c021' id='f751'>
-<p class='c022'><span class='label'><a href='#r751'>751</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, Pl. iv. fig. 1.</p>
-</div>
-
-<div class='footnote c021' id='f752'>
-<p class='c022'><span class='label'><a href='#r752'>752</a>.&nbsp;&nbsp;</span><i>Ibid.</i>, Pl. xlvii. fig. 4.</p>
-</div>
-
-<p class='c023'>Another painter, of whom little is known but his name, was Nicholas
-Lyzarde, who is generally considered to have been an Englishman,
-<span class='pageno' id='Page_310'>310</span>though Mr. Digby Wyatt speaks of him as Nicolo Lizardi.<a id='r753' /><a href='#f753' class='c020'><b>[753]</b></a> He was
-employed about the Court during the last years of Henry VIII’s reign.
-Thus, in 1543-4 he was at the head of a band of painters engaged on
-work in connection with some revels at Hampton Court, for which he
-received higher wages than the others—“Wages to painters: Nich<b>s</b>
-Lezard 18<i><b>d</b></i> per diem”; and in 1544-5 he supplied various materials
-and properties for some other masque—“Paste work and painting,
-Nicholas Lizarde, painter, for gyldinge under garments for women,
-of white and blue sarcenet, with party gold and silver, 4 <i>li.</i>; 8 pastes
-for women, 20<i>d.</i>; 8 long heads for women, made of past gilded, with
-party gold and silver, 43<i>s.</i> 4<i>d.</i>” &amp;c. He was afterwards in the
-regular employment of the Court throughout the reigns of Edward VI,
-Mary, and Elizabeth, being serjeant-painter to the last-named Queen,
-with a pension or salary of £10 a year. Nothing of his work
-remains that can be identified, but that he painted “subject”
-pictures is to be gathered from a New Year’s gift he presented to
-Queen Mary in 1556 of a “table painted with the Maundy,” while in
-1558 his gift to Queen Elizabeth was “a table painted of the history
-of Assuerus,” for which he received a gilt cruse of some 8 oz. in
-weight. He died in April 1571, and at the time was living in the
-parish of St. Martin’s-in-the-Fields, and left a family of five sons and
-four daughters.<a id='r754' /><a href='#f754' class='c020'><b>[754]</b></a></p>
-
-<div class='footnote c021' id='f753'>
-<p class='c022'><span class='label'><a href='#r753'>753</a>.&nbsp;&nbsp;</span>“Foreign Artists in England,” &amp;c., <i>Transactions Royal
-Inst. Brit. Architects</i>, 1868, pp. 218 and 235. It may be suggested
-that this painter was the “Master Nycolas” or “Nicholas Florentine”
-who worked with Holbein on the decorations of the Greenwich Banqueting
-Hall in 1527; while a possible, though not very probable, connection
-between Nicholas Lyzarde and Nicholas Lasora, who was engaged upon
-similar work at Westminster Palace in 1532, has been already pointed
-out. Lasora, however, in spite of his Italian-sounding name, appears
-to have been a Teuton, for he may be identified with some probability
-as the “Nic. Leysure, a German,” mentioned more than once in the royal
-accounts. See vol. i. p. 314 and note.</p>
-</div>
-
-<div class='footnote c021' id='f754'>
-<p class='c022'><span class='label'><a href='#r754'>754</a>.&nbsp;&nbsp;</span>J. G. Nichols, <i>Archæologia</i>, vol. xxxix. p. 45.
-That he was not English seems probable from the fact that he was
-assessed and taxed at the customary rate for foreigners. See pp.
-188-9.</p>
-</div>
-
-<div class='sidenote'>HIS IMITATORS AND COPYISTS</div>
-<p class='c023'>In the wider field of European art, also, it is impossible to point
-to any painter who was a pupil, or even a direct follower, of the master.
-Sandrart says that Christopher Amberger “followed the famous artist
-Holbein in his manner of painting, and especially in portraiture,” but
-modern criticism does not endorse this statement. In any case, his
-opportunities of studying Holbein’s works must have been few, though
-Woltmann considered that he certainly did so, and regarded him, if
-not as an actual pupil, yet as a real follower of the master.<a id='r755' /><a href='#f755' class='c020'><b>[755]</b></a> It is not
-<span class='pageno' id='Page_311'>311</span>to be expected, indeed, that Holbein should have formed any definite
-school, though he must have influenced painting in Basel during his
-first and longest residence in that city; but, except for that period,
-his life was more or less a wandering one, and he never, during his short
-career, settled for a long enough time in any one place to have allowed
-him to gather any considerable body of pupils around him.<a id='r756' /><a href='#f756' class='c020'><b>[756]</b></a></p>
-
-<div class='footnote c021' id='f755'>
-<p class='c022'><span class='label'><a href='#r755'>755</a>.&nbsp;&nbsp;</span>Woltmann, i. p. 488.</p>
-</div>
-
-<div class='footnote c021' id='f756'>
-<p class='c022'><span class='label'><a href='#r756'>756</a>.&nbsp;&nbsp;</span>On this point, however, see Elsa Frölicher, <i>Die
-Porträtkunst Hans Holbeins des Jüngeren und ihr Einfluss auf die
-schweizerische Bildnismalerei im XVI Jahrhundert</i>, 1909, in which
-she traces the influence of Holbein’s art on a number of contemporary
-Swiss painters and others practising in the latter half of the
-sixteenth century, such as Hans Asper, Tobias Stimmer, Kluber,
-Clauser, and Hans Bock the Elder.</p>
-</div>
-
-<p class='c023'>The work of his imitators and copyists, such as they were, is to be
-found in the portraits scattered about the older country houses and
-mansions of England, where they are usually attributed to Holbein
-himself, often when the date upon them makes it impossible that he
-could have painted them. Among them are numerous old copies of
-still-existing portraits by him, which indicate the estimation in which
-his work was held for years after his death. For instance, in the fire
-which burnt down Knepp Castle, Sussex, in January 1904, a number
-of pictures were destroyed, including no less than eight attributed to
-Holbein. The titles of nearly all of them were familiar enough—Sir
-Henry and Lady Guldeford, Anne of Cleves, Thomas Cromwell, Sir
-Richard Rich, and Ægidius—indicating that they were most probably
-merely replicas or copies. It is true that Holbein occasionally painted
-a replica, but this was very rarely, and in most cases the portraits in
-question were the work of far less skilful men, and owed their existence
-to the desire of the descendants of Holbein’s original sitters to possess
-copies of the older family portraits.</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_312'>312</span>
-  <h2 id='ch-XXIX' class='c012'>CHAPTER XXIX<br /><span class='c017'>CONCLUSION</span></h2>
-</div>
-
-<p class='c018'>Holbein’s many-sided art—The destruction of all his larger decorative
-works—The fertility of his invention and his power of dramatic
-composition—The influence of the Italian Renaissance upon his art,
-both in his mural and historical paintings and in his designs for
-jewellery and the decorative arts—His sacred paintings—His genius in
-portraiture and his perfection as a draughtsman—A comparison between
-the art of Dürer and Holbein.</p>
-
-<div class='c019'>
-  <img class='drop-capi' src='images/dc-h.jpg' width='100' alt='' />
-</div><p class='drop-capi1_1'>
-HOLBEIN’S art was many-sided, but, through the cruel
-caprice of Fate, he is known to-day to most people
-merely as a great portrait-painter, and, in a lesser
-degree, as a designer of woodcut illustrations of remarkable
-power and imagination. It is true, of course,
-that during the latter part of his life, after he had settled
-more or less permanently in England, his time was almost entirely
-occupied with portraiture, and that, beyond portraits, little or nothing
-of his work remains in this country upon which to form a judgment
-of the versatility of his genius; and it is true also that his stupendous
-gifts in this field of art were bound to find free expression. That
-portrait-painting, however, became in the end his chief occupation
-was due much more to his environment than to his own personal
-choice. There was little demand in this country for any other form
-of art, and the painter, as was only natural, supplied what his patrons
-asked of him. It is not to be supposed that the master who was capable
-of producing such great works as the “Meyer Madonna,” or the various
-altar-pieces and glass designs illustrating the “Passion,” would have
-abandoned painting such compositions had he received any encouragement
-to continue; but such encouragement came to a more or less
-abrupt conclusion during the stormy days of the Reformation in Basel,
-and for the remainder of his life Holbein produced little or nothing in
-the field of sacred art. The few examples of this nature from his
-brush which remain place him in the front rank of sixteenth-century
-painters, and had his birthplace been south instead of north of the
-Alps, and his life spent amid surroundings more sympathetic to this
-<span class='pageno' id='Page_313'>313</span>side of his genius, there can be little doubt that he would have given
-to the world a series of sacred works as fine as those of any of the great
-Italians of the Renaissance.</p>
-
-<div class='sidenote'>DISAPPEARANCE OF DECORATIVE WORKS</div>
-<p class='c023'>It is with respect to those larger decorative works, however, upon
-which he was engaged from time to time throughout his life, both in
-Switzerland and England—works for which in his own day he was so
-justly celebrated—that Fate has treated him most unkindly. The total
-disappearance of his great wall-paintings and monumental decorations
-is not only an immense loss to art, but has rendered it difficult for all
-but close students of his work to appreciate to the fullest extent the
-wide range of his artistic powers. Not a single example of his skill as
-a mural decorator remains. The passage of time, the carelessness of
-those whose duty it was to preserve them, and the ravages of fire
-and of the weather, gradually obliterated these paintings, while such
-of their faded glories as endured until more modern days were
-finally swept away by the clumsy hand of the restorer or the building
-schemes of private owners and civic authorities. Just as it seems
-practically certain that some at least of his sacred pictures were destroyed
-by the fury of the rioters in the religious disturbances which
-finally drove Holbein to Henry’s court, so the mural paintings and
-pictured stories with which he covered the outer and inner walls of
-a number of houses in Basel and Lucerne have vanished through
-causes which, though different, have been equally effective in their
-powers of destruction. Damp, dirt, and neglect brought about the
-gradual fading away of his great series of wall-paintings in the Council
-Chamber of the Basel Town Hall; while similar works of his English
-period, the wonderful “Triumphs” painted for the banquet-hall of
-the German Steelyard, and the great fresco of Henry VIII with his
-parents and Jane Seymour in Whitehall, have disappeared, the former
-on the final breaking up of the German trade monopoly in this country,
-and the dispersal of the contents of the Steelyard buildings, and the
-latter in the fire of 1698. Gone, too, is the large canvas of “The Battle
-of Spurs,” painted for the festivities at Greenwich in 1527, one of
-the first of Holbein’s important undertakings in England. No trace
-of this painting now remains, and a similar fate has befallen the
-great picture of Sir Thomas More and his family, though in this case
-it is not absolutely certain that Holbein himself ever completed it.
-Finally, death cut him down as he was engaged upon the most elaborate
-<span class='pageno' id='Page_314'>314</span>portrait group he ever undertook, which was not half finished
-when he fell a victim to the plague. This list of lost or ruined masterpieces
-is a long one. Unfortunately, the tale is by no means uncommon
-in the history of art, but Holbein has suffered in this way more severely
-than most. Of their beauty and their imaginative power it is now only
-possible to judge from a few fragments of some of the original frescoes,
-some inferior copies of certain of them, and a number of masterly
-sketches and preliminary studies from Holbein’s own hand preserved
-in the Basel Gallery, the British Museum, the Louvre, and elsewhere.
-These latter, scanty as they are, remain priceless treasures, for only
-by means of them is it possible to gain some idea, though it is a pale
-reflection at the best, of the greatness of Holbein’s achievement in the
-higher branches of art, the loftiness of his ideals in his monumental
-paintings, and the wide range of his genius.</p>
-
-<p class='c023'>In all these large decorative works Holbein displayed the greatest
-fertility of invention, and a power of dramatic composition of a very
-high order. The extraordinary energy of conception, the sense of
-life and movement in all his figures, the truth and expressiveness of
-their gestures, are all alike admirable. This dramatic power is at its
-finest in his wall-paintings for the Basel Town Hall—the “Rehoboam”
-and the “Samuel and Saul”; while in dignity and grandeur of composition,
-and the noble rhythm of its stately movement, the “Triumph
-of Riches” panel for the Steelyard is unsurpassed. The extraordinary
-fertility and exuberance of his imagination is to be seen in the architectural
-details and decorative settings in which these mural paintings
-and designs were placed. These settings show how quickly and completely
-he made the new ideas and decorative motives of the Renaissance
-his own, while the pictures themselves, for which they formed
-the background and the frame, breathe the lofty spirit of Raphael
-and Mantegna. Though there is no slavish copying of the art and
-architecture of Northern Italy, their influence is to be seen so plainly
-in the work of his younger days that, as pointed out in earlier chapters,
-at least a short visit to Lombardy on his part seems to have been
-absolutely certain.</p>
-
-<div class='sidenote'>HIS FERTILE IMAGINATION</div>
-<p class='c023'>The same qualities and the same influences are to be discerned in his
-designs for painted windows and the decoration of books; though
-smaller in scale, they are conceived with an equal grandeur and dramatic
-intensity. Indeed, in his “Dance of Death” woodcuts and
-<span class='pageno' id='Page_315'>315</span>illustrations to the Old Testament his imaginative and dramatic powers
-reached their highest manifestation. Minute as they are in execution,
-they produce the same effects of largeness and dignity of composition
-as his great wall-paintings must have done. In the “Dance of Death”
-in particular the wideness of Holbein’s range of vision, the greatness
-of his style in design, and the intense vitality of his art are seen to
-the best advantage. These little pictures, a few inches square, express
-within their borders almost the whole range of the emotions,
-from the tender sympathy of the lovely “Death and the Ploughman,”
-and the poignant grief of “Death and the Little Child,” down
-to the terror, horror, and violence which is encountered in others of
-the series in which Death suits his coming to the character of his
-victims. Such works as these show the greatness of Holbein as an
-imaginative artist. Another side of his nature and his art appears in
-such a design as his “Peasants’ Dance” on the façade of the Haus
-zum Tanz in Basel, in which the Teutonic element in his character
-finds full play. The boisterous, even brutal, merriment of these fellow-countrymen
-of his, as they fling themselves into the pleasures of the
-dance with the utmost abandon, made an undoubted appeal to him,
-and in depicting them he expressed the joy of living which animates
-every movement with the utmost frankness and realism.</p>
-
-<p class='c023'>In this wide field of mural decoration and historical painting
-Holbein was the first and the greatest of those painters north of the
-Alps who came under the influence of the Italian revival of art. In
-him the Renaissance found very complete expression. This is also to
-be seen in his innumerable designs for jewellery and the smaller decorative
-arts, of which, happily, there still remain many examples.
-Both in book ornamentations and illustrations, in work for the goldsmith
-and silversmith, the jeweller, and the maker of stained and coloured
-glass, he showed himself to be in closest sympathy with the new
-movement. In his earlier works the effect of this influence appears
-in the exuberant use he made of the models which he had recently
-studied, some of the glass designs being overloaded with fantastic
-reminiscences of the details of Lombardic architecture. Later on,
-when he had completely grasped the full beauty of the Renaissance
-forms, his taste became purer, and he adapted them to his uses with
-the happiest results. In his drawings for personal ornaments and
-jewellery, most of the best of which were done in London, the earlier
-<span class='pageno' id='Page_316'>316</span>exuberance is restrained, and the design is of the purest Renaissance
-taste, in the practice of which he became an absolute master. These
-working drawings show infinite invention kept within the true limitations
-of the materials to be used, frequently combined with very
-skilful adaptation of the human figure to decorative purposes. It
-would be difficult to find a more beautiful design in the Renaissance
-style than the one of the so-called Jane Seymour Cup, in which
-Holbein more than holds his own with the best Italian workers in this
-field.</p>
-
-<div class='sidenote'>BRILLIANCE OF HIS DRAUGHTSMANSHIP</div>
-<p class='c023'>His sacred paintings, in so far as can be judged from those which
-remain, most, if not all, of which were done before he had reached the
-age of thirty, possess similar qualities to those of his mural and
-historical works, and had he but received some little encouragement
-from the English court, he was capable of producing even finer
-masterpieces than the “Meyer Madonna” during the seventeen or eighteen
-remaining years of his life. In his “Passion” and kindred pictures the
-composition is usually admirable, and the subject treated with that
-strong dramatic sense which has been noted already as one of the chief
-characteristics of his frescoes, while in depth and earnestness of
-feeling they fall but little short of the work of the greatest of the
-Italians. In the Meyer and the Solothurn Madonnas there is an air of
-divine tranquillity, and a loftiness and purity in
-the expression of spiritual beauty, which are combined in the happiest
-and most exquisite way with remarkable truth to nature, and vividness
-of accurate and sympathetic portraiture in the figures both of the
-Virgin and the Divine Child, and those, in the one case, of the
-kneeling donor and his family, and, in the other, of the attendant
-saints. Added to these qualities, the rich, subdued, and harmonious
-colour gives a still greater truth and beauty to the whole. In the
-panel at Darmstadt, indeed, the painter has reached the full
-perfection of his art, and that he painted nothing more of this nature
-must always be a source of deep regret to all who admire him.</p>
-
-<p class='c023'>In portraiture Holbein’s genius reached its highest manifestations.
-This gift was largely inherited from his father, but was carried to a
-much greater pitch of excellence by the son. His technical methods,
-too, were those of his father, and here again were developed by him
-to a far greater refinement of touch and skill in modelling; and to
-these methods he remained constant throughout his life. There is a
-<span class='pageno' id='Page_317'>317</span>striking contrast between the rapidity and brilliance of the draughtsmanship
-of the preliminary studies for his portraits and the patient,
-concentrated, minute, and delicate brush-work of the finished portraits
-themselves. In all his completed work he spared himself no pains
-in the painting of the accessories and details, though in none of it,
-brilliant and absolutely truthful as it is, is there any sense of mere display,
-any boastful attempt to show the world how clever he was. He
-painted all such details with a loving care and an evident delight in
-their beauty, and wrought them with a perfection and fidelity which
-has rarely if ever been surpassed. This finish is carried in some of his
-pictures to a point beyond which no Dutchman or Fleming of his own
-or succeeding generations ever reached. Yet the elaboration of subordinate
-things is never overdone; his portraits are never overcrowded
-with details of this nature in a way to draw the spectator’s attention
-from the main purpose of the work. This manipulative skill delights
-and attracts, but is forgotten when the portrait itself is examined.
-Without any apparent effort on the part of the painter, the sitter looks
-out from the panel just as he did in life, set down without flattery, with
-no harsh features softened, and with his character, seized with such
-penetrative and imaginative power by Holbein, fixed for ever with unerring
-truth and errorless draughtsmanship for succeeding generations
-to see and to admire. This effect of absolute truth of portraiture and
-revelation of character, the one due to the wonderful delicacy, subtlety,
-and expressiveness of his line, and the other to his sympathetic insight,
-is obtained by what appear to be the simplest and most straightforward
-methods. There is a dignity and reticence about the portraits which
-is admirable. Without thought of self, he occupies himself entirely
-with the truth as he sees it, and with his desire to realise it as completely
-as possible; no brilliance of technical skill mars the self-restraint
-with which he approaches his sitter. He puts little of himself into his
-portraits, and leaves out little that is worth knowing about the subjects
-of them. No great subtleties of light and shade are attempted,
-and his colour, beautiful and true as it is, helps but does not overpower
-his chief purpose—the complete realisation of the man both
-in body and soul. Holbein was a painter whose keenness of observation
-was extraordinary; he missed little or nothing, and saw much
-that lesser painters would have ignored. With his smooth, fusing
-methods of painting he reached to most marvellously delicate and
-<span class='pageno' id='Page_318'>318</span>accurate modelling of form, which in its expressiveness is beyond
-all words.<a id='r757' /><a href='#f757' class='c020'><b>[757]</b></a></p>
-
-<div class='footnote c021' id='f757'>
-<p class='c022'><span class='label'><a href='#r757'>757</a>.&nbsp;&nbsp;</span>The writer finds it impossible to agree with a recent
-critic, M. de Wyzewa, who, in a review of Dr. Ganz’s <i>Holbein</i>,
-in the <i>Revue des Deux Mondes</i>, January 15, 1912, speaks of the
-“half-confidences” of Holbein’s portraiture, and holds that although
-the painter himself sees clearly the inmost depths of his sitters’
-characters, he yet refrains from revealing them to us. When the moment
-comes for laying bare their deepest feelings “the prudent Swabian
-workman, through his instinctive reserve, holds back.” In this
-respect, therefore, he compares him unfavourably with such masters as
-Dürer, Rembrandt, and Velazquez, “who abandon themselves to their
-genius for psychological divination,” whereas Holbein refuses us
-access to the souls of his sitters, though at the same time indicating
-that he himself has penetrated to the mysterious depths. He speaks of
-this as his “professional hypocrisy,” and says that he cannot be
-excused for thus concealing the exact truth of the characters of the
-great personages who sat to him. He sees similar traits in Holbein’s
-sacred paintings, and this insensibility he regards as not real, but
-feigned, springing from the intelligence rather than from the heart.
-Lovers of Holbein’s art, however, will find it difficult to follow him
-in his contention.</p>
-</div>
-
-<p class='c023'>As a draughtsman pure and simple he stands among the very
-highest; in some of the qualities of his line he has never been surpassed
-or even equalled. In the Windsor and kindred drawings, preliminary
-studies for his portraits, his genius finds its most perfect expression,
-and these are, in many ways, the greatest of his works. Slight as
-most of them are, they contain all the elements of great art. Every
-fine quality, except colour, that is to be found in his finished portraiture
-is to be found here also, and more plainly to be seen, and produced
-without apparent effort or hesitation. The swiftness yet sureness
-of his touch, the wonderful delicacy yet strength of his supple, forceful
-line, its subtlety and flexibility, the penetrative insight, the freedom
-from all traces of mannerism, and the perfect unity of brain, eye, and
-hand shown in these drawings, combine to produce the most vivid
-effect of truthful, living portraiture. His complete mastership is
-revealed in every touch.</p>
-
-<div class='sidenote'>HOLBEIN AND DÜRER</div>
-<p class='c023'>In the German school of painting Dürer was the last and the greatest
-of the mediævalists; Holbein was the first and the greatest of those
-who came completely under the sway of the new influences in art and life
-which reached Germany from beyond the Alps. The art of these two
-great masters is, in consequence, in many ways so divergent that it is
-difficult to make any comparison between them. Holbein was the
-first of the painters of northern Europe who was modern in the sense
-of the term as we understand it to-day. Dürer was steeped in the
-spirit of the older schools, both of thought and of art, a dreamer of
-dreams, a weaver of fantasies, and much of his work had a spiritual
-<span class='pageno' id='Page_319'>319</span>passion which Holbein’s lacked, while his art was imbued through and
-through with the feeling of the Middle Ages. On the other hand,
-one of the characteristic features of Holbein’s work was its serenity
-and saneness. As already pointed out, he had great imaginative
-power, which he could use at times with dramatic intensity. Realism
-in his painting reached a very high and at the same time a very noble
-development. His delight in nature is evident in all that he did;
-he observed her minutely, and took the utmost pleasure in reproducing
-her manifold beauties down to the smallest details, while his work was
-filled with a frank delight in life and close sympathy with all things,
-animate and inanimate, in the world around him. Philosophical
-thought or theological subtleties left him untroubled. That he was
-on the side of the Reformation is made clear by more than one of his
-woodcut designs, but his share in the controversy was after all a minor
-one, and marked by little or none of that passion which swayed the
-more eager partisans on either side.</p>
-
-<p class='c023'>True child of the Renaissance as Holbein was, he was yet one of
-the most original of artists. His strong individuality stamped everything
-that he touched; for though the influences under which he was
-trained can be traced throughout his career, they in no way dominated
-his genius, which found its own true expression. Circumstances
-combined to give this originality the fullest play. Both in Basel and
-in London there was no school of painting worthy of the name,
-and the artists who worked there had little or nothing to teach him.
-In both these cities it was he who was the master who towered
-head and shoulders above his fellow-painters. In this way his art
-developed upon personal and original lines until it attained that
-greatness of style which is so marked a feature of everything that
-he touched.</p>
-
-<p class='c023'>The art and character of these two great masters of the German
-school is very happily contrasted by the late Lord Leighton in one of
-his published addresses to the students of the Royal Academy. “Albert
-Dürer,” he says, “may be regarded as <i>par excellence</i> the typical German
-artist—far more so than his great contemporary, Holbein. He was
-a man of a strong and upright nature, bent on pure and high ideals,
-a man ever seeking, if I may use his own characteristic expression, to
-make known through his work the mysterious treasure that was laid
-up in his heart; he was a thinker, a theorist, and, as you know, a
-<span class='pageno' id='Page_320'>320</span>writer; like many of the great artists of the Renaissance, he was
-steeped also in the love of Science. His work was in his own image;
-it was, like nearly all German Art, primarily ethic in its complexion;
-like all German Art it bore traces of foreign influence—drawn, in his
-case, first from Flanders and later from Italy. In his work, as in all
-German Art, the national character asserted itself above every trammel
-of external influence. Superbly inexhaustible as a designer, as a
-draughtsman he was powerful, thorough, and minute to a marvel, but
-never without a certain almost caligraphic mannerism of hand, wanting
-in spontaneous simplicity—never broadly serene. In his colour
-he was rich and vivid, not always unerring as to his harmonies, not
-alluring in his execution—withal a giant.... In Holbein we have a
-complete contrast to the great Franconian of whom I have just spoken;
-a man not prone to theorise, not steeped in speculation, a dreamer of
-no dreams; without passion, but full of joyous fancies, he looked out
-with serene eyes upon the world around him; accepting Nature
-without preoccupation or afterthought, but with a keen sense of all
-her subtle beauties, loving her simply and for herself. As a draughtsman
-he displayed a flow, a fullness of form, and an almost classic
-restraint which are wanting in the work of Dürer, and are, indeed, not
-found elsewhere in German Art. As a colourist, he had a keen sense
-of the values of tone relations, a sense in which Dürer again was lacking;
-not so Teutonic in every way as the Nuremberg master, he
-formed a link between the Italian and the German races. A less
-powerful personality than Dürer, he was a far superior painter. Proud
-may that country be indeed that counts two names so great in art.”<a id='r758' /><a href='#f758' class='c020'><b>[758]</b></a></p>
-
-<div class='footnote c021' id='f758'>
-<p class='c022'><span class='label'><a href='#r758'>758</a>.&nbsp;&nbsp;</span>Leighton, <i>Addresses delivered to the Students of the
-Royal Academy</i>, 2nd edition, 1897, pp. 305-6. (Dec. 9, 1893.)</p>
-</div>
-
-<div class='sidenote'>RUSKIN ON HOLBEIN</div>
-<p class='c023'>It is quite true that he was a better painter than Dürer, for his
-mastery of the technical side of his art was complete, while his artistic
-temperament found expression in many different branches of the
-decorative arts and crafts. He was thus much more than a great
-painter: he was a great artist and a great craftsman as well, for though
-he did not actually cut the wood blocks he designed, or fashion the
-actual cups of gold and silver for which he made the working drawings,
-he had so perfect a knowledge of the practical side of the crafts,
-and of the artistic capabilities and the limitations of the mediums in
-which his designs were to be carried out, that he was indeed the
-<span class='pageno' id='Page_321'>321</span>“notable workman” which Erasmus called him. In all that he did,
-the greatness and the individuality of his style, his power of dramatic
-composition, the versatility of his imagination and his restraint in the
-use of it, his serene outlook upon life, and the perfect and unerring
-unison of his eye and hand, combine with his insight into character
-and technical skill of the rarest quality to make him one of the few
-great masters of the world.</p>
-
-<p class='c023'>Ruskin’s judgment of him, when comparing him with Sir Joshua
-Reynolds, is so true and so just, that, although so well-known, a
-sentence from it may be quoted here in conclusion. “The work of
-Holbein,” he says, “is true and thorough, accomplished in the highest,
-as the most literal sense, with a calm entireness of unaffected resolution
-which sacrifices nothing, forgets nothing, and fears nothing.
-Holbein is complete; what he sees, he sees with his whole soul; what
-he paints, he paints with his whole might.”<a id='r759' /><a href='#f759' class='c020'><b>[759]</b></a></p>
-
-<div class='footnote c021' id='f759'>
-<p class='c022'><span class='label'><a href='#r759'>759</a>.&nbsp;&nbsp;</span>Ruskin, “Sir Joshua and Holbein,” in <i>Cornhill
-Magazine</i>, March 1860.</p>
-</div>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_323'>323</span>
-  <h2 class='c012'>APPENDIX</h2>
-</div>
-<h3 id='app-A' class='c040'>(A) <span class='sc'>Early Drawing by Holbein in the Maximilians Museum, Augsburg.</span> (Vol. i. p. 43)</h3>
-<p class='c041'><span class='sc'>The</span> drawing of “Calvary” in the Maximilians Museum, Augsburg
-(Woltmann, 3), is probably the earliest one by Holbein of which we
-have any knowledge. It is a silver-point drawing, touched with the
-brush in brown, white being used for the high lights and red for the
-representation of Christ’s wounds. It is a carefully wrought, youthful
-piece of work, at the same time showing considerable feeling in its
-rendering of the sacred subject. The Cross rises on the left, turned
-away from the spectator, so that the body of Christ is seen almost
-in profile against the sky. Mary and John stand below on the right,
-the former with hands clasped in prayer and head bent in grief. Lower
-down the rock, in the centre, kneels Mary Magdalen with uplifted
-arms, and on the left of the Cross a man is standing with his back to
-the spectator, wearing a tall hat of “beaver” pattern. In the background
-beyond him is a second cross with one of the thieves, the
-ladder still placed against it. Down below the heights there is a
-glimpse of a mountain and buildings. This interesting early example
-has been recently reproduced in the important publication of facsimiles
-of the complete series of Holbein’s drawings, now in the course of
-appearing under the editorship of Dr. Ganz—<i>Die Handzeichnungen
-Hans Holbeins des Jüngeren</i>, viii. 1.</p>
-<h3 id='app-B' class='c040'>(B) <span class='sc'>Designs for Painted Glass of the Lucerne Period.</span> (Vol. i. p. 79)</h3>
-
-<div  class='c000'></div>
-<div class='sidenote'>EARLY GLASS DESIGNS</div>
-<p class='c023'>The design for painted glass with the arms of Hans Fleckenstein,
-of Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is
-the earliest in date of the series of designs for this purpose in which
-Holbein made such fine decorative use of the landsknechte with their
-picturesque costumes as supporters of the shield bearing the coat of
-arms of the patron for whom the glass was ordered. In the Fleckenstein
-<span class='pageno' id='Page_324'>324</span>design the warrior on the left is bearded, and wears a hat with
-very large feathers, and a great sword, while a long lance is held aloft
-in his right hand, his left resting on the top of the shield, towards
-which he leans, and behind which his left leg is hidden. The man on
-the right is younger and beardless. His head is turned over his
-shoulder towards the right, and his flat black cap is worn jauntily over
-one ear and covers one side of his face, while a large hat with a huge
-mass of feathers is slung upon his back. His right hand rests on
-his sword-hilt, and his left on the top of the shield. The background
-is one of plain architecture, in striking contrast to the highly elaborated
-ones to be seen in most of Holbein’s glass designs produced after his
-visit to Italy. A barrel-roof is supported by flat columns with a round
-arch, across which two iron bars run, as in the Solothurn Madonna
-picture. On either side of this arch, on the top of the columns, stand
-figures of St. Barbara and St. Sebastian. The shield contains in two
-of the quarterings the Fleckenstein “house-sign” surmounted by a
-bar, the other two being filled with lozenge-shaped divisions. On the
-band at the bottom, left empty for an inscription, is written “hans
-Fleckenstein, 1517,” and “J. Holbain,” the signature not being in
-the artist’s own handwriting. It is reproduced by Dr. Ganz in <i>Die
-Handzeichnungen Hans Holbeins des Jüngeren</i>, v. 4.</p>
-
-<p class='c023'>The fact that the landscape backgrounds in several of Holbein’s
-glass designs afford evidence of a journey across the Alps has been
-touched upon in the text (see vol. i. p. 77), and further proof of this
-is to be found in another design of this period, made, in all probability,
-during a leisurely journey from Lucerne to Lombardy in 1518. This
-is the striking design representing the Banner-bearer of the Urseren
-Valley, in the Uri district—the valley watered by the Reuss, in which
-Andermatt is the chief village. This drawing, which is in the Royal
-Print Room, Berlin, is mentioned by Woltmann, ii. p. 120, as, in his
-opinion, not by Holbein, but by some “good Swiss master.” The
-landsknecht, a bearded man, stands full-face, with legs stretched wide
-apart, and the banner held aloft in his right hand. His left rests on
-his hip, and he carries a great sword. This animated, vigorously
-drawn figure is evidently a portrait. The banner, an important part
-of the design, bears on the left the figure of a bishop with crozier in the
-act of benediction, and on the right a church, with the bull of Uri in
-the sky above it, one hoof resting on the steeple. In the background
-<span class='pageno' id='Page_325'>325</span>is represented the old pack-horse road over the St. Gotthard, up which
-men are climbing with horses and mules loaded with barrels and bales.
-On the summit rises the small church which is depicted on the banner.
-The landscape is evidently one actually seen by the artist. The
-setting is a very effective one, consisting of plain pillars and an arch,
-the former with vine branches and bunches of grapes trained round
-them in spirals, the leaves forming the capitals and bases, while other
-branches stretch across the archway. Above the latter is a representation
-of the Judgment of Paris, with the three nude goddesses
-on the right, and Paris reclining on the ground on the left. Mercury,
-holding the apple, and Venus, the outer figures of this group, are
-placed upon the tops of the pillars on either side. The outlines
-have been put in with a pen in brown, while the banner-bearer’s
-face has been finished in water-colours, and the background slightly
-washed with green. Reproduced in <i>Handzeichnungen Hans Holbeins
-des Jüngeren</i>, iv. 4.</p>
-
-<p class='c023'>The glass design containing the coat of arms of the Lachner family,
-of Basel, in the Print Room of the National Museum, Stockholm (not
-in Woltmann), is a year or two later in date, the elaborately imagined
-architectural background indicating that it must have been made
-shortly after Holbein’s return from Italy, when the recollections of
-the Lombardic buildings he had studied with such keen interest were
-still fresh in his memory. On one side stands a young, beardless
-warrior as shield-bearer, his face in profile to the right, his lance over
-his shoulder, and his right hand on his hip. Opposite to him is the
-completely nude figure of a woman, her face turned towards the spectator,
-and both hands resting on the shield. Her hair hangs down
-her back in two great plaits, which are fastened together at the ends
-with a long loop. This is a realistic study from the life, and one of
-the very few drawings of the nude by Holbein which remain. The
-coat of arms on the curved Italian shield consists of a pair of outstretched
-wings, and these are repeated on the helmet which forms the
-crest, from which masses of finely designed scroll-work fall on either
-side. The two figures stand on a platform, below which are two crouching
-fauns holding a tablet for an inscription. The background, as
-already stated, is very elaborate, consisting of an open loggia with a
-roof like the later “St. Elizabeth” glass design (see vol. i. p. 149
-and Pl. 44), and friezes and a semicircular arch supported by pairs
-<span class='pageno' id='Page_326'>326</span>of columns with grotesque capitals, the arch being decorated with a
-band of ox-heads and foliage. Other friezes are covered with carved
-leaf and scroll-work, and above them are grotesque sculptured figures
-and roundels with heads. Through the openings at the back only
-the sky is indicated. This is a fine design, more particularly in
-the figure of the man, and in the helmet with its scroll-work. It is a
-washed drawing, with the knight’s face and hands and the body of
-the woman put in with water-colour. Reproduced in <i>Handzeichnungen
-Hans Holbeins des Jüngeren</i>, iv. 6.</p>
-<h3 id='app-C' class='c040'>(C) <span class='sc'>Early Drawings for wall-paintings.</span> (Vol. i. p. 101)</h3>
-
-<p class='c027'>In addition to the studies for wall-paintings made by Holbein
-shortly after his return from Lucerne to Basel, described in vol. i.
-pp. 98-101, there is another in the Ducal Gallery, Brunswick (Woltmann,
-127), representing the Virgin Mary, as Queen of Heaven, with
-the Infant Christ in her arms, which is signed and dated “1520, H. H.”
-Her long hair falls in curls over her shoulders, and a plain circular
-halo is placed behind her crown. She is looking down upon the Child,
-whom she holds with both hands, and he is smiling back at her. She
-is placed in a perfectly plain architectural niche, with two empty circles
-for medallions on either side. According to an inscription on the
-back, this drawing, which is in black chalk washed with grey, was,
-towards the end of the sixteenth century, in the possession of Daniel
-Lindtmeyer, the glass painter of Schaffhausen. Reproduced in <i>Handzeichnungen
-Hans Holbeins des Jüngeren,</i> iv. 3.</p>
-<h3 id='app-D' class='c040'>(D) <span class='sc'>Glass Designs with the Coats of Arms of the Von Andlau and Von Hewen Families.</span> (Vol. i. p. 145)</h3>
-
-<p class='c027'>A third design for painted glass, representing the martyrdom of
-the Holy Richardis, wife of the Emperor Carl the Big, is of about the
-same date, and very probably belongs to the same series, as the two
-designs bearing the coats of arms of the Von Andlau and Von Hewen
-families, the second of which is dated 1520. St. Richardis, wrongfully
-accused of unfaithfulness, proved her innocence by submitting herself
-to the ordeal by fire. She was the patron saint of the convent
-of Andlau in Alsace, which, according to the legend quoted by Dr.
-<span class='pageno' id='Page_327'>327</span>Paul Ganz, was erected upon ground which had been scraped up by a
-bear. It is most probable, therefore, that Holbein’s design was commissioned
-for the decoration of this particular religious house. The
-drawing, which is in the Basel Gallery (Woltmann, 50), shows the
-saint kneeling on the funeral pyre, her hands clasped in prayer, her
-head bent, and her long curls falling below her waist. She wears a
-large cross at her breast, and has a circular halo inscribed “<span class='fss'>S. RIGARDIS
-VIRGO</span>.” On the right is a small kneeling figure of an abbess or nun,
-with open prayer-book, and on the left the bear of the legend. Two
-flying angels, with draperies very effectively arranged, hold the martyr’s
-crown above her head. The ordeal takes place beneath a cupola,
-with an opening in the centre, supported by pillars of fantastic design,
-the bases of the nearer ones being decorated with medallions hanging
-from chains. Below is the customary blank tablet for an inscription,
-held by two grotesque sea-monsters with human heads. At the back,
-seen through the open arcading of the building, there is a view of a
-small walled town in a hilly country, with church and cloisters and
-watch-towers, and, lower down, the red roofs of a cluster of houses.
-This is one of the most charming of the numerous landscape backgrounds
-which Holbein introduced into his glass designs and book
-illustrations. The drawing is washed with grey, and the background
-lightly touched in with water-colours. It is reproduced in <i>Handzeichnungen
-Hans Holbeins des Jüngeren</i>, xi. 8.</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='sc'>The Glass Designs of “The Passion of Christ”</span></div>
-    <div>(Vol. i. p. 156)</div>
-  </div>
-</div>
-
-<p class='c027'>Miss Mary F. S. Hervey, in her <i>Holbein’s Ambassadors</i> (p. 22,
-<i>note</i>), draws attention to some cartoons for tapestry representing
-scenes from the Passion designed by Holbein. The reference occurs
-in a letter from Carlos de la Traverse, written from St. Ildefonse
-in Spain in 1779 to M. d’Angeviller, in which he proposes that the
-latter should buy the cartoons. The offer, however, was declined
-on the ground that Holbein was “un peintre sec et demi-gothique”
-(See <i>Nouvelles Archives de l’Art Français</i>, 2nd series, vol. i. pp. 258-62).
-It is possible that these designs were not for tapestry but for glass,
-and they may even have been the set in Sir Thomas Lawrence’s collection,
-now in the British Museum.</p>
-<div>
-  <span class='pageno' id='Page_328'>328</span>
-  <h3 id='app-E' class='c040'>(E) <span class='sc'>The Faesch Museum.</span> (Vol. i. pp. 88, 166-8, 180, and 239-41)</h3>
-</div>
-
-<p class='c027'><a id='Kannengiesser'></a></p>
-<div class='sidenote'>THE FAESCH MUSEUM</div>
-<p class='c023'>Among the miscellaneous contents of the Faesch Museum, formed
-by Dr. Remigius Faesch, or Fäsch, the most important are the few
-works by and after Holbein. Most of these came to him by inheritance
-from his grandfather, the earlier Remigius Faesch, burgomaster
-of Basel, who married Rosa Irmi, the granddaughter of Jakob Meyer
-zum Hasen, and so became possessed, not only of the double portrait
-of Meyer and his wife, Dorothea Kannengiesser, painted in 1516, and
-the two fine silver-point studies for the same, but also the famous Meyer
-Madonna now at Darmstadt. This last picture, unfortunately for the
-Basel Public Picture Collection, he sold to Lucas Iselin in 1606. Dr.
-Faesch’s father, Johann Rudolf Faesch (1574-1660), also burgomaster
-of Basel, became in turn the owner of the Meyer portraits and drawings,
-and he added a number of other pictures to the collection. He was
-acquainted with the painter Bartholomäus Sarburgh, who from 1620
-to 1628 was busily occupied in painting portraits in Basel, and to
-whom, in 1621, he gave a commission for a likeness of his son Remigius,
-an excellent work now in the Basel Gallery. (Reproduced by Dr.
-Emil Major in the sixtieth annual report of the Basel Picture Collection,
-1908.) From Sarburgh, when that painter was in Holland, Johann
-Rudolf Faesch obtained the copies of Holbein’s series of Prophets,
-nine pairs (see vol. i. p. 88). The originals were in water-colour,
-but were copied by Sarburgh in oil. He is said to have taken the
-originals with him to the Netherlands, since which time all traces of
-them have disappeared. These copies are in the depot of the Basel
-Gallery; two of the pairs are reproduced by Dr. Ganz in <i>Holbein</i>,
-p. 191.</p>
-
-<div class='sidenote'>THE FAESCH MUSEUM</div>
-<p class='c023'>Remigius Faesch the second (1595-1667) became a doctor of law
-and a professor in the Basel University. He was an ardent collector
-throughout his life, not only of pictures, but of books, medals, examples
-of goldsmiths’ art, and antiquities. On the death of his father he became
-the possessor of the Meyer portraits and the Sarburgh “Prophets.”
-To these he added a small square portrait of Erasmus of the
-Holbein school, and in 1630, Johannes Lüdin, a pupil of Sarburgh,
-then in Belgium, copied for him the heads of Jakob Meyer’s son and
-daughter from the Meyer Madonna picture; apparently not from
-<span class='pageno' id='Page_329'>329</span>the original, but from the copy now in the Dresden Gallery, which,
-according to Dr. Major, was most probably the work of Sarburgh
-(see vol. i. pp. 239-41). In 1648 Johann Sixt Ringlin copied for him
-one of the versions of the double portrait of Erasmus and Froben (see
-vol. i. pp. 166-8). Again, in 1667, the year of Faesch’s death, Lüdin
-presented him with a small portrait of Holbein which he had painted
-from Hollar’s etching dated 1641. Faesch also possessed a second
-small portrait of Erasmus, copied from the roundel in the Basel Gallery,
-several drawings of the Holbein school, and, among other things,
-the original wood-block of the “Erasmus im Gehäuse.” On his death
-Faesch left his collections and the mansion containing them in trust
-as a Museum, with usufruct to his descendants for so long as there
-should be a doctor of law among the members of his family, failing
-which everything was to become the property of the Basel University.
-The last of these doctors of law was Johann Rudolf Faesch, who died
-in 1823, when the Museum and its contents were handed over to the
-University, the pictures, drawings, and engravings eventually finding
-a permanent home in the Basel Public Picture Collection.</p>
-
-<p class='c023'>Dr. Remigius Faesch spent many years in the compilation of a
-manuscript, in Latin, now in the University Library of Basel, which
-he called “Humanæ Industriæ Monumenta.” One section of this
-deals briefly with the life of Holbein and with his chief works then in
-Basel in the Amerbach Cabinet and Faesch’s own possession, to which
-reference has been made more than once in these pages. The original
-text is given by Woltmann, ii. pp. 48-51, and extracts from it in <i>Das
-Fäschische Museum und die Fäschischen Inventare</i>, by Dr. Emil Major,
-which forms part of the Annual Report (1908) of the Basel Gallery,
-already mentioned. It is from this exhaustive and highly interesting
-account of the Faesch collections and the various inventories and lists,
-printed in full, that the facts in this note have been taken.</p>
-
-<p class='c023'>The reference to the double portrait of Erasmus and Froben in the
-“<i>Humanæ Industriæ Monumenta</i>” is as follows:</p>
-
-<p class='c025'>“Erant 2 tabulæ junctæ, ligamentis ferreis ut aperiri et claudi
-potuerint, in tabula dextra Effigies Johan. Frobenii Typographi, in
-altera Erasmi sine dubio ab ipso Erasmo in gratiam et honorem
-Frobenii, quem impense amabat, curatæ, et eidem ab Erasmo oblatæ, unde
-et eidem dextram cessit: Ex his tabulis nobis exempla paravit pictor
-non imperitus Joh. Sixtus Ringlinus Basil, An. 1648, quæ extant inter
-effigies nostras.”</p>
-
-<p class='c027'><span class='pageno' id='Page_330'>330</span>Faesch’s account of the sale of the Meyer Madonna runs thus:—</p>
-<div class='sidenote'>THE FAESCH MUSEUM</div>
-<p class='c025'>“An. 163 .&nbsp;.&nbsp;. suprad. pictor Le Blond hic à vidua et hæredibus Lucæ
-Iselii ad S. Martinum emit tabulam ligneam trium circiter ulnarum
-Basiliensium tum in altitud. tum longitud. in qua adumbratus prædictus
-Jac. Meierus Consul ex latere dextra una cum filiis, ex opposito uxor
-cum filiabus omnes ad vivum depicti ad altare procumbentes, unde habeo
-exempla filii et filiæ in Belgio à Joh. Ludi pictore ex ipsa tabula
-depicta. Solvit is Le Blond pro hac tabula 1000 Imperiales, et postea
-triplo majoris vendidit Mariæ Mediceæ Reginæ Galliæ viduæ Regis Lud.
-13 matri, dum in Belgio ageret, ubi et mortua: Quorsum postea
-pervenerit incertum. Tabula hæc fuit Avi nostri Remigii Feschii
-Consulis, unde Lucas Iselius eam impetravit pro Legato Regis
-Galliarum, uti ferebat, et persolvit pro ea Centum Coronatos aureos
-solares. An. circ. 1606.”</p>
-
-<p class='c027'>In this paragraph Faesch speaks of Johannes Lüdin as Ludi, but
-in an earlier one, describing the portrait of Holbein after Hollar which
-Lüdin sent him, apparently as a new year’s gift, he calls the painter
-Joh. Lydio.</p>
-
-<p class='c023'>In an inventory drawn up early in the nineteenth century by the
-last keeper of the Museum, Johann Rudolf Faesch, the Sarburgh
-“Prophets” are described as follows:</p>
-
-<p class='c025'>“13 a 21. Ferners befinden sich in dem Faeschischen Museo noch
-hienach-folgende Neun Gemählde auf Tuch, welche von Bartholomäus von
-Saarbrücken nach Holbeinischen Original Gemählden copirt worden sind,
-solche werden von Patin in dem Eingangs gemeldten Indice also
-beschrieben:</p>
-
-<p class='c030'>“‘Prophetæ omnes majores &amp; minores, in novem tabulis bicubitalibus,
-ita ut binos quævis illarum exhibeat, coloribus aqueis nullo admixto
-oleo depicti. Has tabulas Bartholomæus Sarbruck, Pictor eximius, in
-Belgium Basilea detulit, atque hic illarum apographa manu sua depicta
-reliquit, quæ servantur in Musæo Feschiano.’</p>
-
-<p class='c030'>“Nach dieser Beschreibung wären also die Originalien mit Wasserfarb,
-die Copien von Barth. v. Saarbrücken aber, so sich im Faeschischen
-Museo befinden, sind in Oehl gemahlt. Die sämtl. Propheten sind ganze
-Figuren u. die Tableaux sind 3 Schuh 1¼ Z. hoch u. 2 S.
-3½ Z. breit.”</p>
-<h3 id='app-F' class='c040'>(F) <span class='sc'>Hans Holbein and Dr. Johann Fabri.</span> (Vol. i. p. 175)</h3>
-
-<div  class='c000'></div>
-<div class='sidenote'>HOLBEIN AND DR. J. FABRI</div>
-<p class='c023'>It is very probable that Holbein’s absences from Basel in search
-of work during his second sojourn in that city (1519-1526) were more
-frequent than has been generally supposed. It is not to be expected
-that many records of such journeys should remain, and for this reason
-the recent discovery, by Dr. Hans Koegler, of such an absence during
-1523 is of exceptional interest. His article, describing this discovery,
-entitled “Hans Holbein d. J. und Dr. Johann Fabri,” was published
-<span class='pageno' id='Page_331'>331</span>by him in <i>Repertorium für Kunstwissenschaft</i>, vol. xxxv. pts. 4 and 5,
-(1912), pp. 379-84. Fabri was Vicar-General of Constance, and afterwards
-Bishop of Vienna, and a friend and correspondent of Erasmus.
-During the autumn of 1523, at some place not yet identified, but evidently
-in the neighbourhood of Constance, Holbein and Dr. Fabri
-became acquainted, or renewed an earlier intercourse, for the Vicar-General
-made use of him as the bearer of some letter, message of greeting,
-or gift to Erasmus, and from the latter’s reply in acknowledgment
-it is to be gathered that the relationships between the painter and the
-author of <i>The Praise of Folly</i> were very friendly ones. The letter
-from Erasmus to Fabri, written in November or December 1523,
-begins:</p>
-
-<p class='c025'>“Reverendo Domino, Joanni Fabro, Canonico et Vicario Constantien. domino
-plurimum observando.—Salutem, vir amantissime, ex tua salutatione quam mihi
-per Olpeium misisti, melius habui. Erat enim accurata, et veniebat ab amico, et
-per hominem amicum. Spongiarum rursus tria milia sunt excusa, sic visum est
-Frobenio...,” &amp;c.</p>
-
-<p class='c027'>In this letter Fabri’s messenger is spoken of as “Olpeius,” and the
-point for decision is whether this refers to Hans Holbein, or to a
-second Olpeius occasionally mentioned in the correspondence of
-Erasmus—one Severinus Olpeius, who acted as letter-carrier for
-Erasmus more than once, and appears to have been in the employ of
-the bookseller Koberger of Nuremberg. In one or two of the letters
-of Erasmus the name “Olpeius” is undoubtedly intended for Holbein,
-as in the one conveying his thanks to Sir Thomas More for the drawing
-of the Family Group which More had sent to him by the hands of the
-painter. In this letter, which is dated from Freiburg, September
-1529 (see vol. i. p. 341), Erasmus says:</p>
-
-<p class='c025'>“Utinam liceat adhuc semel in vita videre amicos mihi charissimos, quos in
-pictura quam Olpeius exhibuit, utcunque conspexi summa cum animi mei voluptate.
-Bene vale cum tibi charissimis omnibus.”</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>HOLBEIN AND DR. J. FABRI</div>
-<p class='c023'>Again, in a second letter from Erasmus to Bonifacius Amerbach
-written from Freiburg on April 10, 1533 (wrongly dated 1535 in the
-manuscript), first published by Dr. C. Chr. Bernoulli in 1902 (see
-below, Appendix (<a href='#app-J'>J</a>)), the “Olpeius” of whom the sage speaks so
-severely was almost certainly Holbein. Dr. Koegler brings forward
-convincing arguments to prove that the artist was also the “Olpeius”
-<span class='pageno' id='Page_332'>332</span>of the letter to Dr. Fabri, and that the place of encounter was somewhere
-in the Lake of Constance district. He also suggests that as
-Dr. Fabri was connected in his official capacity with the Maria-Wallfahrts
-Church in Rickenbach, for which Holbein’s earliest known
-picture, the Virgin and Child of 1514, was painted, and as he was also
-the personal friend of the orderer of that little work, Canon Johann von
-Botzheim of Constance, he must have been already acquainted with
-Holbein. In any case, it seems certain that, thanks to Dr. Kœgler,
-we have here definite, though scanty, information of one more of the
-painter’s wanderings in search of work.</p>
-<h3 id='app-G' class='c040'>(G) <span class='sc'>The Trade-mark of Reinhold Wolfe.</span> (Vol. i. p. 202)</h3>
-
-<p class='c027'>The charming device of boys throwing sticks at an apple tree,
-which Holbein made for the publisher Reinhold Wolfe, seems to have
-been familiar to most English schoolboys in the sixteenth and seventeenth
-centuries, as it was to be found in a Latin Grammar much in
-use. There is an amusing reference to it in Henry Peacham’s <i>Compleat
-Gentleman</i> (reprint of the 1634 edition, Clarendon Press, 1906,
-pp. 126-7). He says:</p>
-
-<p class='c025'>“Painting is a quality I love (I confesse) and admire in others,
-because ever naturally from a child, I have beene addicted to the
-practice hereof: yet when I was young I have beene cruelly beaten by
-ill and ignorant Schoolemasters, when I have been taking, in white and
-blacke, the countenance of some one or other (which I could doe at
-thirteene and foureteene yeeres of age: beside the Mappe of any Towne
-according to Geometricall proportion, as I did of <i>Cambridge</i>
-when I was of <i>Trinity Colledge</i>, and a Junior Sophister), yet
-could they never beate it out of me. I remember one Master I had (and
-yet living not farre from <i>S. Albanes</i>) tooke me one time drawing
-out with my penne that peare-tree and boyes throwing at it, at the end
-of the Latine Grammar: which hee perceiving, in a rage strooke me with
-the great end of the rodde, and rent my paper, swearing it was the
-onely way to teach me to robbe Orchards; beside, that I was placed
-with him to be made a Scholler and not a Painter, which I was very
-likely to doe; when I well remember he construed me the beginning of
-the first <i>Ode</i> in <i>Horace</i>, <i>Edite</i>, set ye forth,
-<i>Maecenas</i>, the sports, <i>atavis Regibus</i>, of our ancient
-Kings: but leaving my ingenious Master, to our purpose.”</p>
-
-<div>
-  <span class='pageno' id='Page_333'>333</span>
-  <h3 id='app-H' class='c040'>(H) <span class='sc'>Nicolas Bellin of Modena.</span> (Vol. i. pp. 282-4)</h3>
-</div>
-
-<p class='c042'>(i.) <i>Extract from a Letter from Sir John Wallop, ambassador to
-France, to Henry VIII, respecting the extradition of “Blanche Rose”
-from France, and of Nicolas Bellin from England, dated Mantes, 27
-September 1540.</i> (<i>State Papers</i>, vol. viii. pt. v. cont., No.
-dcxxviii., p. 439.)</p>
-
-<div  class='c004'></div>
-<div class='sidenote'>NICOLAS BELLIN OF MODENA</div>
-<p class='c025'>“... Which the Cardynall of Tornon confessed to be true, saying, ‘his
-(<i>i.e.</i> Blanche Rose) mother was Englissh, and duelled in
-Orleance, and in the Cardynalles tyme of Yorke being brought uppe in
-England’; and with stayed, saing that the said fellowe shoued hym many
-other thinges, that he cauled not to remembraunce: and so left that
-pourposse, and axed me why Your Majestie delivered not Modena, when he
-was send for, showing me what was the cause why they desired hym so
-much, being uppon acompte of a houndreth thousand crownes, that the
-President Jentill had begiled the King, not yet ended. ‘Whye,’ quod I,
-‘then, if ye dyd extyme hym so moch, wherfore dyd ye not kipe hym
-(<i>i.e.</i> Blanche Rose), that I demaunded, in prison, till ye had
-knowledge, what aunswar should be made for the said Modena; whom if ye
-had extymed, ye would have so doon? but I perceyve,’ quod I, ‘that ye
-thinke to have a greate personnaige of the said noughty fellowe, who I
-ensure you to be of as ill qualities as canbe, and his father a poore
-man; and fourthre ye considre not howe gentelly the King my maister
-deliverd you of late Adryan Cappes.’”</p>
-
-<p class='c042'>(ii.) <i>Extract from a Letter from Sir John Wallop to Henry VIII,
-referring to the work done at Fontainebleau by Nicolas Bellin, dated
-Mélun, 17th November 1540.</i> (<i>State Papers</i>, vol. viii. pt. v.
-cont., No. dcxlii., p. 484.)</p>
-
-<p class='c037'>“... and from thense browght me into his (<i>i.e.</i> Francis I)
-gallerey, keping the key therof Hym self, like as Your Majestie useth,
-and so I shewed Hym, wherewith He toke plesur. And after that I had
-wel behold the said gallerey, me thought it the most magnifique, that
-ever I sawe, the lenght and bredthe <i>no man canne better shewe Your
-Majestie then Modon, who wrought there in the begynnyng of the
-same</i>, being at that tyme nothing in the perfection, as it is nowe.
-The rowff therof ys seeled with walnott tree, and made after an other
-forme then Your Majestie useth, and wrought with woode of dyvers
-cullers, as before I have rehersed to Your Majestie, and is partly
-gilt; the pavement of the same is of woode, being wrought muche after
-that sort; the said gallerey is seeled rownde abowte, and fynely
-wrowght three partes of it; <i>upon the fourthe parte is all antique
-of such stuff as the said Modon makith Your Majesties Chemenyes</i>;
-and betwixt every windowe standes grete anticall personages entier,
-and in dyvers places of the said gallerey many fayre tables of
-stories, sett in, very fynely wrowgth, as Lucretia, and other, <i>as
-the said Modon can muche better declare the perfytnes of the hole to
-Your Majestie, then I</i>. And in the gallerey at St. James the like
-wold be wel made, for it is bothe highe and large. Yf your pleasure be
-to have the paterne of this here, I knowe right wel the Frenche King
-woll gladly geve it me.”</p>
-<div>
-  <span class='pageno' id='Page_334'>334</span>
-  <h3 id='app-I' class='c040'>(I) <span class='sc'>The More Family Group.</span> (Vol. i. pp. 291-302)</h3>
-</div>
-
-<div  class='c000'></div>
-<div class='sidenote'>THE MORE FAMILY GROUP</div>
-<p class='c023'>There is a very interesting manuscript book, dated 1859, in the
-possession of Lord St. Oswald, which contains a descriptive catalogue
-of the pictures at Nostell Priory, together with “Some brief Notices
-of the sundry pictures of the Family of Sir Thomas More, Knt., Lord
-High Chancellor of England, Temp. Henry VIII,” from which, through
-the courtesy of the owner, the writer is enabled to give some extracts.
-It was written by Lord St. Oswald’s grandfather, Mr. Charles Winn,
-whose chief purpose seems to have been to controvert Horace Walpole’s
-adverse criticism, based on George Vertue’s manuscript notes, of the
-Nostell picture. Mr. Winn gives a short history and description of
-the various versions of the Family Group. Speaking of the Nostel
-Priory version, called throughout his notes the “Roper” picture,
-he says:</p>
-
-<p class='c025'>“This picture formerly belonged to William Roper, Esqre., son of
-William Roper, Esqre., Prothonotary of the Court of King’s Bench,
-temp. Henry VIII, who married Margaret, the oldest, and favourite
-daughter of the celebrated Sir Thos. More, Knt., Lord High Chancellor
-of England; and was painted for him by that renowned artist Hans
-Holbein in the year 1530, as appears from the monogram and date on the
-picture. It remained in this family till the death of Edwd. Roper, the
-last in the direct male line of the Ropers of Well Hall, nr. Eltham,
-Co. of Kent, and of St. Dunstans, nr. Canterbury; he had only one
-child, a daughter, who married Charles Henshaw, Esqre., who on her
-father’s death inherited all his property. The issue of this marriage
-was three daughters, the eldest of whom married Sir Edward Dering,
-Bart., of Surrenden Dering in the County of Kent; the second married
-Col. Strickland of Beverly, in the East Riding of the Co. of York; and
-the third, Susannah, married my great-grandfather, Sir Roland Winn,
-Bart., of Nostel, in the West Riding of the Co. of York. Mrs.
-Strickland died without leaving issue, and on the death of Mr.
-Henshaw, his two surviving daughters succeeded to his real, as well as
-personal property. The Holbein picture was valued at £3000, and Sir
-Edward Dering preferring to have his share in money, my ancestor paid
-him a moiety of the valuation, and thus became possessed of the
-picture, which was conveyed to Nostel, where it still remains.”</p>
-
-<div  class='c000'></div>
-<div class='sidenote'>THE MORE FAMILY GROUP</div>
-<p class='c023'>Mr. Winn was of opinion that the version, with life-size figures,
-painted in distemper, which belonged to Andries de Loo, was not the
-picture at Nostell, the latter being painted in oil. He considered that
-the De Loo version was the one formerly at Heron in Essex (afterwards
-at Thorndon—see vol. i. p. 300), and that it was purchased at De Loo’s
-death by Giles Heron, who married Sir Thomas More’s second daughter,</p>
-
-<p class='c023'><span class='pageno' id='Page_335'>335</span>Cecilia. Heron Hall was the seat of his family, and the property
-passed into the possession of the Tyrrell family by the marriage of Sir
-John Tyrrell with Margaret, daughter and heiress of Sir William Heron,
-of Heron, Kt. Quoting Walpole’s statement that the Heron picture
-“having been repainted, it is impossible to judge of its antiquity,”
-he goes on to say that this “appears to me to go very far in proof of
-the correctness of the opinion I have hazarded, as to who was the purchaser
-of the De Loo picture, for it is hardly to be credited that had
-this (Heron) picture been painted in oil colour it would have become
-so injured as to require its being repainted to an extent to render it
-<i>impossible to judge of its antiquity</i>.” Mr. Winn thought that Holbein
-himself must have sold the distemper version to De Loo—though why
-he should do so it is not easy to imagine, as it is natural to suppose
-that Sir Thomas More or some member of his family would have
-retained it—and that the East Hendred picture, in Mr. Winn’s time at
-Barnborough Hall (see vol. i. p. 300), was the actual work painted by
-Holbein for the Chancellor, either from the Basel sketch or the De Loo
-example. It is not likely, he says, that Sir Thomas</p>
-
-<p class='c043'>“would have allowed the picture in <i>Distemper</i> to be disposed of
-to De Loo, ‘till he had secured a copy of it. I can hardly therefore
-entertain a doubt that Sir Thomas <i>did</i> possess one of these
-large Family pieces, and that the picture at Barnborough Hall is the
-identical one. John More had this picture conveyed to Barnborough,
-when he took up his abode there on the death of Mr. Cresacre, his
-wife’s father.”</p>
-
-<p class='c041'>The inference is that John More, as head of the family, inherited the
-version of the Group expressly painted for his father. Mr. Winn says
-of this picture that it is</p>
-
-<p class='c043'>“in the <i>number</i> and <i>arrangement of the persons
-represented</i> a <i>facsimile</i> of the <i>original sketch</i>, or
-drawing, and I deem it far from improbable that it may be the picture
-which was painted, by Holbein, for Sir Thomas; for although it is now
-in a very deplorable state, caused by most unpardonable neglect, yet
-there are parts which shew that the picture, in its original state,
-was painted by no ‘prentice hand.’ It is now in a low room panelled
-with oak, and has unfortunately been curtailed, both in width, and
-depth, to fit it into the panel where it is placed, and this may
-probably account for the absence of the monogram of the painter, and
-the date. The present size of the picture is length, ten feet; height,
-eight feet. The figures represented are the size of life.”</p>
-<p class='c027'>Of the Burford picture (see vol. i. pp. 301-2 and Pl. 76) he says:</p>
-
-<p class='c025'>“This picture was formerly in the possession of a branch of the More
-family, who resided at Gobions, or Gubbins, not far from Barnet, in
-Hertfordshire, for whom
-<span class='pageno' id='Page_336'>336</span>I have no doubt it was painted, and probably by Zuccaro, as it bears
-the date 1593—some of the figures are copied from one of the pictures
-already alluded to (most likely from that at Barnborough); these are
-Sir John More, Knt., Sir Thomas More, Knt., John More, Margaret Roper,
-Cecilia Heron, Elizabeth Dancey, and Anne Cresacre. The other figures
-(four in number, whose names I have given at page 12) are represented
-in the costume of the period in which the picture was painted, viz.
-temp. Eliz. How this picture came into the possession of the Lenthall
-family is not certain, but the last possessor of it, of that name,
-told a relative of mine that it had been purchased by their ancestor
-the Speaker Lenthall, on the sale of Gobions and its contents.”</p>
-
-<p class='c027'>After pointing out the differences between the Roper picture, the
-other versions, and the Basel sketch, Mr. Winn concludes by saying:</p>
-
-<p class='c025'>“There are other differences observable between the Sketch and the
-Roper picture which though unimportant in themselves, yet when
-considered in connection with those I have named, do I think afford
-most satisfactory proof that the Roper picture is <i>no copy</i>, but
-that it is, as Vertue asserts, an <i>original</i> production by
-<i>Hans Holbein</i>.”</p>
-
-<p class='c027'>It is not possible, however, to follow Mr. Winn in every one of his
-conclusions, which would necessitate the belief that Holbein himself
-painted no less than three versions of the Family Group—the one in
-distemper, which was sold by the artist to De Loo, and afterwards
-purchased by Giles Heron, now so injured that “it is impossible to
-judge of its authenticity”; the one in oil painted for Sir Thomas,
-which remained at Barnborough in the possession of John More and his
-descendants, and has been cut down and subjected to “unpardonable
-neglect”; and the Roper picture now at Nostell Priory. It seems
-almost certain that Holbein had no hand in the painting of the two
-first, and that they are merely early copies or adaptations from the
-Nostell picture, though at the same time it should be pointed out
-that they follow the Basel sketch more closely than the latter, and do
-not show, as it does, various alterations in the design, such as the introduction
-of the figure of the secretary Harris. This affords some support
-to the contention that they are of earlier date, or copied from some
-earlier version, than the Roper canvas. The Basel sketch would not
-be available for the purpose, as it was taken with him by Holbein
-when he left England in 1528. Still, in spite of this, the fact remains
-that the Nostell Priory version is the only one that has any pretensions
-to be regarded, even in a small part, as an original work by Holbein,
-and until further proof is forthcoming it is safest to conclude that</p>
-
-<div class='sidenote'>THE MORE FAMILY GROUP</div>
-<p class='c023'><span class='pageno' id='Page_337'>337</span>Holbein, after making his preliminary studies, began a large canvas
-which for some unknown reason was left by him in a very incomplete
-state, and that Sir Thomas More had it finished by some other hand
-in 1530, and that this picture was the one which came into De Loo’s
-possession, and is now at Nostell Priory.</p>
-
-<p class='c023'>One other point remains to be touched upon. Mr. Winn asserts
-that in Vertue’s opinion the Roper picture is an original work by
-Holbein, and he quotes in support of this statement from a manuscript
-by Vertue in his possession which he bought at the Walpole
-sale. He gives several extracts from it, among them the following,
-upon which, apparently, he bases his contention:</p>
-
-<p class='c025'>“But the original painting by Holbein of this family (More) has long
-been preserved by the family of Roper at Eltham in Kent, and was till
-of late years there to be seen, but of late at Greenwich in the King’s
-House in the Park inhabited by Sir John Jennings, the family of Roper
-having desired leave to place it there till their house at Eltham was
-rebuilt.”</p>
-<p class='c041'>There is, however, a second account of this picture by Vertue in his
-diaries preserved in the British Museum (Add. MSS. 25071, f. 4), first
-published by Mr. Lionel Cust in the <i>Burlington Magazine</i>, October
-1912, pp. 43-4; and in this memorandum, in which the picture is
-described in greater detail, there is no suggestion made that it is an
-original work. Mr. Winn’s manuscript appears to be rather earlier
-in date. In it Vertue speaks of his examination as having been made
-at Greenwich (“I compared the first sketch and the large picture
-together at Greenwich”—the “first sketch” he speaks of being
-Caroline Patin’s engraving of the Basel drawing), but in the British
-Museum memorandum he states that he examined it, at the request
-of the Earl of Oxford, after it had been removed from Greenwich to
-Sir Roland Winn’s house in Soho Square, when he “in a more particular
-manner observd that the picture differs from the others, this
-seeming to be the most compleated.” He goes on to say:</p>
-<p class='c025'>“First that design at Basil, presented to Erasmus by Sr. Th. More, I
-conceive to be the first sketch on lines on a sheet of paper, or
-Holbein’s first draught, and in this large painting of the Family
-containd the picture of Sir John Mores wife, a young Lady to whom he
-was then lately married (and there is left out Margaret Giggs) as in
-the design of the first, she only being a companion to his daughters
-and a favorite of Mrs. More Sr. Thomas Lady. Then there is also
-another person comeing in the room with srole in his hand—whose name
-is ... Harisius ...
-<span class='pageno' id='Page_338'>338</span>famulus, and behind a person setting reading on a desk—at bottom are
-<i>two dogs</i> favorites, probably put in afterwards by another
-hand.... There really does not appear to be that certainty of drawing,
-strength of colouring, as in many other pictures of Holben. Therefore
-in the oppinion of several judges &amp; professors of painting it is
-doubtfull.”</p>
-
-<p class='c027'>He goes on to say:</p>
-
-<p class='c025'>“Upon another review of the Family peice of Sr. Thomas More—I observe
-that the light &amp; shade of the persons represented are various, which
-is not consistent to nature nor practice in the art of painting, for
-as it is a view of this Family represented at once, the light ought to
-proceed from one point throughout the whole picture, which it doth not
-but some of the figures there represented, the light proceeds from the
-right side and others from the left side. And the light on the face of
-Sr. Thomas proceeds from the left and his father Sr. John is from the
-right. And also the Lady of Sr. Tho. the light on her face proceeds
-from the left so in several there is a disagrement of light and
-shade.”</p>
-
-<p class='c027'>Vertue’s explanation of the painting of the picture is that Holbein,
-after taking various portraits of members of the More family, drew,
-at Sir Thomas’s request, a design for a big Family Group, but that
-before a start could be made on the picture by the artist Henry VIII
-paid a visit to Chelsea, and was at once so captivated by the examples
-of Holbein’s art which he saw there that he carried the painter off to
-Court at once, and gave him so much to do that More’s commission
-had to be abandoned. Sir Thomas, therefore, “after 1530” employed
-someone else to paint the picture from the original design and
-the finished family portraits, “perhaps, and not unlikely, some scholar
-of Holbein’s with his knowledge and consent,” this pupil “so forwarding
-it with as much skill as he was able ready for Holbein to go over
-again and review and finish it.” This would be a matter of time, and
-during the progress of the work several alterations and additions were
-made, such as the introduction of the figure of Harris, which figure,
-in Vertue’s opinion, showed “most visible difference in painting and
-drawing,” so that it could not be copied from any painting by Holbein,
-but was the original work of the assistant, who in this “ventured to
-show all his skill with full liberty.” In conclusion he remarks that
-“Raphael made many designs in small which were executed in large
-by his scholars, some before his death and some after,” and suggests
-that Holbein made the design for this Family Group with the same
-intention—“Especially as it may be observd none of these faces,
-hands coppyd from Holben’s painted pictures are not labouriously
-<span class='pageno' id='Page_339'>339</span>finishd, but left broad and light, fitly disposed to receive any improvments
-by Holbens hand—when, on the contrary, all the still life in the
-picture, the jewells, ornaments, gold are highly finished.”</p>
-
-<div class='sidenote'>THE MORE FAMILY GROUP</div>
-<p class='c023'>Since the Nostell Priory picture was photographed, thanks to the
-kindness of Lord St. Oswald, for the purposes of this book, it has
-undergone a thorough and very careful cleaning, with the result that
-many details, previously almost obscured, can now be seen quite
-clearly, while the general effect of the work as a whole has been greatly
-enhanced. As noted in the text (see vol. i. pp. 295-6), the chief
-points in which this picture differs from the Basel sketch is in the
-change of position in the figures of Elizabeth Dancey and Margaret
-Gigs, and the introduction of John Harris. Elizabeth Dancey, who
-now stands next to Sir John More, is in exactly the same position and
-dress as in the sketch, whereas Margaret Gigs, who now forms the
-outer figure of the group on the left, is wearing a plain white head-dress,
-as in the preliminary study at Windsor, in place of the angular
-hood with black fall of the sketch; and she now stands upright,
-instead of stooping, with her right hand resting on the book, indicating
-a passage with her forefinger. The secretary, John Harris, on the
-opposite side of the picture, has been brought from within the inner
-room, in which he was indicated with another person in the sketch,
-and now leans against one of the posts of the “porch” within the
-larger chamber, having a roll with seals in his right hand; while his
-companion is shown standing at the distant window, his back to the
-spectator, reading a book he holds in both hands. The cleaning of
-the picture has made clear the details of the furniture and various
-objects placed about the room. The chief changes in these have been
-already noted. The most important occurs in connection with the
-large fitting or buffet on the left, which in the sketch appears as a
-sideboard reaching to the ceiling, with panels of linen-work surmounted
-by a carved canopy. In the picture this has been changed to a more
-simple fitting or table, such as is shown in “The Two Ambassadors,”
-covered with a Turkish cloth or carpet, the lower part of which forms
-a cupboard, with a bottle and glass visible through one of the open
-doors. Upon this, some of the plate, including the dish and the jug
-with the cloth over it, have been retained, but pushed into the background,
-with the two musical instruments placed in front of them,
-while to the single vase with flowers another has been added. One
-<span class='pageno' id='Page_340'>340</span>of these holds lilies and carnations, and the other iris and columbines,
-while the window-ledge on the extreme right, behind Lady More, has
-now a large vase with flowers, instead of the jug, book, and flickering
-candle. The clock is seen to be an astronomical one.</p>
-
-<p class='c023'>In the foreground, where rushes are roughly indicated, the small
-footstool and the scattered books have been removed, their place
-being taken by the two feebly-painted dogs. Happily, during the
-recent cleaning, the larger and more painful of these has been carefully
-removed, to the very great advantage of the picture. Finally,
-Lady More no longer kneels at a <i>prie-dieu</i>, but is seated, and the
-chained monkey, instead of scrambling against her skirts, is placed
-on its perch at her feet, looking at the spectator. The name and age
-of each sitter is written over the head or across the dress, the one
-over Margaret Gigs being in a different style of lettering from the
-others. This last-named is merely “Uxor Johannes Clements,”
-whereas in the East Hendred version, which seems to have been
-based more directly on the original design than that at Nostell Priory,
-it is “Margareta Giga Mori Filiabus condiscipula et cognata, A<b>o</b> 22.”
-This has been taken to indicate that the East Hendred picture was
-painted first, before the lady married John Clements.</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='sc'>The Portrait of Sir Thomas More.</span> (Vol. i. pp. 303-4)</div>
-  </div>
-</div>
-
-<p class='c027'>This celebrated portrait, which has been in the possession of the
-Huth family for so many years, is no longer in England. It was
-purchased last year (1912) by Messrs. Knoedler, of Old Bond Street,
-London, and is now in the collection of Mr. H. C. Frick, of New York.
-It is deeply to be regretted that this fine example of Holbein’s art,
-and one of such great historical importance, has not found a final
-resting-place in the National Gallery. According to report, the
-purchase price was £50,000.</p>
-<h3 id='app-J' class='c040'>(J) <span class='sc'>Holbein’s Return to England in 1532.</span> (Vol. i. p. 352)</h3>
-
-<div  class='c000'></div>
-<div class='sidenote'>LORD ARUNDEL AND REMBRANDT</div>
-<p class='c023'>A letter from Erasmus to Bonifacius Amerbach, preserved among
-the Basel manuscripts, appears to have reference to Holbein’s second
-journey to England, and at the same time to show that the relationships
-between the philosopher and the painter were not, at that period at
-least, entirely amicable ones. This letter, already referred to in
-<span class='pageno' id='Page_341'>341</span>Appendix (<a href='#app-F'>F</a>), was first published by Dr. C. Chr. Bernoulli in the Basel
-<i>Nachrichten</i>, No. 296, 1902, and is dated Freiburg, 10th April 1535,
-but the year-date, it is stated, is wrong, and should be 1533. The
-exact meaning of the letter is not quite clear, but in it Erasmus complains
-somewhat bitterly of foolish behaviour and needless delay of
-more than a month in Antwerp on the part of “Olpeius,” and of reprehensible
-conduct on his part towards certain people in England to whom
-Erasmus had given him letters of introduction. It seems almost certain
-that in the “Olpeius” of this letter Holbein is intended. The
-long stay in Antwerp of which Erasmus complains must have been
-in 1532, and apparently it was not until the following spring that he
-heard of it, after receiving letters of complaint about the painter from
-one or more of his English correspondents. There is nothing in the
-letter to indicate in what way Holbein deceived these unnamed friends
-of Erasmus. The original text of the letter is as follows:</p>
-
-<p class='c025'>“Subornant te patronum, cui uni sciunt me nihil posse negare. Sic
-Olpeius per te extorsit litteras in Angliam. At is resedit Antuerpiæ
-supra mensem, diutius mansurus, si invenisset fatuos. In Anglia
-decepit eos, quibus fuerat commendatus.”</p>
-<h3 id='app-K' class='c040'>(K) <span class='sc'>Lord Arundel and Rembrandt as Collectors of Holbein’s Pictures.</span> (Vol. ii. p. <a href='#Page_66'>66</a>)</h3>
-
-<p class='c027'>Several important pictures by Holbein appear to have been in
-the Netherlands during the seventeenth century, and the Earl of
-Arundel, through his friends and agents, made serious efforts to add
-them to his collection, though in some instances the price asked was
-too high for him. In this search for examples of Holbein’s art he
-received considerable assistance from Sir Dudley Carleton, English
-minister at the Hague, to whom the Earl wrote, on 17th September
-1619: “I hear likewise, by many ways how careful your lordship is
-to satisfy my foolish curiosity in inquiring for the pieces of Holbein.”
-Two years later, as already noted (see vol. i. p. 241), Carleton was endeavouring
-to obtain for him a picture by Holbein which may have
-been the Meyer Madonna; and in 1628 another fruitless attempt
-was made to purchase the portrait of Morette (see Vol. ii. p. <a href='#Page_65'>65</a>-<a href='#Page_66'>66</a>).
-Again, on 25th April 1629, the Earl wrote to Sir Henry Vane respecting
-“a book of Holbein.” In the course of this letter he says:</p>
-
-<p class='c025'>“I must likewise give you very many thanks for your care concerning Bloome’s
-(Bloemaert’s) painting and book of Holbein, and the King protests against any
-<span class='pageno' id='Page_342'>342</span>meddling with it, at 600<i>l.</i>, which he says cost him but
-200<i>l.</i> For the drawings I hoped to have had them for
-30<i>l.</i>, but rather than fail, as I told you, I would go to
-50<i>l.</i>, but never think of 100<i>l.</i>, nor 50<i>l.</i> offered
-without sure to have it; if he would let it come, upon security to
-send it back, I should be glad, if not, let it rest.”</p>
-<div  class='c000'></div>
-<div class='sidenote'>SIR NICHOLAS POYNTZ</div>
-<p class='c022'>What this book was it is now impossible to say, but it cannot have been
-the one containing the Windsor drawings, which came to the Arundel
-Collection from the Earl of Pembroke at about this time (see Sainsbury’s
-<i>Original Unpublished Papers</i>, &amp;c., 1859, Nos. 44, 53, 55, and 57
-in Appendix). It may have been the little book of twenty-two designs
-of the Passion of Christ which Lord Arundel showed to Sandrart (see
-Vol. ii. p. <a href='#Page_77'>77</a>).</p>
-<p class='c023'>Another seventeenth-century collector of pictures, the great painter
-Rembrandt, was an admirer of Holbein’s work, and at the end
-of his life, when his fine collection had been sold and scattered
-for the benefit of his creditors, and his monetary troubles were thick
-upon him, we find him, nevertheless, offering the large sum of one
-thousand gulden for some picture by the master. The document
-referring to this offer, dated 15th October 1666, three years before
-Rembrandt died, is quoted by Dr. Bode in his <i>Complete Works of
-Rembrandt</i>, 1906, vol. viii. pp. 296-7. It is a letter written by Anna
-de Witt, of Dordrecht, in the course of which she says: “Whereas
-the picture is by one of the greatest painters of his time, Holbein, who
-also painted the picture of their ancestor; for this Rembrandt offered
-1000 gulden.” This ancestor was Willem Schijverts van Merode,
-and the picture appears to have been a votive one, in which he was
-represented as the kneeling donor. Dr. Bode, however, suggests
-that in all probability the picture which Rembrandt was said to be so
-anxious to possess was not by Holbein at all.</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='sc'>The Portraits of Sir Nicholas Poyntz.</span> (Vol. ii. p. <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a>)</div>
-  </div>
-</div>
-
-<p class='c027'>Holbein’s original painting of Sir Nicholas Poyntz, from which
-various copies were made, appears to be the picture in the collection
-of the Earl of Harrowby, at Sandon Hall, Stafford. This picture is
-in close agreement with the one described by Woltmann, which was
-exhibited in Paris, at the Exposition du Palais Bourbon, in 1874, by
-the Marquis de la Rosière, and photographed on that occasion by
-Braun, but has since disappeared. Lord Harrowby’s picture, which
-<span class='pageno' id='Page_343'>343</span>bears the same inscription and three-line motto in French as the
-examples mentioned in the text, is a good and undoubtedly genuine
-work.</p>
-<h3 id='app-L' class='c040'>(L) <span class='sc'>Holbein’s Visit to Joinville and Nancy in 1538.</span><br /> (Vol. ii. p. <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>)</h3>
-
-<div  class='c000'></div>
-<div class='sidenote'>VISIT TO JOINVILLE</div>
-
-<p class='c042'><i>Letter from Anthoinette de Bourbon, Duchess of Guise, to her
-daughter Marie, Queen of Scotland, respecting the visit of Hoby and
-Holbein to Joinville, dated 1st September (1538).</i> <i>Balcarres
-MSS.</i>, <i>Advocates’ Library</i>, <i>Edinburgh</i>, vol. ii., No.
-20.</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div>(<i>Kindly transcribed by Mr. James Melville</i>)</div>
-  </div>
-</div>
-
-<p class='c025'>“A la royne descosse.</p>
-
-<p class='c030'>“Madame Rouvray a este ycy quelque tans pour meyder a pourvoir aus
-affaire de vous et de vostre filz ou fesons le myeux que povons Depuis
-que vous ay escrit par vostre argentier franceis ny a ryens change
-fors la mort du bailly de Dunoys Son filz a eu sa place du grant
-conseil et pourchast fort pour avoir le dit baillyage Mons. vostre
-pere men a escrit affin je lavertyse comme il en pouret faire Mon avys
-a este en escrire au presydent a Chateaudum affin quil luy manda son
-avys et sy le dit filz estet capable pour lestre ou syl en connest
-aultre pleus propre Je luy ay mende ansy que je ne connests le dit
-filz mais que javes fort oŭy louer lavocat de Chateaudum savent et
-de bon conseil et quyl conet pourpos Je <i>retires</i> (?) ailleurs
-qui seret gros daumage pour la meson et que se pouret arestet par sete
-offyce de bailly penses seret le proufit du lieu et des juges veu quy
-ly est resydent et le filz du trespase nen et que laustre partission
-que lon recommendet pour mestre au servyce de la meson que lon dit
-ausy homme de bien et de savoir et demeurant a Chateaudum fut avocat
-set ung pour quy le presydent vous parllet mais jen ay houblie le non
-Je ne ses encore quyl en ara este feit ledit Rouvray sen retourne
-paser par Paris quy sara se quy ara este feit et vous escrira de tout
-bien au long Sy croie il ne vous sara dire chose quy vous soit plus
-agreable que la sente de nostre petit filz quy est ausy bonne que ly
-foystes onques touiours bien rongneus mais il nen leyse a bien dormyr
-combien que quelquefois il vouldret estre grate mais cella se pase
-legerement et sy menge fort bien lon le mayne souvent a lesbat quy me
-senble ly fait grant bien Je le vous souhete souvent il me senble le
-trouvariez creu et devenu gros quant au reste de nostre menage vostre
-seur y est touiours mallade de sa fievre et a este sete semayne pasee
-bien mal dung fleux de ventre quy la fort afeyblie il y a bien huit
-jours puis elle bouge pleus du lyst depuis hier le dit flux se comense
-a paser de la fievre je ny seu pas grant amendement combien les
-mesdesins soyet davys elle sabregera pour se fleux vostre frere Claude
-a este ausy mallade jusques a la mort dung fleux de sanc avesques la
-fievre continue dont il lest renchent par deus fois et estant en
-chemyn pour revenyr ycy ou Mons. son pere le renvoyet a cuyde demeurer
-pres daultun ou il est encore Je luy ay envoye ma litiere pour lamener
-lon ma mande il est en
-<span class='pageno' id='Page_344'>344</span>tout hors de denger et prest a senvenyr Vostre seur Anthoinette est
-ausy mallade dune fievre et dung rume sy croie elle se portera bien
-les aultres se portet bien Je vous avyse que madame vostre tante est
-mandee pour aller a la court a la venue de la royne de Hongrie quy
-doit bientost estre a Compiegne ou le roy et toute la court doit estre
-en pen de jours de moy jen seus <i>escupee</i> pour lamour
-de mes mallades <i>il ny a que deus jours que le gentilhomme du roy
-dengletere quy fut au Havre et le paintre ont este ycy le gentilhomme
-vynt vers moy fesent senblant venyr de devers lenpereur et que ayent
-seu Louisse mallade navet voullu paser sens lavoir affin en savoir
-dire des nouvelles au roy son mestre me priant il la puisse voir se
-quy fit et estet le jour de sa fievre il luy tint pareil pourpos qua
-moy puys ma dit questant sy pres de Lorrayne avet envye daller jusques
-a Nency voir le paiys Je me doute incontynent il y allet voir la
-demoyselle pour la tirer comme les aultres et pour se envoye a leur
-logis voir quy y estet et trouve le dit paintre y estet et de fait ont
-este a Nency et y ont seiourne ung jour et ont este fort festus et
-venet tous les repas le mestre dostel menger avesques luy avesque
-force presans et bien trestes Volla se que jen ay encore seu au pis
-alle sy navyes pour voysine vostre seur se pouret estre vostre
-cousine</i> il se tient quelque pourpos lenpereur offre reconpence
-pour la duche de Gueldres et que se fesant se pouret faire quelque
-mariage de la fille de Hongrie et de Mons. le marquys Mons. vostre
-pere entent bien se fesant avoir sa part en la dite recompence Je
-vouldreis il en fusset bien recompenses voila tout se que jay seu de
-nouveau depuis vous escryvys Je vous mes tant de lettres a laventure
-que croy quelcune vous en pouront venyr Je baille seus ycy a Rouvray
-pour les bailler au bausquyer de Paris affin les vous faire tenyr Je
-me doute que ne feres sy bonne diligence den mestre par pays que moy
-car je ses bien que tenes de Mons. vostre pere et questes pareseuse a
-escrire sy lair descosse ne vous a change Je nay encore eu que vos
-premyeres lettres il me tarde bien savoir comme depuis vous seres
-portee Il me sera grant joye pover oŭyr se set touiours bien Nostre
-Seigneur le veuille, et vous doint Madame longue et bonne vie (set) se
-premyer de Sebtenbre de</p>
-<p class='c044'>vostre humble et bonne mere</p>
-<p class='c045'><span class='sc'>Anthoinette de Bourbon</span></p>
-<h3 id='app-M' class='c040'>(M) <span class='sc'>Holbein’s Studio in Whitehall.</span> (Vol. ii. p. <a href='#Page_185'>185</a>)</h3>
-
-<div  class='c000'></div>
-<div class='sidenote'>HOLBEIN IN WHITEHALL</div>
-<p class='c023'>It was probably in Holbein’s painting-room in Whitehall that the
-incident occurred which set going the story told by Van Mander—a
-story for which, no doubt, there was some foundation in truth—of
-Holbein’s violence towards a nobleman who insisted upon forcing his
-way into the studio when the artist was engaged upon the portrait
-of a lady, and who was, in consequence, thrown downstairs by the
-infuriated painter. This story Walpole tells as follows:</p>
-
-<p class='c025'>The writers of his life relate a story, which Vermander, his first
-biographer, affirms came from Dr. Isely of Basil and from Amerbach....
-The story is, that
-<span class='pageno' id='Page_345'>345</span>one day as Holbein was privately drawing some lady’s picture for the
-king, a great lord forced himself into the chamber. Holbein threw him
-downstairs; the peer cried out; Holbein bolted himself in, escaped
-over the top of the house, and running directly to the king, fell on
-his knees, and besought his Majesty to pardon him, without declaring
-the offence. The king promised to forgive him if he would tell the
-truth; but soon began to repent, saying he should not easily overlook
-such insults, and bade him wait in the apartment till he had learned
-more of the matter. Immediately arrived the lord with his complaint,
-but sinking the provocation. At first the monarch heard the story with
-temper, but broke out, reproaching the nobleman with his want of
-truth, and adding, ‘You have not to do with Holbein, but with me; I
-tell you, of seven peasants I can make as many lords, but not one
-Holbein—begone, and remember, that if ever you pretend to revenge
-yourself, I shall look on any injury offered to the painter as done to
-myself.’ Henry’s behaviour is certainly the most probable part of the
-story.” (See Walpole, <i>Anecdotes</i>, &amp;c., ed. Wornum, vol. i. pp.
-71-2.)</p>
-
-<p class='c027'>Wornum gives a more elaborate account of the adventure (<i>Holbein</i>,
-pp. 319-20), and it is also introduced by Richard Lovelace into his
-poem called “Peinture: a Panegyrick to the Best Picture of Friendship,
-Mr. Pet. Lilly” (Sir Peter Lely), included in <i>Lucasta</i>, first published
-in 1649. The lines are as follows:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“When to our huffling Henry there complain’d</div>
-      <div class='line in1'>A grieved earl, that thought his honor stain’d:</div>
-      <div class='line in1'>Away (frown’d he), for your own safeties hast!</div>
-      <div class='line in1'>In one cheap hour ten coronets I’l cast:</div>
-      <div class='line in1'>But Holbeen’s noble and prodigious worth</div>
-      <div class='line in1'>Onely the pangs of an whole age brings forth.</div>
-      <div class='line in1'>Henry! a word so princely saving said,</div>
-      <div class='line in1'>It might new raise the ruins thou hast made.”</div>
-      <div class='line in9'>(See <i>Lucasta</i>, ed. W. Carew Hazlitt, 1864, pp. 225-6.)</div>
-    </div>
-  </div>
-</div>
-
-<p class='c023'>Another seventeenth-century poet who makes reference to Holbein—in
-this instance it is the Dance of Death which is in question—is
-Matthew Prior, who, in his <i>Ode to the Memory of George Villiers</i>, says:</p>
-
-<div class='lg-container-b c024'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Our term of life depends not on our deed,</div>
-      <div class='line in1'>Before our birth our funeral was decreed;</div>
-      <div class='line in1'>Nor aw’d by foresight, nor misled by chance,</div>
-      <div class='line in1'>Imperious Death directs the ebon lance,</div>
-      <div class='line in1'>Peoples great Henry’s tombs, and leads up Holbein’s Dance.”</div>
-    </div>
-  </div>
-</div>
-
-<div class='sidenote'>BARBER-SURGEONS’ PICTURE</div>
-<p class='c023'>It has been suggested that Holbein’s painting-room at Whitehall
-was over the so-called Holbein Gate. Numerous engravings of this
-gate were made in the seventeenth and eighteenth centuries, and reproductions
-<span class='pageno' id='Page_346'>346</span>of several of these will be found in <i>Whitehall: Historical and
-Architectural Notes</i> (Portfolio Monograph), by W. J. Loftie, F.S.A.,
-1895, and in <i>The Old Royal Palace of Whitehall</i>, by Dr. Edgar Sheppard,
-1901. Mr. Loftie reproduces an engraving of Whitehall showing the
-Gate after a drawing by Hollar in the Pepysian Library, Cambridge;
-the “Banqueting Hall, Holbein’s Gate, and Treasury,” from the engraving
-by J. Silvestre, 1640; “Whitehall in 1724,” from the engraving
-by J. Kip; “Holbein’s Gate,” from an engraving by G. Vertue,
-1725; and “Whitehall, from King Street,” from an engraving by
-R. Godfrey, 1775, after a drawing by T. Sandby, R.A. Dr. Sheppard
-reproduces the engraving after Hollar, and the Kip and Vertue engravings,
-and also “Whitehall,” from a picture by Canaletto in the
-possession of the Duke of Buccleuch; and “A View of Whitehall with
-the Holbein Gateway,” from a drawing by Paul Sandby in the possession
-of Mr. E. Gardner.</p>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div><span class='sc'>The Barber-Surgeons’ Picture.</span> (Vol. ii. p. <a href='#Page_294'>294</a>)</div>
-  </div>
-</div>
-
-<p class='c027'>A further proof of the high value placed upon this picture by the
-Company in earlier days is to be found in John Strype’s additions to
-John Stow’s <i>Survey of the Cities of London and Westminster</i>, in the
-folio edition published in 1720. He says (Book iii. p. 128), in speaking
-of “Barber-Chirurgeons’ Hall”:—“In this Hall also is a large and
-very curious Piece of K. Henry VIII reaching the Chirurgeons
-their Charter; with many other Persons of the said Company delineated.
-It is said to be done by <i>Hans Holben</i>; and some say, as
-many Broad Pieces have been offered for the purchase of it as would
-cover it.”</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_347'>347</span>
-  <h2 class='c012'>SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS</h2>
-</div>
-
-<div class='nf-center-c0'>
-<div class='nf-center c004'>
-    <div>(<i>Alphabetically arranged under the various countries</i>)</div>
-  </div>
-</div>
-
-<p class='c019'>The following list of Holbein’s pictures and portraits in public
-and private collections in England and abroad consists merely of the
-title of each work, the date whenever known, and the number in
-Woltmann’s list, together with a reference to the page or pages and
-the plates in the present book in which the particular picture is
-described or reproduced. Holbein’s very numerous drawings, studies,
-and designs are not included. For these the reader must be referred to
-the second volume of Dr. Woltmann’s book, and, more particularly,
-to the important publication, now in course of issue, under the editorship
-of Dr. Paul Ganz, which is to include a facsimile reproduction of
-every one of the master’s drawings. Nor does this list include Holbein’s
-woodcuts and book illustrations, for which the student is referred to
-Woltmann, Passavant, Butsch, and others.</p>
-<h3 class='c040'>AMERICA</h3>
-
-<div class='nf-center-c0'>
-<div class='nf-center c000'>
-    <div><span class='sc'>Boston: Collection of Mrs. Gardner</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of Sir William Butts, 1542-3.</p>
-
-<p class='c022'>Portrait of Lady Butts, 1542-3.</p>
-<p class='c046'>Until recently in the possession of the Pole-Carew family. W. 204, 205.
-See Vol. ii. p. <a href='#Page_209'>209</a>-<a href='#Page_210'>210</a>.</p>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div><span class='sc'>New York: Metropolitan Museum</span></div>
-  </div>
-</div>
-
-<p class='c047'>Portrait of Benedikt von Hertenstein, 1517.</p>
-
-<p class='c046'>See vol. i. pp. 72-4, Pl. 24. Not in Woltmann.</p>
-<p class='c022'>Portrait of Erasmus.</p>
-<p class='c046'>Recently purchased by the late Mr. J. Pierpont Morgan from the Howard
-of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann.</p>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_348'>348</span><span class='sc'>New York: Collection of Mr. Benjamin Altman</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of a Lady, probably Margaret Wyat, Lady Lee.</p>
-<p class='c046'>Until recently in the collection of Major Charles Palmer, Windsor. See
-Vol. ii. p. <a href='#Page_82'>82</a>-<a href='#Page_83'>83</a>; Pl. 15, vol. ii. Not in Woltmann.</p>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div><span class='sc'>New York: Collection of Mr. H. C. Frick</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of Sir Thomas More, 1527.</p>
-<p class='c046'>Until recently in the possession of Mr. Edward Huth. See vol. i. pp. 303-4,
-and Vol. ii. p. <a href='#Page_340'>340</a>. W. 207.</p>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div><span class='sc'>New York: Collection of the late Mr. J. Pierpont Morgan</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of Mrs. Pemberton.</p>
-<p class='c036'>Miniature. See Vol. ii. p. <a href='#Page_228'>228</a>-<a href='#Page_289'>289</a>; Pl. 33, vol. ii. Not in Woltmann.</p>
-
-<p class='c022'>Portrait of Henry VIII.</p>
-<p class='c036'>Miniature. See Vol. ii. p. <a href='#Page_235'>235</a>-<a href='#Page_236'>236</a>. W. 157.</p>
-
-<p class='c022'>Portrait of Sir Thomas More.</p>
-<p class='c036'>Miniature. See vol. i. pp. 306-7. Not in Woltmann.</p>
-
-<p class='c022'>Portrait of Thomas Cromwell.</p>
-<p class='c036'>Miniature. See Vol. ii. p. <a href='#Page_231'>231</a>-<a href='#Page_232'>232</a>; Pl. 31, vol. ii. Not in Woltmann.</p>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div><span class='sc'>New York: Collection of Mr. W. C. Vanderbilt</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of Lady Guldeford.</p>
-<p class='c036'>Formerly in the collection of Mr. T. Frewen. See vol. i. pp. 320-1. W. 206.</p>
-
-<p class='c022'>Portrait of Lady Rich.</p>
-<p class='c046'>Now in an American collection. Until recently in the collection of Captain
-H. R. Moseley, Buildwas Park, Shropshire. See Vol. ii. p. <a href='#Page_212'>212</a>. W. 128.</p>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='sc'>Canada: Collection of Mr. James H. Dunn</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of Queen Catherine Howard, 1540-41.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_194'>194</a>-<a href='#Page_196'>196</a>. Not in Woltmann.</p>
-<h3 class='c040'>AUSTRIA-HUNGARY</h3>
-<h4 class='c048'><span class='sc'>Prague: Rudolphinum</span></h4>
-<p class='c041'>Portrait of Lady Elizabeth Vaux.</p>
-<p class='c046'>Badly damaged, but possibly an original. See Vol. ii. p. <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>. W. 243.</p>
-<h4 class='c048'><span class='sc'>Vienna: Imperial Gallery</span></h4>
-<p class='c041'>Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_20'>20</a>-<a href='#Page_21'>21</a>; Pl. 4, vol. ii. W. 251.</p>
-<p class='c022'>Portraits of an Official of the Court of Henry VIII, and his Wife, 1534.</p>
-<p class='c046'>Two small roundels. See Vol. ii. p. <a href='#Page_70'>70</a>-<a href='#Page_71'>71</a>. W. 256, 257.</p>
-<p class='c022'><span class='pageno' id='Page_349'>349</span>Portrait of Queen Jane Seymour, 1536.</p>
-<p class='c046'>Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii. pp. 111-2; Pl. 20, vol. ii. W. 252.</p>
-<p class='c022'>Portrait of a Young Man, aged 28, 1541.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_202'>202</a>-<a href='#Page_203'>203</a>; Pl. 27, vol. ii. W. 254.</p>
-<p class='c022'>Portrait of Dr. John Chamber, 1541-3.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>; Pl. 30, vol. ii. W. 255.</p>
-<p class='c022'>Portrait of an Unknown English Lady.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_207'>207</a>; Pl. 29, vol. ii. W. 253.</p>
-<h4 class='c048'><span class='sc'>Vienna: Collection of Count Lanckoronski</span></h4>
-<p class='c041'>Portrait of an Unknown English Lady.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_211'>211</a>-<a href='#Page_212'>212</a>. W. 260.</p>
-<h4 class='c048'><span class='sc'>Vienna: Collection of Count Schönborn</span></h4>
-<p class='c041'>Portrait of a Member of the Wedigh Family of Cologne, and of the London
-Steelyard, 1532.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_15'>15</a>-<a href='#Page_16'>16</a>. W. 262.</p>
-<h3 class='c040'>BELGIUM</h3>
-<h4 class='c048'><span class='sc'>Brussels: Collection of Frau L. Goldschmidt-Przibram</span></h4>
-<p class='c041'>Portrait of a Young Man holding a Carnation, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_57'>57</a>. W. 261.</p>
-<h3 class='c040'>BRITISH ISLES</h3>
-<h4 class='c048'><span class='sc'>London: National Gallery</span></h4>
-<p class='c041'>The Two Ambassadors: Jean de Dinteville and George de Selve, 1533.</p>
-<p class='c046'>See vol. ii. chap. xvii.; Pl. 9, vol. ii. W. 215.</p>
-<p class='c022'>Portrait of the Duchess of Milan, 1538.</p>
-<p class='c046'>See vol. ii. chap. xx.; Pl. 21, vol. ii. W. 2.</p>
-<h4 class='c048'><span class='sc'>Hampton Court Palace</span></h4>
-<p class='c041'>Portrait of John Reskimer of Cornwall.</p>
-<p class='c046'>See vol. i. pp. 333-4. W. 162.</p>
-<p class='c022'>Christ appearing to Mary Magdalen (“Noli Me Tangere”).</p>
-<p class='c046'>See vol. i. pp. 95-8, Pl. 32. Not in Woltmann.</p>
-<p class='c022'>Portrait of Johann Froben, printer of Basel.</p>
-<p class='c046'>Probably only a good old copy. See Vol. ii. p. <a href='#Page_183'>183</a>-<a href='#Page_184'>184</a>. Not in Woltmann.</p>
-
-<p class='c022'>Portrait of Lady Elizabeth Vaux.</p>
-<p class='c046'>Probably only a good old copy. See Vol. ii. p. <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>. W. 163.</p>
-<div>
-  <span class='pageno' id='Page_350'>350</span>
-  <h4 class='c048'><span class='sc'>Windsor Castle</span></h4>
-</div>
-<p class='c041'>Portrait of Sir Henry Guldeford, 1527.</p>
-<p class='c046'>See vol. i. pp. 317-20; Pl. 80. W. 264.</p>
-<p class='c022'>Portrait of Hans of Antwerp, 1532.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_8'>8</a>-<a href='#Page_14'>14</a>; Pl. 2, vol. ii. W. 265.</p>
-<p class='c022'>Portrait of Derich Born of Cologne, and of the London Steelyard, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_18'>18</a>-<a href='#Page_20'>20</a>; Pl. 4, vol. ii. W. 266.</p>
-<p class='c022'>Portrait of Thomas Howard, Duke of Norfolk, about 1538-9.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_197'>197</a>-<a href='#Page_199'>199</a>; Pl. 25, vol. ii. W. 267.</p>
-<p class='c022'>Portrait of Henry Brandon.</p>
-<p class='c046'>Miniature. Date doubtful. See Vol. ii. p. <a href='#Page_223'>223</a>-<a href='#Page_226'>226</a>; Pl. 31, vol. ii. W. 268.</p>
-<p class='c022'>Portrait of Charles Brandon, 1541.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_223'>223</a>-<a href='#Page_226'>226</a>; Pl. 31, vol. ii. W. 269.</p>
-<p class='c022'>Portrait of Lady Audley.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_222'>222</a>-<a href='#Page_223'>223</a>; Pl. 31, vol. ii. W. 270.</p>
-<p class='c022'>Portrait of Queen Catherine Howard.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_192'>192</a>-<a href='#Page_193'>193</a>; Pl. 31, vol. ii. W. 271.</p>
-<p class='c022'>King Solomon and the Queen of Sheba.</p>
-<p class='c046'>Miniature painting in grisaille, touched with colour and gold. See vol. ii.
-pp. 262-3; Pl. 40, vol. ii. W. 272.</p>
-<h4 class='c048'><span class='sc'>Victoria and Albert Museum, South Kensington: Salting Collection</span></h4>
-<p class='c041'>Portrait of Hans of Antwerp.</p>
-<p class='c046'>Small roundel. See Vol. ii. p. <a href='#Page_14'>14</a>. Not in Woltmann.</p>
-<p class='c022'>Portrait of Anne of Cleves.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, and 236. W. 158.</p>
-<h4 class='c048'><span class='sc'>National Gallery of Ireland, Dublin</span></h4>
-<p class='c041'>Portrait of Sir Henry Wyat.</p>
-<p class='c046'>Replica of the portrait in the Louvre, Paris. See vol. i. p. 335. Not in
-Woltmann.</p>
-<h4 class='c048'><span class='sc'>Lambeth Palace</span></h4>
-<p class='c041'>Portrait of William Warham, Archbishop of Canterbury, 1527.</p>
-<p class='c046'>See vol. i. pp. 322-3. W. 208.</p>
-<h4 class='c048'><span class='sc'>Wallace Collection, Hertford House</span></h4>
-<p class='c041'>Self-Portrait of Hans Holbein, 1543.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_230'>230</a>; Pl. 33, vol. ii. See Woltmann, vol.
-ii. pp. 167-8.</p>
-<h4 class='c048'><span class='sc'>Barber-Surgeons’ Hall, London</span></h4>
-<p class='c041'>Henry VIII granting a Charter of Incorporation to the Barber-Surgeons,
-1543.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_289'>289</a>-<a href='#Page_244'>244</a>; Pl. 94, vol. ii. W. 202.</p>
-<div>
-  <span class='pageno' id='Page_351'>351</span>
-  <h4 class='c048'><span class='sc'>Duke of Bedford, K.G., Woburn Abbey</span></h4>
-</div>
-<p class='c041'>Portrait of Sir John Russell, afterwards Earl of Bedford.</p>
-<p class='c046'>Attributed to Holbein. W. 358.</p>
-<p class='c022'>Portrait of Queen Jane Seymour.</p>
-<p class='c046'>Old copy. See Vol. ii. p. <a href='#Page_112'>112</a>.
-BERLIN, KAISER FRIEDRICH MUSEUM
-<span class='sc'>Duke of Buccleuch, K.G., K.T., Dalkeith House</span></p>
-<p class='c022'>Portrait of Sir Nicholas Carew.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_88'>88</a>-<a href='#Page_89'>89</a>. W. 142.</p>
-<p class='c022'>Portrait of Queen Catherine Howard.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>. Not in Woltmann.</p>
-<p class='c049'>Other fine miniatures of Sir Thomas More, George Nevill, Lord Abergavenny,
-Self-portrait of Holbein, 1543, Jane Seymour, Henry VIII, &amp;c., attributed
-to Holbein.</p>
-<p class='c046'>See vol. ii. chap. xxv.
-BERLIN, KAISER FRIEDRICH MUSEUM
-<span class='sc'>Mr. Ayerst H. Buttery, London</span></p>
-<p class='c022'>Portrait of an Unknown English Lady.</p>
-<p class='c046'>Formerly in the possession of the Bodenham family. See vol. i. Postscript
-to Chapter xiv. and Pl. 95.</p>
-<h4 class='c048'><span class='sc'>Earl of Caledon, Tyttenhanger Park</span></h4>
-<p class='c041'>Portrait of Thomas Cromwell, 1532-34.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_58'>58</a>-<a href='#Page_61'>61</a>. W. 249.</p>
-<h4 class='c048'><span class='sc'>Duke of Devonshire, G.C.V.O., Chatsworth</span></h4>
-<p class='c041'>Henry VII and Henry VIII.</p>
-<p class='c046'>Cartoon for the left-hand half of the Whitehall Wall-painting. Until
-recently at Hardwick Hall. See Vol. ii. p. <a href='#Page_97'>97</a>-<a href='#Page_99'>99</a>; Pl. 18, vol. ii. W. 167.</p>
-<h4 class='c048'><span class='sc'>Miss Guest, of Inwood</span></h4>
-<p class='c041'>Portrait of Sir Bryan Tuke.</p>
-<p class='c046'>Formerly in the Collection of the Duke of Westminster. See vol. i. pp.
-331-3. W. 213.</p>
-
-<p class='c046'>According to report, this picture is no longer in Miss Guest’s possession,
-having been sold during the present year (1913).</p>
-<h4 class='c048'><span class='sc'>Lord Leconfield, Petworth</span></h4>
-<p class='c041'>Portrait of Derich Berck of Cologne, and of the London Steelyard, 1536.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_22'>22</a>-<a href='#Page_23'>23</a>; Pl. 5, vol. ii. W. 241.</p>
-<h4 class='c048'><span class='sc'>Mr. Hamon le Strange</span></h4>
-<p class='c041'>Portrait of Sir Thomas le Strange, 1536.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_85'>85</a>-<a href='#Page_86'>86</a>. Not in Woltmann.</p>
-<div>
-  <span class='pageno' id='Page_352'>352</span>
-  <h4 class='c048'><span class='sc'>Duke of Northumberland, K.G., Syon House</span></h4>
-</div>
-<p class='c041'>Portrait of Edward, Prince of Wales.</p>
-<p class='c046'>Attributed to Holbein. See Vol. ii. p. <a href='#Page_166'>166</a>. W. 246.</p>
-<h4 class='c048'><span class='sc'>Messrs. Parkenthorpe, London</span></h4>
-<p class='c041'>The More Family Group.</p>
-<p class='c046'>The Burford version, recently in the possession of Sir Hugh P. Lane. Copy,
-with later additions, of the original painting. See vol. i. pp. 301-2;
-Pl. 76.</p>
-<h4 class='c048'><span class='sc'>Earl of Radnor, Longford Castle</span></h4>
-<p class='c041'>Portrait of Erasmus, 1523.</p>
-<p class='c046'>See vol. i. pp. 169-71; Pl. 54. W. 214.</p>
-<h4 class='c048'><span class='sc'>Sir John Ramsden, Bt., Bulstrode Park</span></h4>
-<p class='c041'>Portrait of a Musician.</p>
-<p class='c046'>Formerly regarded as a portrait of Sir Nicholas Vaux. Considered by
-Dr. Ganz to represent Jean de Dinteville. See Vol. ii. p. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a>; Pl. 10,
-vol. ii. Not in Woltmann.</p>
-<h4 class='c048'><span class='sc'>Lord Sackville, Knole Park</span></h4>
-<p class='c041'>Portrait of Margaret Roper.</p>
-<p class='c046'>Inscribed “Queen Cathrine.” Old copy of a lost original by Holbein, or
-of the figure in the More Family Group. See vol. i. pp. 308-9.</p>
-<p class='c022'>Portrait of Queen Jane Seymour.</p>
-<p class='c046'>Good old copy of the portrait in Vienna. See vol. i. p. 112.</p>
-<h4 class='c048'><span class='sc'>Lord St. Oswald, Nostell Priory</span></h4>
-<p class='c041'>The More Family Group, 1527-30.</p>
-<p class='c046'>This picture, among the various existing versions of the More Family Group,
-has the greatest claims to be regarded, at least in parts, as the original
-work by Holbein. See vol. i. pp. 295-8; and vol. ii, pp. 334-40; Pl. 75.</p>
-<h4 class='c048'><span class='sc'>Earl Spencer, G.P.V.O., Althorp Park</span></h4>
-<p class='c041'>Portrait of Henry VIII, about 1537.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_107'>107</a>-<a href='#Page_109'>109</a>; frontispiece, vol. ii. W. 1.</p>
-<p class='c022'>Portrait of Hans of Antwerp (?)</p>
-<p class='c046'>Small roundel. Attributed to Holbein. See Vol. ii. p. <a href='#Page_14'>14</a>-<a href='#Page_15'>15</a>. Not in
-Woltmann.</p>
-<h4 class='c048'><span class='sc'>Mr. Vernon Watney</span></h4>
-<p class='c041'>Portrait of an English Lady.</p>
-<p class='c046'>Miniature. Said to represent Queen Jane Seymour. See Vol. ii. p. <a href='#Page_237'>237</a>.
-Not in Woltmann.</p>
-<div>
-  <span class='pageno' id='Page_353'>353</span>
-  <h4 class='c048'><span class='sc'>Earl of Yarborough</span></h4>
-</div>
-<p class='c041'>Portrait of Edward, Prince of Wales.</p>
-<p class='c046'>Fine old copy of the portrait at Hanover. See Vol. ii. p. <a href='#Page_165'>165</a>; Pl. 22,
-vol. ii.</p>
-<h3 class='c040'>FRANCE</h3>
-<h4 class='c048'><span class='sc'>Paris, the Louvre</span></h4>
-<p class='c041'>Portrait of Erasmus, 1523.</p>
-<p class='c046'>See vol. i. pp. 172-3; Pl. 56. W. 224.</p>
-<p class='c022'>Portrait of William Warham, Archbishop of Canterbury, 1527.</p>
-<p class='c046'>See vol. i. p. 322; Pl. 83. W. 225.</p>
-<p class='c022'>Portrait of Niklaus Kratzer, the Astronomer, 1528.</p>
-<p class='c046'>See vol. i. pp. 327-30; Pl. 86. W. 226.</p>
-<p class='c022'>Portrait of Sir Henry Wyat, 1527-28.</p>
-<p class='c046'>See vol. i. pp. 335-6; Pl. 88. W. 227.</p>
-<p class='c022'>Portrait of Anne of Cleves, 1539.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>; Pl. 24, vol. ii. W. 228.</p>
-<p class='c022'>Portrait of Sir Richard Southwell, 1536.</p>
-<p class='c046'>Attributed to Holbein, but probably only a fine old copy. See vol. ii.
-p. 85. Not in Woltmann.</p>
-<h4 class='c048'><span class='sc'>F. Engel-Gros Collection, Château de Ripaille, Thonon, Savoy</span></h4>
-<p class='c041'>Portrait of a Man wearing the livery of Henry VIII.</p>
-<p class='c046'>Small roundel. See Vol. ii. p. <a href='#Page_71'>71</a>. Not in Woltmann.</p>
-<h3 class='c040'>GERMANY</h3>
-<h4 class='c048'><span class='sc'>Berlin, Kaiser Friedrich Museum</span></h4>
-<p class='c041'>Portrait of Georg Gisze, member of the London Steelyard, 1532.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_4'>4</a>-<a href='#Page_8'>8</a>; Pl. i. vol. ii. W. 115.</p>
-<p class='c022'>Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London
-Steelyard, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_16'>16</a>-<a href='#Page_17'>17</a>; Pl. 3, vol. ii. W. 116.</p>
-<p class='c022'>Portrait of an Unknown Man, aged 37, 1541.</p>
-<p class='c046'>Possibly a Member of the Dutch family of Vos van Steenwyck. See vol. ii.
-p. 202. W. 117.</p>
-<p class='c022'>Portrait of an Unknown Man, aged 54.</p>
-<p class='c046'>Formerly in the Collection of Sir J. E. Millais, Bt. See Vol. ii. p. <a href='#Page_205'>205</a>-<a href='#Page_206'>206</a>;
-Pl. 29, vol. ii. W. 211.</p>
-<h4 class='c048'><span class='sc'>Brunswick, Royal Museum</span></h4>
-<p class='c041'>Portrait of Cyriacus Fallen, member of the London Steelyard, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_22'>22</a>. W. 126.</p>
-<div>
-  <span class='pageno' id='Page_354'>354</span>
-  <h4 class='c048'><span class='sc'>Darmstadt, Grand-Ducal Palace</span></h4>
-</div>
-<p class='c041'>The Madonna and Child with the Family of Jakob Meyer, Burgomaster of Basel,
-about 1526.</p>
-<p class='c046'>Commonly known as the Meyer Madonna. See vol. i. pp. 232-45; Pl. 71.
-W. 143.</p>
-<h4 class='c048'><span class='sc'>Dresden, Royal Picture Gallery</span></h4>
-<p class='c041'>Double Portrait of Thomas and John Godsalve, of Norwich, 1528.</p>
-<p class='c046'>See vol. i. pp. 325-7; Pl. 84. W. 144.</p>
-<p class='c022'>Portrait of Charles de Solier, Sieur de Morette, ambassador to the
-English Court, about 1534.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_63'>63</a>-<a href='#Page_70'>70</a>; Pl. 12, vol. ii. W. 145.</p>
-<p class='c022'>The Madonna and Child with the Family of Jakob Meyer.</p>
-<p class='c046'>Long regarded as an original work by Holbein. Fine old copy of the
-picture at Darmstadt. See vol. i. pp. 232-45. Not in Woltmann.</p>
-<h4 class='c048'><span class='sc'>Frankfurt, Städelsches Kunstinstitut</span></h4>
-<p class='c041'>Portrait of Simon George, of Quocote.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_207'>207</a>. W. 151.</p>
-<h4 class='c048'><span class='sc'>Freiburg im Breisgau, University Chapel, Minster</span></h4>
-<p class='c041'>The Adoration of the Shepherds.</p>
-
-<p class='c022'>The Adoration of the Kings.</p>
-<p class='c046'>Inner sides of the wings of the Oberried altar-piece. See vol. i. pp. 88-91;
-Pl. 29. W. 155, 156.</p>
-<h4 class='c048'><span class='sc'>Hanover, Provinzial Museum</span></h4>
-<p class='c041'>Portrait of Philip Melanchthon.</p>
-<p class='c046'>Small roundel. See vol. i. pp. 184-5; Pl. 58. W. 164.</p>
-<p class='c022'>Portrait of Edward, Prince of Wales, 1538-9.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_165'>165</a>. W. 165.</p>
-<h4 class='c048'><span class='sc'>Karlsruhe, Grand-Ducal Picture Gallery</span></h4>
-<p class='c041'>Christ Bearing the Cross, 1515.</p>
-<p class='c046'>On the back the remains of a “Crowning with Thorns.” See vol. i.
-pp. 38-9. W. 168.</p>
-<p class='c022'>St. George, 1522.</p>
-
-<p class='c022'>St. Ursula, 1522.</p>
-<p class='c046'>Wings of an altar-piece. See vol. i. pp. 111-2. W. 169, 170.</p>
-<div>
-  <span class='pageno' id='Page_355'>355</span>
-  <h4 class='c048'><span class='sc'>Munich, Alte Pinakothek</span></h4>
-</div>
-<p class='c041'>Portrait of Derich Born, member of the London Steelyard, 1533.</p>
-<p class='c046'>Small oval, almost miniature in size. See Vol. ii. p. <a href='#Page_20'>20</a>. W. 220.</p>
-<p class='c022'>Portrait of Sir Bryan Tuke, with Death holding a Scythe and Hour-glass.</p>
-<p class='c046'>Probably a good old copy of the picture until recently in the possession of
-Miss Guest of Inwood. See vol. i. pp. 331-3. W. 219.</p>
-<p class='c022'>Portrait of Derich Berck, member of the London Steelyard.</p>
-<p class='c046'>Copy of the picture belonging to Lord Leconfield, Petworth. See vol. ii.
-p. 23. Not in Woltmann.</p>
-<h4 class='c048'><span class='sc'>Munich, Bavarian National Museum</span></h4>
-<p class='c041'>Portrait of a Man, aged 27.</p>
-<p class='c046'>Miniature, with the initials H. M. on either side of the head. See vol. ii.
-pp. 241-2. Not in Woltmann.</p>
-<h3 class='c040'>HOLLAND</h3>
-
-<div class='nf-center-c1'>
-<div class='nf-center c000'>
-    <div><span class='sc'>The Hague, Royal Picture Gallery</span></div>
-  </div>
-</div>
-
-<p class='c022'>Portrait of a Young Lady, said to be Holbein’s Wife.</p>
-<p class='c046'>See vol. i. pp. 106-8; Pl. 37. W. 161.</p>
-<p class='c022'>Portrait of Robert Cheseman, 1533.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_54'>54</a>-<a href='#Page_57'>57</a>; Pl. 11, vol. ii. W. 159.</p>
-<p class='c022'>Portrait of an Unknown Man with a Falcon, aged 28, 1542.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_203'>203</a>; Pl. 28, vol. ii. W. 160.</p>
-<p class='c022'>Portrait of Queen Jane Seymour.</p>
-<p class='c046'>Good old copy of the picture at Vienna. See Vol. ii. p. <a href='#Page_113'>113</a>. Not in
-Woltmann.</p>
-<h4 class='c048'><span class='sc'>The Hague, Royal Palace</span></h4>
-<p class='c041'>Portrait of a Boy.</p>
-<p class='c046'>Miniature. See Vol. ii. p. <a href='#Page_229'>229</a>-<a href='#Page_230'>230</a>; Pl. 31, vol. ii. Not in Woltmann.</p>
-<h3 class='c040'>ITALY</h3>
-<h4 class='c048'><span class='sc'>Florence, Uffizi Gallery</span></h4>
-<p class='c041'>Portrait of Sir Richard Southwell, 1536.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_84'>84</a>-<a href='#Page_85'>85</a>; Pl. 16, vol. ii. W. 149.</p>
-<p class='c022'>Self-portrait of Hans Holbein, 1543.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_213'>213</a>. W. 150.</p>
-<h4 class='c048'><span class='sc'>Parma, Picture Gallery</span></h4>
-<p class='c041'>Portrait of Erasmus, 1530.</p>
-<p class='c046'>Probably only a good old copy. See vol. i. p. 179. W. 240.</p>
-<div>
-  <span class='pageno' id='Page_356'>356</span>
-  <h4 class='c048'><span class='sc'>Rome, National Gallery</span></h4>
-</div>
-<p class='c041'>Portrait of Henry VIII, about 1539.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_102'>102</a>-<a href='#Page_103'>103</a>; Pl. 19, vol. ii. Not in Woltmann.</p>
-<h3 class='c040'>SPAIN</h3>
-<h4 class='c048'><span class='sc'>Madrid, Prado</span></h4>
-<p class='c041'>Portrait of an Old Man.</p>
-<p class='c046'>Attributed to Holbein by some writers. Not by him according to Dr. Ganz.
-See vol. i. pp. 334-5. W. 217.</p>
-<h3 class='c040'>SWITZERLAND</h3>
-<h4 class='c048'><span class='sc'>Basel, Public Picture Collection</span></h4>
-<p class='c041'>Madonna and Child, 1514.</p>
-<p class='c046'>See vol. i. pp. 33-5; Pl. 7. Not in Woltmann.</p>
-<p class='c022'>Head of the Virgin.</p>
-
-<p class='c022'>Head of St. John.</p>
-<p class='c046'>See vol. i. pp. 37-8; Pl. 8. W. 7, 8.</p>
-<p class='c022'>The Lord’s Supper.</p>
-
-<p class='c022'>Christ on the Mount of Olives.</p>
-
-<p class='c022'>Christ taken Prisoner.</p>
-
-<p class='c022'>The Scourging.</p>
-
-<p class='c022'>Pilate Washing his Hands.</p>
-<p class='c046'>The above five paintings, on canvas, formed part of a larger “Passion”
-series, probably for some Basel church, and are among the earliest works
-upon which Holbein was engaged after he settled in that city. See vol. i.
-pp. 39-42; Pls. 9 and 10. W. 24-8.</p>
-<p class='c022'>Schoolmaster’s Sign, 1516.</p>
-<p class='c046'>Painted on both sides. See vol. i. pp. 51-2; Pl. 14. W. 5, 6.</p>
-<p class='c022'>Double Portrait of the Burgomaster, Jakob Meyer, and his Wife Dorothea
-Kannengiesser, 1516.</p>
-<p class='c046'>See vol. i. pp. 52-5; Pl. 15. W. 11.</p>
-<p class='c022'>Adam and Eve, 1517.</p>
-<p class='c046'>See vol. i. pp. 55-6; Pl. 17. W. 9.</p>
-<p class='c022'>Portrait of Bonifacius Amerbach, 1519.</p>
-<p class='c046'>See vol. i. pp. 85-7; Pl. 28. W. 10.</p>
-<p class='c022'>The Dead Christ in the Tomb, 1521.</p>
-<p class='c046'>See vol. i. pp. 101-3; Pl. 35. W. 14.</p>
-<p class='c022'><span class='pageno' id='Page_357'>357</span>Seven Fragments of three of the Wall-paintings in the Council Chamber of the
-Basel Town Hall:—</p>
-<p class='c050'>Heads of the Samnite Ambassadors, 1521-2.</p>
-
-<p class='c050'>Head of Zaleucus of Locri, 1521-2.</p>
-
-<p class='c050'>Head of a Spectator in the same painting, 1521-2.</p>
-
-<p class='c050'>Head of King Rehoboam, 1530.</p>
-
-<p class='c050'>Hand of King Rehoboam, 1530.</p>
-
-<p class='c050'>Two groups of Heads in the same painting, 1530.</p>
-<p class='c046'>See vol. i. pp. 129-31 and 348; Pls. 40 and 92. W. 21.</p>
-<p class='c022'>Portrait of Erasmus, in profile, writing, 1523.</p>
-<p class='c046'>See vol. i. pp. 173-4. W. 12.</p>
-<p class='c022'>The Last Supper.</p>
-<p class='c046'>See vol. i. pp. 75-6; Pl. 25. W. 16.</p>
-<p class='c022'>The Passion of Christ.</p>
-<p class='c046'>In eight scenes. The outer sides of the wings of an altar-piece. See vol. i.
-pp. 91-5; Pl. 30. W. 20.</p>
-<p class='c022'>Christ as the Man of Sorrows.</p>
-
-<p class='c022'>Mary as Mater Dolorosa.</p>
-
-<p class='c022'>Diptych, monochrome, with blue backgrounds.</p>
-<p class='c046'>See vol. i. pp. 98-9; Pl. 33. W. 19.</p>
-<p class='c022'>Organ Doors formerly in Basel Minster.</p>
-<p class='c046'>See vol. i. p. 113. W. 4.</p>
-<p class='c022'>Magdalena Offenburg as Laïs Corinthiaca, 1526.</p>
-<p class='c046'>See vol. i. pp. 246-52; Pl. 73. W. 17.</p>
-<p class='c022'>Magdalena Offenburg as Venus, 1526.</p>
-<p class='c046'>See vol. i. pp. 246-52; Pl. 73. W. 18.</p>
-<p class='c022'>Holbein’s Wife and Children, 1528-29.</p>
-<p class='c046'>See vol. i. pp. 343-6; Pl. 90. W. 15.</p>
-<p class='c022'>Portrait of an Unknown Man.</p>
-<p class='c046'>See Vol. ii. p. <a href='#Page_211'>211</a>. W. 22.</p>
-<p class='c022'>Portrait of Erasmus.</p>
-<p class='c046'>Small roundel. See vol. i. p. 180; Pl. 58. W. 13.</p>
-<p class='c022'>Portrait of a Young Woman, about 1528.</p>
-<p class='c046'>Unfinished. See vol. i. pp. 346-7; Pl. 91. W. 46.</p>
-<p class='c022'>Printer’s Mark of Johann Froben.</p>
-
-<p class='c022'>Portrait of Johann Froben.</p>
-<p class='c046'>Old copy. See vol. i. pp. 183-4.</p>
-<h4 class='c048'><span class='sc'>Basel, University Library</span></h4>
-<p class='c041'>Coat of Arms of Petrus Fabrinus, Rector of Basel University, 1523.</p>
-<p class='c046'>Coloured drawing in the University Matriculation Book. See vol. i.
-pp. 145-6. W. 112.</p>
-<div>
-  <span class='pageno' id='Page_358'>358</span>
-  <h4 class='c048'><span class='sc'>Basel, Collection of Dr. Rudolph Geigy-Schlumberger</span></h4>
-</div>
-<p class='c041'>Portrait of a Man, said to be Holbein himself.</p>
-<p class='c046'>Water-colour drawing. See Vol. ii. p. <a href='#Page_213'>213</a>. Not in Woltmann.</p>
-<h4 class='c048'><span class='sc'>Lucerne, Kunstverein</span></h4>
-<p class='c041'>Fragments of the original wall-painting on the façade of the
-Hertenstein House in Lucerne: part of the subject of the Death of
-Lucretia, 1517.</p>
-<p class='c046'>See vol. i. p. 68. W. 216.</p>
-<h4 class='c048'><span class='sc'>Solothurn, Stadt Museum</span></h4>
-<p class='c041'>Madonna and Child, with St. Nicholas (or St. Martin) and St. Ursus, 1522.</p>
-<p class='c046'>See vol. i. pp. 103-11; Pl. 36. W. 247.</p>
-<h4 class='c048'><span class='sc'>Zürich, Schweizerisches Landesmuseum</span></h4>
-<p class='c041'>Table painted with the legend of St. Nobody, hunting and jousting
-scenes, &amp;c., for Hans Baer, of Basel, 1515.</p>
-<p class='c046'>See vol. i. pp. 35-7. W. 359.</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_359'>359</span>
-  <h2 class='c012'>PICTURES BY AND ATTRIBUTED TO HOLBEIN AND OF HIS SCHOOL AND PERIOD</h2>
-</div>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912</div>
-    <div class='c004'><i>In almost all cases the attributions are those of the owners of the pictures</i></div>
-    <div class='c000'><i>The spelling of the names is that of the original Catalogues</i></div>
-  </div>
-</div>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div>I. <span class='sc'>The British Institution</span>, 1846</div>
-  </div>
-</div>
-
-<table class='table4' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>120</td>
- <td class='blt c052'>Charles Brandon, Duke of Suffolk d. 1545</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Willoughby d’Eresby</td>
-  </tr>
-  <tr>
-    <td class='c051'>122</td>
- <td class='blt c052'>Henry VIII</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Mrs. Nicholl</td>
-  </tr>
-  <tr>
-    <td class='c051'>131</td>
- <td class='blt c052'>The Infant Son of Charles Brandon, Duke of Suffolk</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord Willoughby d’Eresby</td>
-  </tr>
-  <tr>
-    <td class='c051'>133</td>
- <td class='blt c052'>Edward VI when Prince of Wales</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Earl of Hardwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>135</td>
- <td class='blt c052'>George Brooke, Lord of Cobham d. 1558</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>F. L. Popham, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>138</td>
- <td class='blt c052'>Queen Mary</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Hon. C. C. Cavendish M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>155</td>
- <td class='blt c052'>Thomas Howard, Duke of Norfolk,</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Norfolk</td>
-  </tr>
-  <tr>
-    <td class='c051'>161</td>
- <td class='blt c052'>Ambrose Dudley, Earl of Warwick, d. 1589</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Marquess of Salisbury, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>162</td>
- <td class='blt c052'>William Warham, Archbishop of Canterbury, d. 1532</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>163</td>
- <td class='blt c052'>The Family of Henry VII and Henry VIII, &amp;c.</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord Willoughby d’Eresby</td>
-  </tr>
-  <tr>
-    <td class='c051'>176</td>
- <td class='blt c052'>Catherine de Bore, wife of Martin Luther</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Sutherland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>178</td>
- <td class='blt c052'>Erasmus, d. 1536</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Sutherland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>200</td>
- <td class='blt c052'>Lady Elizabeth Gray, wife of Thomas, Lord Audley of Warden, Lord Chancellor</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord Baybrooke</td>
-  </tr>
-  <tr>
-    <td class='c051'>205</td>
- <td class='blt c052'>Henry VIII granting the Charter to the Barber-Surgeons</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Barber-Surgeons’ Company</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_360'>360</span>II. <span class='sc'>Art Treasures of the United Kingdom Collected at Manchester in 1857</span></div>
-    <div class='c000'><i>Old Masters</i></div>
-  </div>
-</div>
-
-<table class='table4' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>454</td>
- <td class='blt c052'>Portrait of Francis I (considered by some to be a Janet)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>455</td>
- <td class='blt c052'>King Henry VIII</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>456</td>
- <td class='blt c052'>Dr. Stokes (Bishop of London)</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>457</td>
- <td class='blt c052'>King Edward VI</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>A. Barker, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>459</td>
- <td class='blt c052'>Portrait of a Young Man holding a Book</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord Ward</td>
-  </tr>
-  <tr>
-    <td class='c051'>460</td>
- <td class='blt c052'>Portrait of Francis I, dated 1509, No. 40 of Kensington Palace Catalogue</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>H.R.H. Prince Albert</td>
-  </tr>
-  <tr>
-    <td class='c051'>466</td>
- <td class='blt c052'>Portrait of Erasmus. A copy of a picture by Holbein</td>
- <td class='blt c051'>Georg Pentz</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>533</td>
- <td class='blt c052'>The Root of Jesse</td>
- <td class='blt c051'>Gerard Lucas Horebout</td>
- <td class='blt c052'>Sir Culling Eardly, Bt.</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><i>British Portrait Gallery</i></div>
-  </div>
-</div>
-
-<table class='table4' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>10</td>
- <td class='blt c052'>Anne Boleyn</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>11</td>
- <td class='blt c052'>Anne Boleyn</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>12</td>
- <td class='blt c052'>Mary Boleyn</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>13</td>
- <td class='blt c052'>Lord Darnley and his Brother, Charles Stuart</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>14</td>
- <td class='blt c052'>Mary Tudor and Charles Brandon, Duke of Suffolk</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Bedford</td>
-  </tr>
-  <tr>
-    <td class='c051'>16</td>
- <td class='blt c052'>Queen Katherine Parr</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>17</td>
- <td class='blt c052'>Earl of Surrey (Henry Howard), the poet, in a red habit</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>26</td>
- <td class='blt c052'>Sir Nicholas Carew, K.G., in armour</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Buccleuch</td>
-  </tr>
-  <tr>
-    <td class='c051'>27</td>
- <td class='blt c052'>Sir Walter Raleigh</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. Gibson Craig, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>28</td>
- <td class='blt c052'>Lady Raleigh</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>29</td>
- <td class='blt c052'>The Darnley Cenotaph</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Richmond</td>
-  </tr>
-  <tr>
-    <td class='c051'>30</td>
- <td class='blt c052'>Littleton</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Lyttelton</td>
-  </tr>
-  <tr>
-    <td class='c051'>31</td>
- <td class='blt c052'>Earl of Southampton (Henry Wriothesley), Shakespeare’s patron, with his Cat</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Portland</td>
-  </tr>
-  <tr>
-    <td class='c051'>32</td>
- <td class='blt c052'>Countess of Southampton (Elizabeth Vernon), wife of above</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>33</td>
- <td class='blt c052'>Bess of Hardwick (Building Bess)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>34</td>
- <td class='blt c052'>William Camden in his dress as Clarencieux</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Painter-Stainers’ Company</td>
-  </tr>
-  <tr>
-    <td class='c051'>48</td>
- <td class='blt c052'>King Henry VIII</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'>49</td>
- <td class='blt c052'>Cardinal Wolsey</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>50</td>
- <td class='blt c052'>Queen Jane Seymour</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Bedford</td>
-  </tr>
-  <tr>
-    <td class='c051'>51</td>
- <td class='blt c052'>The Father of Sir Thomas More holding a legal document</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>52</td>
- <td class='blt c052'>Sir Henry Guildford</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_361'>361</span>SOUTH KENSINGTON, 1862</div>
-  </div>
-</div>
-
-<table class='table4' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>53</td>
- <td class='blt c052'>Lady Grey (Margaret Wooton)</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>Duke of Portland</td>
-  </tr>
-  <tr>
-    <td class='c051'>53<span class='fss'>A</span></td>
- <td class='blt c052'>Lady Jane Grey</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Stamford and Warrington</td>
-  </tr>
-  <tr>
-    <td class='c051'>54</td>
- <td class='blt c052'>King Edward VI. A knee-piece</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>55</td>
- <td class='blt c052'>King Edward VI at age of six</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>55<span class='fss'>A</span></td>
- <td class='blt c052'>King Edward VI</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>56</td>
- <td class='blt c052'>King Edward VI. Miniature full-length</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Portland</td>
-  </tr>
-  <tr>
-    <td class='c051'>57</td>
- <td class='blt c052'>The Three Children of King Henry VII</td>
- <td class='blt c051'>Mabuse</td>
- <td class='blt c052'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>58</td>
- <td class='blt c052'>Queen Mary I and Philip II. Small full-lengths, dated 1558</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Bedford</td>
-  </tr>
-  <tr>
-    <td class='c051'>59</td>
- <td class='blt c052'>Queen Mary I, 1544</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>62</td>
- <td class='blt c052'>Queen Elizabeth. Miniature full-length</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Portland</td>
-  </tr>
-  <tr>
-    <td class='c051'>66</td>
- <td class='blt c052'>William Warham, Archbishop of Canterbury</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>67</td>
- <td class='blt c052'>The Princess Elizabeth, holding a book</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>67<span class='fss'>A</span></td>
- <td class='blt c052'>Sir Thomas Gresham</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Stamford and Warrington</td>
-  </tr>
-  <tr>
-    <td class='c051'>173</td>
- <td class='blt c052'>Lucius Cary, Viscount Falkland</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Clarendon</td>
-  </tr>
-  <tr>
-    <td class='c051'>Frame 7</td>
- <td class='blt c052'>Miniatures of the time of Henry VII and Henry VIII, &amp;c.</td>
- <td class='blt c051'>—</td>
- <td class='blt c052'>Duke of Buccleuch</td>
-  </tr>
-  <tr>
-    <td class='c051'>Frame 17</td>
- <td class='blt c052'>Henry VIII</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>Col. Meyrick</td>
-  </tr>
-  <tr>
-    <td class='c051'>Frame 17</td>
- <td class='blt c052'>Anne of Cleves</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>III. <span class='sc'>Special Exhibition of Works of Art, South Kensington Museum, June 1862. Section XI. Portrait Miniatures</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>1901</td>
- <td class='blt c052'>Mary Tudor, Queen of England (oil)</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>S. Addington, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1905</td>
- <td class='blt c052'>Thomas Cromwell, Earl of Essex</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1932</td>
- <td class='blt c052'>Edward VI (sculptured in wood)</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>T. L. Barwick Baker, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1933</td>
- <td class='blt c052'>Henry VIII “</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1934</td>
- <td class='blt c052'>Henry, Duke of Richmond</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>C. Sackville Bale, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1935</td>
- <td class='blt c052'>Jane Seymour</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1936</td>
- <td class='blt c052'>Mary Tudor</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2018</td>
- <td class='blt c052'>Henry VII</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2021</td>
- <td class='blt c052'>Henry VIII</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2022</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2023</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2024</td>
- <td class='blt c052'>Catherine of Aragon</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2025</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2026</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2027</td>
- <td class='blt c052'>Mary Tudor</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2029</td>
- <td class='blt c052'>Catherine Howard</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2030</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2039</td>
- <td class='blt c052'>Prince Edward</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_362'>362</span>2040</td>
- <td class='blt c052'>King Edward VI</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2041</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2042</td>
- <td class='blt c052'>“</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2061</td>
- <td class='blt c052'>Sir Thomas More</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2216</td>
- <td class='blt c052'>The Three Children of Henry VII</td>
- <td class='blt c051'>Ascribed to Mabuse</td>
- <td class='blt c052'>J. C. Dent, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2217</td>
- <td class='blt c052'>Jane Seymour</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2218</td>
- <td class='blt c052'>Queen Catherine Parr</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2219</td>
- <td class='blt c052'>Henry VIII, full-length (carved in honestone)</td>
- <td class='blt c051'>—</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2220</td>
- <td class='blt c052'>Henry VIII (carved in boxwood)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2265</td>
- <td class='blt c052'>An Unfinished Portrait</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Wentworth Dilke, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2341</td>
- <td class='blt c052'>Henry VIII</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Gosford</td>
-  </tr>
-  <tr>
-    <td class='c051'>2405</td>
- <td class='blt c052'>Queen Catherine Howard</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Hamilton</td>
-  </tr>
-  <tr>
-    <td class='c051'>2458</td>
- <td class='blt c052'>Sir Thomas More</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c052'>Sir W. T. Holburne. Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2459</td>
- <td class='blt c052'>Erasmus</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2477</td>
- <td class='blt c052'>Thomas Howard, 3rd Duke of Norfolk</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2478</td>
- <td class='blt c052'>Thomas Howard, 4th Duke of Norfolk</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2544</td>
- <td class='blt c052'>Henry VIII, 1526</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Hollingworth Magniac, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2545</td>
- <td class='blt c052'>Catherine of Aragon</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2581</td>
- <td class='blt c052'>Henry VIII and Jane Seymour</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>H. Danby Seymour, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2598</td>
- <td class='blt c052'>Mary Tudor, Queen of England</td>
- <td class='blt c051'>Luis de Vargas</td>
- <td class='blt c052'>Rev. Walter Sneyd</td>
-  </tr>
-  <tr>
-    <td class='c051'>2599</td>
- <td class='blt c052'>Philip II of Spain</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2641</td>
- <td class='blt c052'>Leonhardus Bur, aged 20, 1549</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Charles Sotheby, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2651</td>
- <td class='blt c052'>Henry VIII (oil on panel)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Spencer</td>
-  </tr>
-  <tr>
-    <td class='c051'>2652</td>
- <td class='blt c052'>Sir John Boling Hatton and his Mother, 1525</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2726</td>
- <td class='blt c052'>Catherine, Duchess of Suffolk, d. 1580</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lady Willoughby de Eresby</td>
-  </tr>
-  <tr>
-    <td class='c051'>2727</td>
- <td class='blt c052'>Thomas Cromwell, Earl of Essex</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>IV. <span class='sc'>Special Exhibition of Portrait Miniatures on Loan at the South Kensington Museum, June 1865</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>273</td>
- <td class='blt c052'>Henry VIII (oil)</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Richmond</td>
-  </tr>
-  <tr>
-    <td class='c051'>307</td>
- <td class='blt c052'>Mary Tudor, Queen of England (oil)</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>S. Addington, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>601</td>
- <td class='blt c052'>Sir Thomas More (enamel)</td>
- <td class='blt c051'>H. Bone, R.A.</td>
- <td class='blt c052'>R. G. Clarke, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>629</td>
- <td class='blt c052'>Mary, Queen of England (oil). Dated 1555</td>
- <td class='blt c051'>Luis de Vargas</td>
- <td class='blt c052'>Rev. W. Sneyd</td>
-  </tr>
-  <tr>
-    <td class='c051'>630</td>
- <td class='blt c052'>Philip II of Spain (oil)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>648</td>
- <td class='blt c052'>Katherine of Aragon (on vellum)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Hollingworth Magniac, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>652</td>
- <td class='blt c052'>Henry VIII. Painted in 1526</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>763</td>
- <td class='blt c052'>Sir Nicholas Poyntz (vellum)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>R. S. Holford, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_363'>363</span>950</td>
- <td class='blt c052'>Sir John Boling Hatton and his Mother. Dated 1525</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1029</td>
- <td class='blt c052'>Earl of Kildare (oil on panel)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Boston</td>
-  </tr>
-  <tr>
-    <td class='c051'>146</td>
- <td class='blt c052'>Alicia, wife of Sir Thomas More (on card)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. Heywood Hawkins, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1282</td>
- <td class='blt c052'>Mary Tudor, Queen of England</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1381</td>
- <td class='blt c052'>Henry VIII (on ivory)</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c052'>Earl of Gosford</td>
-  </tr>
-  <tr>
-    <td class='c051'>1388</td>
- <td class='blt c052'>John Calvin (oil on panel)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1392</td>
- <td class='blt c052'>Henry VIII (oil on panel)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>John Jones, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1554</td>
- <td class='blt c052'>Thomas Howard, Duke of Norfolk (on panel)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Philip Henry Howard, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1590</td>
- <td class='blt c052'>Katherine of Aragon (on vellum)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1603</td>
- <td class='blt c052'>Thomas, Lord Seymour of Sudeley (on vellum)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1643</td>
- <td class='blt c052'>Henry, Duke of Richmond (on card)</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>C. Sackville Bale, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1645</td>
- <td class='blt c052'>Lady Jane Seymour</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1651</td>
- <td class='blt c052'>Queen Mary I of England</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1708</td>
- <td class='blt c052'>Margaret Tudor, Queen of Scotland</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Marlborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>1810</td>
- <td class='blt c052'>Ann of Cleves. Signed “H. H.” (oil on panel).</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>David Laing, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2082</td>
- <td class='blt c052'>Henry VIII (oil)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2093</td>
- <td class='blt c052'>Portrait of a Gentleman in a furred gown</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Shaftesbury, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2347</td>
- <td class='blt c052'>Henry VIII and Edward VI</td>
- <td class='blt c051'>Ascribed to N. Hilliard</td>
- <td class='blt c052'>Miss Wilson</td>
-  </tr>
-  <tr>
-    <td class='c051'>2627</td>
- <td class='blt c052'>Portrait of a Lady, aged 23 (on card) (Mrs. Pemberton)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>J. Heywood Hawkins, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2655</td>
- <td class='blt c052'>Hans Holbein, the Painter (oil)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2664</td>
- <td class='blt c052'>Edward VI. Dated 1547</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Henry F. Holt, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2946</td>
- <td class='blt c052'>Charles V, Emperor of Germany</td>
- <td class='blt c051'>Ascribed to Holbein</td>
- <td class='blt c052'>William Mosely, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2947</td>
- <td class='blt c052'>Anne Boleyn</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>2948</td>
- <td class='blt c052'>Henry VIII</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>V. <span class='sc'>First Special Exhibition of National Portraits ending with the Reign of King James the Second, on Loan to the South Kensington Museum, 1866</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>46</td>
- <td class='blt c052'>Richard Fox, Bishop of Winchester. 30” × 19”</td>
- <td class='blt c051'>Johannes Corvus</td>
- <td class='blt c052'>Corpus Oxford Christi College,</td>
-  </tr>
-  <tr>
-    <td class='c051'>49</td>
- <td class='blt c052'>Arthur, Prince of Wales. 15” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>50</td>
- <td class='blt c052'>Richard Fox. 15” × 12”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Richard Cholmondeley, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>52</td>
- <td class='blt c052'>Henry VII. 23” × 18”</td>
- <td class='blt c051'>Jan de Mabuse</td>
- <td class='blt c052'>Hon. Mrs. Greville Howard</td>
-  </tr>
-  <tr>
-    <td class='c051'>53</td>
- <td class='blt c052'>Margaret Tudor, Queen of Scotland. 94” × 55”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>54</td>
- <td class='blt c052'>Henry VII and Ferdinand of Aragon. 32” × 31”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Henry Musgrave, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_364'>364</span>55</td>
- <td class='blt c052'>Henry VII. 22” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>56</td>
- <td class='blt c052'>Henry VII. 20” × 16”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>57</td>
- <td class='blt c052'>Queen Elizabeth of York. 21” × 16”</td>
- <td class='blt c051'>Ascribed to Mabuse</td>
- <td class='blt c052'>Mrs. B. J. P. Bastard.</td>
-  </tr>
-  <tr>
-    <td class='c051'>58</td>
- <td class='blt c052'>The Three Children of Henry VII. 13” × 17”</td>
- <td class='blt c051'>Jan de Mabuse</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>59</td>
- <td class='blt c052'>Henry VII. 22” × 25”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Charles Winn, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>60</td>
- <td class='blt c052'>John Colet, Dean of St. Paul’s. 34” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>University Library, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>62</td>
- <td class='blt c052'>Henry VII. 15” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>63</td>
- <td class='blt c052'>James IV of Scotland. 14” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Marquis of Lothian</td>
-  </tr>
-  <tr>
-    <td class='c051'>68</td>
- <td class='blt c052'>Sir Thomas Wyat the Elder. 17” × 13”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Bodleian Library, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>71</td>
- <td class='blt c052'>Edward Stafford, 3rd Duke of Buckingham. 23” × 18”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Marquis of Hastings</td>
-  </tr>
-  <tr>
-    <td class='c051'>72</td>
- <td class='blt c052'>Nicolas Kratzer. 34” × 27”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Viscount Galway, M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>73</td>
- <td class='blt c052'>Hans Holbein, signed “H. B., <span class='fss'>A.D.</span> 1539.” 16” × 11½”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>74</td>
- <td class='blt c052'>Queen Catherine of Aragon (Portrait of Lady Rich). 17” × 13”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Walter Moseley, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>75</td>
- <td class='blt c052'>Henry VIII. 35” × 25”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'>76</td>
- <td class='blt c052'>Charles Brandon, Duke of Suffolk, and his wife, Princess Mary Tudor. 30” × 22”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Mrs. Branfill</td>
-  </tr>
-  <tr>
-    <td class='c051'>77</td>
- <td class='blt c052'>Henry VIII. 35” × 27”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>78</td>
- <td class='blt c052'>Queen Katherine of Aragon. 26” × 20”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Countess Delawarr</td>
-  </tr>
-  <tr>
-    <td class='c051'>79</td>
- <td class='blt c052'>Queen Katherine of Aragon. 23” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>National Portrait Gallery</td>
-  </tr>
-  <tr>
-    <td class='c051'>80</td>
- <td class='blt c052'>Charles Brandon, Duke of Suffolk, and the Princess Mary Tudor. 28” × 18”</td>
- <td class='blt c051'>Jan de Mabuse</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>84</td>
- <td class='blt c052'>Henry VIII. 25” × 22”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lady Sophia Des Vœux</td>
-  </tr>
-  <tr>
-    <td class='c051'>86</td>
- <td class='blt c052'>William Warham, Archbishop of Canterbury. 32” × 26”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>88</td>
- <td class='blt c052'>John Fisher, Bishop of Rochester. 13” × 10”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Major J. H. Brooks</td>
-  </tr>
-  <tr>
-    <td class='c051'>89</td>
- <td class='blt c052'>Sir John More, Kt. 16” × 12”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>W. B. Smythe, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>90</td>
- <td class='blt c052'>Margaret Tudor, Queen of Scotland. 14” × 11”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Marquis of Lothian</td>
-  </tr>
-  <tr>
-    <td class='c051'>91</td>
- <td class='blt c052'>Sir Thomas Wyat the Elder. Circular, diameter 19”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Marquis of Hastings</td>
-  </tr>
-  <tr>
-    <td class='c051'>92</td>
- <td class='blt c052'>John Fisher, Bishop of Rochester, aged 74. 28” × 24”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>St. John’s College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>93</td>
- <td class='blt c052'>Thomas Cranmer, Archbishop of Canterbury.</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Jesus College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>95</td>
- <td class='blt c052'>Henry Howard, Earl of Surrey. 8½” × 6½”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Bodleian Library, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>96</td>
- <td class='blt c052'>Thomas Linacre, M.D., dated 1527. 18” × 13”</td>
- <td class='blt c051'>Holbein or Metsys</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_365'>365</span>97</td>
- <td class='blt c052'>Queen Anne Boleyn. 25” × 10”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Hon. Mrs. Greville Howard</td>
-  </tr>
-  <tr>
-    <td class='c051'>98</td>
- <td class='blt c052'>Sir Thomas Wyat the Elder. 15½” × 12”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>John Bruce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>99</td>
- <td class='blt c052'>Henry VIII. 36” × 35”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>101</td>
- <td class='blt c052'>Sir Thomas Boleyn, Earl of Ormonde and Wiltshire, K.G., aged 60. 20” × 17”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>W. B. Stopford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>102</td>
- <td class='blt c052'>Henry Howard, Earl of Surrey, K.G. 76” × 52”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>103</td>
- <td class='blt c052'>Queen Anne Boleyn. 14” × 12”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>104</td>
- <td class='blt c052'>Christina of Denmark, Duchess of Milan. 17” × 13”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>105</td>
- <td class='blt c052'>Mary Boleyn. 14” × 12”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>106</td>
- <td class='blt c052'>James V of Scotland and his second Queen, Mary of Guise. 57” × 43”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>107</td>
- <td class='blt c052'>Queen Anne Boleyn, dated 1530, “H. B.” 33” × 23”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Sir Montague J. Cholmeley, Bt., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>108</td>
- <td class='blt c052'>Sir Richard Southwell, Kt. 18” × 14” Esq.</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>H. E. Chetwynd-Stapylton,</td>
-  </tr>
-  <tr>
-    <td class='c051'>109</td>
- <td class='blt c052'>Henry VIII. 39” × 29”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>110</td>
- <td class='blt c052'>Sir William Butts, Kt. 18” × 14”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>W. H. Pole-Carew, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>111</td>
- <td class='blt c052'>Sir Nicholas (called “William”) Poyntz, dated 1535. Canvas. 27” × 18”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Marquis of Ormonde</td>
-  </tr>
-  <tr>
-    <td class='c051'>112</td>
- <td class='blt c052'>Sir Richard Southwell, painted in 1835. 22” × 18” Holbein</td>
- <td class='blt c051'>Michell, after</td>
- <td class='blt c052'>Ralph N. Wornum, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>113</td>
- <td class='blt c052'>Thomas Cromwell, Earl of Essex. 14” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'>114</td>
- <td class='blt c052'>Queen Anne Boleyn. 10½” × 8”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>115</td>
- <td class='blt c052'>Lady Butts. 18” × 14”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>W. H. Pole-Carew, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>118</td>
- <td class='blt c052'>Henry VIII. 35” × 27”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Viscount Galway, M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>119</td>
- <td class='blt c052'>Queen Jane Seymour. 14” × 11”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>120</td>
- <td class='blt c052'>Mary Tudor, Queen of France. 6½” × 5½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl Brownlow</td>
-  </tr>
-  <tr>
-    <td class='c051'>121</td>
- <td class='blt c052'>Henry Howard, Earl of Surrey. Dated 1546. Canvas, 81” × 51”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Countess Delawarr</td>
-  </tr>
-  <tr>
-    <td class='c051'>122</td>
- <td class='blt c052'>Joanna Fitz-Alan, Lady Abergavenny. She died before 1519. 16” × 22”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>John Webb, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>123</td>
- <td class='blt c052'>Charles Brandon, Duke of Suffolk. 7” × 6”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl Brownlow</td>
-  </tr>
-  <tr>
-    <td class='c051'>124</td>
- <td class='blt c052'>Henry VIII. 28” × 22”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>125</td>
- <td class='blt c052'>Queen Jane Seymour. 24” × 19”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Countess Delawarr</td>
-  </tr>
-  <tr>
-    <td class='c051'>126</td>
- <td class='blt c052'>Thomas Cromwell, Earl of Essex. 30” × 24½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>129</td>
- <td class='blt c052'>Sir Henry Guildford, Kt. 34” × 25”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>John Webb, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_366'>366</span>131</td>
- <td class='blt c052'>Queen Katherine Parr. 70” × 34”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Richard Booth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>132</td>
- <td class='blt c052'>Queen Anne of Cleves. 28” × 22”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Charles Morrison, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>133</td>
- <td class='blt c052'>Sir Henry Wyat, Kt. 30” × 24”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>134</td>
- <td class='blt c052'>Henry VII and Henry VIII. Cartoon, 102” × 54”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>135</td>
- <td class='blt c052'>Henry VIII and Jane Seymour, &amp;c. 39” × 36”</td>
- <td class='blt c051'>Van Remée, after Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>138</td>
- <td class='blt c052'>Will Somers. 28” × 23½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>141</td>
- <td class='blt c052'>Sir William Sidney, Kt. “Holbein f. 1523.” 48” × 38”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord De L’Isle and Dudley</td>
-  </tr>
-  <tr>
-    <td class='c051'>142</td>
- <td class='blt c052'>Thomas Cranmer. Canvas, 36” × 29”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Captain Byng</td>
-  </tr>
-  <tr>
-    <td class='c051'>143</td>
- <td class='blt c052'>Erasmus. Dated 1537. 23” × 18”</td>
- <td class='blt c051'>G. Pencz</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>144</td>
- <td class='blt c052'>Henry VIII. 92” × 53”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>H. Danby Seymour, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>146</td>
- <td class='blt c052'>Henry VIII. 24” × 19”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Royal College of Surgeons</td>
-  </tr>
-  <tr>
-    <td class='c051'>149</td>
- <td class='blt c052'>Sir Henry Guildford, Kt. 32” × 26”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>150</td>
- <td class='blt c052'>Sir John More and Sir Thomas More. Dated 1530. Canvas, 55” × 48”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Sir Henry Ralph Vane, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>151</td>
- <td class='blt c052'>Sir Thomas Pope. 47” × 33”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Countess of Caledon</td>
-  </tr>
-  <tr>
-    <td class='c051'>152</td>
- <td class='blt c052'>Henry VIII, Princess Mary, and Will Somers. Canvas, 63” × 50”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>153</td>
- <td class='blt c052'>Edward Stanley, 3rd Earl of Derby, K.G. 13” × 10”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Derby, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>154</td>
- <td class='blt c052'>Sir John Cheke, Kt. 13” × 9½”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'>156</td>
- <td class='blt c052'>Henry VIII. 30” × 24”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>157</td>
- <td class='blt c052'>Sir Thomas More. 29” × 23”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Henry Huth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>159</td>
- <td class='blt c052'>William, 1st Lord Paget. 12½” × 9½”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'>161</td>
- <td class='blt c052'>Sir John Thynne, Kt. Dated 1566. 50” × 39”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Marquis of Bath</td>
-  </tr>
-  <tr>
-    <td class='c051'>162</td>
- <td class='blt c052'>Sir Nicholas Carew. 42” × 32”</td>
- <td class='blt c051'>F. Pourbus</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>163</td>
- <td class='blt c052'>Sir Thomas More and his Family. Canvas, 138” × 99”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Charles Winn, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>165</td>
- <td class='blt c052'>Thomas Howard, 3rd Duke of Norfolk, K.G. 30” × 22”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>167</td>
- <td class='blt c052'>Henry VIII. Oval, 29” × 24”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Andrew Fountaine, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>170</td>
- <td class='blt c052'>Henry VIII and his Family. Canvas, 138” × 66”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>172</td>
- <td class='blt c052'>Edward VI. 40” × 32”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>"</td>
-  </tr>
-  <tr>
-    <td class='c051'>173</td>
- <td class='blt c052'>Sir Thomas Smith, Kt. 1856. 29” × 23½”</td>
- <td class='blt c051'>P. Fischer, after Holbein</td>
- <td class='blt c052'>Eton College</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c052'>Edward VI. Dated 1546. 11” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Hardwicke</td>
-  </tr>
-  <tr>
-    <td class='c051'>176</td>
- <td class='blt c052'>Edward VI. 22½” × 16½”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>177</td>
- <td class='blt c052'>Edward VI. Aged 9. 20” × 16”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Christ’s Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>179</td>
- <td class='blt c052'>Edward VI. 40” × 30”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>180</td>
- <td class='blt c052'>Edward VI. Dated 1547. 28” × 21”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Duke of Manchester</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_367'>367</span>181</td>
- <td class='blt c052'>Thomas, Lord Seymour of Sudeley, K.G. 23” × 17”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Marquis of Bath</td>
-  </tr>
-  <tr>
-    <td class='c051'>182</td>
- <td class='blt c052'>Sir Thomas Wyat the Younger. Circular, 15” diam.</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>187</td>
- <td class='blt c052'>Edward VI. Canvas, 26” × 21”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>King’s College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>192</td>
- <td class='blt c052'>Edward VI presenting Charters. Canvas, 106” × 115”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Bridewell Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>202</td>
- <td class='blt c052'>Stephen Gardiner, Bishop of Winchester. 13” × 10”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Lord Taunton</td>
-  </tr>
-  <tr>
-    <td class='c051'>208</td>
- <td class='blt c052'>Princess Mary Tudor, afterwards Queen Mary. Dated at back 1544. 12” × 9”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Marquis of Exeter, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>236</td>
- <td class='blt c052'>Margaret Douglas, Countess of Lennox. Dated 1572. 92” × 54”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>247</td>
- <td class='blt c052'>Queen Elizabeth. Aged 16. 42” × 31”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Her Majesty (St. James’s Palace)</td>
-  </tr>
-  <tr>
-    <td class='c051'>302</td>
- <td class='blt c052'>Ambrose Dudley, Earl of Warwick. 37” × 28”</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>Marquis of Salisbury, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>364</td>
- <td class='blt c052'>Sir William Harris. Dated 1596. 34” × 28”</td>
- <td class='blt c051'>Gerard Lucas Horebout</td>
- <td class='blt c052'>Rev. J. M. St. Clere Raymond</td>
-  </tr>
-  <tr>
-    <td class='c051'>371</td>
- <td class='blt c052'>Sir John Spencer. Dated 1590. Canvas, 35” × 28”</td>
- <td class='blt c051'>G. Stretes</td>
- <td class='blt c052'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>373</td>
- <td class='blt c052'>Admiral Sir John Wallop, K.G. 24” × 17”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Portsmouth</td>
-  </tr>
-  <tr>
-    <td class='c051'>374</td>
- <td class='blt c052'>Lady Harris. 34” × 27”</td>
- <td class='blt c051'>Gerard Lucas Horebout</td>
- <td class='blt c052'>Rev. J. M. St. Clere Raymond</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>VI. <span class='sc'>Third and Concluding Exhibition of National Portraits on Loan to the South Kensington Museum, April 1868</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>625</td>
- <td class='blt c052'>Sir Brian Tuke, Kt. 19” × 15”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Marquis of Westminster K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>626</td>
- <td class='blt c052'>Henry Howard, Earl of Surrey, and a Lady, supposed to be the Fair Geraldine. 6½” × 4½”</td>
- <td class='blt c051'>Ascribed to Holbein</td>
- <td class='blt c052'>Lord Taunton</td>
-  </tr>
-  <tr>
-    <td class='c051'>627</td>
- <td class='blt c052'>Edward Seymour, Duke of Somerset, K.G. 8½” × 7</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>628</td>
- <td class='blt c052'>John Reskimer. 18” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>629</td>
- <td class='blt c052'>William West, Lord Delawarr. 52” × 31”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>R. S. Holford, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>639</td>
- <td class='blt c052'>Queen Katherine Parr. 14” × 10”</td>
- <td class='blt c051'>Ascribed to Amberger</td>
- <td class='blt c052'>Sir G. R. Osborn, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>651</td>
- <td class='blt c052'>Edward VI. Aged 2. 52” × 30”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>655</td>
- <td class='blt c052'>Sir John Bourchier, 2nd Baron Berners. 24” × 20”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Berners</td>
-  </tr>
-  <tr>
-    <td class='c051'>656</td>
- <td class='blt c052'>John Stokesley, Bishop of London, 20” × 15”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>657</td>
- <td class='blt c052'>Edward VI. 51” × 32”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir G. R. Osborn, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>659</td>
- <td class='blt c052'>Lady Guildeford. Dated 1527. 34” × 27”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Thomas Frewen, Esq.</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_368'>368</span>VII. <span class='sc'>Royal Academy of Arts: Winter Exhibitions of Works by the Old Masters, 1870-1912</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'><b>1870</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>23</td>
- <td class='blt c052'>The First Lord De la Warr. Panel, 52” × 30½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>108</td>
- <td class='blt c052'>Portrait, with a Manuscript. Panel, 24” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>111</td>
- <td class='blt c052'>Portrait of John, Elector of Saxony. Panel, 24” × 18½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>120</td>
- <td class='blt c052'>Portrait of Sir Thomas More. Panel, 29” × 23½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Henry Huth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>147</td>
- <td class='blt c052'>Portrait of Edward VI. Panel, 51” × 29”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>152</td>
- <td class='blt c052'>Portrait of a Youth. Panel, 23½” × 17½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1871</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>153</td>
- <td class='blt c052'>Portrait of Thomas Howard, 3rd Duke of Norfolk. Panel, 31” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>292</td>
- <td class='blt c052'>Portrait of Geronimo Deodati, murdered at Antwerp 1551. Panel, 12” × 8½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. H. Anderdon, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>296</td>
- <td class='blt c052'>Portrait of Francis I. Panel, 28” × 23”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Dudley</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1872</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>52</td>
- <td class='blt c052'>A Portrait of a Man. Panel, 20” × 15”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. E. Millais, Esq., R.A.</td>
-  </tr>
-  <tr>
-    <td class='c051'>66</td>
- <td class='blt c052'>Portrait of Lady Heneage, Cousin of Ann Boleyn. Panel, 16½” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. C. Hanford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>82</td>
- <td class='blt c052'>Portrait of Warham, Archbishop of Canterbury. Panel, 32” × 25¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>94</td>
- <td class='blt c052'>Portrait of Sir William Butts, Kt., principal Physician to Henry VIII. Panel, 18” × 14¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. H. Pole-Carew, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>96</td>
- <td class='blt c052'>Portrait of Lady Butts. Panel, 18” × 14¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>138</td>
- <td class='blt c052'>Portrait of Sir Henry Guildford, K.G., Master of the Horse to Henry VIII. Panel, 32” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>213</td>
- <td class='blt c052'>Portrait of John Reskimeer, a Cornish Gentleman. Panel, 17½” × 12¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>214</td>
- <td class='blt c052'>Portrait of Dr. Thomas Linacre, Physician to Henry VII and Henry VIII. Founded the College of Physicians, and was its First President. Panel, 10⅞” × 8½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. Fuller Maitland, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>225</td>
- <td class='blt c052'>“Noli Me Tangere.” Panel, 29½” × 36¾”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_369'>369</span><b>1873</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>114</td>
- <td class='blt c052'>The Two Ambassadors. Panel, 81” × 83”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>The Earl of Radnor</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c052'>Ægidius, the Friend of Erasmus. Panel, 29” × 20”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>178</td>
- <td class='blt c052'>Portrait of Erasmus, signed “Johannes Holbein, 1523.” Panel, 29” × 20”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>198</td>
- <td class='blt c052'>Portrait of a Young Man in a Green Striped Dress. Panel, 17½” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>George P. Boyce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1875</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>167</td>
- <td class='blt c052'>William Tell, an imaginary Portrait. Panel, 31” × 27”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir W. Miles, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1876</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>66</td>
- <td class='blt c052'>Portrait of Mary Queen of Scots. Panel, 39” × 30”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Earl of Radnor</td>
-  </tr>
-  <tr>
-    <td class='c051'>173</td>
- <td class='blt c052'>Portrait of the Three Children of Christian II of Denmark. Panel, 14” × 18½”</td>
- <td class='blt c051'>Mabuse</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1877</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>146</td>
- <td class='blt c052'>Portrait of Anne Roper (also thought to be a portrait of Margaret, Countess of Richmond and Derby, mother of Henry VII, by Mabuse). Panel, 14” × 10”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Methuen</td>
-  </tr>
-  <tr>
-    <td class='c051'>171</td>
- <td class='blt c052'>Portrait of Queen Mary. Signed and dated 1554. Panel, 41” × 31”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>184</td>
- <td class='blt c052'>Portrait of King Edward VI. Panel, 27½” × 20”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>W. More Molyneux, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>232</td>
- <td class='blt c052'>Portrait of a Gentleman, aged 48. Dated 1547. Panel, 31” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir John Neeld, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>249</td>
- <td class='blt c052'>Portrait of King Henry VIII. Canvas, 46” × 37”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>St. Bartholomew’s Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1878</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>217</td>
- <td class='blt c052'>The Wheel of Fortune. Dated 1533. Distemper on canvas. 28” × 18¾”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>224</td>
- <td class='blt c052'>Portrait of Geronimo Deodati. Panel, 12½” × 8½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. H. Anderdon, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1879</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>212</td>
- <td class='blt c052'>Portrait of Queen Mary. Panel, 8” × 6”</td>
- <td class='blt c051'>Attributed to Hans Holbein</td>
- <td class='blt c052'>Lord Chesham</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case F. 1</td>
- <td class='blt c052'>Queen Katherine of Aragon. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 2</td>
- <td class='blt c052'>Edward VI. Miniature</td>
- <td class='blt c051'>From a picture by Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 5</td>
- <td class='blt c052'>Queen Katherine of Aragon. Miniature</td>
- <td class='blt c051'>Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 8</td>
- <td class='blt c052'>Queen Elizabeth. Miniature</td>
- <td class='blt c051'>John Bettes</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 9</td>
- <td class='blt c052'>Edward VI as a Boy. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_370'>370</span>Case F. 10</td>
- <td class='blt c052'>Henry VIII. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 11</td>
- <td class='blt c052'>Henry VII. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 12</td>
- <td class='blt c052'>Henry VII. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 13</td>
- <td class='blt c052'>Queen Katherine of Aragon. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 14</td>
- <td class='blt c052'>Queen Mary. Miniature</td>
- <td class='blt c051'>Sir Antonio More</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 15</td>
- <td class='blt c052'>Henry VIII. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 16</td>
- <td class='blt c052'>Edward VI. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 20</td>
- <td class='blt c052'>Queen Catherine Howard. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 21</td>
- <td class='blt c052'>Queen Katherine of Aragon holding a Monkey. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 22</td>
- <td class='blt c052'>Queen Catherine Howard. Miniature</td>
- <td class='blt c051'>After Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 25</td>
- <td class='blt c052'>Portrait of the Painter. Signed “H. H., 1543, <i>ætat.</i> 45.” Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 27</td>
- <td class='blt c052'>Henry VIII. Miniature</td>
- <td class='blt c051'>From a picture by Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 28</td>
- <td class='blt c052'>Queen Katherine of Aragon. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 29</td>
- <td class='blt c052'>Hans Holbein. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 30</td>
- <td class='blt c052'>Edward VI. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case I. 3</td>
- <td class='blt c052'>Catherine Howard. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 4</td>
- <td class='blt c052'>Henry Grey, Duke of Suffolk. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“ 5</td>
- <td class='blt c052'>Charles Brandon, Duke of Suffolk. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case L. 4</td>
- <td class='blt c052'>Sir Thomas More. Miniature</td>
- <td class='blt c051'>After Holbein</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>218</td>
- <td class='blt c052'>Head of a Man, perhaps Francis North, Earl of Guildford. Drawing signed “H. H.”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>219</td>
- <td class='blt c052'>A Theological or Legal Discussion. Eng. by Tobias Stimmer. Drawing</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Edward J. Poynter, Esq., R.A.</td>
-  </tr>
-  <tr>
-    <td class='c051'>231</td>
- <td class='blt c052'>Full-length Figures of Henry VII and Henry VIII. Cartoon</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marquis of Hartington, M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>217,</td>
- <td class='blt c052'>The Windsor “Heads”</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>Her Majesty</td>
-  </tr>
-  <tr>
-    <td class='c051'>200-21,</td>
- <td class='blt c052'>"</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>223-30,</td>
- <td class='blt c052'>"</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>232-45</td>
- <td class='blt c052'>"</td>
- <td class='blt c051'>"</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1880</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>147</td>
- <td class='blt c052'>Head of an Old Man. Panel, 13½” × 10”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>149</td>
- <td class='blt c052'>Portrait of Lady Vaux. Panel, 14½” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>150</td>
- <td class='blt c052'>Portrait of a Man. Panel, 14” × 9”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>152</td>
- <td class='blt c052'>Portrait of Henry Howard, Earl of Surrey. Dated 1534. Panel, 15½” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_371'>371</span>155</td>
- <td class='blt c052'>Portrait of Henry Grey, Duke of Suffolk. Panel, 13½” × 10½”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>G. P. Boyce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>157</td>
- <td class='blt c052'>Portrait of Lady Heneage. Panel, 16” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>G. C. Handford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>161</td>
- <td class='blt c052'>Portrait of Henry VIII. Panel, 16½” × 12½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>162</td>
- <td class='blt c052'>Portrait of a Child. Panel, 8” × 6”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Henry Ainslie Hoare</td>
-  </tr>
-  <tr>
-    <td class='c051'>163</td>
- <td class='blt c052'>Portrait of Edward VI when Prince of Wales</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Northumberland</td>
-  </tr>
-  <tr>
-    <td class='c051'>165</td>
- <td class='blt c052'>Sir Thomas Gresham. Panel, 71” × 42”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>The Gresham Committee</td>
-  </tr>
-  <tr>
-    <td class='c051'>167</td>
- <td class='blt c052'>Portrait of William West, First Lord Delawarr. Panel, 52” × 31”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>168</td>
- <td class='blt c052'>Portrait of a German Lady. Panel, 23” × 19”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Spencer</td>
-  </tr>
-  <tr>
-    <td class='c051'>169</td>
- <td class='blt c052'>The Wheel of Fortune. Distemper on canvas, 27” × 18”. Dated 1533</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>170</td>
- <td class='blt c052'>Portrait of a Man. Panel, 20” × 14½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. E. Millais, Esq., R.A.</td>
-  </tr>
-  <tr>
-    <td class='c051'>171</td>
- <td class='blt c052'>Portrait of Lady Guildford. (Inscribed “Anno 1527. Ætatis Suae 27.”) Panel, 32” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Edward Frewen, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>172</td>
- <td class='blt c052'>Portrait of Derek Berck. Panel, 20” × 16”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Leconfield</td>
-  </tr>
-  <tr>
-    <td class='c051'>173</td>
- <td class='blt c052'>Portrait of Thomas Howard, 3rd Duke of Norfolk. Panel, 30” × 23”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c052'>Duke of Norfolk</td>
-  </tr>
-  <tr>
-    <td class='c051'>174</td>
- <td class='blt c052'>Portrait of Sir Henry Guildford. Panel, 32” × 26”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c052'>Sir W. Butts. Panel, 18” × 14”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. H. Pole-Carew, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>176</td>
- <td class='blt c052'>Portrait of Clement Newce, Esq., of Much Hadham. Panel, 32” × 26”. Dated 1559.</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>W. M. Martin-Edmunds, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>177</td>
- <td class='blt c052'>Portrait of Christina of Denmark, Duchess of Milan</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Norfolk</td>
-  </tr>
-  <tr>
-    <td class='c051'>178</td>
- <td class='blt c052'>Portrait of Lady Butts. Panel, 18” × 14”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. H. Pole-Carew, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>179</td>
- <td class='blt c052'>Portrait of W. Warham, Archbishop of Canterbury. Panel, 32” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>180</td>
- <td class='blt c052'>Portrait of Thomas Howard, Third Duke of Norfolk. Panel, 31” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>181</td>
- <td class='blt c052'>Portrait of John, Elector of Saxony. Panel, 25” × 28½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>182</td>
- <td class='blt c052'>Portrait of Sir John More. Panel, 29” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>183</td>
- <td class='blt c052'>Portrait of a Merchant of the Stahlhof or Steelyard. Panel, 23½” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>184</td>
- <td class='blt c052'>Portrait of a Young Man. Panel, 17” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>G. P. Boyce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_372'>372</span>185</td>
- <td class='blt c052'>Portrait of John Reskimer. Panel, 17” × 12½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>186</td>
- <td class='blt c052'>Portrait of a Gentleman. Panel, 13” × 11”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>187</td>
- <td class='blt c052'>“Noli Me Tangere.” Panel, 29½” × 37”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>188</td>
- <td class='blt c052'>Sir Bryan Tuke. Panel, 18½” × 14½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marchioness of Westminster</td>
-  </tr>
-  <tr>
-    <td class='c051'>190</td>
- <td class='blt c052'>Portrait of Anton Fugger of Augsburg. Panel, 14½” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Francis Cook, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>191</td>
- <td class='blt c052'>Portrait of John Herbster. Panel, 16” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Northbrook</td>
-  </tr>
-  <tr>
-    <td class='c051'>192</td>
- <td class='blt c052'>Portrait of Sir Nicholas Carew. Panel, 36” × 40”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>195</td>
- <td class='blt c052'>Portrait of the Princess (afterwards Queen) Elizabeth. Panel, 42” × 31½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (St. James’s Palace)</td>
-  </tr>
-  <tr>
-    <td class='c051'>198</td>
- <td class='blt c052'>Portrait of a Young Man. Panel, 17” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Marlborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>203</td>
- <td class='blt c052'>William Tell (an imaginary portrait). Panel, 31” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir P. Myles</td>
-  </tr>
-  <tr>
-    <td class='c051'>204</td>
- <td class='blt c052'>Thomas Cromwell, Earl of Essex, Panel, 6” × 5”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>205</td>
- <td class='blt c052'>Portrait of Thomas Howard, Duke of Norfolk. Panel, 6” × 5”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>237</td>
- <td class='blt c052'>Portrait of Edward VI on horseback. Canvas, 66” × 59”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1881</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>194</td>
- <td class='blt c052'>Portrait of Sir Thomas More. Panel, 29” × 23½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Mrs. Henry Huth</td>
-  </tr>
-  <tr>
-    <td class='c051'>201</td>
- <td class='blt c052'>Portrait of a Lady. Panel, 14½” × 10”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Mrs. Herbert Blackburne</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1882</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>198</td>
- <td class='blt c052'>Christ Mocked. Panel, 30” × 24”</td>
- <td class='blt c051'>Holbein (?)</td>
- <td class='blt c052'>C. Magniac, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>216</td>
- <td class='blt c052'>Portrait of a Lady. Panel, 7” × 6¼”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Mrs. Charles Fox</td>
-  </tr>
-  <tr>
-    <td class='c051'>222</td>
- <td class='blt c052'>Portrait of Thomas Cromwell, Earl of Essex. Panel, 30” × 24½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Countess of Caledon</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1884</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>288</td>
- <td class='blt c052'>The Banker. Panel, 25” × 19”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marquis of Lansdowne</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1886</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>184</td>
- <td class='blt c052'>Portrait of Henry VIII. Panel, 34½” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>H. R. Hughes, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1887</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>157</td>
- <td class='blt c052'>Portrait of one of the Children of Sir John Thynne. Dated 1582. Panel, 33” × 26”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Marquis of Bath</td>
-  </tr>
-  <tr>
-    <td class='c051'>166</td>
- <td class='blt c052'>Portrait of one of the Children of Sir John Thynne. Dated 1574. Size not given</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>172</td>
- <td class='blt c052'>Sir Thomas More as a Young Man. Panel, 13¼” × 12”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Ralph Bankes, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_373'>373</span><b>1893</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>166</td>
- <td class='blt c052'>Portrait of a Man. Panel, 17” x 15”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Captain G. L. Holford</td>
-  </tr>
-  <tr>
-    <td class='c051'>176</td>
- <td class='blt c052'>Portrait of Sir Thomas Gresham. 71” x 42”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>The Gresham Committee</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1894</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c052'>Portrait of a Gentleman. Panel, 14” x 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Mrs. Percy Macquoid</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1895</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c052'>Portrait of a Banker. Panel, 12” x 9”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Charles L. Eastlake, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>178</td>
- <td class='blt c052'>The Death of the Virgin in the Presence of the Apostles. Panel, 65” x 59”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Dr. J. P. Richter the Elder</td>
-  </tr>
-  <tr>
-    <td class='c051'>D. 24</td>
- <td class='blt c052'>Design for a Painted Glass Panel, supposed to represent a Meeting of the Early Swiss Reformers. Dated 1522.</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Sir J. C. Robinson</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case G 51</td>
- <td class='blt c052'>Pendant, known as the “Holbein George.” Made for Henry VIII</td>
- <td class='blt c051'>—</td>
- <td class='blt c052'>Her Majesty</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1896</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>138</td>
- <td class='blt c052'>Portrait of Sir Thomas More. Dated 1527. Panel, 29” x 23½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Edward Huth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1902</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>155</td>
- <td class='blt c052'>Portrait of John Chamber, M.D. Panel, 26” x 18½”</td>
- <td class='blt c051'>School ofHolbein</td>
- <td class='blt c052'>Merton College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>157</td>
- <td class='blt c052'>Portrait of a Man. Panel, 18” x 15½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Right Hon. Lewis Fry</td>
-  </tr>
-  <tr>
-    <td class='c051'>160</td>
- <td class='blt c052'>Portrait of Edward VI. Panel, 37” x 30”</td>
- <td class='blt c051'>Attributed to William Stretes</td>
- <td class='blt c052'>Sir J. C. Robinson, C.B.</td>
-  </tr>
-  <tr>
-    <td class='c051'>168</td>
- <td class='blt c052'>Portrait of a Man. Dated 1566. Panel, 9½” x 10”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Worcester College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1907</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>13</td>
- <td class='blt c052'>Portrait of a Lady. Panel, 16½” x 12½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Major Charles Palmer</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1908</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>2</td>
- <td class='blt c052'>Portrait of William West, 1st Lord Delawarr. Panel, 52” x 31”</td>
- <td class='blt c051'>William Stretes</td>
- <td class='blt c052'>Major G. L. Holford</td>
-  </tr>
-  <tr>
-    <td class='c051'>4</td>
- <td class='blt c052'>Portrait of Queen Mary Tudor. Panel, 30” x 22½”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Sir W. Cuthbert Quilter, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1910</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>60</td>
- <td class='blt c052'>Portrait of William, 1st Lord Paget, K.G. Panel, 18½” x 13”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Gwydyr</td>
-  </tr>
-  <tr>
-    <td class='c051'>106</td>
- <td class='blt c052'>Portrait of Mrs. Anne Roper. Panel, 14” x 10”. (This picture has also been thought to be a portrait by Mabuse of Margaret, Countess of Richmond and Derby, mother of Henry VII)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Methuen</td>
-  </tr>
-  <tr>
-    <td class='c051'><b>1912</b></td>
- <td class='blt c052'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c052'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>45</td>
- <td class='blt c052'>Portrait of Alderman Robert Trappes. Dated 1554. Panel, 23½” x 19½”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Lord De Saumarez</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_374'>374</span>VIII. <span class='sc'>Grosvenor Gallery, Winter Exhibition of Drawings by the Old Masters, 1878-9</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='8%' />
-<col width='38%' />
-<col width='14%' />
-<col width='38%' />
-</colgroup>
-  <tr>
-    <td class='c051'>562</td>
- <td class='blt c052'>Saturn. Pen drawing</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Christ Church College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>563</td>
- <td class='blt c052'>Study of a Pilgrim. Pen and bistre, touched with red chalk</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>John Malcolm, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>564</td>
- <td class='blt c052'>Portrait of a Man. Silver-point, touched with red chalk</td>
- <td class='blt c051'>Ascribed to Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>565</td>
- <td class='blt c052'>A Figure of a Wild Man. Pen, shaded with Indian-ink and colour</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>566</td>
- <td class='blt c052'>Design for a Lamp. Pen and bistre</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Christ Church College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>567</td>
- <td class='blt c052'>Two Whole-length Figures of Ladies. Indian-ink touched with colour</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>John Malcolm, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>568</td>
- <td class='blt c052'>Portrait Head, in profile, of a Young Man wearing a Cap. Silver-point</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>579</td>
- <td class='blt c052'>Pieta. Probably a design for a tomb. Pen and bistre</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Alfred Seymour, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>580</td>
- <td class='blt c052'>A Man seated at a Table, with back to spectator. Pen and bistre</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Christ Church College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>581</td>
- <td class='blt c052'>Design for a Dagger Sheath, representing a Battle. Pen-and-wash</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>IX. <span class='sc'>Exhibition of the Royal House of Tudor, New Gallery, 1890</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>5</td>
- <td class='blt c053'>Mary Tudor, Dowager Queen of France. Panel, 22½” x 18”</td>
- <td class='blt c051'>Johannes</td>
- <td class='blt c052'>Mrs. Dent of Sudeley Corvus</td>
-  </tr>
-  <tr>
-    <td class='c051'>7</td>
- <td class='blt c053'>Sir Henry Wyat in Prison, and the Cat bringing him a Pigeon. Canvas, 29” x 24”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>17</td>
- <td class='blt c053'>Sir Henry Wyat. Panel, 15” x 12”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>19</td>
- <td class='blt c053'>The Three Children of Henry VII. Panel, 13” x 18”</td>
- <td class='blt c051'>Jan de Mabuse</td>
- <td class='blt c052'>Mrs. Dent of Sudeley</td>
-  </tr>
-  <tr>
-    <td class='c051'>21</td>
- <td class='blt c053'>The Cat that fed Sir Henry Wyat. Panel, 15” x 11½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>30</td>
- <td class='blt c053'>Arthur, Prince of Wales. Panel, 14¾” x 10¾</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>38</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 34” x 27”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Donington</td>
-  </tr>
-  <tr>
-    <td class='c051'>39</td>
- <td class='blt c053'>Thomas Cromwell, Earl of Essex. Panel, 20” x 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Sutherland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>41</td>
- <td class='blt c053'>Thomas Howard, 3rd Duke of Norfolk, K.G. Panel, 30” x 23”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>42</td>
- <td class='blt c053'>Cartoon of Henry VII and Henry VIII. 103” x 54”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marquis of Hartington, M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_375'>375</span>43</td>
- <td class='blt c053'>Queen Katherine of Aragon. Panel, 23” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Merton College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>44</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 24” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>45</td>
- <td class='blt c053'>John, 2nd Lord Braye (d. 1557). Panel, 40” × 32”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Braye</td>
-  </tr>
-  <tr>
-    <td class='c051'>46</td>
- <td class='blt c053'>Gertrude, Lady Petre (d. 1541)</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Right Rev. Monsignor Lord Petre</td>
-  </tr>
-  <tr>
-    <td class='c051'>47</td>
- <td class='blt c053'>Embarkation of Henry VIII from Dover, 31st May 1520. Canvas, 121” × 63½”</td>
- <td class='blt c051'>Vincent Volpe</td>
- <td class='blt c052'>F. J. Thynne, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>49</td>
- <td class='blt c053'>Henry VIII. Dated 1544. Canvas, 47” × 38”</td>
- <td class='blt c051'>Attributed to Hans Holbein</td>
- <td class='blt c052'>St. Bartholomew’s Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>50</td>
- <td class='blt c053'>Sir Anthony Browne, K.G. (d. 1548). Canvas, 37” × 30”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Lord Vaux of Harrowden</td>
-  </tr>
-  <tr>
-    <td class='c051'>51</td>
- <td class='blt c053'>Henry Howard, Earl of Surrey.</td>
- <td class='blt c051'>Guillim Stretes</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>52</td>
- <td class='blt c053'>Hans Holbein. Canvas, 20½” × 18½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>53</td>
- <td class='blt c053'>Elizabeth Schmid, wife of Hans Holbein</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>54</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 8” × 6½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. Holman Hunt, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>55</td>
- <td class='blt c053'>Henry VIII. Panel, 38” × 29”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>57</td>
- <td class='blt c053'>Meeting of Henry VIII and Francis I at Field of Cloth of Gold. Canvas, 66” × 159”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>59</td>
- <td class='blt c053'>Henry VIII. Panel, 36” × 30”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Henry Willett, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>61</td>
- <td class='blt c053'>Cardinal Fisher, Bishop of Rochester Panel, 21½” × 16½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Hon. H. Tyrwhitt-Wilson</td>
-  </tr>
-  <tr>
-    <td class='c051'>62</td>
- <td class='blt c053'>Portrait of a Man. Panel, 23” × 15”</td>
- <td class='blt c051'>School of Hans Holbein</td>
- <td class='blt c052'>Charles Eastlake, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>65</td>
- <td class='blt c053'>Queen Katherine Parr. Panel, 25½” × 20½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Ashburnham.</td>
-  </tr>
-  <tr>
-    <td class='c051'>67</td>
- <td class='blt c053'>Portrait of a Man. Panel, 20” × 14½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Sir J. E. Millais, Bt., R.A.</td>
-  </tr>
-  <tr>
-    <td class='c051'>69</td>
- <td class='blt c053'>Edward Stafford, Duke of Buckingham, K.G. Panel, 19½” × 13½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Henry Bedingfeld, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>70</td>
- <td class='blt c053'>Sir John More. Panel, 33” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>William Seward, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>71</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 16½” × 14”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Society of Antiquaries.</td>
-  </tr>
-  <tr>
-    <td class='c051'>72</td>
- <td class='blt c053'>John Reskemeer of Cornwall. Panel, 17½” × 12½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>73</td>
- <td class='blt c053'>Henry Howard, Earl of Surrey. Panel, 75” × 40½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>74</td>
- <td class='blt c053'>Henry VIII. Panel, 17” × 13”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>75</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 24” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Sutherland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>76</td>
- <td class='blt c053'>Lady Butts. 35” × 26½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>William Seward, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>77</td>
- <td class='blt c053'>Thomas Wriothesley, 1st Earl of Southampton. Dated 1545. Panel, 24” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Major-General F. E. Sotheby</td>
-  </tr>
-  <tr>
-    <td class='c051'>79</td>
- <td class='blt c053'>Sir Nicholas Poyntz, Kt. Dated 1535. Panel, 24” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marquis of Bristol</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_376'>376</span>80</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 21” × 13½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Marquis of Hertford</td>
-  </tr>
-  <tr>
-    <td class='c051'>81</td>
- <td class='blt c053'>Queen Anne Boleyn. Canvas, 14” × 12”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>82</td>
- <td class='blt c053'>Portrait of a Man. Panel, 14” × 9”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>83</td>
- <td class='blt c053'>Mary Tudor, Dowager Queen of France. Panel, 7” × 6”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Brownlow</td>
-  </tr>
-  <tr>
-    <td class='c051'>84</td>
- <td class='blt c053'>Henry Howard, Earl of Surrey. Dated 1534. Panel, 15½” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>85</td>
- <td class='blt c053'>Erasmus. Panel, 20” × 12”</td>
- <td class='blt c051'>Lucas Cranach</td>
- <td class='blt c052'>Mrs. Du Buisson</td>
-  </tr>
-  <tr>
-    <td class='c051'>86</td>
- <td class='blt c053'>Hugo Price, LL.D., Founder of Jesus College, Oxford. Panel, 18½” × 13”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Jesus College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>88</td>
- <td class='blt c053'>Sir Anthony Denny, Kt. Panel, 15½” × 11½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Sir Henry Bedingfeld, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>89</td>
- <td class='blt c053'>Portrait of a Gentleman. Dated 1555. Panel, 25½” × 20½”</td>
- <td class='blt c051'>Attributed to Hans Holbein</td>
- <td class='blt c052'>Henry Reeve, Esq., C.B.</td>
-  </tr>
-  <tr>
-    <td class='c051'>90</td>
- <td class='blt c053'>Sir Henry Guldeford, K.G. Panel, 32” × 25½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>91</td>
- <td class='blt c053'>Thomas Howard, 3rd Duke of Norfolk. Panel, 30” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>92</td>
- <td class='blt c053'>Christina, Duchess of Milan. Panel, 70” × 32”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>93</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 34” × 27”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>C. W. Chute, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>94</td>
- <td class='blt c053'>Sir Thomas More. Panel, 29” × 23½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Edward Huth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>95</td>
- <td class='blt c053'>Sir John Cheke, Kt. Panel, 13” × 9½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Manchester, K.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>96</td>
- <td class='blt c053'>William, Lord Paget, K.G. Panel, 13” × 9½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>97</td>
- <td class='blt c053'>Henry VIII. Panel, 35” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>98</td>
- <td class='blt c053'>Katherine of Aragon. Panel, 13” × 9½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>99</td>
- <td class='blt c053'>Portrait of a Spanish Nobleman. Panel, 13½” × 10½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>100</td>
- <td class='blt c053'>Sir John More. Panel, 29” × 24”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>101</td>
- <td class='blt c053'>Henry VIII and his Family. Canvas, 66” × 138”</td>
- <td class='blt c051'>Guillim Stretes (?)</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>102</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, 9” × 7”</td>
- <td class='blt c051'>After Vercolie</td>
- <td class='blt c052'>G. Milner-Gibson-Cullum, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>104</td>
- <td class='blt c053'>Queen Katherine Parr. Panel, 9” × 7”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>106</td>
- <td class='blt c053'>Queen Katherine Parr. Canvas, 72” × 42”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Richard Booth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>107</td>
- <td class='blt c053'>William Warham, Archbishop of Canterbury. Dated 1527. Panel, 32½” × 26”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Viscount Dillon</td>
-  </tr>
-  <tr>
-    <td class='c051'>108</td>
- <td class='blt c053'>Queen Anne of Cleves. Panel, 28” × 21”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Miss Morrison</td>
-  </tr>
-  <tr>
-    <td class='c051'>109</td>
- <td class='blt c053'>Cardinal Wolsey. Panel, 21” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>T. L. Thurlow, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>110</td>
- <td class='blt c053'>Henry VIII. Panel, 13½” × 11½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Sir Henry Bedingfeld, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_377'>377</span>111</td>
- <td class='blt c053'>Queen Katherine Parr. Panel, 17½” × 13”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Marquis of Hertford</td>
-  </tr>
-  <tr>
-    <td class='c051'>112</td>
- <td class='blt c053'>Erasmus. Parchment (?). 21½” × 12½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>113</td>
- <td class='blt c053'>Sir Thomas le Strange, Kt. Dated 1536. Panel, 15” × 10½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Hamon le Strange, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>114</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 7” × 6”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl Brownlow</td>
-  </tr>
-  <tr>
-    <td class='c051'>115</td>
- <td class='blt c053'>Erasmus. Panel, 11” × 7”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Portarlington</td>
-  </tr>
-  <tr>
-    <td class='c051'>116</td>
- <td class='blt c053'>Mary Boleyn, Lady Carey. Canvas 14” × 12”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>117</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 10” × 8”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Rainald Knightley, Bt., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>120</td>
- <td class='blt c053'>Henry VIII “with Scroll.” Panel, 29” × 22”</td>
- <td class='blt c051'>Paris Bordone</td>
- <td class='blt c052'>Merchant Taylors’ Company</td>
-  </tr>
-  <tr>
-    <td class='c051'>122</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, circular, 10”</td>
- <td class='blt c051'>Lucas Cornelisz</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>125</td>
- <td class='blt c053'>Portrait of an Englishman. Panel, 17¼” × 13”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>G. P. Boyce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>126</td>
- <td class='blt c053'>Henry VIII. Panel, 36” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Warwick</td>
-  </tr>
-  <tr>
-    <td class='c051'>127</td>
- <td class='blt c053'>Sir Thomas More. No measurements given</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>T. L. Thurlow, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>128</td>
- <td class='blt c053'>Henry VIII. Panel, 88” × 48”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Trinity College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>129</td>
- <td class='blt c053'>Nicholas Kratzer. Panel, 34” × 26½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Viscount Galway</td>
-  </tr>
-  <tr>
-    <td class='c051'>130</td>
- <td class='blt c053'>Portrait of a Man. Panel, 10½” × 8”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>Duke of Manchester K.P.,</td>
-  </tr>
-  <tr>
-    <td class='c051'>131</td>
- <td class='blt c053'>Sir Thomas Wyat, Kt. Panel, circular, 11½”</td>
- <td class='blt c051'>Lucas Cornelisz</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>132</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, 8” × 6”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Mrs. S. S. Gwyllim</td>
-  </tr>
-  <tr>
-    <td class='c051'>133</td>
- <td class='blt c053'>Queen Anne of Cleves. Dated 1534. Panel, 15” × 11”</td>
- <td class='blt c051'>Barth. Bruyn</td>
- <td class='blt c052'>Henry Willett, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>134</td>
- <td class='blt c053'>John Frobenius. Canvas, 21” × 13”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Sir H. B. St. John Mildmay, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>136</td>
- <td class='blt c053'>Edward Stafford, 3rd Duke of Buckingham, K.G. Panel, 22½” × 18”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord Donington</td>
-  </tr>
-  <tr>
-    <td class='c051'>137</td>
- <td class='blt c053'>Erasmus. Panel, 25½” × 21½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>138</td>
- <td class='blt c053'>Cardinal Fisher, Bishop of Rochester. Panel, 28” × 24”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>St. John’s College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>139</td>
- <td class='blt c053'>Margaret Roper. Panel, 34” × 2” (?)</td>
- <td class='blt c051'>Attributed to Sir A. More</td>
- <td class='blt c052'>F. L. Devitt, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>140</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, 11” × 8½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>141</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 14” × 11”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Northumberland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>142</td>
- <td class='blt c053'>Henry VIII. Panel, 38½” × 29”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Hon. H. Tyrwhitt-Wilson</td>
-  </tr>
-  <tr>
-    <td class='c051'>145</td>
- <td class='blt c053'>Henry VIII, Anne Boleyn, and Others. “The Dancing Picture.” Panel, 52” × 42”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Major-General F. E.Sotheby</td>
-  </tr>
-  <tr>
-    <td class='c051'>146</td>
- <td class='blt c053'>Sir Henry Guideford, K.G. Panel, 25½” × 20½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Hon. H. Tyrwhitt-Wilson</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_378'>378</span>147</td>
- <td class='blt c053'>Sir William Petre, Kt. Dated 1545. No measurements given.</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Right Rev. Monsignor Lord Petre</td>
-  </tr>
-  <tr>
-    <td class='c051'>148</td>
- <td class='blt c053'>Henry VIII. Panel, 24” × 22”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>149</td>
- <td class='blt c053'>Henry VIII. Panel, 33” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>T. L. Thurlow, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>150</td>
- <td class='blt c053'>Sir Thomas More and his Father, Dated 1530. Canvas, 55” × 45”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Henry Vane, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>151</td>
- <td class='blt c053'>Henry VIII. Dated 1547. Panel, 35” × 27”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Viscount Galway</td>
-  </tr>
-  <tr>
-    <td class='c051'>152</td>
- <td class='blt c053'>Henry VIII granting the Charter to the Barber-Surgeons’ Company. Panel, 122” × 71”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Barber-Surgeons’ Company</td>
-  </tr>
-  <tr>
-    <td class='c051'>153</td>
- <td class='blt c053'>Francis, Prince of Thurn and Taxis. Dated 1514. Panel, 21½” × 18”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Baroness Burdett-Coutts</td>
-  </tr>
-  <tr>
-    <td class='c051'>155</td>
- <td class='blt c053'>Henry VIII. Panel, 30” × 24”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>157</td>
- <td class='blt c053'>Henry VIII. Panel, 33½” × 27”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Governors of Bridewell Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>158</td>
- <td class='blt c053'>Henry VIII. and his Family. Panel, 51” × 71”</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>Mrs. Dent of Sudeley</td>
-  </tr>
-  <tr>
-    <td class='c051'>160</td>
- <td class='blt c053'>Thomas Cromwell, Earl of Essex, K.G. Panel, 22½” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Corpus Christi College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>161</td>
- <td class='blt c053'>Sir Thomas More. Panel, 17½” × 13½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Baroness Burdett-Coutts</td>
-  </tr>
-  <tr>
-    <td class='c051'>162</td>
- <td class='blt c053'>Thomas Cromwell. Panel, 18” × 16”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Charles Penruddocke, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>163</td>
- <td class='blt c053'>Thomas Cromwell. 14” × 11½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Manchester, K.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>164</td>
- <td class='blt c053'>Charles Brandon. Panel, 12½” × 8”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Sir Henry Bedingfeld, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>165</td>
- <td class='blt c053'>Portrait of a Gentleman. Panel, 18” × 13½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Right Rev. Monsignor Lord Petre</td>
-  </tr>
-  <tr>
-    <td class='c051'>167</td>
- <td class='blt c053'>Margaret Tudor, Queen of Scotland. Panel, 16½” × 12”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>168</td>
- <td class='blt c053'>Queen Katherine Parr. Canvas, 70” × 50”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>169</td>
- <td class='blt c053'>Sir Thomas Wyat the Elder. Panel, 17½” × 13”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Bodleian Library, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>170</td>
- <td class='blt c053'>Elizabeth, wife of Lord Vaux. Panel, 14½” × 11”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Hampton Court)</td>
-  </tr>
-  <tr>
-    <td class='c051'>171</td>
- <td class='blt c053'>Head of an Old Man. Panel, 13½” × 10”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>172</td>
- <td class='blt c053'>Henry Grey, 3rd Marquis of Dorset. Panel, 15¾” × 11”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c052'>G. P. Boyce, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>173</td>
- <td class='blt c053'>Henry VIII. Circular panel, 29”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Sutherland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>173*</td>
- <td class='blt c053'>Robert Cheseman. Dated 1533. Panel, 30” × 22”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Rev. Charles Shepherd</td>
-  </tr>
-  <tr>
-    <td class='c051'>174</td>
- <td class='blt c053'>Edward VI as a Child. Panel, 22½” × 16½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>175</td>
- <td class='blt c053'>Edward VI, aged 10. Panel, 27½” × 20”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>W. More Molyneux, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>176</td>
- <td class='blt c053'>Edward VI as a Boy. Canvas, 19” × 15½”</td>
- <td class='blt c051'>F. Zucchero</td>
- <td class='blt c052'>Sir P. Pauncefort Duncombe, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>178</td>
- <td class='blt c053'>Edward VI. Panel, 21” × 15”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Lord Castletown</td>
-  </tr>
-  <tr>
-    <td class='c051'>180</td>
- <td class='blt c053'>Edward VI. Panel, 16½” × 10”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Portland</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_379'>379</span>181</td>
- <td class='blt c053'>Edward VI presenting the Charter to Bridewell (1553). Canvas, 115” × 108”</td>
- <td class='blt c051'>Guillim Stretes?</td>
- <td class='blt c052'>Governors of Bridewell Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>182</td>
- <td class='blt c053'>Edward VI. Panel, 24” × 22”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Right Rev. Monsignor Lord Petre</td>
-  </tr>
-  <tr>
-    <td class='c051'>183</td>
- <td class='blt c053'>Edward VI. Panel, 28” × 21”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Manchester, K.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>184</td>
- <td class='blt c053'>Edward VI. Panel, 32½” × 21”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>T. L. Thurlow, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>186</td>
- <td class='blt c053'>Edward VI. Panel, 17” × 15”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>A. H. Frere, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>187</td>
- <td class='blt c053'>Edward VI. Panel, 18” × 13”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Malcolm Wagner, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>188</td>
- <td class='blt c053'>Edward VI. Panel, 17½” × 12”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>189</td>
- <td class='blt c053'>Edward VI. as a Child. Panel, 50” × 29”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Northumberland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>190</td>
- <td class='blt c053'>Edward VI. Panel, 46” × 34”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'>196</td>
- <td class='blt c053'>Edward Seymour, Duke of Somerset. Dated 1535. Panel, 35” × 26½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Mrs. Dent of Sudeley</td>
-  </tr>
-  <tr>
-    <td class='c051'>199</td>
- <td class='blt c053'>Edward Seymour, Duke of Somerset. Panel, 8½” × 7”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Northumberland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>200</td>
- <td class='blt c053'>Queen Mary. Panel, 41½” × 31”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Ashburnham</td>
-  </tr>
-  <tr>
-    <td class='c051'>203</td>
- <td class='blt c053'>Queen Mary. Canvas, 93” × 57”</td>
- <td class='blt c051'>After Sir A. More</td>
- <td class='blt c052'>Her Majesty (St James’s Palace).</td>
-  </tr>
-  <tr>
-    <td class='c051'>204</td>
- <td class='blt c053'>Queen Mary. Panel, 19½”</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>Dean and Chapter of Durham</td>
-  </tr>
-  <tr>
-    <td class='c051'>206</td>
- <td class='blt c053'>Queen Mary. Dated 1554. Panel, 40” × 30”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>208</td>
- <td class='blt c053'>Queen Mary. Panel, 22” × 16½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Trinity College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>211</td>
- <td class='blt c053'>Henry Fitz-Alan, 23rd Earl of Arundel. Panel, 36” × 28”</td>
- <td class='blt c051'>Cornelius Ketel</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>213</td>
- <td class='blt c053'>Queen Mary. Circular panel. 6½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Sir William Drake, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>214</td>
- <td class='blt c053'>Queen Mary. Dated 1546. Panel, 28” × 22”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord de L’Isle and Dudley</td>
-  </tr>
-  <tr>
-    <td class='c051'>215</td>
- <td class='blt c053'>Queen Mary. Dated 1556. Panel, 20” × 16”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>H. P. Spencer Lucy, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>217</td>
- <td class='blt c053'>Sir Richard Southwell. Æt. 95. Panel, 29½” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>W. H. Romaine Walker, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>222</td>
- <td class='blt c053'>Sir George Penruddocke. Panel, 104” × 66”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Charles Penruddocke, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>224</td>
- <td class='blt c053'>Sir Thomas Wyat the Younger. Panel, circular, 15”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>229</td>
- <td class='blt c053'>Queen Mary. Panel, 18” × 15”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>230</td>
- <td class='blt c053'>Queen Mary. “Hungad Petition.” Panel, 44” × 35”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Mrs. Stopford Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>233</td>
- <td class='blt c053'>Queen Mary. Panel, 22½” × 16½”</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>Lord Castletown</td>
-  </tr>
-  <tr>
-    <td class='c051'>235</td>
- <td class='blt c053'>Queen Mary. Panel, 8” × 6½”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Colonel Wynne Finch</td>
-  </tr>
-  <tr>
-    <td class='c051'>240</td>
- <td class='blt c053'>Queen Mary. Panel, 28½” × 22”</td>
- <td class='blt c051'>Sir A. More</td>
- <td class='blt c052'>Earl of Carlisle</td>
-  </tr>
-  <tr>
-    <td class='c051'>242</td>
- <td class='blt c053'>Portrait of a Man. Panel, 6” × 5”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>W. Castell Southwell, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>243</td>
- <td class='blt c053'>Queen Mary as a Child. Panel, 19” × 13½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>246</td>
- <td class='blt c053'>Thomas Cranmer, Archbishop of Canterbury. Dated 1547. Panel, 17½” × 12”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Jesus College, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_380'>380</span>255</td>
- <td class='blt c053'>Frances Brandon, Duchess of Suffolk, and her Second Husband, Adrian Stokes. Dated 1559. Panel, 19½” × 27”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Colonel Wynne Finch</td>
-  </tr>
-  <tr>
-    <td class='c051'>292</td>
- <td class='blt c053'>Margaret Audley, Second Wife of Thomas, 4th Duke of Norfolk. Dated 1565. Canvas, 38” × 29”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>348</td>
- <td class='blt c053'>William Paulet, 1st Marquis of Winchester, K.G. Panel, 15½” × 11½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Duke of Northumberland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>357</td>
- <td class='blt c053'>Thomas Howard, 4th Duke of Norfolk, K.G. Dated 1566. Panel, 12” × 10”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>399</td>
- <td class='blt c053'>Sir William Sidney, Kt. Dated 1523. Panel, 47” × 37”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Lord de L’Isle and Dudley</td>
-  </tr>
-  <tr>
-    <td class='c051'>428</td>
- <td class='blt c053'>Henry VIII. Panel, 21½” × 16”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>T. M. Whitehead, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>429</td>
- <td class='blt c053'>Henry VIII. Panel, 16” × 12”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>430</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 7” × 5½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Mrs. S. S. Gwyllim</td>
-  </tr>
-  <tr>
-    <td class='c051'>431</td>
- <td class='blt c053'>Edward VI. Copper, 7¾” × 6”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Hon. Mrs. Trollope</td>
-  </tr>
-  <tr>
-    <td class='c051'>432</td>
- <td class='blt c053'>Henry VIII. Panel, 26½” × 19½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>C. W. Chute, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>435</td>
- <td class='blt c053'>Henry VIII. Panel, 13” × 10”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Marquis of Hertford</td>
-  </tr>
-  <tr>
-    <td class='c051'>438</td>
- <td class='blt c053'>Edward VI. Panel, 10” × 8”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir Rainald Knightley, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>442</td>
- <td class='blt c053'>Henry VIII. Panel, 21” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Sir G. D. Clerk, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>455</td>
- <td class='blt c053'>Margaret Clifford, Countess of Derby. Æt. 49. Panel, 38½” × 24”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c052'>T. F. C. Vernon Wentworth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>486</td>
- <td class='blt c053'>Queen Mary. Canvas, 35” × 27”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Christ Church, O×ford</td>
-  </tr>
-  <tr>
-    <td class='c051'>495 to 573</td>
- <td class='blt c053'>The Windsor “Heads”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>906</td>
- <td class='blt c053'>Edward VI. Miniature in wood</td>
- <td class='blt c051'>Attributed to Hans Holbein</td>
- <td class='blt c052'>Granville E. Lloyd Baker, Esq., M.P.</td>
-  </tr>
-  <tr>
-    <td class='c051'>907</td>
- <td class='blt c053'>Henry VIII. Miniature in wood</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1066</td>
- <td class='blt c053'>Henry VIII. Miniature (oil)</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Her Majesty (Windsor Castle)</td>
-  </tr>
-  <tr>
-    <td class='c051'>1067</td>
- <td class='blt c053'>Queen Catherine Howard. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1070</td>
- <td class='blt c053'>A Man’s Head, unfinished. Inscribed, “<span class='fss'>A.D.</span> 1539. Ætat. 30”</td>
- <td class='blt c051'>Ascribed to Hans Holbein</td>
- <td class='blt c052'>Right Hon. Sir Chas. Dilke, Bt.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1071</td>
- <td class='blt c053'>Thomas Cromwell. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Major-General F. E. Sotheby</td>
-  </tr>
-  <tr>
-    <td class='c051'>1072</td>
- <td class='blt c053'>Thomas Cromwell. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Lord Willoughby de Eresby</td>
-  </tr>
-  <tr>
-    <td class='c051'>1073</td>
- <td class='blt c053'>Henry VIII. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Albert Hartshorne, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1074</td>
- <td class='blt c053'>Henry VIII. Carving in honestone</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Mrs. Dent of Sudeley</td>
-  </tr>
-  <tr>
-    <td class='c051'>1075</td>
- <td class='blt c053'>Henry VIII. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1076</td>
- <td class='blt c053'>Queen Katherine Parr. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1077</td>
- <td class='blt c053'>Thomas, Lord Seymour of Sudeley. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_381'>381</span>1078</td>
- <td class='blt c053'>Edward VI. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Mrs. Dent of Sudeley</td>
-  </tr>
-  <tr>
-    <td class='c051'>1079</td>
- <td class='blt c053'>Queen Jane Seymour. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1080</td>
- <td class='blt c053'>Queen Anne Boleyn. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1081</td>
- <td class='blt c053'>Henry VIII. Carving in boxwood</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1082</td>
- <td class='blt c053'>Edward VI. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Lieut.-General W. Bulwer</td>
-  </tr>
-  <tr>
-    <td class='c051'>1083</td>
- <td class='blt c053'>Thomas Cromwell. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1085</td>
- <td class='blt c053'>Henry VIII. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Mrs. Prothero</td>
-  </tr>
-  <tr>
-    <td class='c051'>1086</td>
- <td class='blt c053'>Queen Anne of Cleves. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Baroness Burdett-Coutts</td>
-  </tr>
-  <tr>
-    <td class='c051'>1087</td>
- <td class='blt c053'>Family Group of the More Family in Two Generations. Miniature</td>
- <td class='blt c051'>Peter Oliver</td>
- <td class='blt c052'>Major-General F. E. Sotheby</td>
-  </tr>
-  <tr>
-    <td class='c051'>1089</td>
- <td class='blt c053'>Queen Anne Boleyn. Miniature</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Countess of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>1091</td>
- <td class='blt c053'>Henry VIII and Family with Will Somers. Panel, 6” × 11”</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Dowager Duchess of Buccleuch</td>
-  </tr>
-  <tr>
-    <td class='c051'>1092</td>
- <td class='blt c053'>William Warham. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Henry Willett, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1093</td>
- <td class='blt c053'>William Warham. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Henry Howard, Esq., of Greystoke</td>
-  </tr>
-  <tr>
-    <td class='c051'>1094</td>
- <td class='blt c053'>Erasmus. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1095</td>
- <td class='blt c053'>Sir Anthony Denny. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1096</td>
- <td class='blt c053'>Henry VIII. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>Baroness Burdett-Coutts</td>
-  </tr>
-  <tr>
-    <td class='c051'>1117</td>
- <td class='blt c053'>Henry VIII. Miniature in copper</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>J. Lumsden Propert, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>1118</td>
- <td class='blt c053'>Queen Jane Seymour. Miniature</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1119</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk. Miniature</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1121</td>
- <td class='blt c053'>Edward VI. Miniature</td>
- <td class='blt c051'>Levina Teerlinck (?)</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1411</td>
- <td class='blt c053'>Henry VIII. Wax medallion</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c052'>Her Majesty</td>
-  </tr>
-  <tr>
-    <td class='c051'>1412</td>
- <td class='blt c053'>Sir Thomas More. Wax medallion</td>
- <td class='blt c051'>“</td>
- <td class='blt c052'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>1414</td>
- <td class='blt c053'>Thomas Cromwell, Earl of Essex. Drawing</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c052'>Earl of Pembroke</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>X. <span class='sc'>Exhibition of the Royal House of Tudor. Corporation of Manchester Art Gallery, 1897.</span></div>
-    <div class='c000'>In this exhibition the greater number of the pictures were the same as those exhibited</div>
-    <div>at the Tudor Exhibition in the New Gallery, 1890. The following were among those not</div>
-    <div>included in the earlier collection:</div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>48</td>
- <td class='blt c053'>Sir Nicholas Poyntz, Kt. Panel, 24” × 17”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Right Hon. Evelyn Ashley</td>
-  </tr>
-  <tr>
-    <td class='c051'>56</td>
- <td class='blt c053'>Catherine Pole, Countess of Huntingdon. Panel, 34” × 25”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Trustees of the late Lord Donington</td>
-  </tr>
-  <tr>
-    <td class='c051'>59</td>
- <td class='blt c053'>Sir Thomas More. Dated 1532. Panel, 21” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Miss Sumner</td>
-  </tr>
-  <tr>
-    <td class='c051'>60</td>
- <td class='blt c053'>Cardinal Wolsey. Panel, 21” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>61</td>
- <td class='blt c053'>Henry VIII. Panel, 47” × 35”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Martin Colnaghi, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_382'>382</span>69</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, 22½” × 17¾”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>C. J. Radcliffe, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>70</td>
- <td class='blt c053'>Sir Thomas More. Panel, 16” × 11”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>John Eyston, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>71</td>
- <td class='blt c053'>Sir Thomas More and Family. Canvas, 91” × 118”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>XI. <span class='sc'>New Gallery, Winter Exhibition, 1901-2. Monarchs of Great Britain and Ireland.</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>34</td>
- <td class='blt c053'>The Three Children of Henry VII. Panel, 13” × 18”</td>
- <td class='blt c051'>Jan de Mabuse</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>41</td>
- <td class='blt c053'>The Three Children of Henry VII. Panel, 14” × 18”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>45</td>
- <td class='blt c053'>Queen Katherine of Aragon. Panel, 23” × 17”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Merton College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>47</td>
- <td class='blt c053'>Queen Anne Boleyn. Panel, circular, 10”</td>
- <td class='blt c051'>Lucas Cornelisz</td>
- <td class='blt c053'>Earl of Romney</td>
-  </tr>
-  <tr>
-    <td class='c051'>48</td>
- <td class='blt c053'>Henry VIII. Panel, 19” × 13½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>49</td>
- <td class='blt c053'>Queen Katherine of Aragon. 14” × 10½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>50</td>
- <td class='blt c053'>Mary Tudor, Dowager Queen of France. Panel, 22½” × 18”</td>
- <td class='blt c051'>Johannes Corvus</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>51</td>
- <td class='blt c053'>Katherine of Aragon and Arthur, Prince of Wales. Panel, 15” × 20”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Charles Butler, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>52</td>
- <td class='blt c053'>Henry VIII, Princess Mary, and Will Somers. Canvas, 63” × 50”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>53</td>
- <td class='blt c053'>Henry VIII. Panel, 35” × 27”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Viscount Galway</td>
-  </tr>
-  <tr>
-    <td class='c051'>54</td>
- <td class='blt c053'>Marriage of Henry VIII with Katherine of Aragon (1501). Panel, 11” × 29”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Earl of Ancaster</td>
-  </tr>
-  <tr>
-    <td class='c051'>55</td>
- <td class='blt c053'>Henry VIII and his Family. Panel, 51” × 71”</td>
- <td class='blt c051'>Sir Antonio More</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>56</td>
- <td class='blt c053'>Edward VI. Panel, 16” × 12”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>57</td>
- <td class='blt c053'>Queen Katherine Parr. Panel, 21” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Archbishop of Canterbury</td>
-  </tr>
-  <tr>
-    <td class='c051'>58</td>
- <td class='blt c053'>Queen Anne of Cleves. Panel, 28” × 21”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Charles Morrison, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>59</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 16½” × 14”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>60</td>
- <td class='blt c053'>Edward VI. Panel, 20” × 16½”</td>
- <td class='blt c051'>Gwillim Stretes</td>
- <td class='blt c053'>Lord Aldenham</td>
-  </tr>
-  <tr>
-    <td class='c051'>61</td>
- <td class='blt c053'>Queen Anne Boleyn. Canvas, 15” × 12”</td>
- <td class='blt c051'>Attributed to Janet</td>
- <td class='blt c053'>Lord Zouche</td>
-  </tr>
-  <tr>
-    <td class='c051'>62</td>
- <td class='blt c053'>Cartoon of Henry VII and Henry VIII. 103” × 54”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Duke of Devonshire, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>63</td>
- <td class='blt c053'>Edward Seymour, Duke of Somerset. Dated 1535. Panel, 35” × 26½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>64</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 34” × 27”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Executors of LordcDonington</td>
-  </tr>
-  <tr>
-    <td class='c051'>70</td>
- <td class='blt c053'>Edward VI. Panel, 46” × 34”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Earl of Denbigh</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_383'>383</span>73</td>
- <td class='blt c053'>Queen Mary I. Panel, 19½”</td>
- <td class='blt c051'>Sir Antonio More</td>
- <td class='blt c053'>Dean and Chapter of Durham</td>
-  </tr>
-  <tr>
-    <td class='c051'>75</td>
- <td class='blt c053'>Queen Mary I. Dated 1554. Panel, 40” × 30”</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c053'>Society of Antiquaries</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><i>Miniatures</i></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>201</td>
- <td class='blt c053'>Charles Brandon, Duke of Suffolk, K.G. Panel, 7” × 6”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Earl Brownlow</td>
-  </tr>
-  <tr>
-    <td class='c051'>202</td>
- <td class='blt c053'>Mary Tudor, Dowager Queen of France. Panel, 7” × 6”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>204</td>
- <td class='blt c053'>Queen Katherine Parr</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>205</td>
- <td class='blt c053'>Queen Jane Seymour</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>206</td>
- <td class='blt c053'>Queen Anne Boleyn</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>217</td>
- <td class='blt c053'>Queen Catherine Howard</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>His Majesty</td>
-  </tr>
-  <tr>
-    <td class='c051'>218</td>
- <td class='blt c053'>Henry VIII. Aged 57</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>219</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>220</td>
- <td class='blt c053'>Edward VI</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>252</td>
- <td class='blt c053'>Queen Mary I</td>
- <td class='blt c051'>Lucas d’Heere</td>
- <td class='blt c053'>Colonel Wynne Finch</td>
-  </tr>
-  <tr>
-    <td class='c051'>342</td>
- <td class='blt c053'>Henry VIII. Carving in honestone</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>348</td>
- <td class='blt c053'>Henry VIII. Carving in boxwood</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>XII. <span class='sc'>Loan Collection of Portraits of English Historical Personages who died prior to the Year 1625. Oxford, 1904</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>21</td>
- <td class='blt c053'>William Warham, Archbishop of Canterbury. Panel, 32” × 25½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Viscount Dillon</td>
-  </tr>
-  <tr>
-    <td class='c051'>22</td>
- <td class='blt c053'>William Warham. Panel, 32” × 25½”</td>
- <td class='blt c051'>Copy from Holbein</td>
- <td class='blt c053'>New College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>23</td>
- <td class='blt c053'>Catherine of Aragon. Panel, 22½” × 17”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>The Warden of Merton College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>24</td>
- <td class='blt c053'>Sir Thomas Wyat. Panel, 17¼” × 12½”</td>
- <td class='blt c051'>Based upon a drawing by Holbein</td>
- <td class='blt c053'>Curators of the Bodleian Library</td>
-  </tr>
-  <tr>
-    <td class='c051'>25</td>
- <td class='blt c053'>King Henry VIII. Panel, 24” × 19½”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Dean of Christ Church, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>26</td>
- <td class='blt c053'>King Henry VIII. Panel, 27” × 22”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Archdeacon of Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>27</td>
- <td class='blt c053'>Dr. John Chambre. Panel, 25¼” × 18½”</td>
- <td class='blt c051'>Copy from Holbein</td>
- <td class='blt c053'>Merton College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>30</td>
- <td class='blt c053'>Anne of Cleves. Panel, arched top, 19¾” × 14¼”</td>
- <td class='blt c051'>Flemish School</td>
- <td class='blt c053'>The President of St. John’s College, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>33</td>
- <td class='blt c053'>Sir Thomas Pope. Panel, 45½” × 31½”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c053'>The President of Trinity College, Oxford</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><span class='pageno' id='Page_384'>384</span>XIII. <span class='sc'>Exhibition Illustrative of Early English Portraiture, Burlington Fine Arts Club, 1909</span></div>
-    <div class='c000'><i>Reprinted by kind permission of the Committee of the Club.</i></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>14</td>
- <td class='blt c053'>Margaret Wotton, Marchioness of Dorset. Panel, 40½” × 31½”</td>
- <td class='blt c051'>Copy of a Portrait possibly by Holbein</td>
- <td class='blt c053'>Duke of Portland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>19</td>
- <td class='blt c053'>Lady of the Court of Henry VIII. Panel, 16½” × 14¼”</td>
- <td class='blt c051'>School of Holbein</td>
- <td class='blt c053'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>21</td>
- <td class='blt c053'>King Henry VIII. Panel, 37¾” × 28¼”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>23</td>
- <td class='blt c053'>Henry VIII. Panel, 46” × 37¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Governors of St. Bartholomew’s Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>24</td>
- <td class='blt c053'>Henry VIII “with Scroll.” Canvas, 28¾” × 22¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Merchant Taylors’ Company.</td>
-  </tr>
-  <tr>
-    <td class='c051'>25</td>
- <td class='blt c053'>Unknown Lady. Panel, 14⅞” × 10⅝”</td>
- <td class='blt c051'>Possibly H. Eworth</td>
- <td class='blt c053'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>28</td>
- <td class='blt c053'>Mary Tudor, Sister of Henry VIII. Panel, 22¼”× 18¼”</td>
- <td class='blt c051'>Johannes Corvus</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>30</td>
- <td class='blt c053'>Edmund Butts. Panel, 21” × 15½”</td>
- <td class='blt c051'>Attributed to J. Bettes</td>
- <td class='blt c053'>Prince F. Duleep Singh</td>
-  </tr>
-  <tr>
-    <td class='c051'>33</td>
- <td class='blt c053'>King Henry VIII. Panel, 18¼” × 13¼”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Society of Antiquaries</td>
-  </tr>
-  <tr>
-    <td class='c051'>34</td>
- <td class='blt c053'>Sir W. Fitzwilliam, Earl of Southampton. Panel, 13⅛” × 9¾”</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c053'>Duke of Devonshire</td>
-  </tr>
-  <tr>
-    <td class='c051'>38</td>
- <td class='blt c053'>King Henry VIII. Panel, 10½” × 7½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Earl Spencer, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>39</td>
- <td class='blt c053'>An Elderly Man, Unknown. Panel, 15⅝” × 12”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>R. Langton Douglas, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>40</td>
- <td class='blt c053'>King Henry VII and King Henry VIII. Cartoon, 103½” × 54”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Duke of Devonshire</td>
-  </tr>
-  <tr>
-    <td class='c051'>41</td>
- <td class='blt c053'>Sir Thomas le Strange, Kt. Panel, 15¼” × 10½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Hamon le Strange, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>42</td>
- <td class='blt c053'>Sir Thomas le Strange. Panel, 19¼” × 15½”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>43</td>
- <td class='blt c053'>Sir Bryan Tuke. Panel, 18½” × 14½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Miss Guest of Inwood</td>
-  </tr>
-  <tr>
-    <td class='c051'>44</td>
- <td class='blt c053'>Margaret Roper. Panel, 25½” × 19½”</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c053'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>45</td>
- <td class='blt c053'>Sir Nicholas Carew. Panel, 36” × 40”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>46</td>
- <td class='blt c053'>Queen Jane Seymour. Panel, 24” × 19”</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c053'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>48</td>
- <td class='blt c053'>Sir Thomas Wyat the Younger. Panel, circular, 13” diam.</td>
- <td class='blt c051'>Ascribed to Holbein</td>
- <td class='blt c053'>Rt. Hon. Lewis Fry</td>
-  </tr>
-  <tr>
-    <td class='c051'>49</td>
- <td class='blt c053'>Thomas Howard, 3rd Duke of Norfolk. Panel, 30” × 23”</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c053'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>50</td>
- <td class='blt c053'>Sir Thomas Wyat. Panel, 17¼” × 12¼”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Bodleian Library, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>51</td>
- <td class='blt c053'>William West, 1st Lord Delawarr (?). Panel, 51¾” × 30¾”</td>
- <td class='blt c051'>Attributed to Holbein and to G. Stretes</td>
- <td class='blt c053'>Lieut.-Col. G. L. Holford, C.I.E.</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_385'>385</span>52</td>
- <td class='blt c053'>Sir Thomas More. Panel, 25” × 19¼”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>53</td>
- <td class='blt c053'>Sir Thomas More. Panel, 29¼” × 23¼”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Edward Huth, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>54</td>
- <td class='blt c053'>Henry Howard, Earl of Surrey. Canvas, 86” × 85”</td>
- <td class='blt c051'>Attributed to G. Stretes</td>
- <td class='blt c053'>Duke of Norfolk, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>56</td>
- <td class='blt c053'>Sir Anthony Wingfield. Panel, 34” × 27¾”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>T. Humphry Ward, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>60</td>
- <td class='blt c053'>King Edward VI. Panel, 18” × 12¼”</td>
- <td class='blt c051'>Unknown, after Holbein</td>
- <td class='blt c053'>Lord Sackville</td>
-  </tr>
-  <tr>
-    <td class='c051'>62</td>
- <td class='blt c053'>Edward VI as a Child. Panel, 22½” × 16⅝”</td>
- <td class='blt c051'>Ascribed to Holbein</td>
- <td class='blt c053'>Earl of Yarborough</td>
-  </tr>
-  <tr>
-    <td class='c051'>63</td>
- <td class='blt c053'>King Edward VI. Panel, 19¾” × 16½”</td>
- <td class='blt c051'>Attributed to G. Stretes</td>
- <td class='blt c053'>Lord Aldenham</td>
-  </tr>
-  <tr>
-    <td class='c051'>64</td>
- <td class='blt c053'>Margaret Wyat, Lady Lee (?). Panel, 16½” × 12½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Major Charles Palmer</td>
-  </tr>
-  <tr>
-    <td class='c051'>65</td>
- <td class='blt c053'>Unknown Lady. Panel, 11⅜” × 8⅞”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>P. T. Davies Cooke, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>66</td>
- <td class='blt c053'>Unknown Lady. Signed “H. H.” Panel, 12¾” × 9¾”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Marquis of Zetland</td>
-  </tr>
-  <tr>
-    <td class='c051'>68</td>
- <td class='blt c053'>King Edward VI. Panel, 16⅜” × 9⅞”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Duke of Portland, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>70</td>
- <td class='blt c053'>George Nevill, 3rd Lord Abergavenny. Drawing in coloured chalks, 10¾” × 9½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Earl of Pembroke</td>
-  </tr>
-  <tr>
-    <td class='c051'>72</td>
- <td class='blt c053'>An English Lady, supposed to be Margaret Roper. Drawing in coloured chalks, 10⅞” × 7⅝”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>George Salting, Esq.</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><i>Miniatures.</i></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>Case B.</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>1</td>
- <td class='blt c053'>King Henry VIII. Diam. 1¼”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>J. Pierpont Morgan, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2</td>
- <td class='blt c053'>Queen Jane Seymour. Diam. 1½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Vernon Watney, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>3</td>
- <td class='blt c053'>Mrs. Pemberton. Diam. 2⅛”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>J. Pierpont Morgan, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>4</td>
- <td class='blt c053'>Queen Anne of Cleves. Diam. 1¾”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>George Salting, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>5</td>
- <td class='blt c053'>Portraits of Two Little Girls. Oval, 1-15/16” × 1½”</td>
- <td class='blt c051'>Livina Teerlinck</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>6</td>
- <td class='blt c053'>Queen Jane Seymour. Diam. 1⅝”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>H. Dent-Brocklehurst, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>7</td>
- <td class='blt c053'>Queen Katherine Parr (?). Diam. 1⅞”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case C.</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>1</td>
- <td class='blt c053'>Margaret Wotton (?) (called Queen Katherine of Aragon). Diam. 1½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2</td>
- <td class='blt c053'>King Henry VIII. Diam. 2⅜”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>4</td>
- <td class='blt c053'>Queen Catherine Howard. Diam. 2”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>5</td>
- <td class='blt c053'>Queen Jane Seymour (called Katherine of Aragon). Diam. 1½”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_386'>386</span>6</td>
- <td class='blt c053'>King Henry VIII. Diam. 1¾”</td>
- <td class='blt c051'>Copy after Holbein</td>
- <td class='blt c053'>Duke of Buccleuch, K.G.</td>
-  </tr>
-  <tr>
-    <td class='c051'>7</td>
- <td class='blt c053'>King Henry VIII. 2” × 1-13/16”</td>
- <td class='blt c051'>Possibly French</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>8</td>
- <td class='blt c053'>Eight Miniatures in one frame, among them:</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>&nbsp;</td>
- <td class='blt c053'>D. King Henry VIII. Diam. 1¾”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>&nbsp;</td>
- <td class='blt c053'>F. Queen Mary. Diam. 2⅛”<br /></td>
- <td class='blt c051'>Anthonis Mor</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>&nbsp;</td>
- <td class='blt c053'>G. King Edward VI. Diam. 1¾”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>12</td>
- <td class='blt c053'>A Boy (called Edward VI). Oval, 1¼” × 1⅛”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>13</td>
- <td class='blt c053'>King Edward VI. Oval, 1-11/16” × 1-7/16”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>15</td>
- <td class='blt c053'>Katherine of Aragon. 1-15/16” × 1-13/16”</td>
- <td class='blt c051'>Attributed to Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>17</td>
- <td class='blt c053'>Sir Thomas More. Oval, 1-5/16” × 1⅛”</td>
- <td class='blt c051'>Possibly by Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>19</td>
- <td class='blt c053'>King Edward VI. Diam. 1⅝”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>22</td>
- <td class='blt c053'>George Nevill, 3rd Lord Abergavenny. Diam. 1¾”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>23</td>
- <td class='blt c053'>Hans Holbein. Diam. 1-7/16”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>25</td>
- <td class='blt c053'>King Henry VIII. Diam. 1¾”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>Case D.</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>1</td>
- <td class='blt c053'>Hans Holbein. Panel, diam. 4½”</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>George Salting, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>2</td>
- <td class='blt c053'>Katherine Willoughby, Duchess of Suffolk. Inscribed in later hand “H. Holbein Fecit.” Diam. 2⅛”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Earl of Ancaster</td>
-  </tr>
-  <tr>
-    <td class='c051'>3</td>
- <td class='blt c053'>Katherine of Aragon</td>
- <td class='blt c051'>Hans Holbein</td>
- <td class='blt c053'>Mrs. Joseph</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div><i>In Writing-Room.</i></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='5%' />
-<col width='39%' />
-<col width='14%' />
-<col width='39%' />
-</colgroup>
-  <tr>
-    <td class='c051'>17</td>
- <td class='blt c053'>Sir Anthony Browne, K.G. Canvas, 37” x 30”</td>
- <td class='blt c051'>Unknown</td>
- <td class='blt c053'>Lord Vaux of Harrowden</td>
-  </tr>
-  <tr>
-    <td class='c051'>18</td>
- <td class='blt c053'>King Edward VI. Panel, 41” × 29”</td>
- <td class='blt c051'>“</td>
- <td class='blt c053'>Major Eley</td>
-  </tr>
-</table>
-
-<div class='nf-center-c1'>
-<div class='nf-center c004'>
-    <div>XIV. <span class='sc'>Pictures by or attributed to Holbein described by Dr. Waagen in his “Treasures of Art in Great Britain,” 1854.</span></div>
-  </div>
-</div>
-
-<table class='table5' summary=''>
-<colgroup>
-<col width='12%' />
-<col width='43%' />
-<col width='43%' />
-</colgroup>
-  <tr>
-    <td class='c051'>Vol. I</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 203 pp. 236-7</td>
- <td class='blt c053'>The Holbein Drawings in the British Museum</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 429</td>
- <td class='blt c053'>William Warham</td>
- <td class='blt c053'>Lambeth Palace</td>
-  </tr>
-  <tr>
-    <td class='c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>Vol. II</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 73</td>
- <td class='blt c053'>Man with the Golden Fleece</td>
- <td class='blt c053'>Duke of Sutherland, Stafford House</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 86</td>
- <td class='blt c053'>The Duke of Norfolk</td>
- <td class='blt c053'>Duke of Norfolk</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 93-4</td>
- <td class='blt c053'>Man in a Furred Robe</td>
- <td class='blt c053'>Devonshire House</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 112</td>
- <td class='blt c053'>Unnamed Portrait</td>
- <td class='blt c053'>Lord Ashburton</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 199</td>
- <td class='blt c053'>Portrait wrongly called Duke Frederick of Saxony</td>
- <td class='blt c053'>R. S. Holford, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 241</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>Henry Danby Seymour, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 242</td>
- <td class='blt c053'>Portrait of a “Plump Child”</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_387'>387</span>p. 245</td>
- <td class='blt c053'>Portrait of a Woman adorned with many jewels. Dated 1536</td>
- <td class='blt c053'>Collection of Mr. Neeld</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 246</td>
- <td class='blt c053'>A Man’s Portrait. Dated 1547</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 327-8</td>
- <td class='blt c053'>Henry VIII granting the Charter to the Barber-Surgeons’ Company</td>
- <td class='blt c053'>Barber-Surgeons’ Hall</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 328</td>
- <td class='blt c053'>Edward VI at Bridewell</td>
- <td class='blt c053'>Bridewell Hospital</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 331</td>
- <td class='blt c053'>“A Male Portrait in a rich dress.” Coloured drawing</td>
- <td class='blt c053'>C. S. Bale, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 332</td>
- <td class='blt c053'>“A Female Portrait.” Miniature</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 361-7</td>
- <td class='blt c053'>The Pictures in Hampton Court</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 420</td>
- <td class='blt c053'>Drawing of a Female Saint</td>
- <td class='blt c053'>Rt. Hon. Henry Labouchere at Stoke</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 430-50</td>
- <td class='blt c053'>The Pictures and Drawings in Windsor Castle</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>Vol. III</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 6</td>
- <td class='blt c053'>Portrait of a Young Man weighing Gold</td>
- <td class='blt c053'>W. Fuller Maitland, Esq., Stanstead House</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 29</td>
- <td class='blt c053'>The Duchess of Milan</td>
- <td class='blt c053'>Duke of Norfolk, Arundel Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 30</td>
- <td class='blt c053'>The Duke of Norfolk</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>The Earl of Surrey, inscribed “William Strote”</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 33</td>
- <td class='blt c053'>“A Female Figure with a Ring on one Finger”</td>
- <td class='blt c053'>Colonel Egremont Wyndham, Petworth</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 36</td>
- <td class='blt c053'>Edward VI standing under a Canopy</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 41</td>
- <td class='blt c053'>Henry VIII, whole length</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Portrait of a Man with a Falcon</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 42</td>
- <td class='blt c053'>Portrait of a Man with a Letter in his Hand (Derich Berck)</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 52</td>
- <td class='blt c053'>Henry VIII, bust.</td>
- <td class='blt c053'>University Galleries, Oxford</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 123</td>
- <td class='blt c053'>A Man’s Head, about 1530</td>
- <td class='blt c053'>Duke of Marlborough, Blenheim Palace</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 138</td>
- <td class='blt c053'>Portrait of Erasmus</td>
- <td class='blt c053'>Earl of Radnor, Longford Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 139</td>
- <td class='blt c053'>Peter Ægidius</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Two Male Portraits, the size of life, in one picture. (Two Ambassadors)</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Luther (?)</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Anthony Denny</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 140</td>
- <td class='blt c053'>Æcolampadius</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>King Edward VI</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 152</td>
- <td class='blt c053'>The Father of Sir Thomas More</td>
- <td class='blt c053'>Earl of Pembroke, Wilton House</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>William, 1st Earl of Pembroke</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>King Edward VI</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Lord Cromwell (drawing)</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 155</td>
- <td class='blt c053'>The Wilton Porch</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 170</td>
- <td class='blt c053'>Catherine Howard</td>
- <td class='blt c053'>Earl of Suffolk, Charlton Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 185</td>
- <td class='blt c053'>“A half-length Undraped Figure, here, in defiance of all probability, called a William Tell”</td>
- <td class='blt c053'>J. P. Miles, Esq., Leigh Court</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 210</td>
- <td class='blt c053'>John Fisher, Bishop of Rochester</td>
- <td class='blt c053'>Lord Northwick, Thirlstane House</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 211</td>
- <td class='blt c053'>Man’s Head. Miniature</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 215</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>Warwick Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 225</td>
- <td class='blt c053'>Portrait of a Man Praying</td>
- <td class='blt c053'>Mr. Martin, Ham Court, Worcestershire</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 236</td>
- <td class='blt c053'>The Prodigal Son</td>
- <td class='blt c053'>Liverpool Institution</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 252</td>
- <td class='blt c053'>Sir Thomas More</td>
- <td class='blt c053'>Mr. Blundell Weld of Ince</td>
-  </tr>
-  <tr>
-    <td class='c051'><span class='pageno' id='Page_388'>388</span>p. 264</td>
- <td class='blt c053'>Woman with a White Pigeon</td>
- <td class='blt c053'>Earl of Lonsdale, Lowther Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 313</td>
- <td class='blt c053'>Sir Nicholas Carew</td>
- <td class='blt c053'>Duke of Buccleuch, Dalkeith Palace</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 323</td>
- <td class='blt c053'>Duke of Norfolk</td>
- <td class='blt c053'>Earl of Carlisle, Castle Howard</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 334</td>
- <td class='blt c053'>Man’s Portrait</td>
- <td class='blt c053'>Mr. Meynell Ingram, Temple Newsham</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 334-5</td>
- <td class='blt c053'>Sir Thomas More and his Family</td>
- <td class='blt c053'>Mr. Charles Winn, Nostell Priory</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 342</td>
- <td class='blt c053'>Portrait of Æcolampadius</td>
- <td class='blt c053'>W. V. Wentworth, Esq., Wentworth Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 346</td>
- <td class='blt c053'>Henry VIII, full-length</td>
- <td class='blt c053'>Duke of Devonshire, Chatsworth</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Head of an Old Man</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 359</td>
- <td class='blt c053'>The Drawings at Chatsworth</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 388</td>
- <td class='blt c053'>Portrait of a Man</td>
- <td class='blt c053'>Earl of Shrewsbury, Alton Towers</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 398</td>
- <td class='blt c053'>Henry VIII, full-length</td>
- <td class='blt c053'>Duke of Rutland, Belvoir Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 407</td>
- <td class='blt c053'>Henry VIII, half-length</td>
- <td class='blt c053'>Marquis of Exeter, Burleigh House</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Edward VI</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 428</td>
- <td class='blt c053'>Anne Boleyn</td>
- <td class='blt c053'>Sir John Boileau, Ketteringham Hall</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 443</td>
- <td class='blt c053'>Portrait of a Woman with folded hands</td>
- <td class='blt c053'>Mr. Tomline, Orwell Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>“A small picture in a circle, dated 1527”</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 449</td>
- <td class='blt c053'>William Fitzwilliam, Earl of Southampton</td>
- <td class='blt c053'>Fitzwilliam Museum, Cambridge</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 456</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>Earl Spencer, Althorp</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Henry VIII, Princess Mary, and Somers</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 462</td>
- <td class='blt c053'>Queen Catherine Parr</td>
- <td class='blt c053'>Glendon Hall</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 482</td>
- <td class='blt c053'>James, King of Scotland, and his Wife, Margaret, Daughter of Henry VII</td>
- <td class='blt c053'>Marquis of Bute, Luton House</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Henry VIII (attributed to Gerard Horebout)</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>Vol. IV</td>
- <td class='blt c053'>(<i>Supplemental</i>, 1857)</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 35-8</td>
- <td class='blt c053'>The British Museum drawings</td>
- <td class='blt c053'>&nbsp;</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 67</td>
- <td class='blt c053'>Edward VI as an Infant</td>
- <td class='blt c053'>Lord Yarborough, Arlington Street</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 77</td>
- <td class='blt c053'>“Portrait of a Man with features resembling the House of Habsburg”</td>
- <td class='blt c053'>Alexander Barker, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 97</td>
- <td class='blt c053'>Johann Herbster</td>
- <td class='blt c053'>Mr. Baring’s Collection</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 119</td>
- <td class='blt c053'>Princess Mary, afterwards Queen. Miniature</td>
- <td class='blt c053'>C. Sackville Bale, Esq.</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 188</td>
- <td class='blt c053'>The Ascension. Drawing, design for a painted window</td>
- <td class='blt c053'>William Russell, Esq., 38 Chesham Place</td>
-  </tr>
-  <tr>
-    <td class='c051'>p 269</td>
- <td class='blt c053'>Edward VI</td>
- <td class='blt c053'>Duke of Northumberland, Syon House</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Duke of Somerset, the “Protector”</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Bust of Henry VII, in dark stone, “by Pietro Torregiano, 1519”</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 272</td>
- <td class='blt c053'>Portrait of Sir Thomas Gresham. (“Not by Holbein, but possibly of the Lombard School”)</td>
- <td class='blt c053'>Lord Jersey, Osterley Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 331</td>
- <td class='blt c053'>John Russell</td>
- <td class='blt c053'>Duke of Bedford, Woburn Abbey</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 339</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>Earl Amherst, Knole Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 355</td>
- <td class='blt c053'>Sir Anthony Denny</td>
- <td class='blt c053'>Lord Folkestone, Longford Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>pp. 356-7</td>
- <td class='blt c053'>Erasmus</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 357</td>
- <td class='blt c053'>Peter Ægidius</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 359</td>
- <td class='blt c053'>The Two Ambassadors</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>A Man in a Black Dress called Luther</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 361</td>
- <td class='blt c053'>Lady Carey</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 364</td>
- <td class='blt c053'>Lady Jane Grey</td>
- <td class='blt c053'>Earl of Normanton, Somerley</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 394</td>
- <td class='blt c053'>“Portrait of Scanderbeg”</td>
- <td class='blt c053'>Lord Methuen, Corsham Court</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 435</td>
- <td class='blt c053'>Sir Nicholas Carew</td>
- <td class='blt c053'>Duke of Buccleuch, Dalkeith Palace</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 464</td>
- <td class='blt c053'>Lord Cromwell</td>
- <td class='blt c053'>The late Lord Douglas, Bothwell Castle</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Sir Thomas More</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>“</td>
- <td class='blt c053'>Erasmus</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 498</td>
- <td class='blt c053'>Henry VIII</td>
- <td class='blt c053'>William Drury Lowe, Esq., Locko Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 509</td>
- <td class='blt c053'>Portrait of a Man in a Black Dress and Cap</td>
- <td class='blt c053'>Duke of Newcastle, Clumber Park</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 511</td>
- <td class='blt c053'>Portrait of a Man with a Cap and Bâton, said to be Sir Thomas More</td>
- <td class='blt c053'>“</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 515</td>
- <td class='blt c053'>Portrait of a Man in a Black Dress, holding a Palm in his Left Hand</td>
- <td class='blt c053'>Duke of Portland, Welbeck Abbey</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 516</td>
- <td class='blt c053'>Portrait of Nicolas Kratzer</td>
- <td class='blt c053'>Viscount Galway, Serlby</td>
-  </tr>
-  <tr>
-    <td class='c051'>p. 517</td>
- <td class='blt c053'>Henry VIII, full-length</td>
- <td class='blt c053'>“</td>
-  </tr>
-</table>
-<div class='chapter'>
-  <span class='pageno' id='Page_389'>389</span>
-  <h2 class='c012'>A SHORT BIBLIOGRAPHY</h2>
-</div>
-<p class='c054'>The following list includes only a few of the more modern and
-more important of the many contributions to the literature dealing
-with the life and art of Hans Holbein the Younger. A very complete
-bibliography of the artist will be found in <i>Schweiz. Künstlerlexikon</i>,
-vol. ii., Frauenfeld, 1906, to which the student is referred. Additional
-references will be found in the text and footnotes of this book.</p>
-<p class='c055'><span class='sc'>Amiet</span>, <i>Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus Conrad</i>,
-1879.</p>
-<p class='c047'><span class='sc'>Baldry, A. L.</span>, <i>Drawings of Hans Holbein</i>, “Drawings of the Great Masters”
-series. George Newnes, Ltd. Not dated.</p>
-
-<p class='c047'><span class='sc'>Bell, C. F.</span>, F.S.A., <i>Catalogue of a Loan Collection of Portraits of English Historical
-Personages who died prior to the year 1625</i>. Oxford, Clarendon Press, 1904.</p>
-
-<p class='c047'><span class='sc'>Benoit, François</span>, <i>Holbein</i> (“Les Maîtres de l’Art”). Paris. Not dated.</p>
-
-<p class='c047'><span class='sc'>Binyon, Laurence</span>, <i>Catalogue of Drawings by British Artists and Artists of
-Foreign Origin working in Great Britain, preserved in the British Museum</i>,
-Vol. ii. p. <a href='#Page_326'>326</a>-<a href='#Page_243'>243</a>.</p>
-
-<p class='c047'><span class='sc'>Black, W. H.</span>, F.S.A., and <span class='sc'>Franks, A. W.</span>, F.S.A., <i>Discovery of the Will of Hans
-Holbein</i>. Archæologia, vol. xxxix. pp. 1-18.</p>
-
-<p class='c047'><span class='sc'>Black, W. H.</span>, F.S.A., <i>On the Date and other Circumstances of the Death of Holbein</i>,
-&amp;c. Archæologia, vol. xxxix. pp. 272-6.</p>
-
-<p class='c047'><span class='sc'>Blomfield, R.</span>, A.R.A., <i>History of Renaissance Architecture in England</i>, i. p. 18,
-1897.</p>
-
-<p class='c047'><span class='sc'>Brewer, J. S.</span>, M.A., and <span class='sc'>Gairdner, Dr. James</span>, C.B., <i>Letters and Papers,
-Foreign and Domestic, of the Reign of Henry VIII, 1509-1543</i>, 1862-1902.</p>
-
-<p class='c047'><span class='sc'>Burckhardt, A.</span>, <i>Hans Holbein</i>. Basel, 1885.</p>
-
-<p class='c047'><span class='sc'>Burckhardt, A.</span>, <i>Hans Holbeins Ehefrau und ihr erster Ehemann Ulrich Schmid</i>,
-Basler Zeitschrift für Geschichte und Altertumskunde, Bd. v. p. 420.</p>
-
-<p class='c047'><span class='sc'>Burckhardt-Werthemann, D.</span>, <i>Drei wiedergefundene Werke aus Holbeins
-früherer Basler Zeit</i>. Basler Zeitschrift für Geschichte und Altertumskunde,
-iv. 27.</p>
-
-<p class='c047'><span class='sc'>Chamberlain, A. B.</span>, <i>A Newly Discovered Portrait of Thomas Cromwell</i>. Burlington
-Magazine, No. cv. vol. xx. (December, 1911) p. 175.</p>
-
-<p class='c047'><span class='pageno' id='Page_390'>390</span><span class='sc'>Chamberlain, A. B.</span>, <i>Holbein’s Visit to “High Burgony.”</i> Burlington Magazine,
-No. cix. vol. xxi. (April, 1912) pp. 25-30.</p>
-
-<p class='c047'><span class='sc'>Chatto, W. A.</span>, <i>A Treatise on Wood Engraving</i>, ed. H. G. Bohn. Chatto and
-Windus, 1861.</p>
-
-<p class='c047'><span class='sc'>Churchill, S. J. A.</span>, <i>Two Unpublished Portraits by Hans Holbein</i>. Burlington
-Magazine, No. cvi. vol. xx. (January, 1912) p. 239.</p>
-
-<p class='c047'><span class='sc'>Colvin, Sir Sidney</span>, <i>The Ambassadors Unriddled</i> (review of Mr. W. F. Dickes’
-book). Burlington Magazine, No. vi. vol. ii. (August, 1903) pp.
-367-9.</p>
-
-<p class='c047'><span class='sc'>Colvin, Sir Sidney</span>, <i>On a Portrait of Erasmus by Holbein</i>. Burlington Magazine,
-No. lxxx. vol. xvi. (November, 1909) pp. 67-71.</p>
-
-<p class='c047'><span class='sc'>Conway, Sir Martin</span>, and <span class='sc'>Cust, Lionel</span>, M.V.O., <i>Portraits of the Wyat Family</i>.
-Burlington Magazine, No. lxxxi. vol. xvi. (December, 1909) pp. 154-9.</p>
-
-<p class='c047'><span class='sc'>Cox, Mary L.</span>, <i>Inventory of Pictures, &amp;c., in the possession of Alethea, Countess
-of Arundel, at the time of her Death at Amsterdam in 1654</i>. Burlington
-Magazine, No. ci. vol. xix. (August, 1911) pp. 282-6; No. cii. vol. xix.
-(September, 1911) pp. 323-5.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., F.S.A., <i>Lucas d’Heere</i>. Magazine of Art, August, 1891.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>Notice of the Life and Works of Lucas d’Heere</i>, &amp;c.
-Archæologia, vol. liv. pt. i. pp. 59-80.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>The National Portrait Gallery</i>. Illustrated Catalogue,
-2 vols., Cassell &amp; Co., 1901.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>Foreign Artists of the Reformed Religion working in
-London from about 1560 to 1660</i>. Proceedings of the Huguenot Society
-in London, vol. vii. No. i. pp. 45-82, 1903.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>The Royal Collection of Paintings</i>, vol. ii., <i>Windsor Castle</i>.
-Heinemann, 1906.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>John of Antwerp, Goldsmith, and Hans Holbein</i>. Burlington
-Magazine, No. xxxv. vol. viii. (February, 1906) pp. 356-60.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>The Lumley Inventory and the Painter H. E.</i> Burlington
-Magazine, No. lxxii. vol. xiv. (March, 1909) pp. 366-8.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>A Portrait of Queen Catherine Howard by Hans Holbein
-the Younger</i>. Burlington Magazine, No. lxxxviii. vol. xvii. (July, 1910)
-pp. 193-9.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>On a Portrait Drawing by Hans Holbein the Younger</i>
-(Sir Charles Wingfield). Burlington Magazine, No. xcv. vol. xviii. (February,
-1911) pp. 269-70.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>On Two Portraits attributed to Gerlach Flicke</i>. Burlington
-Magazine, No. c. vol. xix. (July, 1911) p. 239.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>Notes on the Collections formed by Thomas Howard, Earl</i>
-<span class='pageno' id='Page_391'>391</span><i>of Arundel and Surrey, K.G.</i> Burlington Magazine, No. ci. vol. xix (August,
-1911) pp. 278-81; No. civ. vol. xx (November, 1911) pp. 97-100; No. cvi.
-vol. xx. (January, 1912) pp. 233-6); No. cviii. vol. xx. (March, 1912)
-pp. 341-3; No. cxiii. vol. xxi. (August, 1912) pp. 256-8.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>A Newly-discovered Portrait of Thomas Cromwell</i>.
-Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 5-6.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., <i>“The Family of Sir Thomas More,” by Hans Holbein</i>.
-Burlington Magazine, No. cxv. vol. xxii. (October, 1912) pp. 43-4.</p>
-
-<p class='c047'><span class='sc'>Cust, Lionel</span>, M.V.O., and <span class='sc'>Bell, C. F.</span>, F.S.A., <i>Burlington Fine Arts Club,
-Catalogue of Exhibition illustrative of Early English Portraiture</i>, 1909.</p>
-
-<p class='c047'><span class='sc'>Davies, Gerald S.</span>, M.A., <i>Hans Holbein the Younger</i>. George Bell &amp; Sons, 1903.</p>
-
-<p class='c047'><span class='sc'>Davies, Randall</span>, <i>An Inventory of the Duke of Buckingham’s Pictures in 1635</i>.
-Burlington Magazine, No. xlviii. vol. x. (March, 1907) pp. 376-82.</p>
-
-<p class='c047'><span class='sc'>Develay, V.</span>, <i>Eloge de la Folie d’Erasme</i>. 3rd ed. Paris, 1876.</p>
-
-<p class='c047'><span class='sc'>Dickes, W. F.</span>, <i>Holbein’s “Ambassadors” Unriddled</i>. Cassell &amp; Co., Ltd.
-Not dated.</p>
-
-<p class='c047'><span class='sc'>Dimier, L.</span>, <i>French Painting in the Sixteenth Century</i>. (Trans. by Harold Child.)
-Duckworth &amp; Co., 1904.</p>
-
-<p class='c047'><span class='sc'>Dimier, L.</span>, <i>Le Primatice</i>. Paris, 1900.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>Neues über Holbeins Metallschnitte zum Vaterunser</i>.
-Mitteilungen der Gesellsch. für vervielfältig. Kunst, 1903, p. 1, and 1905,
-p. 10.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>Hans Lützelburger and the Master N. H.</i> Burlington
-Magazine, No. xlvii. vol. x. (February, 1907) pp. 319-22.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>An Alphabet by Hans Weiditz</i>. Burlington Magazine,
-No. lix. vol. xii. (February, 1908) pp. 289-93.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>A Portrait by Hans Holbein the Elder</i>. Burlington
-Magazine, No. lxvii. vol. xiv. (October, 1908) pp. 37-43.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>Das Holzschnittporträt von N. Borbonius</i>. Gesells. für
-vervielfältigende Kunst, Mitteilungen xxxi. 1908, p. 37.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, <i>Catalogue of Early German and Flemish Woodcuts, &amp;c., in
-the British Museum</i>, vol. ii. 1911, p. 320.</p>
-
-<p class='c047'><span class='sc'>Dodgson, Campbell</span>, notes by, Vasari Society, Pt. i. Nos. 17 and 18; Pt. ii. No. 31;
-Pt. v. No. 28.</p>
-
-<p class='c047'><span class='sc'>Douce, Francis</span>, <i>Holbein’s Dance of Death</i>. 1858 edition. H. G. Bohn.</p>
-
-<p class='c047'><span class='sc'>Earp, F. R.</span>, M.A., <i>Descriptive Catalogue of the Pictures in the Fitzwilliam Museum</i>,
-pp. 97-8. University Press, Cambridge, 1902.</p>
-
-<p class='c047'><span class='sc'>Einstein, Lewis</span>, <i>The Italian Renaissance in England</i>, 1902.</p>
-
-<p class='c047'><span class='sc'>Fidler, G.</span>, <i>Holbein’s Porch</i>. The Art Journal, 1897, pp. 45-8.</p>
-
-<p class='c047'><span class='pageno' id='Page_392'>392</span><span class='sc'>Fortescue, Mrs. G.</span>, <i>Holbein</i>. (Little Books on Art.) Methuen &amp; Co., 1904.</p>
-
-<p class='c047'><span class='sc'>Foster, J. J.</span>, <i>British Miniature Painters and their Works</i>. 1898.</p>
-
-<p class='c047'><span class='sc'>Frisch, A.</span>, and <span class='sc'>Woltmann, A.</span>, <i>Hans Holbein des Aeltern Silberstiftzeichnungen im
-kgl. Museum zu Berlin</i>. Soldau, Nuremberg.</p>
-
-<p class='c047'><span class='sc'>Frölicher, Elsa</span>, <i>Die Porträtkunst Hans Holbeins des Jüngeren und ihr
-Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert</i> (Studien
-zur deutschen Kunstgeschichte, No. 117). Heitz &amp; Mündel, Strasburg,
-1909.</p>
-
-<p class='c047'><span class='sc'>Fry, Roger, E.</span>, <i>Early English Portraiture at the
-Burlington Fine Arts Club</i>. Burlington Magazine, No. lxxiv. vol.
-xv. (May, 1909) pp. 73-5.</p>
-
-<p class='c047'><span class='sc'>Ganz, Paul</span>, <i>Hans Holbein d. J. Einfluss auf. d.
-schweizerische Glasmalerei</i>. Jahrb. d. kgl. preuss. Kunstsamml.,
-xxiv. (1903) pp. 197-207.</p>
-
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-
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-
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-
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-
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-
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-
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-
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-
-<p class='c047'><span class='sc'>Holmes, Sir Richard</span>, K.C.V.O., <i>Note on an Unpublished Holbein Miniature
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-<p class='c047'><span class='pageno' id='Page_394'>394</span><span class='sc'>Holmes, Sir Richard</span>, K.C.V.O., <i>A Miniature by Holbein</i> (Mrs. Pemberton).
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-
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-p. 254.</p>
-
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-bildende Kunst., xx. (1908) p. 35.</p>
-
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-
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-
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-
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-
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-<p class='c047'><span class='sc'>Strype, Rev. John</span>, <i>Annals of the Reformation in England</i>, 1709-31.</p>
-
-<p class='c047'><span class='pageno' id='Page_398'>398</span><span class='sc'>Tonjola</span>, <i>Basilea Sepulta</i>, 1661, p. 382.</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Ein wiedergefundenes Meisterwerk Holbeins</i>. Frankfurter Zeitung,
-1871 (Nos. 236-7, 244, 248).</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Ergänzungen und Nachweisungen zum Holzschnittwerk H. H. d. J.</i>
-Repertorium f. Kunstwissenschaft, ii. (1877) pp. 162, 312; v. p. 179.</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Der Holbeintisch auf der Stadtbibliothek in Zürich</i>. Vienna, 1878.</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Holbeins Fassadenmalereien zu Basel</i>. Anzeiger für schweiz. Altertumskunde,
-xiii., 1880, p. 50.</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Fassadenmalerei in der Schweiz</i>. Anzeiger für schweiz. Altertumskunde,
-1884.</p>
-
-<p class='c047'><span class='sc'>Vögelin, S.</span>, <i>Wer hat Holbein die Kenntnis des klassischen Altertums vermittelt?</i>
-Repertorium für Kunstwissenschaft, x. p. 345.</p>
-
-<p class='c047'><span class='sc'>Voll, Karl</span>, <i>Meisterwerke der Gemäldegalerie im Haag</i>. Hanfstaengl, 1903.</p>
-
-<p class='c047'><span class='sc'>Voll, Karl</span>, <i>Holbein und Böcklin</i>. Süddeutsche Monatshefte, 1905, ii. 8,
-p. 177.</p>
-
-<p class='c047'><span class='sc'>Voss, H.</span>, <i>Holbein und Raphael</i>. Monatshefte für Kunst., iii. (1910) p. 159.</p>
-
-<p class='c047'><span class='sc'>Waagen, G. F.</span>, <i>Kunstwerke und Künstler in Deutschland</i>, 1845.</p>
-
-<p class='c047'><span class='sc'>Waagen, G. F.</span>, <i>Treasures of Art in Great Britain</i>, 4 vols. Translated by Lady
-Eastlake. John Murray, 1854-7.</p>
-
-<p class='c047'><span class='sc'>Walpole, Horace</span>, <i>Anecdotes of Painting in England, with some Account of the
-Principal Artists</i>. Additions by the Rev. James Dallaway, revised by
-Ralph N. Wornum, 3 vols. Swan, Sonnenschein, Lowrey &amp; Co., 1888.</p>
-
-<p class='c047'><span class='sc'>Weale, W. H. James</span>, <i>Simon Binnink, Miniaturist</i>. Burlington Magazine,
-No. xxxv. vol. viii. (February, 1906) pp. 355-6.</p>
-
-<p class='c047'><span class='sc'>Weale, W. H. James</span>, <i>Livina Teerlinc, Miniaturist</i>. Burlington Magazine,
-No. xl. vol. ix. (July, 1906) p. 278.</p>
-
-<p class='c047'><span class='sc'>Werner, Anton</span>, <i>Die Holbein in Augsburg</i>. Der Sammler, No. 143, 1907.</p>
-
-<p class='c047'><span class='sc'>Williamson, G. C.</span>, <i>The History of Portrait Miniatures</i>, 1531-1860, 2 vols.
-George Bell &amp; Sons, 1904.</p>
-
-<p class='c047'><span class='sc'>Williamson, G. C.</span>, <i>Mr. J. Pierpont Morgan’s Catalogue: The Miniatures</i>.
-Privately printed.</p>
-
-<p class='c047'><span class='sc'>Williamson, G. C.</span>, <i>Portrait Miniatures</i>. The Studio, Spring Number, 1910.</p>
-
-<p class='c047'><span class='sc'>Woltmann, Alfred</span>, <i>Holbein und seine Zeit</i>, 2 vols., second edition. E. A.
-Seeman, Leipzig, 1874-6.</p>
-
-<p class='c047'><span class='sc'>Woltmann, Alfred</span>, <i>Holbein and his Time</i>. Translation of vol. i. first edition,
-by F. E. Bunnett. Richard Bentley &amp; Son, 1872.</p>
-
-<p class='c047'><span class='sc'>Woltmann, Alfred</span>, <i>Holbein at the National Portrait Gallery</i>. Fortnightly
-Review, vol. vi. (1866) p. 160.</p>
-
-<p class='c047'><span class='pageno' id='Page_399'>399</span><span class='sc'>Woltmann, Alfred</span>, <i>Holbein und Q. Metsys in Longford Castle</i>. Zeitschrift für
-bild. Kunst., i. p. 198.</p>
-
-<p class='c047'><span class='sc'>Wornum, Ralph N.</span>, <i>Some Account of the Life and Works of Hans Holbein,
-Painter, of Augsburg</i>. Chapman &amp; Hall, 1867.</p>
-
-<p class='c047'><span class='sc'>Wornum, Ralph N.</span>, <i>Hans Holbein and the Meier Madonna</i>. Arundel Society,
-1871.</p>
-
-<p class='c047'><span class='sc'>Wurstisen</span>, <i>Epitome Historiæ Basiliensis</i>. Basel, 1577.</p>
-
-<p class='c047'><span class='sc'>Wyatt, M. Digby</span>, F.R.I.B.A., <i>On the Foreign Artists employed in England
-during the Sixteenth Century, and their influence on British Art</i>. Transactions
-of the Royal Institute of British Architects. Session 1867-8 (May 18,
-1868), pp. 209-58.</p>
-
-<p class='c047'><span class='sc'>Wyzewa, T. de</span>, <i>À propos d’un Livre nouveau sur Holbein le Jeune</i> (review of
-Dr. Ganz’ <i>Holbein</i>). Revue des Deux Mondes, January 15, 1912.</p>
-
-<p class='c047'><span class='sc'>Zahn, A. von</span>, <i>Hans Holbein d. J. und seine Familie</i>. Jahrbücher für Kunstwissenschaft,
-iii. (1870) p. 115.</p>
-
-<p class='c047'><span class='sc'>Zahn, A. von</span>, <i>Die Augsburger Steuerbücher über Hans Holbein d. Aeltern</i>. Jahrbücher
-für Kunstwissenschaft, iv. 1871, p. 267.</p>
-
-<p class='c047'><span class='sc'>Zetter-Collin, F. A.</span>, <i>Die Zetter’sche Madonna von Solothurn</i>. Festschrift des
-Kunst-Vereins der Stadt Solothurn, 1902.</p>
-
-<p class='c047'><i>A Drawing by Holbein in the Collection of the Duke of Devonshire.</i> Burlington
-Magazine, No. ii. vol. i. (April, 1903) pp. 223-4.</p>
-
-<p class='c047'><i>Drawings attributed to Holbein in the Collection of the Duke of Devonshire.</i> Burlington
-Magazine, No. iii. vol. i. (May, 1903) p. 354.</p>
-
-<p class='c047'><i>A Portrait of a Man by Holbein recently acquired by the Metropolitan Museum
-of New York.</i> Burlington Magazine, No. xliii. vol. x. (October, 1906)
-pp. 48-53.</p>
-
-<p class='c047'><i>A Portrait by Holbein.</i> Bulletin of the Metropolitan Museum of Art, New York,
-vol. i. No. 12 (November, 1906) p. 150-3.</p>
-
-<p class='c047'>Catalogue of the Exhibition of the Royal House of Tudor. New Gallery, 1890.
-Illustrated.</p>
-
-<p class='c047'>Catalogue of the Exhibition of Works by Hans Holbein the Younger at Basel,
-1897-8.</p>
-
-<p class='c047'>Katalog der Oeffentlichen Kunstsammlung in Basel, 1908. Illustrated.</p>
-
-<p class='c047'>Cust, Lionel, M.V.O., <i>The Painter
-<span class="lig">HE</span>
-(“Hans Eworth”)</i>. Walpole Society, 2nd annual vol., 1912-13, pp.
-1-44.</p>
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='chapter'>
-  <span class='pageno' id='Page_400'>400</span>
-  <h2 id='idx' class='c012'>INDEX<span class="rd"><b><a href='#tn1'>TN</a></b></span></h2>
-</div>
-<p class='c018'>(<i>The Lists of Pictures by or attributed to Holbein, &amp;c., exhibited
-at various exhibitions between 1846 and 1912, Vol. ii. p. <a href='#Page_359'>359</a>-<a href='#Page_389'>389</a>,
-are not included in the Index.</i>)</p>
-
-<ul class='index c004'>
-  <li class='c056'>Abbate, Niccolo dell’, of Modena, i. 281, 287 <i>note</i></li>
-  <li class='c056'>Abergavenny, castle and lordship, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>—— George Nevill, 3rd Earl of, ii. <a href='#Page_222'>222</a>, <a href='#Page_248'>248</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Acorre, i. 105 <i>note</i></li>
-  <li class='c056'><i>Adagia</i> (Erasmus), i. 45, 49</li>
-  <li class='c056'>Addison, Joseph, i. 328 <i>note</i></li>
-  <li class='c056'>Advocates’ Library, Edinburgh, ii. <a href='#Page_148'>148</a>, <a href='#Page_343'>343</a></li>
-  <li class='c056'>Ægidius, Petrus, i. 62, 163, 193, 255, 288-289, 298, 339;
-    <ul>
-      <li>ii. <a href='#Page_265'>265</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Aemilius'></a>Æmilius (œmmel), George, i. 212, 224</li>
-  <li class='c056'><i>Æneæ Platonici Christiani</i>, &amp;c. (pub. Froben, 1516), i. 191</li>
-  <li class='c056'>Airell, Richard, i. 265</li>
-  <li class='c056'>Aix-la-Chapelle, ii. <a href='#Page_15'>15</a></li>
-  <li class='c056'>Aix-les-Bains, i. 344 <i>note</i></li>
-  <li class='c056'>Akersloot, W., engraver, i. 87</li>
-  <li class='c056'>Albertina, Vienna, i. 5, 60, 161 <i>note</i>, 344 <i>note</i></li>
-  <li class='c056'>Albury, i. 171 <i>note</i></li>
-  <li class='c056'>Alciat, i. 84, 174</li>
-  <li class='c056'>Aldegrever, ii. <a href='#Page_52'>52</a> <i>note</i></li>
-  <li class='c056'>Aldenham, Lord (collection), ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Alessandro of Milan, <i>see</i> <a href='#Carmillian'>Carmillian, Alys</a></li>
-  <li class='c056'>Alexander VI, Pope, i. 271</li>
-  <li class='c056'>Alexander, Thomas, painter-stainer, i. 261</li>
-  <li class='c056'>Alexe of Myllen, <i>see</i> <a href='#Carmillian'>Carmillian, Alys</a></li>
-  <li class='c056'>Algarotti, Count Francesco, i. 242-243</li>
-  <li class='c056'>Allington Castle, Kent, i. 336</li>
-  <li class='c056'>Alsop, T., barber-surgeon, ii. <a href='#Page_291'>291</a>, <a href='#Page_293'>293</a></li>
-  <li class='c056'>Altdorfer, ii. <a href='#Page_270'>270</a></li>
-  <li class='c056'>Althorp, ii. <a href='#Page_14'>14</a>, <a href='#Page_72'>72</a>, <a href='#Page_93'>93</a>, <a href='#Page_107'>107</a>, <a href='#Page_141'>141</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Altishofen, Colonel Karl Pyffer von, i. 71</li>
-  <li class='c056'>Altman, Mr. Benjamin (collection), ii. <a href='#Page_82'>82</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Altorf, i. 74, 77</li>
-  <li class='c056'><a id='Amadas'></a>Amadas, Robert, Master of the Jewel House, ii. <a href='#Page_58'>58</a>, <a href='#Page_287'>287</a></li>
-  <li class='c056'>Amberger, C., ii. <a href='#Page_17'>17</a> <i>note</i>, 310</li>
-  <li class='c056'>Ambraser Collection, Vienna, i. 60;
-    <ul>
-      <li>ii. <a href='#Page_70'>70</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Amerbach, Basilius, i. 45, 85, 102, 181, 345</li>
-  <li class='c056'>—— Bonifacius, i. 39, 45, 74-75, 84-87, 90, 122, 151, 174, 177, 180, 250, 253, 341, 343, 345, 352;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_87'>87</a>-88, <a href='#Page_256'>256</a>, <a href='#Page_259'>259</a>, <a href='#Page_264'>264</a>, <a href='#Page_331'>331</a>, <a href='#Page_340'>340</a>, <a href='#Page_344'>344</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Collection, Inventory, &amp;c., i. 5, 38, 40, 44, 55-56, 60, 75, 79, 84-85, 87, 99, 100-102, 106, 113, 121, 135, 146, 157, 161, 174, 180-181, 186, 199, 246-247, 250, 344-345, 347;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_87'>87</a>-88, <a href='#Page_260'>260</a>-<a href='#Page_261'>261</a>, <a href='#Page_329'>329</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_401'>401</span>Amerbach, family house, i. 122</li>
-  <li class='c056'>—— Hans, i. 85</li>
-  <li class='c056'>Amiet, ii. <a href='#Page_390'>390</a></li>
-  <li class='c056'>Amsterdam, i. 27, 28, 106, 224, 240-241, 243-244, 335;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_25'>25</a>-<a href='#Page_27'>27</a>, <a href='#Page_64'>64</a>, <a href='#Page_112'>112</a>, <a href='#Page_199'>199</a>, <a href='#Page_213'>213</a>, <a href='#Page_231'>231</a>, <a href='#Page_248'>248</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Museum, i. 165;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_304'>304</a>, <a href='#Page_308'>308</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Andermatt, i. 77;
-    <ul>
-      <li>ii. <a href='#Page_324'>324</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Andlau, ii. <a href='#Page_82'>82</a></li>
-  <li class='c056'>Andlau, Convent of, Alsace, ii. <a href='#Page_326'>326</a></li>
-  <li class='c056'>Andlau, Von, family, i. 145;
-    <ul>
-      <li>ii. <a href='#Page_326'>326</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Androw, painter,” <i>see</i> <a href='#Wright-Andrew'>Wright, Andrew</a></li>
-  <li class='c056'>Angelrot, Balthazar, goldsmith of Basel, i. 117-118</li>
-  <li class='c056'>Angeviller, Mons. d’, ii. <a href='#Page_327'>327</a></li>
-  <li class='c056'>Anne, Queen of England, i. 107;
-    <ul>
-      <li>ii. <a href='#Page_52'>52</a>, <a href='#Page_203'>203</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Boleyn, Queen, <i>see</i> <a href='#Boleyn'>Boleyn</a></li>
-  <li class='c056'>—— of Cleves, Queen, <i>see</i> <a href='#Cleves'>Cleves</a></li>
-  <li class='c056'>Anthony, Anthony, of the Ordnance Department, ii. <a href='#Page_297'>297</a>-298</li>
-  <li class='c056'>“Anthony, Mr., the King’s servant,” ii. <a href='#Page_294'>294</a>, <a href='#Page_296'>296</a>-<a href='#Page_298'>298</a></li>
-  <li class='c056'>Anstis, <i>Order of the Garter</i> (1724), i. 319</li>
-  <li class='c056'><a id='Antiquaries'></a>Antiquaries, Society of, i. 287 <i>note</i>, 291, 313;
-    <ul>
-      <li>ii. <a href='#Page_110'>110</a>, <a href='#Page_125'>125</a>, <a href='#Page_137'>137</a>, <a href='#Page_271'>271</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Antiquities of Westminster</i> (J. T. Smith), ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Antonine Abbey of Isenheim, Vicar of, i. 254</li>
-  <li class='c056'>Antwerp (town), i. 62, 163-164, 176, 245, 264, 268-269, 273-274, 288-289, 329;
-    <ul>
-      <li>ii. <a href='#Page_27'>27</a>, <a href='#Page_87'>87</a>, <a href='#Page_152'>152</a>, <a href='#Page_176'>176</a>, <a href='#Page_198'>198</a>, <a href='#Page_230'>230</a>, <a href='#Page_264'>264</a>, <a href='#Page_298'>298</a>, <a href='#Page_307'>307</a>-<a href='#Page_308'>308</a>, <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Antwerp, Glazier of” (Galyon Hone?), i. 268</li>
-  <li class='c056'>Antwerp, Hans of, ii. <a href='#Page_8'>8</a>-<a href='#Page_14'>14</a>, <a href='#Page_215'>215</a>, <a href='#Page_275'>275</a>, <a href='#Page_286'>286</a>-<a href='#Page_288'>288</a>, <a href='#Page_295'>295</a>-<a href='#Page_297'>297</a></li>
-  <li class='c056'>Antwerp Museum, i. 164</li>
-  <li class='c056'>Anwarpe, Augustine, ii. <a href='#Page_13'>13</a></li>
-  <li class='c056'>Anwarpe, Roger, ii. <a href='#Page_13'>13</a></li>
-  <li class='c056'>Apelles, i. 227, 247;
-    <ul>
-      <li>ii. <a href='#Page_75'>75</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Apethorpe Hall, Northamptonshire, ii. <a href='#Page_222'>222</a></li>
-  <li class='c056'>Apian, Peter, ii. <a href='#Page_50'>50</a></li>
-  <li class='c056'>Apiarius, <i>see</i> <a href='#Bienenvater'>Bienenvater</a></li>
-  <li class='c056'>Appuldurcombe, Isle of Wight, ii. <a href='#Page_165'>165</a></li>
-  <li class='c056'><a id='Aragon'></a>Aragon, Queen Katherine of, i. 272;
-    <ul>
-      <li>miniature of, 308, 317;</li>
-      <li>ii. <a href='#Page_109'>109</a>-<a href='#Page_110'>110</a>, <a href='#Page_117'>117</a>, <a href='#Page_131'>131</a>, <a href='#Page_212'>212</a>, <a href='#Page_233'>233</a>, <a href='#Page_235'>235</a>, <a href='#Page_237'>237</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Arbury, Warwickshire, ii. <a href='#Page_210'>210</a></li>
-  <li class='c056'><i>Archæologia</i>, ii. <a href='#Page_38'>38</a>, <a href='#Page_110'>110</a>, <a href='#Page_125'>125</a>, <a href='#Page_137'>137</a>, <a href='#Page_170'>170</a></li>
-  <li class='c056'>Archangell, Italian lead-caster, i. 314</li>
-  <li class='c056'><span class='pageno' id='Page_402'>402</span>Archer, Wykeham, ii. <a href='#Page_2'>2</a> <i>note</i></li>
-  <li class='c056'><i>Architectural Remains of Reigns of Elizabeth</i>, &amp;c. (Richardson), ii. <a href='#Page_271'>271</a> <i>note</i></li>
-  <li class='c056'>Arcos, Duke d’, i. 272</li>
-  <li class='c056'>Aristotle, i. 159, 199</li>
-  <li class='c056'>Arkeman, Philyp, painter, i. 278</li>
-  <li class='c056'>Art Treasures Exhibition, Manchester, 1857, ii. <a href='#Page_360'>360</a>-<a href='#Page_361'>361</a></li>
-  <li class='c056'>Arthur, Prince of Wales, ii. <a href='#Page_136'>136</a></li>
-  <li class='c056'><a id='Arundel'></a>Arundel, Alathea, Countess of, i. 106, 178, 335;
-    <ul>
-      <li>ii. <a href='#Page_25'>25</a>, <a href='#Page_64'>64</a>, <a href='#Page_199'>199</a>, <a href='#Page_209'>209</a>, <a href='#Page_248'>248</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Castle, ii. <a href='#Page_135'>135</a>, <a href='#Page_137'>137</a>, <a href='#Page_197'>197</a>, <a href='#Page_199'>199</a>, <a href='#Page_201'>201</a>, <a href='#Page_303'>303</a>, <a href='#Page_307'>307</a></li>
-  <li class='c056'>—— Collection and Inventory (1655), i. 27-28, 60, 71, 106, 171, 177, 179 <i>note</i>, 285, 295 <i>note</i>, 318-319, 323, 325 <i>note</i>, 328 <i>note</i>, 335;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_19'>19</a>, <a href='#Page_25'>25</a>, <a href='#Page_44'>44</a>, <a href='#Page_53'>53</a>, <a href='#Page_61'>61</a>, <a href='#Page_64'>64</a>-<a href='#Page_65'>65</a>, <a href='#Page_67'>67</a>-<a href='#Page_69'>69</a>, <a href='#Page_72'>72</a>, <a href='#Page_77'>77</a>, <a href='#Page_81'>81</a>, <a href='#Page_84'>84</a>, <a href='#Page_89'>89</a>, <a href='#Page_112'>112</a>, <a href='#Page_164'>164</a>, <a href='#Page_166'>166</a> <i>and note</i>, <a href='#Page_181'>181</a> <i>and note</i>, <a href='#Page_182'>182</a> <i>and note</i>, <a href='#Page_193'>193</a>, <a href='#Page_198'>198</a> <i>and note</i>, <a href='#Page_200'>200</a>-<a href='#Page_201'>201</a>, <a href='#Page_205'>205</a> <i>and note</i>, <a href='#Page_209'>209</a>, <a href='#Page_213'>213</a> <i>note</i>, <a href='#Page_214'>214</a>, <a href='#Page_216'>216</a>, <a href='#Page_219'>219</a>, <a href='#Page_231'>231</a>, <a href='#Page_246'>246</a>, <a href='#Page_248'>248</a>, <a href='#Page_263'>263</a>, <a href='#Page_270'>270</a>, <a href='#Page_276'>276</a>, <a href='#Page_283'>283</a>, <a href='#Page_342'>342</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Earl of, in Basel, i. 252</li>
-  <li class='c056'>—— Elizabeth, of Telverne, i. 334</li>
-  <li class='c056'>—— Henry Fitz-Alan, 12th Earl of, i. 178;
-    <ul>
-      <li>ii. <a href='#Page_307'>307</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Henry Frederick, Earl of (1608-52), ii. <a href='#Page_219'>219</a></li>
-  <li class='c056'>—— Philip Howard, Earl of (1557-95), ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'>—— Thomas Howard, Earl of (1585-1646), i. 28, 178, 241, 318, 323, 328 <i>note</i>, 335;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_19'>19</a>, <a href='#Page_25'>25</a>, <a href='#Page_61'>61</a>-<a href='#Page_62'>62</a>, <a href='#Page_64'>64</a>-<a href='#Page_66'>66</a>, <a href='#Page_68'>68</a>-<a href='#Page_69'>69</a>, <a href='#Page_77'>77</a>, <a href='#Page_84'>84</a>, <a href='#Page_107'>107</a>, <a href='#Page_135'>135</a>, <a href='#Page_166'>166</a>, <a href='#Page_181'>181</a>, <a href='#Page_193'>193</a>, <a href='#Page_198'>198</a>, <a href='#Page_201'>201</a>, <a href='#Page_209'>209</a>, <a href='#Page_216'>216</a>, <a href='#Page_231'>231</a>, <a href='#Page_246'>246</a>, <a href='#Page_247'>247</a> <i>and note</i>, <a href='#Page_248'>248</a>, <a href='#Page_299'>299</a>, <a href='#Page_341'>341</a>-<a href='#Page_342'>342</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir John, of Teloerne, i. 334</li>
-  <li class='c056'>—— House, ii. <a href='#Page_25'>25</a></li>
-  <li class='c056'>Asper, Hans, ii. <a href='#Page_311'>311</a> <i>note</i></li>
-  <li class='c056'><i>Athenæum</i>, i. 297, 305</li>
-  <li class='c056'>Aubrey, i. 301</li>
-  <li class='c056'>Audley, Lady, ii. <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_223'>223</a>, <a href='#Page_255'>255</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>—— John Touchet, 9th Lord, ii. <a href='#Page_223'>223</a></li>
-  <li class='c056'>Augsburg (town), i. 1-3, 5, 6, 8, 9, 13-15, 19, 20, 22, 23, 29, 31, 32, 42, 65, 74, 145, 148, 168, 189, 190, 214, 331;
-    <ul>
-      <li>ii. <a href='#Page_162'>162</a>, <a href='#Page_300'>300</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Augsburg, decorative arts in, i. 31</li>
-  <li class='c056'>—— Cathedral, i. 7</li>
-  <li class='c056'>—— Episcopal Library, i. 4</li>
-  <li class='c056'>—— Gallery, i. 3, 4, 8, 10, 23, 24, 39, 110;
-    <ul>
-      <li>ii. <a href='#Page_323'>323</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Kaisheimer Hofs, i. 7 <i>note</i></li>
-  <li class='c056'>—— Painters’ Guild, i. 22</li>
-  <li class='c056'>—— St. Katherine, Convent of, i. 4, 7, 9, 10, 14, 15, 23, 24</li>
-  <li class='c056'>—— St. Moritz Church, i. 13</li>
-  <li class='c056'>—— St. Sauveur Church, i. 15</li>
-  <li class='c056'>Augustus III, King of Poland and Elector of Saxony, i. 242-243;
-    <ul>
-      <li>ii. <a href='#Page_67'>67</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Augustyne, John, i. 262</li>
-  <li class='c056'>Aumale Collection, Chantilly, i. 11</li>
-  <li class='c056'>Austria, Duke Leopold of, i. 71</li>
-  <li class='c056'>—— Margaret of, <i>see</i> <a href='#Margaret'>Margaret</a></li>
-  <li class='c056'>Autun, ii. <a href='#Page_148'>148</a></li>
-  <li class='c056'>Auxerre, ii. <a href='#Page_43'>43</a>, <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'><span class='pageno' id='Page_403'>403</span>Avaux family, ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'>Avignon, i. 84, 174</li>
-  <li class='c056'>Avogadro, Venetian banker, i. 242-243</li>
-  <li class='c056'>Aylif, T., Warden of Barber-Surgeons’ Company, ii. <a href='#Page_291'>291</a></li>
-  <li class='c004'>Bacon, John, of Cambridgeshire, ii. <a href='#Page_210'>210</a></li>
-  <li class='c056'>Baer, Hans, i. 35-36, 53</li>
-  <li class='c056'>—— Magdalena, i. 53, 234</li>
-  <li class='c056'>Baggeley, Mr., ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'>Bagnols, agent of Frederick, Prince of Wales, ii. <a href='#Page_199'>199</a></li>
-  <li class='c056'>Baker, Mr. C. H. Collins, ii. <a href='#Page_89'>89</a> <i>note</i></li>
-  <li class='c056'>Balcarres, Lord, ii. <a href='#Page_136'>136</a></li>
-  <li class='c056'>—— MSS., ii. <a href='#Page_148'>148</a>, <a href='#Page_343'>343</a></li>
-  <li class='c056'>Baldinucci, i. 306</li>
-  <li class='c056'>Baldry, A. L., ii. <a href='#Page_390'>390</a></li>
-  <li class='c056'>Baldung, Hans, <i>see</i> <a href='#Grien'>Grien</a></li>
-  <li class='c056'>Bale, C. Sackville (collection), ii. <a href='#Page_237'>237</a></li>
-  <li class='c056'>Ballard, Thomas, painter-stainer, i. 261</li>
-  <li class='c056'>Bamberg (town), i. 69</li>
-  <li class='c056'>—— Library, i. 19</li>
-  <li class='c056'>Bandz, Tomas, ii. <a href='#Page_7'>7</a></li>
-  <li class='c056'>Banister, Edward, i. 178</li>
-  <li class='c056'>Bar and Lorraine, François, Duke of, ii. <a href='#Page_120'>120</a>, <a href='#Page_130'>130</a></li>
-  <li class='c056'>Bar-le-Duc, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Bar-sur-Seine, ii. <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a></li>
-  <li class='c056'>Barbers, Company of, ii. <a href='#Page_289'>289</a></li>
-  <li class='c056'>Barber-Surgeons’ Company, ii. <a href='#Page_289'>289</a>-<a href='#Page_291'>291</a>, <a href='#Page_293'>293</a>-<a href='#Page_294'>294</a></li>
-  <li class='c056'>—— Hall, ii. <a href='#Page_289'>289</a>, <a href='#Page_293'>293</a>, <a href='#Page_346'>346</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Bardi family, i. 270</li>
-  <li class='c056'>—— Pietro di, i. 271</li>
-  <li class='c056'>Barker, Christopher (Garter), i. 262</li>
-  <li class='c056'>Barnborough Hall, i. 300;
-    <ul>
-      <li>ii. <a href='#Page_335'>335</a>-<a href='#Page_336'>336</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Barnes, Dr., ii. <a href='#Page_173'>173</a></li>
-  <li class='c056'>Barnet, ii. <a href='#Page_335'>335</a></li>
-  <li class='c056'>Baron, Bernard, engraver, ii. <a href='#Page_294'>294</a></li>
-  <li class='c056'>“Barough,” ii. <a href='#Page_119'>119</a></li>
-  <li class='c056'>Barrett family, of Lee Priory, ii. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_235'>235</a></li>
-  <li class='c056'>—— Mr., of Lee Priory, ii. <a href='#Page_109'>109</a>, <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a></li>
-  <li class='c056'>—— Mr. T. B., ii. <a href='#Page_182'>182</a></li>
-  <li class='c056'>“Barrough, Ladie Marqueis of,” ii. <a href='#Page_118'>118</a>-<a href='#Page_119'>119</a>, <a href='#Page_182'>182</a>, <a href='#Page_128'>128</a></li>
-  <li class='c056'>Bartolozzi, F., R.A., ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'><a id='Basel'></a>Basel, i. 1, 15, 22-23, 31-33, 35-37, 43, 45-46, 49, 53, 55, 57-58, 65, 75, 78, 80-82, 84, 87, 90, 101, 104, 106, 109, 111, 115-116, 137, 141-142, 145, 147, 151, 153, 157, 158-159, 162-163, 166-169, 172, 174-177, 188, 190-191, 195, 200-202, 204-206, 208, 211, 218, 225, 228, 232-233, 236, 241, 245-248, 252-255, 262, 288, 291, 298-299, 321, 338-341, 343, 347, 351;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_6'>6</a>, <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_32'>32</a>-<a href='#Page_35'>35</a>, <a href='#Page_46'>46</a>-<a href='#Page_47'>47</a>, <a href='#Page_56'>56</a>, <a href='#Page_63'>63</a>-<a href='#Page_64'>64</a>, <a href='#Page_71'>71</a>, <a href='#Page_77'>77</a>, <a href='#Page_87'>87</a>, <a href='#Page_91'>91</a>, <a href='#Page_150'>150</a>-<a href='#Page_151'>151</a>, <a href='#Page_154'>154</a>-<a href='#Page_164'>164</a>, <a href='#Page_186'>186</a>, <a href='#Page_191'>191</a>-<a href='#Page_192'>192</a>, <a href='#Page_211'>211</a>, <a href='#Page_213'>213</a>, <a href='#Page_219'>219</a>, <a href='#Page_227'>227</a>, <a href='#Page_240'>240</a>, <a href='#Page_260'>260</a>, <a href='#Page_268'>268</a>, <a href='#Page_297'>297</a>, <a href='#Page_300'>300</a>-<a href='#Page_301'>301</a>, <a href='#Page_311'>311</a>, <a href='#Page_313'>313</a>, <a href='#Page_319'>319</a>, <a href='#Page_325'>325</a>-<a href='#Page_326'>326</a>, <a href='#Page_328'>328</a>-<a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'>— Bäumleingasse, No. 18 (“zum Luft”), i. 163;
-    <ul>
-      <li>zur Blume, inn, i. 123;</li>
-      <li>Carthusian Monastery, i. 90;</li>
-      <li>Cathedral, i. 87, 91, 95, 113-115, 148, 154, 340;</li>
-      <li>Dominican Monastery, i. 205, 208;
-        <ul>
-          <li>ii. <a href='#Page_156'>156</a>;</li>
-        </ul>
-      </li>
-      <li>Eisengasse, i. 117-118, 120;</li>
-      <li>Fischmarktplatz, i. 123, 163;</li>
-      <li><span class='pageno' id='Page_404'>404</span>Gerbergasse (“zum Papst”), i. 1;</li>
-      <li>Historical Museum, i. 83, 150;</li>
-      <li>Kunstverein, i. 51;</li>
-      <li>Library, i. 5, 91-92, 113, 239;
-        <ul>
-          <li>ii. <a href='#Page_6'>6</a>, <a href='#Page_329'>329</a>;</li>
-        </ul>
-      </li>
-      <li>Painters’ Guild (Zunft zum Himmel), i. 58-59, 82-83, 97, 121, 232;
-        <ul>
-          <li>ii. <a href='#Page_32'>32</a>-<a href='#Page_33'>33</a>, <a href='#Page_47'>47</a>, <a href='#Page_63'>63</a>, <a href='#Page_157'>157</a>-<a href='#Page_158'>158</a>;</li>
-        </ul>
-      </li>
-      <li>Public Picture Gallery (<i>see below</i>);</li>
-      <li>Rheingasse, i. 122;</li>
-      <li>Rhine Bridge, i. 102, 117;</li>
-      <li>Rhine Gate, i. 351;</li>
-      <li>St. Leonhard, i. 190;</li>
-      <li>St. Johann Vorstadt, i. 205, 339;
-        <ul>
-          <li>ii. <a href='#Page_156'>156</a>;</li>
-        </ul>
-      </li>
-      <li>Haus zum Tanz, <i>see</i> <a href='#DanceHouse'>Dance, House of the</a>;</li>
-      <li>Town Archives, i. 58-59, 83, 126, 339;</li>
-      <li>Town Council, i. 59, 90, 106, 124, 126-127, 130, 181, 198, 205, 232, 252, 254-255, 338-340, 347, 351;
-        <ul>
-          <li>ii. <a href='#Page_34'>34</a>-<a href='#Page_35'>35</a>, <a href='#Page_63'>63</a>, <a href='#Page_158'>158</a>-<a href='#Page_159'>159</a>, <a href='#Page_161'>161</a>-<a href='#Page_163'>163</a>, <a href='#Page_191'>191</a>, <a href='#Page_300'>300</a>;</li>
-        </ul>
-      </li>
-      <li>Town Hall and Council Chamber (wall-paintings), i. 91-92, 106, 118, 123-134, 343, 347-352;
-        <ul>
-          <li>ii. <a href='#Page_157'>157</a>, <a href='#Page_262'>262</a>-<a href='#Page_264'>264</a>, <a href='#Page_313'>313</a>-<a href='#Page_314'>314</a>;</li>
-        </ul>
-      </li>
-      <li>University, i. 37, 45, 84, 93, 145, 183;</li>
-      <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_329'>329</a>, <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Basel Public Picture Collection (Gallery), i. 7 <i>note</i>, 9, 19, 26, 35, 37, 39, 42-43, 45, 50-52, 54 <i>note</i>, 55, 58-61, 63, 65, 68, 77-79, 81, 84-85, 87-88, 91, 98-99, 101, 106, 112-113, 120-121, 125, 127-131, 137, 142-143, 145, 147-150, 159-161, 172-173, 175, 177, 180, 182-183, 185, 186 <i>note</i>, 188, 205, 207, 228, 230, 236, 241, 245, 289, 291, 321, 338, 343, 346-348, 350-351;
-    <ul>
-      <li>ii. <a href='#Page_87'>87</a> <i>and notes</i>, <a href='#Page_167'>167</a>-<a href='#Page_168'>168</a>, <a href='#Page_189'>189</a>, <a href='#Page_211'>211</a>, <a href='#Page_238'>238</a>, <a href='#Page_248'>248</a>, <a href='#Page_255'>255</a>-<a href='#Page_256'>256</a>, <a href='#Page_259'>259</a>-<a href='#Page_260'>260</a>, <a href='#Page_273'>273</a>, <a href='#Page_275'>275</a>-<a href='#Page_278'>278</a>, <a href='#Page_281'>281</a>, <a href='#Page_283'>283</a>-<a href='#Page_284'>284</a>, <a href='#Page_314'>314</a>, <a href='#Page_327'>327</a>-<a href='#Page_329'>329</a>, <a href='#Page_356'>356</a>-<a href='#Page_357'>357</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Jergen ze, ii. <a href='#Page_7'>7</a></li>
-  <li class='c056'><i>Basilea Sepulta</i> (Tonjola), i. 127, 130</li>
-  <li class='c056'>Basville, Marquis de, ii. <a href='#Page_46'>46</a></li>
-  <li class='c056'>Bathoe (James II’s catalogue of pictures), ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'><i>Battle of Bosworth Field</i> (jewel with pendant miniatures, by Hilliard), ii. <a href='#Page_234'>234</a></li>
-  <li class='c056'><i>Battle of Spurs</i> (Hampton Court), i. 258, 315-316;
-    <ul>
-      <li>ii. <a href='#Page_64'>64</a>, <a href='#Page_91'>91</a>, <a href='#Page_215'>215</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Bauerntanz,” <i>see</i> <a href='#Dance'>Dance</a>, House of the Bavaria, i. 15</li>
-  <li class='c056'>—— Duke Albrecht V of, ii. <a href='#Page_241'>241</a></li>
-  <li class='c056'>—— Maximilian I, Elector of, i. 17</li>
-  <li class='c056'>Bavarian National Museum, Munich, ii. <a href='#Page_241'>241</a>-<a href='#Page_242'>242</a></li>
-  <li class='c056'>Bayersdorfer, A., i. 237</li>
-  <li class='c056'>Bayonne, ii. <a href='#Page_38'>38</a></li>
-  <li class='c056'>Beard (Byrd), Richard, ii. <a href='#Page_173'>173</a>-<a href='#Page_175'>175</a>, <a href='#Page_177'>177</a>, <a href='#Page_184'>184</a></li>
-  <li class='c056'>Beauchamp, Earl (collection), ii. <a href='#Page_304'>304</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>Beaufort, Lady Margaret, her monument, i. 272</li>
-  <li class='c056'>Beaujon, Nicolas, ii. <a href='#Page_45'>45</a> <i>and note</i>, <a href='#Page_46'>46</a></li>
-  <li class='c056'>—— Sale and Catalogue, <a href='#Page_45'>45</a> <i>and note</i>, <a href='#Page_46'>46</a>-<a href='#Page_47'>47</a></li>
-  <li class='c056'>Beaune, i. 153, 174</li>
-  <li class='c056'>Beaver, Alfred, <i>Memorials of Old Chelsea</i>, i. 315;
-    <ul>
-      <li>ii. <a href='#Page_272'>272</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Bebelius, Johannes, printer, i. 202, 225</li>
-  <li class='c056'>Beckford Collection, ii. <a href='#Page_278'>278</a></li>
-  <li class='c056'>Beckman, Barthold, Steelyard merchant, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Bedford, Duke of (sale and collection), i. 304 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_112'>112</a>, <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_405'>405</span>Bedford, John Russell, Earl of, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Bell, Mr. C. F., F.S.A., ii. <a href='#Page_237'>237</a>, <a href='#Page_390'>390</a></li>
-  <li class='c056'>—— John (painter of Henry VIII’s tomb), i. 269, 272</li>
-  <li class='c056'>Bellay, Guillaume du, ii. <a href='#Page_38'>38</a>-<a href='#Page_39'>39</a></li>
-  <li class='c056'>—— Jean du, ii. <a href='#Page_38'>38</a>-<a href='#Page_39'>39</a></li>
-  <li class='c056'><a id='Bellin'></a>Bellin, Nicolas, of Modena, i. 281-286, 287 <i>note</i>, 314;
-    <ul>
-      <li>ii. <a href='#Page_186'>186</a>, <a href='#Page_201'>201</a>, <a href='#Page_269'>269</a> <i>note</i>, <a href='#Page_303'>303</a>, <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Belvoir Castle, ii. <a href='#Page_100'>100</a></li>
-  <li class='c056'>Bemberg Ducal Library, ii. <a href='#Page_277'>277</a></li>
-  <li class='c056'>Bemposta, Castle of, i. 16</li>
-  <li class='c056'>“Benedict, the King’s tomb-maker,” <i>see</i> <a href='#Rovezzano'>Rovezzano</a></li>
-  <li class='c056'>Bentinck family, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>Bentinck, Hans William, 1st Earl of Portland, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>Bentinck, William, 3rd son of 1st Earl of Portland, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>“Benting, Lord William, Lord of Rhoon,” ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>Berck (Berg), Derich, Steelyard merchant, ii. <a href='#Page_22'>22</a>-<a href='#Page_23'>23</a>, <a href='#Page_83'>83</a></li>
-  <li class='c056'>Bergh, Mayer van den, Collection, Antwerp, ii. <a href='#Page_230'>230</a></li>
-  <li class='c056'>Beringen, Anna von, i. 33</li>
-  <li class='c056'>—— Ycher von, i. 33</li>
-  <li class='c056'>Berkeley, Thomas, Lord, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>Berlepsch, H. E. von, i. 121</li>
-  <li class='c056'>Berlin, i. 204, 242</li>
-  <li class='c056'>Berlin, Kaiser Friedrich Museum and Royal Print Room, i. 11, 18, 21, 25-26, 119-120, 142-143, 182, 206-207, 214, 242, 354;
-    <ul>
-      <li>ii. <a href='#Page_4'>4</a>-<a href='#Page_6'>6</a>, <a href='#Page_15'>15</a>, <a href='#Page_16'>16</a>, <a href='#Page_31'>31</a>, <a href='#Page_201'>201</a>, <a href='#Page_205'>205</a>-<a href='#Page_206'>206</a>, <a href='#Page_248'>248</a>, <a href='#Page_255'>255</a>, <a href='#Page_259'>259</a>, <a href='#Page_278'>278</a>, <a href='#Page_324'>324</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Bermondsey, i. <a href='#Page_262'>262</a></li>
-  <li class='c056'>Bernal, Ralph, Sale (1855), ii. <a href='#Page_53'>53</a></li>
-  <li class='c056'>Bernardi family, painters, i. 287</li>
-  <li class='c056'>Bernburg Library, i. 5</li>
-  <li class='c056'>Berne, i. 3, 32, 77, 202, 204, 241;
-    <ul>
-      <li>ii. <a href='#Page_161'>161</a>-<a href='#Page_162'>162</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Dominican Monastery, i. 206;
-    <ul>
-      <li>Historical Museum, i. 141;</li>
-      <li>Town Council, ii. <a href='#Page_162'>162</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Bernoulli, Dr. C. Chr., ii. <a href='#Page_331'>331</a>, <a href='#Page_341'>341</a></li>
-  <li class='c056'>Beromünster Cloisters, Lucerne, i. 79</li>
-  <li class='c056'>Berry, dukes of, i. 175</li>
-  <li class='c056'>—— Duke Jehan of, and Duchess, i. 175-176</li>
-  <li class='c056'>Bertholdo, i. 271</li>
-  <li class='c056'>Besançon, i. 149, 174, 179 <i>note</i></li>
-  <li class='c056'>Besselsleigh, Berks., i. 301</li>
-  <li class='c056'>Bettes, John, ii. <a href='#Page_210'>210</a>, <a href='#Page_241'>241</a>, <a href='#Page_308'>308</a>-<a href='#Page_309'>309</a></li>
-  <li class='c056'>—— Thomas, ii. <a href='#Page_241'>241</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>Beverley, Yorks., ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>Bewick, John, <i>Emblems of Mortality</i>, i. 214</li>
-  <li class='c056'>—— Thomas, i. 214</li>
-  <li class='c056'>Bibliothèque Nationale, Paris, i. 142, 144, 207</li>
-  <li class='c056'>Bickley Hall, Kent, ii. <a href='#Page_33'>33</a></li>
-  <li class='c056'>Bicocca, battle of, i. 72</li>
-  <li class='c056'><a id='Bienenvater'></a>Bienenvater, Matthias (Apiarius), printer of Berne, i. 202</li>
-  <li class='c056'>Binck, Jacob, ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'>Binnink, Simon, of Bruges, miniaturist, ii. <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a></li>
-  <li class='c056'>Binyon, Mr. Laurence, i. 356;
-    <ul>
-      <li>ii. <a href='#Page_390'>390</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_406'>406</span>Birmann, i. 127</li>
-  <li class='c056'>Bisschop, Jan de, i. 243;
-    <ul>
-      <li>ii. <a href='#Page_27'>27</a>-<a href='#Page_28'>28</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Black, Mr. W. H., F.S.A., ii. <a href='#Page_294'>294</a>, <a href='#Page_297'>297</a>-<a href='#Page_298'>298</a>, <a href='#Page_390'>390</a></li>
-  <li class='c056'>Blackheath, i. 295</li>
-  <li class='c056'>Blakenhall, William, i. 327</li>
-  <li class='c056'>Blamire, Mr. W., sale (1863), ii. <a href='#Page_230'>230</a>, <a href='#Page_237'>237</a></li>
-  <li class='c056'>“Blanche Rose,” i. 283;
-    <ul>
-      <li>ii. <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Blankenberghe, near Bruges, ii. <a href='#Page_238'>238</a></li>
-  <li class='c056'>Bletz, Zacharias, registrar of Lucerne, i. 64</li>
-  <li class='c056'>Bloemaert, ii. <a href='#Page_341'>341</a></li>
-  <li class='c056'>Blomefield, Norfolk, i. 326</li>
-  <li class='c056'>Blomfield, Mr. Reginald, A.R.A., ii. <a href='#Page_272'>272</a> <i>and note</i>, <a href='#Page_390'>390</a></li>
-  <li class='c056'>Blond, Michel le, <i>see</i> <a href='#Le-Blond'>Le Blond</a></li>
-  <li class='c056'>Bock, Hans, the Elder, i. 105-106, 126-127;
-    <ul>
-      <li>ii. <a href='#Page_311'>311</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Bode, Dr., i. 335;
-    <ul>
-      <li>ii. <a href='#Page_196'>196</a>, <a href='#Page_342'>342</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Bodenham family, i. 353, 355-356;
-    <ul>
-      <li>ii. <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Mr. Charles, i. 355</li>
-  <li class='c056'>—— Thomas, i. 356</li>
-  <li class='c056'>Bodleian Library, Oxford, i. 171 <i>note</i>, 326;
-    <ul>
-      <li>ii. <a href='#Page_81'>81</a>, <a href='#Page_113'>113</a>, <a href='#Page_247'>247</a>, <a href='#Page_274'>274</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Boetius, <i>De Consolatione Philosophiæ</i>, i. 296</li>
-  <li class='c056'>Bohemia, King and Queen of, i. 241</li>
-  <li class='c056'>Boisserée, i. 91 <i>note</i></li>
-  <li class='c056'><i>Boke called the Governour</i> (Sir T. Elyot), i. 336</li>
-  <li class='c056'><a id='Boleyn'></a>Boleyn, Queen Anne, i. 178, 262, 306, 319;
-    <ul>
-      <li>ii. <a href='#Page_30'>30</a>-<a href='#Page_33'>33</a>, <a href='#Page_38'>38</a>, <a href='#Page_59'>59</a>, <a href='#Page_78'>78</a>, <a href='#Page_91'>91</a>, <a href='#Page_104'>104</a>, <a href='#Page_109'>109</a>-<a href='#Page_110'>110</a>, <a href='#Page_116'>116</a>, <a href='#Page_192'>192</a>, <a href='#Page_196'>196</a>, <a href='#Page_208'>208</a>, <a href='#Page_235'>235</a>, <a href='#Page_237'>237</a>, <a href='#Page_288'>288</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Boleyn-Sir-Thomas'></a>—— Sir Thomas, Earl of Wiltshire and Ormonde, i. 327;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir William, ii. <a href='#Page_272'>272</a></li>
-  <li class='c056'>Boling, Sir John, and his mother, miniature, signed “L.,” ii. <a href='#Page_240'>240</a></li>
-  <li class='c056'>Bolingbroke, Lord, ii. <a href='#Page_230'>230</a></li>
-  <li class='c056'>Bollonia, Hierome Trevix, <i>see</i> <a href='#Treviso'>Treviso, G. da</a></li>
-  <li class='c056'>Bologna, i. 286</li>
-  <li class='c056'>Bonnat, M. Léon, Paris (collection), i. 19, 148</li>
-  <li class='c056'>Bonner, wood-engraver, i. 214</li>
-  <li class='c056'>Booth, Mrs., of Glendon Hall (collection), i. 269</li>
-  <li class='c056'>Borcht, H. Van der, ii. <a href='#Page_15'>15</a></li>
-  <li class='c056'>Bordeaux, i. 329</li>
-  <li class='c056'>Bordone, Paris, ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'>Born, Derich, Steelyard merchant, ii. <a href='#Page_17'>17</a>-<a href='#Page_20'>20</a>, <a href='#Page_65'>65</a></li>
-  <li class='c056'>—— Theodoricus, ii. <a href='#Page_18'>18</a>-<a href='#Page_19'>19</a></li>
-  <li class='c056'>Borough, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Boston, U.S.A., ii. <a href='#Page_210'>210</a>, <a href='#Page_347'>347</a></li>
-  <li class='c056'>Boswell, William, ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>“Bottle, The,” Bermondsey, i. 262</li>
-  <li class='c056'>Botzheim, von, family, i. 33</li>
-  <li class='c056'>—— Johann von, i. 33;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_332'>332</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Michael von, i. 33</li>
-  <li class='c056'>Bouchot, Mons., i. 305</li>
-  <li class='c056'>Boulogne, i. 286, 326;
-    <ul>
-      <li>ii. <a href='#Page_144'>144</a>, <a href='#Page_303'>303</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Captain of, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>—— siege of, ii. <a href='#Page_119'>119</a></li>
-  <li class='c056'>Bourbon, Nicolas, i. 211, 227, 328;
-    <ul>
-      <li>ii. <a href='#Page_38'>38</a>, <a href='#Page_63'>63</a>, <a href='#Page_72'>72</a>-<a href='#Page_75'>75</a>, <a href='#Page_79'>79</a>, <a href='#Page_90'>90</a>-<a href='#Page_91'>91</a>, <a href='#Page_92'>92</a> <i>note</i>, <a href='#Page_288'>288</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Bourges Cathedral, i. 175-176</li>
-  <li class='c056'>Brabant, i. 269</li>
-  <li class='c056'><span class='pageno' id='Page_407'>407</span>Bracquemond, Félix, etcher, i. 173</li>
-  <li class='c056'><a id='Braganza'></a>Braganza, Catherine of, i. 16</li>
-  <li class='c056'><a id='Brandon'></a>Brandon, Anne, Lady Powys, ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— Charles, Duke of Suffolk, i. 269;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_11'>11</a>, <a href='#Page_44'>44</a> <i>note</i>, <a href='#Page_59'>59</a>, <a href='#Page_193'>193</a>, <a href='#Page_214'>214</a>, <a href='#Page_220'>220</a>, <a href='#Page_223'>223</a>-<a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>, <a href='#Page_241'>241</a>, <a href='#Page_280'>280</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Charles, son of above, ii. <a href='#Page_201'>201</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_227'>227</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>—— “Duke of,” ii. <a href='#Page_224'>224</a></li>
-  <li class='c056'>—— Eleanor, Countess of Cumberland, ii. <a href='#Page_195'>195</a>, <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— family, ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— Frances, Countess of Dorset, ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— Henry, afterwards Duke of, ii. <a href='#Page_63'>63</a>, <a href='#Page_167'>167</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_227'>227</a></li>
-  <li class='c056'>—— Mary, Lady Monteagle, ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>Braneburgh, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Brasseur, Herr, of Cologne, i. 344 <i>note</i></li>
-  <li class='c056'>Braun, <i>Urbium Præcipuarum Mundi</i>, &amp;c. (1583), i. 276</li>
-  <li class='c056'>—— photographer, ii. <a href='#Page_72'>72</a>, <a href='#Page_342'>342</a></li>
-  <li class='c056'>Bray, i. 78</li>
-  <li class='c056'>—— Sir Edward, of Shere, i. 309-310</li>
-  <li class='c056'>—— family, of Shere, i. 309</li>
-  <li class='c056'>Brede Church, Sussex, ii. <a href='#Page_272'>272</a></li>
-  <li class='c056'>Breidrood, Lord of, ii. <a href='#Page_116'>116</a></li>
-  <li class='c056'>Brentano-Birckenstock Sale (1870), ii. <a href='#Page_207'>207</a></li>
-  <li class='c056'>Brentford, i. 300</li>
-  <li class='c056'>Brera Gallery, <i>see</i> <a href='#Milan'>Milan</a></li>
-  <li class='c056'>Brescia, i. 275</li>
-  <li class='c056'>Breslau, i. 83</li>
-  <li class='c056'>Bretten, i. 185</li>
-  <li class='c056'>Brewer, Dr., i. 256, 315;
-    <ul>
-      <li>ii. <a href='#Page_390'>390</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Brian, Sir Francis, Master of the Toils, ii. <a href='#Page_142'>142</a>, <a href='#Page_144'>144</a>-<a href='#Page_146'>146</a></li>
-  <li class='c056'>Brickdon, Huntingdonshire, ii. <a href='#Page_226'>226</a></li>
-  <li class='c056'>Bridewell Hospital, <i>see</i> <a href='#London'>London</a></li>
-  <li class='c056'>—— Palace, ii. <a href='#Page_42'>42</a>-<a href='#Page_43'>43</a>, <a href='#Page_292'>292</a></li>
-  <li class='c056'>Brighton Art Gallery, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'>Bristol, Marquis of, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>British Institution Exhibition, 1846, ii. <a href='#Page_359'>359</a></li>
-  <li class='c056'>British Museum, Print Room, i. 21-22, 63, 80, 146, 156, 182, 188, 207, 214 <i>note</i>, 307, 324, 356;
-    <ul>
-      <li>ii. <a href='#Page_26'>26</a>-<a href='#Page_27'>27</a>, <a href='#Page_40'>40</a>, <a href='#Page_61'>61</a>, <a href='#Page_92'>92</a> <i>note</i>, <a href='#Page_113'>113</a>, <a href='#Page_196'>196</a>, <a href='#Page_211'>211</a>, <a href='#Page_219'>219</a>, <a href='#Page_226'>226</a>-<a href='#Page_227'>227</a>, <a href='#Page_246'>246</a>, <a href='#Page_247'>247</a> <i>note</i>, <a href='#Page_254'>254</a>, <a href='#Page_269'>269</a>-<a href='#Page_270'>270</a>, <a href='#Page_273'>273</a>-<a href='#Page_274'>274</a>, <a href='#Page_276'>276</a>-<a href='#Page_280'>280</a>, <a href='#Page_283'>283</a>-<a href='#Page_284'>284</a>, <a href='#Page_314'>314</a>, <a href='#Page_327'>327</a>, <a href='#Page_337'>337</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Brocklebank, Mr. Ralph (collection), i. 54 <i>note</i></li>
-  <li class='c056'>Brockwell, Mr. Maurice W., i. 354-355, 357</li>
-  <li class='c056'>Browne, Sir Anthony, ii. <a href='#Page_180'>180</a>, <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— John, serjeant-painter, i. 258-262, 273-274, 314</li>
-  <li class='c056'>Bruce, Mr., ii. <a href='#Page_79'>79</a></li>
-  <li class='c056'>Bruges, i. 289;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a>;</li>
-      <li>Carmelite Church, i. 245;</li>
-      <li>Golden Fleece Exhibition (1907), ii. <a href='#Page_141'>141</a> <i>note</i>;</li>
-      <li>Painters’ Guild, i. 269</li>
-    </ul>
-  </li>
-  <li class='c056'>Brunner, Barbara, i. 35</li>
-  <li class='c056'>Brunswick Gallery, i. 73, 79;
-    <ul>
-      <li>ii. <a href='#Page_18'>18</a>, <a href='#Page_22'>22</a>, <a href='#Page_323'>323</a>, <a href='#Page_326'>326</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Brussels, i. 170;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a>, <a href='#Page_61'>61</a>, <a href='#Page_115'>115</a>-<a href='#Page_116'>116</a>, <a href='#Page_119'>119</a>-<a href='#Page_120'>120</a>, <a href='#Page_125'>125</a>, <a href='#Page_127'>127</a>, <a href='#Page_129'>129</a>, <a href='#Page_140'>140</a>-<a href='#Page_141'>141</a>, <a href='#Page_148'>148</a>, <a href='#Page_150'>150</a>, <a href='#Page_153'>153</a>, <a href='#Page_155'>155</a>, <a href='#Page_180'>180</a>, <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_408'>408</span><a id='Brussels'></a>Brussels Exhibition of Miniatures (1912), ii. <a href='#Page_57'>57</a> <i>note</i>, 230</li>
-  <li class='c056'>—— Museum, i. 304</li>
-  <li class='c056'>Bruyn, Bartholomäus, i. 96</li>
-  <li class='c056'>Buccleuch, Duke of (collection), ii. <a href='#Page_62'>62</a>, <a href='#Page_88'>88</a>, <a href='#Page_109'>109</a>, <a href='#Page_170'>170</a>, <a href='#Page_192'>192</a>-<a href='#Page_194'>194</a>, <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>, <a href='#Page_230'>230</a>-<a href='#Page_231'>231</a>, <a href='#Page_234'>234</a>, <a href='#Page_237'>237</a>-<a href='#Page_238'>238</a>, <a href='#Page_346'>346</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Bucer, Martin, ii. <a href='#Page_225'>225</a></li>
-  <li class='c056'>Buchanan, dealer, ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'>Büchel, Emmanuel, i. 113, 205</li>
-  <li class='c056'>Buchheit, Dr. Hans, ii. <a href='#Page_241'>241</a>-<a href='#Page_242'>242</a></li>
-  <li class='c056'>Buckingham (town), ii. <a href='#Page_52'>52</a></li>
-  <li class='c056'>—— Duke of, i. 166, 240, 320</li>
-  <li class='c056'>—— —— Collection and Inventory (1635), i. 320;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_14'>14</a>, <a href='#Page_87'>87</a>, <a href='#Page_215'>215</a>, <a href='#Page_237'>237</a>, <a href='#Page_308'>308</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Earl of, ii. <a href='#Page_292'>292</a></li>
-  <li class='c056'>—— Edward Stafford, Duke of, ii. <a href='#Page_44'>44</a> <i>note</i></li>
-  <li class='c056'>—— House, ii. <a href='#Page_26'>26</a></li>
-  <li class='c056'>—— <a id='Buckingham-Palace'></a>Palace, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>Bugenhagen, <i>Interpretation of the Psalms</i>, i. 198</li>
-  <li class='c056'>Buildwas Park, Shropshire, ii. <a href='#Page_212'>212</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Bullinger, Heinrich, ii. <a href='#Page_156'>156</a></li>
-  <li class='c056'>Bulstrode Park, Bucks., ii. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Burckhardt family, i. 74</li>
-  <li class='c056'>Burckhardt, A., ii. <a href='#Page_390'>390</a></li>
-  <li class='c056'>Burckhardt-Werthemann, D., ii. <a href='#Page_390'>390</a></li>
-  <li class='c056'>Büren, Colonel May von, i. 71-72</li>
-  <li class='c056'>Burford Priory, Oxfordshire, i. 301-302 ii. <a href='#Page_335'>335</a></li>
-  <li class='c056'>Burgkmair, Hans, i. 4, 6, 12, 30-31, 55 <i>note</i>, 74</li>
-  <li class='c056'>—— Thomas, i. 4</li>
-  <li class='c056'>Burgratus, Francis, ii. <a href='#Page_152'>152</a>, <a href='#Page_172'>172</a>-<a href='#Page_173'>173</a></li>
-  <li class='c056'>Burgundy, ii. <a href='#Page_38'>38</a></li>
-  <li class='c056'>—— county of, ii. <a href='#Page_150'>150</a></li>
-  <li class='c056'>—— duchy of, ii. <a href='#Page_150'>150</a></li>
-  <li class='c056'>Burke’s <i>Peerage</i>, ii. <a href='#Page_225'>225</a></li>
-  <li class='c056'>Burleigh House, ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'>Burlington, Earl of, ii. <a href='#Page_294'>294</a></li>
-  <li class='c056'><a id='Burlington'></a>—— Fine Arts Club Exhibition (1906), i. 20, 81</li>
-  <li class='c056'>—— —— (1909), i. 269, 286-287, 303, 308, 332;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_81'>81</a>, <a href='#Page_85'>85</a>, <a href='#Page_88'>88</a>, <a href='#Page_103'>103</a>-<a href='#Page_104'>104</a>, <a href='#Page_107'>107</a>, <a href='#Page_109'>109</a>, <a href='#Page_165'>165</a>, <a href='#Page_167'>167</a>, <a href='#Page_169'>169</a>-<a href='#Page_170'>170</a>, <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>, <a href='#Page_199'>199</a>, <a href='#Page_204'>204</a>, <a href='#Page_210'>210</a>, <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>, <a href='#Page_230'>230</a>, <a href='#Page_234'>234</a>-<a href='#Page_239'>239</a>, <a href='#Page_384'>384</a>-<a href='#Page_386'>386</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Catalogue, ii. <a href='#Page_106'>106</a>, <a href='#Page_194'>194</a>, <a href='#Page_204'>204</a>, <a href='#Page_233'>233</a>-<a href='#Page_235'>235</a>, <a href='#Page_239'>239</a></li>
-  <li class='c056'>—— House, ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'><i>Burlington Magazine of Fine Arts</i>, ii. <a href='#Page_23'>23</a>, <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_52'>52</a> <i>and note</i>, <a href='#Page_60'>60</a> <i>note</i>, <a href='#Page_65'>65</a>, <a href='#Page_228'>228</a>-<a href='#Page_229'>229</a>, <a href='#Page_231'>231</a>, <a href='#Page_337'>337</a>, <a href='#Page_400'>400</a></li>
-  <li class='c056'>Burnet, Bishop, <i>History of the Reformation</i>, ii. <a href='#Page_178'>178</a>-<a href='#Page_179'>179</a></li>
-  <li class='c056'>Burrell, Sir William, i. 320</li>
-  <li class='c056'>Burton, Sir Frederick, ii. <a href='#Page_44'>44</a></li>
-  <li class='c056'>Bute, Marquis of (collection), i. 266;
-    <ul>
-      <li>ii. <a href='#Page_102'>102</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Buttery, Mr. Ayerst H., i. 353, 357-358;
-    <ul>
-      <li>ii. <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Buttessey, Bamardyne, ii. <a href='#Page_188'>188</a></li>
-  <li class='c056'>Butts, Edmund, ii. <a href='#Page_210'>210</a>-<a href='#Page_211'>211</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>—— family, ii. <a href='#Page_210'>210</a>-<a href='#Page_211'>211</a></li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_83'>83</a>, <a href='#Page_205'>205</a>, <a href='#Page_209'>209</a>-<a href='#Page_210'>210</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>—— Sir William, ii. <a href='#Page_73'>73</a>, <a href='#Page_205'>205</a>, <a href='#Page_208'>208</a>-<a href='#Page_211'>211</a>, <a href='#Page_255'>255</a>, <a href='#Page_289'>289</a>, <a href='#Page_291'>291</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>Byfield, John, wood-engraver, i. 214</li>
-  <li class='c056'><span class='pageno' id='Page_409'>409</span>Bygnalle, Rychard, painter-stainer, i. 261</li>
-  <li class='c056'>Byrom, George, of Salford, ii. <a href='#Page_6'>6</a></li>
-  <li class='c004'>Calais, i. 163, 178, 258-259, 268, 273, 289;
-    <ul>
-      <li>ii. <a href='#Page_118'>118</a>, <a href='#Page_144'>144</a>-<a href='#Page_145'>145</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Calard, Rychard, painter-stainer, i. 261</li>
-  <li class='c056'>Caledon, Earl of, ii. <a href='#Page_58'>58</a>-<a href='#Page_59'>59</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'><a id='Calendars'></a><i>Calendars of Letters and Papers, Foreign and Domestic</i>, &amp;c., i. 273, 284, 287 <i>note</i>, 312, 314, 327, 334, 356-357;
-    <ul>
-      <li>ii. <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_10'>10</a>, <a href='#Page_11'>11</a>, <a href='#Page_15'>15</a>, <a href='#Page_19'>19</a>, <a href='#Page_21'>21</a>, <a href='#Page_43'>43</a>, <a href='#Page_92'>92</a>, <a href='#Page_120'>120</a>, <a href='#Page_141'>141</a>, <a href='#Page_146'>146</a>, <a href='#Page_152'>152</a>-<a href='#Page_153'>153</a>, <a href='#Page_172'>172</a>, <a href='#Page_179'>179</a>-<a href='#Page_180'>180</a>, <a href='#Page_202'>202</a>, <a href='#Page_253'>253</a>, <a href='#Page_272'>272</a>, <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Calumny of Apelles,” i. 62</li>
-  <li class='c056'>Cambridge, ii. <a href='#Page_211'>211</a>;
-    <ul>
-      <li>Corpus Christi College, ii. <a href='#Page_61'>61</a>;</li>
-      <li>Fitzwilliam Museum, ii. <a href='#Page_43'>43</a>, <a href='#Page_71'>71</a>, <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a>, <a href='#Page_304'>304</a>;</li>
-      <li>King’s College, ii. <a href='#Page_270'>270</a>;</li>
-      <li>Pepysian Library, ii. <a href='#Page_346'>346</a>;</li>
-      <li>St. John’s College, i. 325;</li>
-      <li>ii. <a href='#Page_226'>226</a>;</li>
-      <li>Trinity College, ii. <a href='#Page_101'>101</a>, <a href='#Page_332'>332</a>;</li>
-      <li>University, ii. <a href='#Page_244'>244</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Campo, <i>History of Cremona</i>, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Campori, Monsignor, i. 306</li>
-  <li class='c056'>Camusat, Nicolas, antiquary, ii. <a href='#Page_41'>41</a>-<a href='#Page_42'>42</a></li>
-  <li class='c056'>Canaletto, ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Canterbury, ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>—— Archidiaconal Court of, ii. <a href='#Page_302'>302</a></li>
-  <li class='c056'>—— Prerogative Court of, i. 262</li>
-  <li class='c056'>Cappes, Adryan, ii. <a href='#Page_333'>333</a></li>
-  <li class='c056'>Carden, R. W., <i>Italian Artists in England</i>, &amp;c., i. 287 <i>note</i></li>
-  <li class='c056'>Cardiff, ii. <a href='#Page_27'>27</a> <i>note</i></li>
-  <li class='c056'>Cardon, Mons. C. Léon, Brussels (collection), ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>Carew, Sir George, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>—— Sir Nicholas, Master of the Horse, i. 279, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_87'>87</a>-<a href='#Page_89'>89</a>, <a href='#Page_256'>256</a>, <a href='#Page_260'>260</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_260'>260</a></li>
-  <li class='c056'>—— Sir Peter, portrait by Flicke, i. 306</li>
-  <li class='c056'>Carl the Big, Emperor, ii. <a href='#Page_326'>326</a></li>
-  <li class='c056'>Carleton, Sir Dudley, i. 241;
-    <ul>
-      <li>ii. <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Carlisle, Earl of, ii. <a href='#Page_245'>245</a> <i>note</i></li>
-  <li class='c056'>Carmeliano, Peter, of Brescia, i. 275</li>
-  <li class='c056'>Carmenelle, Elys, <i>see</i> <a href='#Carmillian'>Carmillian Alis</a></li>
-  <li class='c056'><a id='Carmillian'></a>Carmillian, Alys or Ellys, i. 273-276, 314</li>
-  <li class='c056'>Carmillione, Elisa, <i>see</i> <a href='#Carmillian'>Carmillian</a></li>
-  <li class='c056'>Carmyan, Ellys, <i>see</i> <a href='#Carmillian'>Carmillian</a></li>
-  <li class='c056'>Carne, Dr. Edward, ii. <a href='#Page_131'>131</a>, <a href='#Page_133'>133</a>, <a href='#Page_173'>173</a></li>
-  <li class='c056'>Caroline, Queen, wife of George II, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>Carracci, Agostino, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Carwardine, Sir Thomas, Master of the Revels, ii. <a href='#Page_244'>244</a></li>
-  <li class='c056'>Caspar, Lucerne goldsmith, i. 64</li>
-  <li class='c056'>Cassel, i. 180</li>
-  <li class='c056'>Castiglione, Count Balthazar, ii. <a href='#Page_38'>38</a></li>
-  <li class='c056'><a id='Castillon'></a>Castillon, Louis de Perreau, Sieur de, French Ambassador in England, ii. <a href='#Page_64'>64</a>, <a href='#Page_139'>139</a>-<a href='#Page_145'>145</a>, <a href='#Page_152'>152</a>, <a href='#Page_154'>154</a></li>
-  <li class='c056'>Castle Howard, ii. <a href='#Page_44'>44</a>, <a href='#Page_104'>104</a>, <a href='#Page_245'>245</a></li>
-  <li class='c056'>Catherine of Braganza, <i>see</i> <a href='#Braganza'>Braganza</a></li>
-  <li class='c056'>Cavalcanti, Bernardo, i. 271</li>
-  <li class='c056'>—— family, i. 270</li>
-  <li class='c056'>Cavendish’s <i>Life of Wolsey</i>, ii. <a href='#Page_109'>109</a></li>
-  <li class='c056'>Cavendish, Richard, ii. <a href='#Page_11'>11</a></li>
-  <li class='c056'>Cazillac, François de, <i>see</i> <a href='#Cessac'>Cessac</a></li>
-  <li class='c056'><span class='pageno' id='Page_410'>410</span>Cebes of Thebes, i. 193</li>
-  <li class='c056'>“Cebes, Table of,” i. 193-195</li>
-  <li class='c056'>Cellini, Benvenuto, i. 257, 272</li>
-  <li class='c056'>Cerny, Prince de (collection), ii. <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'>Certosa of Pavia, i. 69, 76, 140</li>
-  <li class='c056'><a id='Cessac'></a>Cessac, De, family, ii. <a href='#Page_46'>46</a></li>
-  <li class='c056'>—— François de Cazillac, Baron de, ii. <a href='#Page_44'>44</a>, <a href='#Page_46'>46</a></li>
-  <li class='c056'>Chaloner, Thomas, ii. <a href='#Page_214'>214</a></li>
-  <li class='c056'>Chamber, Dr. John, ii. <a href='#Page_65'>65</a>, <a href='#Page_112'>112</a>, <a href='#Page_205'>205</a>, <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>, <a href='#Page_255'>255</a>, <a href='#Page_289'>289</a>, <a href='#Page_291'>291</a></li>
-  <li class='c056'>Chamberlaine, John, <i>Imitations of Holbein’s Drawings</i>, i. 334;
-    <ul>
-      <li>ii. <a href='#Page_249'>249</a>-<a href='#Page_250'>250</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Chamberlayne, Francis, ii. <a href='#Page_56'>56</a></li>
-  <li class='c056'>Champagne, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Chantilly, i. 11, 16;
-    <ul>
-      <li>ii. <a href='#Page_44'>44</a>, <a href='#Page_52'>52</a>, <a href='#Page_245'>245</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Chapuys, Eustace, Imperial Ambassador in London, ii. <a href='#Page_30'>30</a>, <a href='#Page_32'>32</a>, <a href='#Page_58'>58</a>-<a href='#Page_59'>59</a>, <a href='#Page_111'>111</a>, <a href='#Page_118'>118</a>, <a href='#Page_124'>124</a>, <a href='#Page_152'>152</a>, <a href='#Page_172'>172</a></li>
-  <li class='c056'>Charing Cross, i. 265</li>
-  <li class='c056'>Charles I of England, i. 106, 166-167, 172, 334;
-    <ul>
-      <li>ii. <a href='#Page_104'>104</a>, <a href='#Page_198'>198</a>, <a href='#Page_224'>224</a>, <a href='#Page_234'>234</a>, <a href='#Page_245'>245</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Collection and Catalogue, i. 165-166, 173, 304 <i>note</i>, 334;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_13'>13</a>-<a href='#Page_14'>14</a>, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>-<a href='#Page_25'>25</a>, <a href='#Page_62'>62</a>, <a href='#Page_81'>81</a>, <a href='#Page_107'>107</a>, <a href='#Page_110'>110</a>, <a href='#Page_166'>166</a>, <a href='#Page_188'>188</a>, <a href='#Page_209'>209</a>, <a href='#Page_224'>224</a>, <a href='#Page_233'>233</a>-<a href='#Page_234'>234</a>, <a href='#Page_245'>245</a>-<a href='#Page_246'>246</a>, <a href='#Page_248'>248</a>, <a href='#Page_253'>253</a>, <a href='#Page_274'>274</a>, <a href='#Page_308'>308</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— II of England, i. 16, 97;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— V, Emperor, i. 19;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_6'>6</a>, <a href='#Page_30'>30</a>, <a href='#Page_32'>32</a>, <a href='#Page_40'>40</a>, <a href='#Page_42'>42</a>, <a href='#Page_111'>111</a>, <a href='#Page_114'>114</a>, <a href='#Page_117'>117</a>, <a href='#Page_124'>124</a>, <a href='#Page_131'>131</a>-<a href='#Page_133'>133</a>, <a href='#Page_137'>137</a>-<a href='#Page_138'>138</a>, <a href='#Page_148'>148</a>, <a href='#Page_152'>152</a>, <a href='#Page_171'>171</a>-<a href='#Page_172'>172</a>, <a href='#Page_177'>177</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— VIII of France, his tomb, i. 271</li>
-  <li class='c056'>—— Prince, of Hesse-Darmstadt, i. 242</li>
-  <li class='c056'>—— de France, Monsieur, ii. <a href='#Page_40'>40</a></li>
-  <li class='c056'>Chateaudun, ii. <a href='#Page_343'>343</a></li>
-  <li class='c056'>Chatsworth, i. 336;
-    <ul>
-      <li>ii. <a href='#Page_97'>97</a> <i>note</i>, <a href='#Page_101'>101</a>, <a href='#Page_103'>103</a> <i>note</i>, <a href='#Page_248'>248</a>, <a href='#Page_283'>283</a>, <a href='#Page_285'>285</a>-<a href='#Page_286'>286</a>, <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Chatto, <i>Treatise on Wood Engraving</i>, i. 223, 227;
-    <ul>
-      <li>ii. <a href='#Page_391'>391</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Chaumont, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Cheam, i. 276</li>
-  <li class='c056'>Cheke, Sir John, ii. <a href='#Page_225'>225</a>, <a href='#Page_244'>244</a></li>
-  <li class='c056'><a id='Chelsea'></a>Chelsea, i. 289-290, 302, 314, 316, 338;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_145'>145</a>, <a href='#Page_272'>272</a>, <a href='#Page_338'>338</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Church (More Chapel), ii. <a href='#Page_271'>271</a>-<a href='#Page_272'>272</a></li>
-  <li class='c056'>Cheltenham, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Cherbourg, i. 284</li>
-  <li class='c056'>Cheseman, Anne, ii. <a href='#Page_56'>56</a></li>
-  <li class='c056'>—— Edward, ii. <a href='#Page_54'>54</a>-<a href='#Page_55'>55</a></li>
-  <li class='c056'>—— Robert, of Dormanswell, ii. <a href='#Page_54'>54</a>-<a href='#Page_56'>56</a>, <a href='#Page_203'>203</a>, <a href='#Page_206'>206</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>—— William, of Lewes, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Chetwynd, Mr., ii. <a href='#Page_183'>183</a></li>
-  <li class='c056'>Childe, John, painter-stainer, i. 261</li>
-  <li class='c056'>Cholmondeley Sale (1898), ii. <a href='#Page_194'>194</a></li>
-  <li class='c056'><a id='Chretien'></a>Chrétien, Félix, painter, of Auxerre, ii. <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'>Christie’s, Messrs., i. 301, 307, 332;
-    <ul>
-      <li>ii. <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_61'>61</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Christina of Denmark, Duchess of Milan, <i>see</i> <a href='#Milan'>Milan</a></li>
-  <li class='c056'>Christina, Queen of Sweden, i. 180</li>
-  <li class='c056'>Chur, i. 145</li>
-  <li class='c056'>Churchill, Mr. Sydney J. A., ii. <a href='#Page_52'>52</a> <i>note</i>, 391</li>
-  <li class='c056'>Cibber, Caius Gabriel, sculptor, ii. <a href='#Page_33'>33</a></li>
-  <li class='c056'><span class='pageno' id='Page_411'>411</span>Cibber, Colley, dramatist, ii. <a href='#Page_33'>33</a></li>
-  <li class='c056'>Circignano, Nicolo, <i>see</i> <a href='#Pomerantius'>Pomerantius</a></li>
-  <li class='c056'>Clarendon Press, ii. <a href='#Page_332'>332</a></li>
-  <li class='c056'>Clauser, Jakob, i. 46, 87;
-    <ul>
-      <li>ii. <a href='#Page_311'>311</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Clement, Dr. John, i. 293;
-    <ul>
-      <li>ii. <a href='#Page_340'>340</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Margaret, <i>see</i> <a href='#Gigs'>Gigs</a></li>
-  <li class='c056'>Cleve, Joos van (“Sotto” Cleef), ii. <a href='#Page_105'>105</a>-<a href='#Page_107'>107</a>, <a href='#Page_206'>206</a>, <a href='#Page_308'>308</a></li>
-  <li class='c056'><a id='Cleves'></a>Cleves (duchy), ii. <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_174'>174</a>-<a href='#Page_175'>175</a>, <a href='#Page_177'>177</a>, <a href='#Page_180'>180</a></li>
-  <li class='c056'>—— Amelia of, ii. <a href='#Page_154'>154</a>, <a href='#Page_174'>174</a>-<a href='#Page_176'>176</a>, <a href='#Page_178'>178</a>, <a href='#Page_236'>236</a></li>
-  <li class='c056'>—— Queen Anne of, i. 178;
-    <ul>
-      <li>ii. <a href='#Page_55'>55</a>, <a href='#Page_65'>65</a>, <a href='#Page_114'>114</a>-<a href='#Page_116'>116</a>, <a href='#Page_154'>154</a>, <a href='#Page_171'>171</a>, <a href='#Page_173'>173</a>-<a href='#Page_184'>184</a>, <a href='#Page_192'>192</a>, <a href='#Page_215'>215</a>, <a href='#Page_232'>232</a>, <a href='#Page_235'>235</a>-<a href='#Page_236'>236</a>, <a href='#Page_271'>271</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Duchess of, ii. <a href='#Page_178'>178</a></li>
-  <li class='c056'>—— Duke of, ii. <a href='#Page_116'>116</a>, <a href='#Page_172'>172</a>-<a href='#Page_173'>173</a>, <a href='#Page_178'>178</a>, <a href='#Page_180'>180</a></li>
-  <li class='c056'>—— young Duke of, ii. <a href='#Page_172'>172</a>-<a href='#Page_174'>174</a>, <a href='#Page_177'>177</a></li>
-  <li class='c056'>—— Sybille of, Duchess of Saxony, ii. <a href='#Page_173'>173</a>, <a href='#Page_178'>178</a></li>
-  <li class='c056'>Clinton, Edward, Lord, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Clouet, François, ii. <a href='#Page_261'>261</a>-<a href='#Page_262'>262</a></li>
-  <li class='c056'>—— Jean, ii. <a href='#Page_44'>44</a>, <a href='#Page_106'>106</a>, <a href='#Page_194'>194</a>, <a href='#Page_216'>216</a> <i>note</i>, <a href='#Page_261'>261</a></li>
-  <li class='c056'>Clouets and their school, i. 175</li>
-  <li class='c056'>Cob, Thomas, painter-stainer, i. 261</li>
-  <li class='c056'>Cobham, George Brooke, Lord, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>—— Lord, ii. <a href='#Page_257'>257</a></li>
-  <li class='c056'>Cochin, N., engraver, i. 299</li>
-  <li class='c056'>Cocles, Peter, i. 163</li>
-  <li class='c056'>Cokayne family, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Cokethorpe Park, Ducklington, Oxfordshire, i. 301</li>
-  <li class='c056'>Colbert, i. 335</li>
-  <li class='c056'>Coligny, Gaspard de, Admiral of France, miniature by Bettes, ii. <a href='#Page_309'>309</a></li>
-  <li class='c056'>College of Heralds, i. 262</li>
-  <li class='c056'>Colmar, i. 5, 18, 91, 190</li>
-  <li class='c056'>Colnaghi, Messrs. P. &amp; D., &amp; Co., ii. <a href='#Page_136'>136</a></li>
-  <li class='c056'>Cologne, i. 214, 328, 335, 344 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_15'>15</a>-<a href='#Page_16'>16</a>, <a href='#Page_19'>19</a>, <a href='#Page_22'>22</a>, <a href='#Page_175'>175</a>, <a href='#Page_202'>202</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Bible (1480), i. 230 <i>note</i></li>
-  <li class='c056'>—— University, ii. <a href='#Page_19'>19</a></li>
-  <li class='c056'>Colvin, Sir Sidney, i. 177-178;
-    <ul>
-      <li>ii. <a href='#Page_38'>38</a>, <a href='#Page_44'>44</a>, <a href='#Page_48'>48</a>, <a href='#Page_69'>69</a>, <a href='#Page_196'>196</a>, <a href='#Page_391'>391</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Colynbrowgh, Hans, Steelyard merchant, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Commonwealth Commissioners (sale of Charles I’s pictures), i. 167;
-    <ul>
-      <li>ii. <a href='#Page_14'>14</a>, <a href='#Page_25'>25</a>, <a href='#Page_107'>107</a>, <a href='#Page_137'>137</a>, <a href='#Page_170'>170</a>, <a href='#Page_246'>246</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Como, i. 77, 95, 98, 100, 139</li>
-  <li class='c056'>Compiègne, ii. <a href='#Page_131'>131</a>, <a href='#Page_148'>148</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'><i>Compleat Gentleman</i> (Peacham), ii. <a href='#Page_186'>186</a> <i>note</i>, <a href='#Page_270'>270</a>, <a href='#Page_332'>332</a></li>
-  <li class='c056'>Condover Hall, Shropshire, ii. <a href='#Page_194'>194</a></li>
-  <li class='c056'><i>Connoisseur, The</i>, ii. <a href='#Page_221'>221</a></li>
-  <li class='c056'>Conon, Johann, of Nuremberg, i. 84</li>
-  <li class='c056'>Constable, Sir Thomas, Bt., of Tixall, ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>Constance (town and lake), i. 1, 32-33, 44 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_331'>331</a>-<a href='#Page_332'>332</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Constantyne, George, ii. <a href='#Page_177'>177</a></li>
-  <li class='c056'>“Conton, Maistre,” ii. <a href='#Page_59'>59</a></li>
-  <li class='c056'>Conway, Sir Martin, i. 335;
-    <ul>
-      <li>ii. <a href='#Page_83'>83</a>, <a href='#Page_391'>391</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Cook, Sir Frederick (collection), i. 20</li>
-  <li class='c056'>Cope, Robert, painter-stainer, i. 261</li>
-  <li class='c056'>—— Sir Walter, i. 323, 328 <i>note</i></li>
-  <li class='c056'><span class='pageno' id='Page_412'>412</span>Copenhagen Museum, i. 16</li>
-  <li class='c056'>Copp, Dr. Johannes, <i>Evangelistic Calendar</i>, i. 200</li>
-  <li class='c056'>Cornelisz, Lucas, ii. <a href='#Page_81'>81</a>, <a href='#Page_83'>83</a></li>
-  <li class='c056'>“Coronation of Henry VIII” (wall-painting in Westminster Palace), i. 261</li>
-  <li class='c056'>Correggio, i. 88</li>
-  <li class='c056'>Correra, Mons, de, ii. <a href='#Page_123'>123</a></li>
-  <li class='c056'>Corrozet, Gilles, i. 209, 212, 227</li>
-  <li class='c056'>Corsham House, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Corsi family, i. 270</li>
-  <li class='c056'>Corsini Gallery, Rome, i. 166</li>
-  <li class='c056'><a id='Corvus'></a>Corvus, Johannes, i. 269-270;
-    <ul>
-      <li>ii. <a href='#Page_303'>303</a>-<a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Cosimo II, Grand Duke of Tuscany, ii. <a href='#Page_84'>84</a></li>
-  <li class='c056'><i>Cosmography</i> (Sebastian Münster), i. 173, 198, 350</li>
-  <li class='c056'>Cosway Collection, ii. <a href='#Page_226'>226</a></li>
-  <li class='c056'>Cotes, Mr. Charles, ii. <a href='#Page_35'>35</a></li>
-  <li class='c056'>Cottrell-Dormer family, i. 301</li>
-  <li class='c056'>“Court of Francis II,” painting by Félix Chrétien, ii. <a href='#Page_45'>45</a> <i>and note</i></li>
-  <li class='c056'>Court, Lord Benedike, ii. <a href='#Page_123'>123</a></li>
-  <li class='c056'>Coutrai, i. 77</li>
-  <li class='c056'>Coverdale’s <i>Bible</i>, title-page, ii. <a href='#Page_76'>76</a>-<a href='#Page_77'>77</a>, <a href='#Page_91'>91</a>, <a href='#Page_106'>106</a></li>
-  <li class='c056'>Cowden, Kent, i. 262</li>
-  <li class='c056'>Cowdray House, ii. <a href='#Page_204'>204</a></li>
-  <li class='c056'>Cox, Miss Mary, ii. <a href='#Page_64'>64</a>, <a href='#Page_391'>391</a></li>
-  <li class='c056'>Cracherode, Rev. C. M., i. 324</li>
-  <li class='c056'>Cranach, Lucas, the Elder, i. 168;
-    <ul>
-      <li>ii. <a href='#Page_174'>174</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Cranmer, Thomas, Archbishop of Canterbury, ii. <a href='#Page_60'>60</a>, <a href='#Page_73'>73</a>, <a href='#Page_305'>305</a>-<a href='#Page_306'>306</a></li>
-  <li class='c056'>Cranmer’s <i>Catechism</i>, ii. <a href='#Page_78'>78</a>-<a href='#Page_79'>79</a></li>
-  <li class='c056'>Cratander, i. 62, 188, 200-202</li>
-  <li class='c056'>Cresacre, Anne, wife of John More, i. 292, 294, 303;
-    <ul>
-      <li>ii. <a href='#Page_335'>335</a>-<a href='#Page_337'>337</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— family, i. 300</li>
-  <li class='c056'>Crispin, John, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Croft, Sir Archer, ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>—— Elizabeth, ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>—— Rev. Herbert, Bishop of Hereford, ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>Croi, Charles de, Prince de Chimaix, ii. <a href='#Page_154'>154</a></li>
-  <li class='c056'>Croke, Master John, Commissary-General, ii. <a href='#Page_295'>295</a></li>
-  <li class='c056'>Cromhout, Jacob, and sale, i. 241-244</li>
-  <li class='c056'>Cromwell family, ii. <a href='#Page_231'>231</a> <i>note</i></li>
-  <li class='c056'>—— Thomas, Earl of Essex, K.G., i. 262, 278, 326, 329;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_3'>3</a>, <a href='#Page_6'>6</a>, <a href='#Page_11'>11</a>, <a href='#Page_13'>13</a>, <a href='#Page_58'>58</a>-<a href='#Page_62'>62</a>, <a href='#Page_65'>65</a>, <a href='#Page_76'>76</a>, <a href='#Page_88'>88</a>, <a href='#Page_92'>92</a>, <a href='#Page_115'>115</a>-<a href='#Page_122'>122</a>, <a href='#Page_124'>124</a>, <a href='#Page_127'>127</a>, <a href='#Page_138'>138</a>, <a href='#Page_140'>140</a>, <a href='#Page_146'>146</a>, <a href='#Page_149'>149</a>-<a href='#Page_150'>150</a>, <a href='#Page_152'>152</a>-<a href='#Page_153'>153</a>, <a href='#Page_172'>172</a>, <a href='#Page_174'>174</a>, <a href='#Page_178'>178</a>-<a href='#Page_179'>179</a>, <a href='#Page_192'>192</a>, <a href='#Page_199'>199</a>, <a href='#Page_211'>211</a>, <a href='#Page_222'>222</a>, <a href='#Page_231'>231</a>-<a href='#Page_232'>232</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— accounts, i. 281;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_12'>12</a>, <a href='#Page_232'>232</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Crozat Collection, ii. <a href='#Page_27'>27</a>, <a href='#Page_31'>31</a>, <a href='#Page_246'>246</a></li>
-  <li class='c056'>Crust, John, painter, i. 287</li>
-  <li class='c056'>Crystyne, Thomas, painter-stainer, i. 261</li>
-  <li class='c056'>Cuddington, i. 276</li>
-  <li class='c056'>Cudnor, William, painter-stainer, i. 261</li>
-  <li class='c056'>Culpeper, Thomas, ii. <a href='#Page_55'>55</a>, <a href='#Page_196'>196</a></li>
-  <li class='c056'>Cumberland, i. 178</li>
-  <li class='c056'>—— Countess of, <i>see</i> <a href='#Brandon'>Brandon, Eleanor</a></li>
-  <li class='c056'>—— Duke of, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Cunningham, Allan, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Curio, Valentine, publisher, i. 202</li>
-  <li class='c056'><span class='pageno' id='Page_413'>413</span>Cust, Lionel, M.V.O., F.S.A., i. 264, 269, 270, 275 <i>note</i>, 281, 319 <i>note</i>, 335;
-    <ul>
-      <li>ii. <a href='#Page_10'>10</a>-<a href='#Page_11'>11</a>, <a href='#Page_12'>12</a> <i>and note</i>, <a href='#Page_13'>13</a>, <a href='#Page_60'>60</a> <i>and note</i>, <a href='#Page_61'>61</a>, <a href='#Page_65'>65</a>, <a href='#Page_108'>108</a>, <a href='#Page_133'>133</a>, <a href='#Page_192'>192</a>, <a href='#Page_193'>193</a> <i>note</i>, <a href='#Page_194'>194</a>-<a href='#Page_196'>196</a>, <a href='#Page_205'>205</a> <i>note</i>, <a href='#Page_231'>231</a>-<a href='#Page_233'>233</a>, <a href='#Page_245'>245</a>, <a href='#Page_248'>248</a>, <a href='#Page_253'>253</a>-<a href='#Page_254'>254</a>, <a href='#Page_283'>283</a>, <a href='#Page_296'>296</a>, <a href='#Page_307'>307</a>, <a href='#Page_337'>337</a>, <a href='#Page_391'>391</a>-<a href='#Page_392'>392</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“C. V.” (metal cuts after Holbein), i. 188</li>
-  <li class='c056'>Cyny, Domynyke, i. 273</li>
-  <li class='c056'>Dacres, Alice, wife of Robert Cheseman, ii. <a href='#Page_56'>56</a></li>
-  <li class='c056'>—— Alderman Henry, of Mayfield, ii. <a href='#Page_56'>56</a></li>
-  <li class='c056'>Dalkeith, ii. <a href='#Page_305'>305</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Dallaway, Rev. James, i. 301, 325;
-    <ul>
-      <li>ii. <a href='#Page_189'>189</a>, <a href='#Page_219'>219</a> <i>note</i>, <a href='#Page_247'>247</a> <i>note</i>, <a href='#Page_249'>249</a>, <a href='#Page_268'>268</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dalton, keeper of George III’s drawings, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'><a id='Dance'></a><i>Dance of Death</i> (Douce), i. 214</li>
-  <li class='c056'>“Dance of Death,” early representations, i. 204-206</li>
-  <li class='c056'>“Dance of Death” woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191, 204-224, 290;
-    <ul>
-      <li>ii. <a href='#Page_187'>187</a>-<a href='#Page_188'>188</a>, <a href='#Page_314'>314</a>-<a href='#Page_315'>315</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Dance of Death,” at Whitehall, ii. <a href='#Page_186'>186</a>-<a href='#Page_188'>188</a></li>
-  <li class='c056'><a id='DanceHouse'></a>Dance, House of the, i. 117-121, 200;
-    <ul>
-      <li>ii. <a href='#Page_315'>315</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dancey, Elizabeth, i. 293, 296, 301, 303;
-    <ul>
-      <li>ii. <a href='#Page_336'>336</a>, <a href='#Page_339'>339</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dantiscus, Johannes, Bishop of Kulm, i. 179-180</li>
-  <li class='c056'>Danzig, ii. <a href='#Page_5'>5</a></li>
-  <li class='c056'>Darcy of Chiche, Thomas, 1st Lord, ii. <a href='#Page_305'>305</a></li>
-  <li class='c056'>Darmstadt, Grand-Ducal Palace and Museum, i. 50, 232;
-    <ul>
-      <li>ii. <a href='#Page_316'>316</a>, <a href='#Page_328'>328</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Darnley, Lord, and his brother Charles (portrait by Eworthe), ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>David, Gherardt, i. 245, 289</li>
-  <li class='c056'>—— Jakob, Basel goldsmith in Paris, i. 176;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_162'>162</a>-<a href='#Page_164'>164</a>, <a href='#Page_298'>298</a>, <a href='#Page_300'>300</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Davies, Mr. Gerald S., i. 12, 29, 42, 96-97, 108, 112-113, 245, 250, 288-289;
-    <ul>
-      <li>ii. <a href='#Page_252'>252</a>-<a href='#Page_253'>253</a>, <a href='#Page_392'>392</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Miss, ii. <a href='#Page_182'>182</a></li>
-  <li class='c056'>—— Mr. Randall, ii. <a href='#Page_215'>215</a> <i>note</i>, <a href='#Page_392'>392</a></li>
-  <li class='c056'>Dean, engraver, i. 295 <i>note</i></li>
-  <li class='c056'>De Cessac, <i>see</i> <a href='#Cessac'>Cessac</a></li>
-  <li class='c056'>Delahante, Parisian picture-dealer, i. 245</li>
-  <li class='c056'>Delahay, William, i. 265</li>
-  <li class='c056'>Delawarr, Countess, i. 308</li>
-  <li class='c056'><i>De Levens en Werken</i>, &amp;c. (Immerzeel), i. 265</li>
-  <li class='c056'>Delfino family, of Venice, i. 242-244</li>
-  <li class='c056'>Delfino, Giovanni, i. 242</li>
-  <li class='c056'>Demayns, John, <i>see</i> <a href='#Maiano'>Maiano</a></li>
-  <li class='c056'>Demyans, John, <i>see</i> <a href='#Maiano'>Maiano</a></li>
-  <li class='c056'>Denisot, Nicolas, i. 304-305</li>
-  <li class='c056'>Denmark, Christian II, King of, ii. <a href='#Page_117'>117</a>, <a href='#Page_130'>130</a>, <a href='#Page_134'>134</a>, <a href='#Page_136'>136</a>-<a href='#Page_137'>137</a></li>
-  <li class='c056'>—— Christian IV, King of, ii. <a href='#Page_130'>130</a></li>
-  <li class='c056'>—— Prince of, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Denny, Sir Anthony, ii. <a href='#Page_127'>127</a>, <a href='#Page_214'>214</a>, <a href='#Page_276'>276</a>, <a href='#Page_286'>286</a>, <a href='#Page_307'>307</a></li>
-  <li class='c056'>Dent-Brocklehurst, Mr. H. (collection), i. 269, 286;
-    <ul>
-      <li>ii. <a href='#Page_237'>237</a>-<a href='#Page_238'>238</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Deovanter, Perpoynt, Steelyard merchant, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Dequevauvillers, François, engraver, i. 173</li>
-  <li class='c056'><span class='pageno' id='Page_414'>414</span>Derby, Edward Stanley, Earl of, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>—— Earl of, Collection (1865), ii. <a href='#Page_183'>183</a></li>
-  <li class='c056'>Dereham, Francis, ii. <a href='#Page_55'>55</a>, <a href='#Page_196'>196</a></li>
-  <li class='c056'>Dering, Sir Edward, Bt., ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>Desenfans Collection, ii. <a href='#Page_293'>293</a></li>
-  <li class='c056'>Dessau Library, i. 159</li>
-  <li class='c056'>Deuchar, David, i. 214</li>
-  <li class='c056'><a id='Deutsch'></a>Deutsch, Niklaus Manuel, i. 159, 206, 249, 340</li>
-  <li class='c056'>Develay, V., ii. <a href='#Page_392'>392</a></li>
-  <li class='c056'>Deventer, ii. <a href='#Page_18'>18</a>-<a href='#Page_19'>19</a></li>
-  <li class='c056'>Devil’s Bridge, Andermatt, i. 77, 138</li>
-  <li class='c056'>Devonshire, Duke of (collection), ii. <a href='#Page_93'>93</a>, <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a>, <a href='#Page_141'>141</a>, <a href='#Page_204'>204</a>, <a href='#Page_248'>248</a>, <a href='#Page_351'>351</a>, <a href='#Page_400'>400</a></li>
-  <li class='c056'>Devynk, John, painter, i. 278</li>
-  <li class='c056'><a id='Dexter'></a>Dexter, Mr. Elias, <i>Holbein’s Ambassadors Identified</i>, ii. <a href='#Page_38'>38</a>-<a href='#Page_39'>39</a></li>
-  <li class='c056'><a id='Dickes'></a>Dickes, Mr. W. F., <i>Holbein’s Ambassadors Unriddled</i>, i. 305 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_17'>17</a> <i>note</i>, 18-19, 32, 39, 45-47, 48 <i>and note</i>, 49, 50, 158, 392</li>
-    </ul>
-  </li>
-  <li class='c056'><i>Dictionary of National Biography</i>, i. 302;
-    <ul>
-      <li>ii. <a href='#Page_209'>209</a>, <a href='#Page_225'>225</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Didlington, Norfolk, i. 325</li>
-  <li class='c056'>Dielitz, Privy Councillor, ii. <a href='#Page_15'>15</a></li>
-  <li class='c056'>Diepold (Augsburg), i. 2, 4</li>
-  <li class='c056'>Diesbach, Nikolaus von, Dean of Solothurn, i. 109</li>
-  <li class='c056'>Digby, John, Earl of Bristol, ii. <a href='#Page_309'>309</a></li>
-  <li class='c056'>Dijon, i. 149, 174</li>
-  <li class='c056'>Dillon, Viscount, i. 323</li>
-  <li class='c056'>Dimier, Mons. L., i. 281-282;
-    <ul>
-      <li>ii. <a href='#Page_254'>254</a>, <a href='#Page_306'>306</a>, <a href='#Page_392'>392</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Dinteville'></a>Dinteville family, ii. <a href='#Page_41'>41</a></li>
-  <li class='c056'>—— Claude de, ii. <a href='#Page_44'>44</a></li>
-  <li class='c056'>—— François II de, Bishop of Auxerre, ii. <a href='#Page_43'>43</a>, <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'>—— Jean de, Bailly of Troyes, French Ambassador to England, ii. <a href='#Page_35'>35</a>-<a href='#Page_36'>36</a>, <a href='#Page_38'>38</a>-<a href='#Page_46'>46</a>, <a href='#Page_49'>49</a>-<a href='#Page_53'>53</a>, <a href='#Page_64'>64</a>, <a href='#Page_69'>69</a>, <a href='#Page_255'>255</a>, <a href='#Page_257'>257</a>, <a href='#Page_284'>284</a></li>
-  <li class='c056'>Diocletian, Emperor, i. 15</li>
-  <li class='c056'>Ditchley, Enstone, Oxfordshire, i. 323;
-    <ul>
-      <li>ii. <a href='#Page_82'>82</a>, <a href='#Page_101'>101</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dobson, Austin, i. 214 <i>note</i></li>
-  <li class='c056'>Dodgson, Mr. Campbell, i. 21, 214 <i>note</i>, 309;
-    <ul>
-      <li>ii. <a href='#Page_226'>226</a>, <a href='#Page_227'>227</a> <i>note</i>, 252, 392</li>
-    </ul>
-  </li>
-  <li class='c056'>“Domyngo,” Italian painter, i. 314</li>
-  <li class='c056'>Donaueschingen, i. 38, 40</li>
-  <li class='c056'>Donauwörth, i. 9</li>
-  <li class='c056'>Doort, A. Van der, <i>see</i> <a href='#Van-Doort'>Van-Doort der Doort</a></li>
-  <li class='c056'>Dorchester House, i. 89 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_72'>72</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dordrecht, ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'>Dormanswell, near Norwood, ii. <a href='#Page_54'>54</a></li>
-  <li class='c056'>Dorset, Marchioness of, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Douce, Francis, i. 214;
-    <ul>
-      <li>ii. <a href='#Page_182'>182</a>, <a href='#Page_186'>186</a>-<a href='#Page_188'>188</a>, 392</li>
-    </ul>
-  </li>
-  <li class='c056'>Dover, i. 258</li>
-  <li class='c056'>“Drei Herrn,” i. 124</li>
-  <li class='c056'>Dresden, i. 204, 244;
-    <ul>
-      <li>ii. <a href='#Page_206'>206</a>, <a href='#Page_211'>211</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Gallery and Print Room, i. 17, 201, 237, 325 <i>and note</i>;
-    <ul>
-      <li>ii. <a href='#Page_38'>38</a>, <a href='#Page_63'>63</a>, <a href='#Page_65'>65</a>, <a href='#Page_67'>67</a>-<a href='#Page_68'>68</a>, 263, 329, 354</li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Dresden'></a>—— Holbein Exhibition (1871), i. 237</li>
-  <li class='c056'>Dublin, i. 336;
-    <ul>
-      <li>ii. <a href='#Page_350'>350</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ducheman, John, servant to Hans of Antwerp, ii. <a href='#Page_13'>13</a></li>
-  <li class='c056'><span class='pageno' id='Page_415'>415</span>Ducie, Mr., ii. <a href='#Page_215'>215</a></li>
-  <li class='c056'>Ducklington, Oxfordshire, i. 301</li>
-  <li class='c056'>Ducy, Sir William, i. 304 <i>note</i></li>
-  <li class='c056'>Dugdale, Sir William, i. 322</li>
-  <li class='c056'>Duisburg, ii. <a href='#Page_20'>20</a>-<a href='#Page_21'>21</a></li>
-  <li class='c056'>Dunn, Mr. James H., Canada (collection), ii. <a href='#Page_195'>195</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Dunois, the Bailly of, ii. <a href='#Page_343'>343</a></li>
-  <li class='c056'>Dunster Castle, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>Düren, ii. <a href='#Page_115'>115</a>, <a href='#Page_173'>173</a>, <a href='#Page_175'>175</a>-<a href='#Page_176'>176</a>, 181, 184, 235-236</li>
-  <li class='c056'>Dürer, Albrecht, i. 42-44, 56, 60, 92, 159, 166, 168, 170-171, 197, 224, 264, 329;
-    <ul>
-      <li>ii. <a href='#Page_266'>266</a>, <a href='#Page_270'>270</a>, <a href='#Page_318'>318</a> <i>and note</i>, 319-320</li>
-    </ul>
-  </li>
-  <li class='c056'>Düsseldorf, ii. <a href='#Page_175'>175</a></li>
-  <li class='c056'>Dutch States, i. 107;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dyck, A. van, <i>see</i> <a href='#Van-Dyck'>Van Dyck</a></li>
-  <li class='c004'>Earp, F. R., ii. <a href='#Page_392'>392</a></li>
-  <li class='c056'>East Bursham, i. 270</li>
-  <li class='c056'>East Hendred, Berkshire, i. 300, 304 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_335'>335</a>, <a href='#Page_340'>340</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Easterlings, <i>see</i> <a href='#Steelyard'>Steelyard</a></li>
-  <li class='c056'>Eastlake, Sir Charles and Lady (collection), ii. <a href='#Page_26'>26</a> <i>and note</i></li>
-  <li class='c056'><i>Ecclesiastical History</i> (Fox), ii. <a href='#Page_309'>309</a></li>
-  <li class='c056'>Edinburgh, ii. <a href='#Page_141'>141</a>;
-    <ul>
-      <li>Advocates’ Library, ii. <a href='#Page_148'>148</a>, <a href='#Page_343'>343</a>;</li>
-      <li>University Library, ii. <a href='#Page_218'>218</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Edward III of England, ii. <a href='#Page_2'>2</a></li>
-  <li class='c056'>—— IV of England, ii. <a href='#Page_197'>197</a></li>
-  <li class='c056'>—— VI of England, i. 178, 279, 285-286, 314 <i>note</i>, 326;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_65'>65</a>, <a href='#Page_70'>70</a>, <a href='#Page_97'>97</a> <i>and note</i>, <a href='#Page_107'>107</a>, <a href='#Page_113'>113</a>, <a href='#Page_127'>127</a>, <a href='#Page_136'>136</a>, <a href='#Page_138'>138</a>, <a href='#Page_164'>164</a>-<a href='#Page_171'>171</a>, <a href='#Page_200'>200</a>, <a href='#Page_205'>205</a>, <a href='#Page_208'>208</a>, <a href='#Page_226'>226</a>-<a href='#Page_227'>227</a>, <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a>, <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a>, <a href='#Page_243'>243</a>-<a href='#Page_244'>244</a>, <a href='#Page_255'>255</a>, <a href='#Page_269'>269</a>, <a href='#Page_288'>288</a>, <a href='#Page_303'>303</a>-<a href='#Page_305'>305</a>, <a href='#Page_310'>310</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>“Edward VI transferring Bridewell to the City of London,” formerly attributed to Holbein, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>“Edward VI,” miniature by Bettes, ii. <a href='#Page_309'>309</a></li>
-  <li class='c056'>“Edward VI,” portrait by “Hans Hueet,” ii. <a href='#Page_308'>308</a></li>
-  <li class='c056'>Edward VI, his portraits, ii. <a href='#Page_164'>164</a>-<a href='#Page_171'>171</a></li>
-  <li class='c056'>Eewouts, Hans, <i>see</i> <a href='#Eworthe'>Eworthe</a></li>
-  <li class='c056'>Eglin, painter, of Lucerne, i. 72</li>
-  <li class='c056'>Egmond, Earl of, ii. <a href='#Page_116'>116</a></li>
-  <li class='c056'>Eigner, A., i. 24, 110</li>
-  <li class='c056'>Einstein, L., ii. <a href='#Page_392'>392</a></li>
-  <li class='c056'>Eisenach, i. 16</li>
-  <li class='c056'>Elberfeld Collection, ii. <a href='#Page_202'>202</a></li>
-  <li class='c056'><a id='Eichinger'></a>Eichinger, Anna, i. 3;
-    <ul>
-      <li>ii. <a href='#Page_162'>162</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Elector Palatine, ii. <a href='#Page_20'>20</a></li>
-  <li class='c056'>Eleonora of Spain, wife of Francis I, ii. <a href='#Page_106'>106</a></li>
-  <li class='c056'>Elizabeth, Princess, <i>see</i> <a href='#Elizabeth-Queen'>Elizabeth, Queen of England</a></li>
-  <li class='c056'>“Elizabeth, Princess,” portrait once attributed to Holbein, ii. <a href='#Page_110'>110</a>, <a href='#Page_169'>169</a></li>
-  <li class='c056'>Elizabeth, Princess, of Prussia, i. 242</li>
-  <li class='c056'><a id='Elizabeth-of-York'></a>—— of York, wife of Henry VII, ii. <a href='#Page_91'>91</a>, <a href='#Page_94'>94</a>-<a href='#Page_96'>96</a>, <a href='#Page_235'>235</a></li>
-  <li class='c056'><a id='Elizabeth-Queen'></a>—— Queen of England, i. 269, 314 <i>note</i>;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_13'>13</a>, <a href='#Page_24'>24</a>, <a href='#Page_84'>84</a>, <a href='#Page_92'>92</a>, <a href='#Page_110'>110</a>, <a href='#Page_133'>133</a>, <a href='#Page_135'>135</a>, <a href='#Page_208'>208</a>, <a href='#Page_235'>235</a>, <a href='#Page_239'>239</a>, ii. <a href='#Page_272'>272</a>, ii. <a href='#Page_292'>292</a>, <a href='#Page_310'>310</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Eltham, i. 295;
-    <ul>
-      <li>ii. <a href='#Page_334'>334</a>, <a href='#Page_337'>337</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Elyot, Sir Thomas, i. 336-337</li>
-  <li class='c056'><span class='pageno' id='Page_416'>416</span>Elyot, Lady, i. 336-337;
-    <ul>
-      <li>ii. <a href='#Page_258'>258</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Embarkation of Henry VIII from Dover” (Hampton Court), i. 274</li>
-  <li class='c056'><i>Emblems of Mortality</i> (John Bewick), i. 214</li>
-  <li class='c056'><i>Emendations of Pliny</i> (B. Rhenanus), i. 168</li>
-  <li class='c056'><i>Encomium Moriæ</i>, <i>see</i> <a href='#Erasmus'>Erasmus</a></li>
-  <li class='c056'>Engelberg, Burkhart, i. 20</li>
-  <li class='c056'>Engel-Gros, Herr F. (Collection), ii. <a href='#Page_71'>71</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>Engleberd, Melchior, painter-stainer, i. 261</li>
-  <li class='c056'>English Artists in the reign of Henry VIII, i. 256-263</li>
-  <li class='c056'>Enschede, publisher, of Haarlem, i. 183</li>
-  <li class='c056'>Enstone, Oxfordshire, ii. <a href='#Page_101'>101</a></li>
-  <li class='c056'><i>Epigrams</i> (Sir Thomas More), i. 193</li>
-  <li class='c056'>Episcopal Library, Augsburg, i. 4</li>
-  <li class='c056'>Episcopus, Nic., i. 182</li>
-  <li class='c056'><i>Epitomæ Historiæ Basiliensis</i> (Wurstisen), i. 124</li>
-  <li class='c056'><a id='Erasmus'></a>Erasmus, i. 44-49, 84, 86, 90, 146, 151, 161-174, 177-185, 192-193, 198-199, 253, 255, 288-292, 294, 298, 313, 321-324, 329, 338-343, 350-351;
-    <ul>
-      <li>ii. <a href='#Page_19'>19</a>, <a href='#Page_25'>25</a>, <a href='#Page_65'>65</a>, <a href='#Page_188'>188</a>, <a href='#Page_215'>215</a>, <a href='#Page_256'>256</a>, <a href='#Page_265'>265</a>, <a href='#Page_276'>276</a>, <a href='#Page_321'>321</a>, <a href='#Page_329'>329</a>, <a href='#Page_331'>331</a>, <a href='#Page_337'>337</a>, <a href='#Page_340'>340</a>-<a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Erasmus, <i>Adagia</i>, i. 45, 49, 181;
-    <ul>
-      <li><i>Colloquies</i>, i. 171;</li>
-      <li><i>Ecclesiastæ</i>, &amp;c., i. 181;</li>
-      <li><i>Hyperaspistes</i>, i. 291;</li>
-      <li><i>Institution of Christian Marriage</i>, i. 291;</li>
-      <li><i>New Testament</i>, i. 45, 62, 162, 192;</li>
-      <li><i>Paraphrase of the Gospel of St. Mark</i>, i. 172;</li>
-      <li><i>Praise of Folly</i> (<i>Encomium Moriæ</i>), i. 45-50, 85, 171;</li>
-      <li><i>Praise of Matrimony</i>, i. 191;</li>
-      <li><i>Precatio Dominica</i> (metal cuts by C. V.), i. 188;</li>
-      <li><i>St. Paul’s Epistle to the Romans</i>, i. 165</li>
-    </ul>
-  </li>
-  <li class='c056'>Eresby, Catherine Willoughby de, <i>see</i> <a href='#Suffolk'>Suffolk, Duchess of</a></li>
-  <li class='c056'>—— William, 10th Lord Willoughby de, ii. <a href='#Page_225'>225</a></li>
-  <li class='c056'>Erhart, Dominica, i. 4</li>
-  <li class='c056'>Ermeland, i. 179-180</li>
-  <li class='c056'>Eschenbach, Ulrich von, painter of Lucerne, i. 72</li>
-  <li class='c056'><a id='Este'></a>Este, Duke Francesco d’, ii. <a href='#Page_66'>66</a></li>
-  <li class='c056'>Este-Modena, Duke Francesco of, ii. <a href='#Page_67'>67</a></li>
-  <li class='c056'>Eustace, Clerk of the Works at Hampton Court, i. 327</li>
-  <li class='c056'>Evangelic League, Diet of the, ii. <a href='#Page_173'>173</a></li>
-  <li class='c056'><i>Evangelistical Calendar</i> (Dr. Johannes Copp), i. 200</li>
-  <li class='c056'>Evelyn, John, <i>Diary</i>, i. 97, 171, 276, 304 <i>note</i>, 323, 333;
-    <ul>
-      <li>ii. <a href='#Page_95'>95</a>, <a href='#Page_188'>188</a>, <a href='#Page_215'>215</a>;</li>
-      <li><i>Sculptura</i>, ii. <a href='#Page_188'>188</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Evolls, Hans, <i>see</i> <a href='#Eworthe'>Eworthe</a></li>
-  <li class='c056'>Ewen, Nicholas, gilder of Henry VII’s tomb, i. 271</li>
-  <li class='c056'><a id='Eworthe'></a>Eworthe, Hans, painter, i. 270;
-    <ul>
-      <li>ii. <a href='#Page_307'>307</a>-<a href='#Page_308'>308</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Exeter, Duke of, i. 334</li>
-  <li class='c056'>—— Marquis of (temp. Hen. VIII), ii. <a href='#Page_87'>87</a></li>
-  <li class='c056'>—— —— (collection), ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'>Exhibitions, <i>see</i> <a href='#Basel'>Basel</a>, <a href='#Brussels'>Brussels</a>, <a href='#Burlington'>Burlington Fine Arts Club</a>, <a href='#Dresden'>Dresden</a>, <a href='#Manchester'>Manchester</a>, <a href='#Oxford'>Oxford</a>, <a href='#Royal-Academy'>Royal Academy</a>, <a href='#Tudor'>Tudor</a>, &amp;c. &amp;c.</li>
-  <li class='c056'>Exposition du Palais Bourbon (1874), ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'><span class='pageno' id='Page_417'>417</span>Eycks, the Van, <i>see</i> <a href='#Van-Eycks'>Van Eyck</a></li>
-  <li class='c056'>Eyston, Mr. Charles John, i. 300, 304 <i>note</i></li>
-  <li class='c004'>Faber, Jakob, i. 188, 200;
-    <ul>
-      <li>ii. <a href='#Page_79'>79</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Fabri, Dr. Johann, bishop of Vienna, ii. <a href='#Page_330'>330</a>-<a href='#Page_332'>332</a></li>
-  <li class='c056'>Fabrinus, Petrus, rector of Basel University, i. 145</li>
-  <li class='c056'>Faesch, Johann Rudolf, ii. <a href='#Page_328'>328</a></li>
-  <li class='c056'>—— Johann Rudolf (<i>d.</i> 1823), ii. <a href='#Page_329'>329</a>-<a href='#Page_330'>330</a></li>
-  <li class='c056'>Faesch, Remigius, burgomaster of Basel, i. 239-240;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>, <a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Dr. Remigius, grandson of above, collection and inventory, i. 5, 54 <i>note</i>, 88, 166, 168, 180, 239-241, 346;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_156'>156</a>, <a href='#Page_328'>328</a>-<a href='#Page_330'>330</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'><i>Faeschische Museum</i>, &amp;c. (Major), ii. <a href='#Page_329'>329</a></li>
-  <li class='c056'>Falkland, Viscount, i. 301</li>
-  <li class='c056'>Fallen, Cyriacus, Steelyard merchant, ii. <a href='#Page_17'>17</a>, <a href='#Page_22'>22</a></li>
-  <li class='c056'>Farrer, picture-dealer, i. 303</li>
-  <li class='c056'>Fattore, Il, <i>see</i> <a href='#Penni'>Penni, G. F.</a></li>
-  <li class='c056'>Félibien, <i>Entretiens sur les Vies</i>, &amp;c., ii. <a href='#Page_25'>25</a>-<a href='#Page_26'>26</a></li>
-  <li class='c056'>Feltes, John, painter-stainer, i. 261</li>
-  <li class='c056'>Fenrother, Alderman Robert, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Fenwolf, Morgan, <i>see</i> <a href='#Wolf'>Wolf-Morgan, Morgan</a></li>
-  <li class='c056'>Ferdinand, Archduke, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>—— III, Emperor, i. 91</li>
-  <li class='c056'>Ferrara, Duke of, i. 284</li>
-  <li class='c056'>Ferrari, Gaudenzio, i. 89 <i>note</i>, 95, 105 <i>and note</i></li>
-  <li class='c056'>Ferreris, Bartholomäus, i. 28</li>
-  <li class='c056'>Fidler, G., ii. <a href='#Page_392'>392</a></li>
-  <li class='c056'>Field of Cloth of Gold, i. 259, 273;
-    <ul>
-      <li>ii. <a href='#Page_86'>86</a>, <a href='#Page_103'>103</a> <i>note</i>, 106</li>
-    </ul>
-  </li>
-  <li class='c056'>“Field of Cloth of Gold” (Hampton Court), i. 258, 274</li>
-  <li class='c056'>Figdor Collection, ii. <a href='#Page_52'>52</a> <i>note</i></li>
-  <li class='c056'>Fischart, Johann, ii. <a href='#Page_94'>94</a>, <a href='#Page_186'>186</a> <i>note</i></li>
-  <li class='c056'>Fisher, John, Bishop of Rochester, i. 169, 289, 299, 323-325, 337;
-    <ul>
-      <li>ii. <a href='#Page_76'>76</a>, <a href='#Page_212'>212</a>, <a href='#Page_254'>254</a>, <a href='#Page_267'>267</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Fitz-Alan family, ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'>—— Henry, Earl of Arundel, <i>see</i> <a href='#Arundel'>Arundel</a></li>
-  <li class='c056'>—— Lady Joan, ii. <a href='#Page_133'>133</a></li>
-  <li class='c056'>—— Lady Mary, ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'><a id='Fitzroy'></a>Fitzroy, Henry, Duke of Richmond and Suffolk, natural son of Henry VIII, ii. <a href='#Page_110'>110</a>, <a href='#Page_257'>257</a></li>
-  <li class='c056'>Fitzwater, Lord, ii. <a href='#Page_133'>133</a></li>
-  <li class='c056'>Fitzwilliam Museum, Cambridge, ii. <a href='#Page_43'>43</a>, <a href='#Page_71'>71</a>, <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a>, <a href='#Page_304'>304</a></li>
-  <li class='c056'>Flaxman, John, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Fleckenstein, Hans, of Lucerne, i. 79;
-    <ul>
-      <li>ii. <a href='#Page_323'>323</a>-<a href='#Page_324'>324</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Fleischmann, Privy Councillor, of Strasburg, ii. <a href='#Page_27'>27</a></li>
-  <li class='c056'>Fliccius, Gerlach, painter, i. 270;
-    <ul>
-      <li>ii. <a href='#Page_303'>303</a>, <a href='#Page_305'>305</a>-<a href='#Page_306'>306</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Flint, Richard, painter-stainer, i. 261</li>
-  <li class='c056'>Florence, i. 271-272, 276-278, 280</li>
-  <li class='c056'>—— Uffizi Gallery, ii. <a href='#Page_23'>23</a>, <a href='#Page_83'>83</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>—— Duke of, i. 280</li>
-  <li class='c056'>Flötner, Peter, of Nuremberg, ii. <a href='#Page_278'>278</a></li>
-  <li class='c056'><span class='pageno' id='Page_418'>418</span>Flower, Dr. Wickham, ii. <a href='#Page_184'>184</a> <i>note</i></li>
-  <li class='c056'>Flushing, i. 289</li>
-  <li class='c056'>Folkestone, ii. <a href='#Page_302'>302</a></li>
-  <li class='c056'>—— 1st Lord, i. 164</li>
-  <li class='c056'>Fontainebleau, i. 280-284, 315;
-    <ul>
-      <li>ii. <a href='#Page_75'>75</a>, <a href='#Page_186'>186</a>, <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Foreign artists at the Court of Henry VIII, i. 256-258, 263-287</li>
-  <li class='c056'>Forest Monstier, ii. <a href='#Page_40'>40</a></li>
-  <li class='c056'>Förster, i. 15</li>
-  <li class='c056'>Fortescue, Mrs., <i>Holbein</i>, i. 108-109, 248 <i>note</i>, 351;
-    <ul>
-      <li>ii. <a href='#Page_49'>49</a>, <a href='#Page_393'>393</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Foster, Mr. J. J., <i>British Miniature Painters</i>, ii. <a href='#Page_240'>240</a>, <a href='#Page_393'>393</a></li>
-  <li class='c056'>“Fountain of Youth,” i. 70</li>
-  <li class='c056'>Fox, i. 329</li>
-  <li class='c056'>—— <i>Ecclesiastical History</i>, ii. <a href='#Page_309'>309</a></li>
-  <li class='c056'><a id='Foxe'></a>Foxe, Richard, Bishop of Winchester, i. 269;
-    <ul>
-      <li>ii. <a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'>France, Admiral of, i. 284</li>
-  <li class='c056'>Franche Comté, ii. <a href='#Page_150'>150</a></li>
-  <li class='c056'>Francis I, King of France, i. 211, 217, 229, 257, 259. 266, 269, 281-285, 311;
-    <ul>
-      <li>ii. <a href='#Page_6'>6</a>, <a href='#Page_40'>40</a>, <a href='#Page_44'>44</a>, <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_72'>72</a>, <a href='#Page_91'>91</a>, <a href='#Page_106'>106</a>, <a href='#Page_114'>114</a>, <a href='#Page_124'>124</a>, <a href='#Page_131'>131</a>, <a href='#Page_133'>133</a>, <a href='#Page_139'>139</a>-<a href='#Page_142'>142</a>, <a href='#Page_144'>144</a>-<a href='#Page_145'>145</a>, <a href='#Page_148'>148</a>, <a href='#Page_154'>154</a>, <a href='#Page_171'>171</a>, <a href='#Page_177'>177</a>, <a href='#Page_197'>197</a>, <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Francis the Courier, ii. <a href='#Page_117'>117</a></li>
-  <li class='c056'>Frankfurt, i. 9, 29, 161 <i>note</i>, 224;
-    <ul>
-      <li>ii. <a href='#Page_173'>173</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Staedel Institut, ii. <a href='#Page_205'>205</a>, <a href='#Page_207'>207</a>, <a href='#Page_264'>264</a>, <a href='#Page_354'>354</a></li>
-  <li class='c056'>Franks, Sir Augustus W., F.S.A., ii. <a href='#Page_189'>189</a>, <a href='#Page_296'>296</a>-<a href='#Page_297'>297</a></li>
-  <li class='c056'>Franz, Arnold, of Basel, ii. <a href='#Page_219'>219</a>, <a href='#Page_240'>240</a>-<a href='#Page_241'>241</a></li>
-  <li class='c056'>Freeman, engraver, ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>—— John, jeweller, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Freiburg, i. 90-91, 111, 177, 180, 185, 338, 341, 351;
-    <ul>
-      <li>ii. <a href='#Page_331'>331</a>, <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— University of, i. 84, 145;
-    <ul>
-      <li>University Chapel in Minster, i. 88, 91;
-        <ul>
-          <li>ii. <a href='#Page_354'>354</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Freihamer, Thomas, i. 13</li>
-  <li class='c056'>Frellon, Jehan and François, publishers, of Lyon, i. 212-213, 224, 227-228</li>
-  <li class='c056'>French royal accounts, i. 281, 284</li>
-  <li class='c056'>Frescobaldi family, i. 270</li>
-  <li class='c056'>Frewen, Mr. T., i. 320;
-    <ul>
-      <li>ii. <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Frey family, of Lucerne, i. 65</li>
-  <li class='c056'>Frick, Mr. H. C., New York (collection), ii. <a href='#Page_340'>340</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Friedländer, Dr., i. 20;
-    <ul>
-      <li>ii. <a href='#Page_196'>196</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Frisch, A., ii. <a href='#Page_393'>393</a></li>
-  <li class='c056'>Friso, Johan Willem, Prince of Orange-Nassau, ii. <a href='#Page_57'>57</a></li>
-  <li class='c056'>Froben, Hieronymus, i. 182, 350</li>
-  <li class='c056'>—— Johann, printer of Basel, i. 44-45, 47, 57, 62, 162-163, 166-168, 181-184, 188-192, 194, 198, 201, 208, 253, 290, 339;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_241'>241</a>, <a href='#Page_256'>256</a>, <a href='#Page_329'>329</a>, <a href='#Page_331'>331</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Frölicher, Elsa, <i>Die Porträtkunst H. Holbeins des J.</i>, &amp;c., ii. <a href='#Page_311'>311</a> <i>note</i>, 393</li>
-  <li class='c056'>Fromont, Hans de, ii. <a href='#Page_11'>11</a></li>
-  <li class='c056'>Froschover, Christopher, printer of Zürich, i. 202, 228;
-    <ul>
-      <li>ii. <a href='#Page_76'>76</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Fruytiers, Philip, painter, ii. <a href='#Page_198'>198</a>, <a href='#Page_200'>200</a></li>
-  <li class='c056'>Fry, Rt. Hon. Lewis, ii. <a href='#Page_81'>81</a>-<a href='#Page_82'>82</a></li>
-  <li class='c056'>—— Roger E., ii. <a href='#Page_82'>82</a>-<a href='#Page_83'>83</a>, 99, 108, 169, 393</li>
-  <li class='c056'><span class='pageno' id='Page_419'>419</span>Fugger family, i. 6, 19</li>
-  <li class='c056'>—— Anton, i. 19</li>
-  <li class='c056'>—— Jacob, i. 19</li>
-  <li class='c056'>—— Raimund, i. 19</li>
-  <li class='c056'>—— Ulrich, i. 19</li>
-  <li class='c056'>Fulham, i. 264;
-    <ul>
-      <li>ii. <a href='#Page_210'>210</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Fürstenberg, Prince Carl von, i. 38</li>
-  <li class='c056'>Fusina, Andrea, tomb at Milan, i. 140</li>
-  <li class='c004'>Gage, Sir Edward, ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>Gairdner, Dr. James, ii. <a href='#Page_153'>153</a> <i>and note</i>, 390</li>
-  <li class='c056'><i>Galerie du Musée Napoléon</i>, i. 173</li>
-  <li class='c056'>Galway, Viscount (collection), i. 328 <i>and note</i>;
-    <ul>
-      <li>ii. <a href='#Page_104'>104</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ganz, Dr. Paul, director of the Public Picture Collection, Basel, i. 35, 39, 42, 44, 47, 56, 65, 69, 79, 81, 85 <i>note</i>, 88, 97, 107, 109, 112, 121, 130, 139-140, 143, 148-149, 151, 153, 157, 159-160, 174, 184, 234 <i>note</i>, 344 <i>note</i>, 346, 350, 356;
-    <ul>
-      <li>ii. <a href='#Page_14'>14</a>-<a href='#Page_15'>15</a>, <a href='#Page_117'>117</a>, <a href='#Page_23'>23</a>, <a href='#Page_26'>26</a> <i>note</i>, <a href='#Page_28'>28</a>, <a href='#Page_52'>52</a>, <a href='#Page_71'>71</a>, <a href='#Page_83'>83</a>, <a href='#Page_86'>86</a>, <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_88'>88</a> <i>note</i>, <a href='#Page_93'>93</a> <i>note</i>, <a href='#Page_103'>103</a>, <a href='#Page_108'>108</a>, <a href='#Page_186'>186</a> <i>note</i>, <a href='#Page_193'>193</a>, <a href='#Page_196'>196</a>, <a href='#Page_213'>213</a> <i>and note</i>, <a href='#Page_214'>214</a>, <a href='#Page_226'>226</a>-<a href='#Page_227'>227</a>, <a href='#Page_230'>230</a>, <a href='#Page_257'>257</a>, <a href='#Page_260'>260</a>, <a href='#Page_292'>292</a>, <a href='#Page_323'>323</a>-<a href='#Page_324'>324</a>, <a href='#Page_327'>327</a>-<a href='#Page_328'>328</a>, <a href='#Page_347'>347</a>, <a href='#Page_352'>352</a>, <a href='#Page_393'>393</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Gardiner, Stephen, ii. <a href='#Page_138'>138</a></li>
-  <li class='c056'>Gardner, Mr. E., ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Gardner, Mrs. John, Boston (collection), ii. <a href='#Page_210'>210</a>, <a href='#Page_347'>347</a></li>
-  <li class='c056'>Garrard, Martin, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Gassner, Veronica, i. 19</li>
-  <li class='c056'>Gates, Richard, painter-stainer, i. 261</li>
-  <li class='c056'>“Gaunt, a painter of,” i. 268</li>
-  <li class='c056'>Gauthiez, Mons. Pierre, i. 78, 81;
-    <ul>
-      <li>ii. <a href='#Page_393'>393</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Gay, Mr. Walter, Paris (collection), i. 171</li>
-  <li class='c056'><i>Gazette des Beaux-Arts</i>, i. 173, 238</li>
-  <li class='c056'>Gebweiler (town), i. 32</li>
-  <li class='c056'>Gebwiler, i. 84</li>
-  <li class='c056'>Gegenbach, Pamphilius, i. 62</li>
-  <li class='c056'>Geigy-Schlumberger, Dr. Rudolph, Basel (collection), ii. <a href='#Page_213'>213</a>, <a href='#Page_358'>358</a></li>
-  <li class='c056'>Gelderland, ii. <a href='#Page_177'>177</a></li>
-  <li class='c056'>Genoa, i. 286</li>
-  <li class='c056'><a id='Gentils'></a>Gentils (Gentilz), President, i. 282-283;
-    <ul>
-      <li>ii. <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Gentleman’s Magazine</i>, i. 302</li>
-  <li class='c056'>George II, King of England, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>—— III, King of England, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>——, Simon, ii. <a href='#Page_205'>205</a>, <a href='#Page_207'>207</a>-<a href='#Page_208'>208</a>, <a href='#Page_252'>252</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>“Gerarde,” i. 267</li>
-  <li class='c056'>“Gerhart, Master, Illuminator,” <i>see</i> <a href='#Hornebolt'>Hornebolt, Gerard</a></li>
-  <li class='c056'>German Merchants in England, <i>see</i> <a href='#Steelyard'>Steelyard</a></li>
-  <li class='c056'><i>German Old Testament</i> (Petri), i. 229</li>
-  <li class='c056'>Gerster, Hans, town archivist of Basel, i. 109, 111</li>
-  <li class='c056'>Gesner, Conrad, of Zürich (<i>Partitiones Theologicæ</i>, &amp;c.), i. 224</li>
-  <li class='c056'><i>Gesta Romanorum</i>, i. 67</li>
-  <li class='c056'><i>Geuchmatt</i> (Thomas Murner), i. 59</li>
-  <li class='c056'><a id='Ghent'></a>Ghent, i. 265, 268, 289, 307;
-    <ul>
-      <li>Guild of St. Luke, i. 263; St. Bavon, i. 264</li>
-    </ul>
-  </li>
-  <li class='c056'>Ghirlandajo, Ridolfo, i. 276</li>
-  <li class='c056'>Gibson, Richard, i. 260, 315</li>
-  <li class='c056'>Giehlow, Dr. Carl, i. 21</li>
-  <li class='c056'><span class='pageno' id='Page_420'>420</span><a id='Gigs'></a>Gigs, Margaret, i. 293, 296, 301, 303;
-    <ul>
-      <li>ii. <a href='#Page_337'>337</a>, <a href='#Page_339'>339</a>-<a href='#Page_340'>340</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Gilpin, ii. <a href='#Page_189'>189</a></li>
-  <li class='c056'><a id='Gisze'></a>Gisze, Georg, Steelyard merchant, ii. <a href='#Page_4'>4</a>-<a href='#Page_8'>8</a></li>
-  <li class='c056'>Glarus, i. 344</li>
-  <li class='c056'>Glaser, Dr. Curt, <i>Hans Holbein the Elder</i>, i. 15, 20;
-    <ul>
-      <li>ii. <a href='#Page_393'>393</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Glass-painting, Holbein’s designs for, i. 135-157</li>
-  <li class='c056'>Glass-painting in Switzerland, i. 135-136</li>
-  <li class='c056'>“Gleane, The,” Southwark, i. 262</li>
-  <li class='c056'>Glendon Hall, i. 269</li>
-  <li class='c056'>Godefroy brothers, ii. <a href='#Page_41'>41</a>-<a href='#Page_42'>42</a>, <a href='#Page_47'>47</a></li>
-  <li class='c056'>Godfrey, R., engraver, ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Godington Park, Kent, i. 332</li>
-  <li class='c056'>Godolphin-Quicke Collection, ii. <a href='#Page_220'>220</a></li>
-  <li class='c056'>Godsalve, Sir John, i. 299, 325-327, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_255'>255</a>;</li>
-      <li>miniature by Bettes, <a href='#Page_309'>309</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Thomas, i. 299, 325-326, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Goelenius, of Louvain, i. 179-180</li>
-  <li class='c056'>Goes, van der, <i>see</i> <a href='#Gow'>Gow, John van der</a></li>
-  <li class='c056'>Goette, A., ii. <a href='#Page_393'>393</a></li>
-  <li class='c056'>Golden Fleece, Exhibition of the, Bruges (1907), ii. <a href='#Page_141'>141</a> <i>note</i></li>
-  <li class='c056'>Golden Norton, ii. <a href='#Page_11'>11</a></li>
-  <li class='c056'>Goldschmidt-Przibram, Frau L. (collection), ii. <a href='#Page_57'>57</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>Goldsmiths’ Company, ii. <a href='#Page_11'>11</a>, <a href='#Page_13'>13</a></li>
-  <li class='c056'>Goltzius, ii. <a href='#Page_24'>24</a></li>
-  <li class='c056'>Gonzaga, i. 234 <i>note</i></li>
-  <li class='c056'>Goodrich Court, ii. <a href='#Page_182'>182</a>, <a href='#Page_235'>235</a></li>
-  <li class='c056'>Gostwick’s Accounts, ii. <a href='#Page_68'>68</a></li>
-  <li class='c056'><a id='Gow'></a>Gow, John van der (Hans of Antwerp), ii. <a href='#Page_10'>10</a>, <a href='#Page_12'>12</a>-<a href='#Page_13'>13</a></li>
-  <li class='c056'>Gower, Lord Ronald Sutherland, i. 309</li>
-  <li class='c056'>Graf, Urs, i. 47, 62, 158, 193, 197, 340</li>
-  <li class='c056'>Grafton, ii. <a href='#Page_176'>176</a></li>
-  <li class='c056'>Graham, William, Collection, i. 54 <i>note</i></li>
-  <li class='c056'>Granger, ii. <a href='#Page_68'>68</a>, <a href='#Page_194'>194</a></li>
-  <li class='c056'>Great Fire of London, i. 261;
-    <ul>
-      <li>ii. <a href='#Page_24'>24</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Great Harry</i> (ship), i. 259, 273</li>
-  <li class='c056'>Great Wardrobe Accounts, i. 262</li>
-  <li class='c056'><i>Greek New Testament</i> (Bebelius), i. 225</li>
-  <li class='c056'>Greenwich, ii. <a href='#Page_184'>184</a>, <a href='#Page_240'>240</a>, <a href='#Page_294'>294</a>, <a href='#Page_297'>297</a>-<a href='#Page_298'>298</a>;
-    <ul>
-      <li>Banqueting House (1527), i. 274-275, 281, 290, 311-316, 331, 336-337;
-        <ul>
-          <li>ii. <a href='#Page_64'>64</a>, <a href='#Page_91'>91</a>, <a href='#Page_310'>310</a> <i>note</i>, <a href='#Page_346'>346</a>;</li>
-        </ul>
-      </li>
-      <li>King’s House, ii. <a href='#Page_337'>337</a>;</li>
-      <li>Palace, i. 271, 311, 317;
-        <ul>
-          <li>ii. <a href='#Page_208'>208</a>;</li>
-        </ul>
-      </li>
-      <li>Park, ii. <a href='#Page_32'>32</a>;</li>
-      <li>Revels at, i. 260</li>
-    </ul>
-  </li>
-  <li class='c056'>Gregorius, sculptor, of Augsburg, i. 9</li>
-  <li class='c056'>Gregory XIV, Pope, i. 305-306</li>
-  <li class='c056'>Grenchen, Chapel of All Saints, i. 110</li>
-  <li class='c056'>Grenville, Rt. Hon. George, ii. <a href='#Page_237'>237</a></li>
-  <li class='c056'>Gresham, Sir Thomas, i. 287;
-    <ul>
-      <li>ii. <a href='#Page_205'>205</a>, <a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Grey-Henry'></a>Grey, Henry, Duke of Suffolk, i. 269</li>
-  <li class='c056'>—— Thomas, i. 253</li>
-  <li class='c056'>—— of Wilton, William, Lord, portrait by Flicke, ii. <a href='#Page_305'>305</a></li>
-  <li class='c056'>Greystoke Castle, i. 177-179;
-    <ul>
-      <li>ii. <a href='#Page_214'>214</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Grien'></a>Grien, Hans Baldung, i. 31, 56, 88, 147, 168</li>
-  <li class='c056'>Griesher, Hans, i. 19, 20</li>
-  <li class='c056'>Griffoni, i. 243</li>
-  <li class='c056'>Grimm, H., i. 24, 165, 169</li>
-  <li class='c056'><span class='pageno' id='Page_421'>421</span>Grinder, Mr., ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Grooth, Nikolaus, i. 75, 92-93</li>
-  <li class='c056'>Grosvenor Gallery, Winter Exhibition (1878-1879), ii. <a href='#Page_374'>374</a></li>
-  <li class='c056'>Grün, Heinrich, i. 20</li>
-  <li class='c056'>—— tailor, of Augsburg, i. 20</li>
-  <li class='c056'>Gruner, Herr L., ii. <a href='#Page_67'>67</a></li>
-  <li class='c056'>Grünewald, Matthias, i. 31, 147-148</li>
-  <li class='c056'>Grünstadt, Bavaria, i. 1, 23</li>
-  <li class='c056'>Gsell Collection, ii. <a href='#Page_57'>57</a></li>
-  <li class='c056'>Guarienti, Pietro, i. 17</li>
-  <li class='c056'>Gubbins (Gobions), Hertfordshire, i. 301;
-    <ul>
-      <li>ii. <a href='#Page_335'>335</a>-<a href='#Page_336'>336</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Gueiss, Albert von, ii. <a href='#Page_5'>5</a></li>
-  <li class='c056'>Gueldres, ii. <a href='#Page_178'>178</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>Guest, Miss, of Inwood, i. 332;
-    <ul>
-      <li>ii. <a href='#Page_351'>351</a>, <a href='#Page_355'>355</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lady, Theodora, i. 332</li>
-  <li class='c056'>Guicciardini, Lodovico, i. 265;
-    <ul>
-      <li>ii. <a href='#Page_218'>218</a>, <a href='#Page_239'>239</a> <i>and note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Guild of St. Luke, <i>see</i> <a href='#Ghent'>Ghent</a></li>
-  <li class='c056'><a id='Guise'></a>Guise, Anthoinette de Bourbon, Duchess of, ii. <a href='#Page_144'>144</a>, <a href='#Page_146'>146</a>-<a href='#Page_150'>150</a>, <a href='#Page_337'>337</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Anthoinette de, daughter of Duke Claude, ii. <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Claude, Duke of, ii. <a href='#Page_139'>139</a>, <a href='#Page_144'>144</a>-<a href='#Page_146'>146</a>, <a href='#Page_150'>150</a>, <a href='#Page_154'>154</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Claude, son of Duke Claude, ii. <a href='#Page_148'>148</a>, <a href='#Page_343'>343</a></li>
-  <li class='c056'>—— François II, Duke of, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>—— Louise of, ii. <a href='#Page_142'>142</a>-<a href='#Page_146'>146</a>, <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>, <a href='#Page_153'>153</a> <i>and note</i>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_173'>173</a>, <a href='#Page_176'>176</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Marie of, Duchess of Longueville, afterwards Queen of Scotland, ii. <a href='#Page_139'>139</a>-<a href='#Page_144'>144</a>, <a href='#Page_147'>147</a>-<a href='#Page_149'>149</a>, <a href='#Page_153'>153</a> <i>and note</i>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_235'>235</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Renée of, ii. <a href='#Page_144'>144</a>-<a href='#Page_146'>146</a>, <a href='#Page_149'>149</a>, <a href='#Page_155'>155</a>, <a href='#Page_173'>173</a>, <a href='#Page_176'>176</a></li>
-  <li class='c056'>Guises, Castle of the, at Joinville, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Guisnes, i. 259, 273</li>
-  <li class='c056'>Guldeford, Sir Henry, i. 299, 313, 316-321, 337;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_2'>2</a>, <a href='#Page_65'>65</a>, <a href='#Page_250'>250</a>, <a href='#Page_254'>254</a>-<a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lady, i. 299, 318, 320-321, 337;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_147'>147</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Richard, i. 319</li>
-  <li class='c056'>—— Joan, Lady, i. 319</li>
-  <li class='c056'>Guldenknopf, Barbara, i. 109</li>
-  <li class='c056'>Gwalther, Rudolph, ii. <a href='#Page_156'>156</a> <i>and note</i></li>
-  <li class='c056'>Gysin, <i>see</i> <a href='#Gisze'>Gisze</a></li>
-  <li class='c056'>Gyssler, Jacob, butcher, of Basel, Holbein’s son-in-law, ii. <a href='#Page_301'>301</a></li>
-  <li class='c004'>Haarhaus, J. R., i. 165 <i>note</i></li>
-  <li class='c056'>Haarlem, i. 183</li>
-  <li class='c056'>Haas, publisher, of Basel, i. 188</li>
-  <li class='c056'>Haberdashers’ Company, i. 260</li>
-  <li class='c056'>Haddon, Dr. Walter, ii. <a href='#Page_226'>226</a></li>
-  <li class='c056'>Hague, The, i. 179, 241;
-    <ul>
-      <li>ii. <a href='#Page_59'>59</a>, <a href='#Page_229'>229</a>, <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Gallery, i. 106-107, 346-347;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_54'>54</a>, <a href='#Page_57'>57</a>, <a href='#Page_65'>65</a>, <a href='#Page_113'>113</a>, <a href='#Page_203'>203</a>, <a href='#Page_229'>229</a>, <a href='#Page_355'>355</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Haig, Mr. J. R., i. 333</li>
-  <li class='c056'><i>Hall’s Chronicle</i>, i. 188 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_79'>79</a>, <a href='#Page_294'>294</a>, <a href='#Page_309'>309</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— <i>Triumphant Reigne of Kynge Henry the VIII</i>, i. 311-312, 316</li>
-  <li class='c056'>Halsey, Miss Ethel, <i>Gaudenzio Ferrari</i>, i. 89 <i>note</i>, 95 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_393'>393</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hamburg, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'><span class='pageno' id='Page_422'>422</span>Hamilton, Duke of, i. 172</li>
-  <li class='c056'>Hampton Court Palace, i. 95-96, 98, 165-167, 183-184, 258, 267, 270, 274, 281, 283-284, 301, 315-317, 333;
-    <ul>
-      <li>ii. <a href='#Page_77'>77</a>, <a href='#Page_86'>86</a>, <a href='#Page_93'>93</a>-<a href='#Page_94'>94</a>, <a href='#Page_97'>97</a>, <a href='#Page_104'>104</a>-<a href='#Page_106'>106</a>, <a href='#Page_136'>136</a>, <a href='#Page_192'>192</a>, <a href='#Page_204'>204</a>, <a href='#Page_215'>215</a>, <a href='#Page_267'>267</a>, <a href='#Page_292'>292</a>, <a href='#Page_304'>304</a>, <a href='#Page_310'>310</a>, <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hampton Court Palace Accounts, i. 277</li>
-  <li class='c056'><i>Handzeichnungen Hans Holbeins des Jüngeren</i> (Ganz), ii. <a href='#Page_323'>323</a>-<a href='#Page_327'>327</a></li>
-  <li class='c056'>Hanfstaengl, Mr. F., ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'>Hanover, Provinzial Museum, i. 184, 351;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_164'>164</a>-<a href='#Page_166'>166</a>, <a href='#Page_205'>205</a>, <a href='#Page_353'>353</a>-<a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hanseatic League in London, <i>see</i> <a href='#Steelyard'>Steelyard</a></li>
-  <li class='c056'>Hanworth, i. <a href='#Page_278'>278</a></li>
-  <li class='c056'>Hardie, Mr. Martin, ii. <a href='#Page_219'>219</a> <i>note</i></li>
-  <li class='c056'>Harding, S., i. 320</li>
-  <li class='c056'>Hardwick Hall, ii. <a href='#Page_97'>97</a>, <a href='#Page_99'>99</a>, <a href='#Page_101'>101</a> <i>note</i>, <a href='#Page_141'>141</a>, <a href='#Page_205'>205</a> <i>note</i>, <a href='#Page_236'>236</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Hardy, Mr. J. P., Collection, ii. <a href='#Page_61'>61</a> <i>note</i></li>
-  <li class='c056'>Haringworth, ii. <a href='#Page_259'>259</a></li>
-  <li class='c056'>Harleian MSS., ii. <a href='#Page_246'>246</a></li>
-  <li class='c056'>Harman, Dr. (Barber-Surgeons picture), ii. <a href='#Page_291'>291</a></li>
-  <li class='c056'><a id='Harris'></a>Harris, John, Sir T. More’s “famulus,” i. 296, 301;
-    <ul>
-      <li>ii. <a href='#Page_336'>336</a>-<a href='#Page_339'>339</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Harrowby, Earl of, Collection, ii. <a href='#Page_72'>72</a> <i>note</i>, <a href='#Page_61'>61</a></li>
-  <li class='c056'>Harrowden, i. 319;
-    <ul>
-      <li>ii. <a href='#Page_52'>52</a>, <a href='#Page_86'>86</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hartmann, Canon, i. 110</li>
-  <li class='c056'>Hasse, George, Steelyard merchant, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Hastings, Marquis of, ii. <a href='#Page_80'>80</a></li>
-  <li class='c056'>—— plat of, i. 274</li>
-  <li class='c056'>Hatfield Priory, Essex, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Hauntlowe, Richard, painter-stainer, i. 261</li>
-  <li class='c056'>Hauser, of Munich, i. 238;
-    <ul>
-      <li>ii. <a href='#Page_22'>22</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Havering, i. 278</li>
-  <li class='c056'>Havre, Le, ii. <a href='#Page_139'>139</a>-<a href='#Page_140'>140</a>, <a href='#Page_143'>143</a>-<a href='#Page_144'>144</a>, <a href='#Page_146'>146</a>, <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>, <a href='#Page_155'>155</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>“Haward, a Dutch Juello<b>r</b>,” portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>Hawkins, Mr. C. Heywood T., sale (1904), ii. <a href='#Page_228'>228</a>, <a href='#Page_239'>239</a>-<a href='#Page_240'>240</a></li>
-  <li class='c056'>—— Mr. J. Heywood (collection), i. 308 <i>note</i></li>
-  <li class='c056'>Hay, Mr., Savile Row, i. 304</li>
-  <li class='c056'>Haydock, Richard, i. 302;
-    <ul>
-      <li>ii. <a href='#Page_218'>218</a>, <a href='#Page_308'>308</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hayes, Cornelis, court jeweller;
-    <ul>
-      <li>ii. <a href='#Page_73'>73</a>, <a href='#Page_92'>92</a>, <a href='#Page_164'>164</a>, <a href='#Page_287'>287</a>-<a href='#Page_288'>288</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hazlitt, W. Carew, ii. <a href='#Page_345'>345</a></li>
-  <li class='c056'>Heath, Mr. Dudley, ii. <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>, <a href='#Page_307'>307</a></li>
-  <li class='c056'>—— John, <i>see</i> <a href='#Hethe'>Hethe</a></li>
-  <li class='c056'>Hebdenring, Wilhelm, i. 239</li>
-  <li class='c056'>Heere, Lucas d’, ii. <a href='#Page_307'>307</a>-<a href='#Page_308'>308</a></li>
-  <li class='c056'>Heerweghe, Jan van, i. 264</li>
-  <li class='c056'>Hefner-Alteneck, Herr J. H. von, ii. <a href='#Page_100'>100</a></li>
-  <li class='c056'>Hegner, Ulrich, i. 74, 77, 81, 84;
-    <ul>
-      <li>ii. <a href='#Page_156'>156</a> <i>note</i>, <a href='#Page_239'>239</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Heitz, P., ii. <a href='#Page_394'>394</a>, <a href='#Page_398'>398</a></li>
-  <li class='c056'><a id='Hemingham'></a>Hemingham, Sir Anthony, ii. <a href='#Page_258'>258</a></li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_237'>237</a>, <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>“Henegham,” <i>see</i> <a href='#Hemingham'>Hemingham</a></li>
-  <li class='c056'>Henri II of France, i. 281;
-    <ul>
-      <li>ii. <a href='#Page_147'>147</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Henry II, Emperor, i. 114</li>
-  <li class='c056'>—— III of England, ii. <a href='#Page_51'>51</a></li>
-  <li class='c056'><span class='pageno' id='Page_423'>423</span>Henry VI of England, i. 205</li>
-  <li class='c056'>—— VII of England, i. 269, 271-272, 275;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_55'>55</a>, <a href='#Page_94'>94</a>-<a href='#Page_96'>96</a>, <a href='#Page_394'>394</a>, <a href='#Page_188'>188</a>, <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a>, <a href='#Page_267'>267</a>, <a href='#Page_301'>301</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— VIII, i. 97, 169, 176, 178, 256-259, 265-266, 268-270, 272-276, 279-280, 282-287, 294, 305-307, 311-312, 314-317, 319, 326-331, 338, 355-356;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_3'>3</a>, <a href='#Page_11'>11</a>, <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_36'>36</a>, <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_54'>54</a>, <a href='#Page_59'>59</a>, <a href='#Page_60'>60</a>, <a href='#Page_65'>65</a>, <a href='#Page_67'>67</a>-<a href='#Page_68'>68</a>, <a href='#Page_70'>70</a>-<a href='#Page_73'>73</a>, <a href='#Page_76'>76</a>, <a href='#Page_79'>79</a>, <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_90'>90</a>-<a href='#Page_110'>110</a>, <a href='#Page_112'>112</a>-<a href='#Page_115'>115</a>, <a href='#Page_117'>117</a>-<a href='#Page_120'>120</a>, <a href='#Page_122'>122</a>-<a href='#Page_125'>125</a>, <a href='#Page_127'>127</a>, <a href='#Page_129'>129</a>-<a href='#Page_136'>136</a>, <a href='#Page_138'>138</a>-<a href='#Page_144'>144</a>, <a href='#Page_145'>145</a>-<a href='#Page_146'>146</a>, <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>, <a href='#Page_151'>151</a>-<a href='#Page_152'>152</a>, <a href='#Page_154'>154</a>, <a href='#Page_157'>157</a>-<a href='#Page_159'>159</a>, <a href='#Page_164'>164</a>, <a href='#Page_169'>169</a>, <a href='#Page_171'>171</a>-<a href='#Page_180'>180</a>, <a href='#Page_182'>182</a>, <a href='#Page_184'>184</a>-<a href='#Page_185'>185</a>, <a href='#Page_186'>186</a> <i>note</i>, <a href='#Page_187'>187</a>-<a href='#Page_188'>188</a>, <a href='#Page_192'>192</a>, <a href='#Page_194'>194</a>, <a href='#Page_196'>196</a>-<a href='#Page_197'>197</a>, <a href='#Page_200'>200</a>, <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>, <a href='#Page_211'>211</a>, <a href='#Page_217'>217</a>-<a href='#Page_218'>218</a>, <a href='#Page_221'>221</a>, <a href='#Page_223'>223</a>, <a href='#Page_225'>225</a>, <a href='#Page_231'>231</a>-<a href='#Page_239'>239</a>, <a href='#Page_244'>244</a>-<a href='#Page_247'>247</a>, <a href='#Page_263'>263</a>, <a href='#Page_266'>266</a>-<a href='#Page_267'>267</a>, <a href='#Page_271'>271</a>, <a href='#Page_274'>274</a>, <a href='#Page_276'>276</a>, <a href='#Page_278'>278</a>-<a href='#Page_279'>279</a>, <a href='#Page_282'>282</a>, <a href='#Page_310'>310</a>, <a href='#Page_313'>313</a>, <a href='#Page_333'>333</a>, <a href='#Page_338'>338</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— his collection and inventory of pictures, i. 97;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_109'>109</a>, <a href='#Page_127'>127</a>, <a href='#Page_133'>133</a>-<a href='#Page_134'>134</a>, 137, 149, 170</li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— portraits of, i. 266-267;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_93'>93</a>-<a href='#Page_109'>109</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— his tomb, i. 272, 280-281, 287 <i>note</i></li>
-  <li class='c056'><i>Henry VIII</i> (Shakespeare), ii. <a href='#Page_211'>211</a></li>
-  <li class='c056'>“Henry VIII and his Family” (Hampton Court), ii. <a href='#Page_97'>97</a></li>
-  <li class='c056'><i>Henry Grace à Dieu</i> (ship), <i>see</i> <i>Great Harry:Great-Harry</i></li>
-  <li class='c056'>Henry, Prince of Wales, ii. <a href='#Page_24'>24</a>-<a href='#Page_26'>26</a></li>
-  <li class='c056'>Henshaw, Charles, ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>Hentzner, Paul, ii. <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a>, <a href='#Page_97'>97</a>, <a href='#Page_267'>267</a></li>
-  <li class='c056'>Heralds, College of, i. 262, 279</li>
-  <li class='c056'>Herbert, Sir William, ii. <a href='#Page_268'>268</a></li>
-  <li class='c056'>Herbster, Hans, i. 39, 40, 58, 60-61, 340</li>
-  <li class='c056'>Hereford (town), i. 353;
-    <ul>
-      <li>ii. <a href='#Page_212'>212</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Heresius, <i>see</i> <a href='#Harris'>Harris, John</a></li>
-  <li class='c056'>Herlins, Hans, i. 19</li>
-  <li class='c056'>Hermitage Gallery, St. Petersburg, i. 61;
-    <ul>
-      <li>ii. <a href='#Page_62'>62</a>, <a href='#Page_245'>245</a>-<a href='#Page_246'>246</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Heron, Cecilia, daughter of Sir Thomas More, i. 294, 297, 303, 357;
-    <ul>
-      <li>ii. <a href='#Page_250'>250</a>, <a href='#Page_334'>334</a>-<a href='#Page_336'>336</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Essex, i. 300;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_334'>334</a>-<a href='#Page_335'>335</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Giles, ii. <a href='#Page_334'>334</a>, <a href='#Page_336'>336</a></li>
-  <li class='c056'>—— Margaret, ii. <a href='#Page_335'>335</a></li>
-  <li class='c056'>—— Sir William, of Heron, Kt., ii. <a href='#Page_335'>335</a></li>
-  <li class='c056'>Herrault, Christopher, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Hert, illuminator, i. 267</li>
-  <li class='c056'><a id='Hertenstein'></a>Hertenstein, Benedikt von, i. 70, 72-74, 162;
-    <ul>
-      <li>ii. <a href='#Page_278'>278</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Caspar von, i. 65</li>
-  <li class='c056'>—— House decorations, ii <a href='#Page_57'>57</a>-<a href='#Page_58'>58</a>, <a href='#Page_64'>64</a>-<a href='#Page_72'>72</a>, <a href='#Page_122'>122</a></li>
-  <li class='c056'>—— Jakob von, ii <a href='#Page_57'>57</a>, <a href='#Page_65'>65</a>-<a href='#Page_67'>67</a>, <a href='#Page_69'>69</a>, <a href='#Page_70'>70</a>, <a href='#Page_74'>74</a>, <a href='#Page_79'>79</a></li>
-  <li class='c056'>—— Leodegar von, i. 70</li>
-  <li class='c056'>—— Peter von, Canon of Basel, i. 79</li>
-  <li class='c056'>Hertford, Earl of, ii. <a href='#Page_200'>200</a></li>
-  <li class='c056'><a id='Hervey'></a>Hervey, Miss Mary F. S., <i>Holbein’s Ambassadors</i>, ii. <a href='#Page_5'>5</a>, <a href='#Page_39'>39</a>-<a href='#Page_41'>41</a>, <a href='#Page_70'>70</a>, <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_46'>46</a>-<a href='#Page_47'>47</a>, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_52'>52</a>, <a href='#Page_69'>69</a> <i>note</i>, <a href='#Page_257'>257</a>, <a href='#Page_305'>305</a>, <a href='#Page_327'>327</a>, <a href='#Page_394'>394</a></li>
-  <li class='c056'><a id='Herwart'></a>Herwart, Margreth, sister of Hans Holbein the Elder, i. 3;
-    <ul>
-      <li>ii. <a href='#Page_162'>162</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hes, Dr. Willy, i. 25-26, 45, 47, 60, 63;
-    <ul>
-      <li>ii. <a href='#Page_394'>394</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Heseltine, Mr. J. P. (collection), i. 318 <i>note</i>, 324;
-    <ul>
-      <li>ii. <a href='#Page_71'>71</a> <i>note</i>, <a href='#Page_3'>3</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hess, Hieronymus, painter, i. 81, 127-130</li>
-  <li class='c056'>Hesse, Grand Duke of, i. 232</li>
-  <li class='c056'>Hesse-Darmstadt, Prince Charles of, i. 242</li>
-  <li class='c056'><span class='pageno' id='Page_424'>424</span><a id='Hethe'></a>Hethe (or Heath), John, painter-stainer, i. 261-263</li>
-  <li class='c056'>—— Lancelot, painter-stainer, i. 263</li>
-  <li class='c056'>—— Lawrence, painter-stainer, i. 263</li>
-  <li class='c056'><i>Het Schilder Boek</i> (Carel van Mander), <i>see</i> Van Mander:Mander</li>
-  <li class='c056'><a id='Hewen'></a>Hewen, Von, family, i. 145;
-    <ul>
-      <li>ii. <a href='#Page_326'>326</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Wolfgang von, rector of Freiburg University, i. 145</li>
-  <li class='c056'>Heymans, Mynheer, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>Higham Park, Northamptonshire, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>“High Burgony,” <i>see</i> <a href='#Upper-Burgundy'>Upper Burgundy</a></li>
-  <li class='c056'>Hilliard, Laurence, ii. <a href='#Page_234'>234</a></li>
-  <li class='c056'>—— Nicholas, i. 302;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_90'>90</a>-<a href='#Page_91'>91</a>, <a href='#Page_112'>112</a>-<a href='#Page_113'>113</a>, <a href='#Page_218'>218</a>-<a href='#Page_219'>219</a>, <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a>, <a href='#Page_237'>237</a>, <a href='#Page_246'>246</a>, <a href='#Page_81'>81</a>-<a href='#Page_309'>309</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Himmel, Zunft zum (Basel Painters’ Guild), i. 58-59, 82-83, 97, 121, 232</li>
-  <li class='c056'>Hind, Mr. A. M., i. 230 <i>note</i>, ii. <a href='#Page_394'>394</a></li>
-  <li class='c056'>Hirth, publisher, of Munich, i. 214</li>
-  <li class='c056'>His-Heusler, Dr. Edouard, i. 50, 80, 190, 338;
-    <ul>
-      <li>ii. <a href='#Page_157'>157</a>, <a href='#Page_299'>299</a>, <a href='#Page_394'>394</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>History of Portrait Miniatures</i> (G. C. Williamson), ii. <a href='#Page_220'>220</a>, <a href='#Page_230'>230</a></li>
-  <li class='c056'>Hoby, Sir Philip, i. 176;
-    <ul>
-      <li>ii. <a href='#Page_119'>119</a>-<a href='#Page_125'>125</a>, <a href='#Page_130'>130</a>-<a href='#Page_131'>131</a>, <a href='#Page_140'>140</a>-<a href='#Page_141'>141</a>, <a href='#Page_143'>143</a>-<a href='#Page_144'>144</a>, <a href='#Page_58'>58</a>, <a href='#Page_148'>148</a>-<a href='#Page_151'>151</a>, <a href='#Page_153'>153</a>-<a href='#Page_156'>156</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas, ii. <a href='#Page_168'>168</a></li>
-  <li class='c056'>—— William, of Leominster, ii. <a href='#Page_119'>119</a></li>
-  <li class='c056'>Hoefnagel, Joris, engraver, i. 277</li>
-  <li class='c056'><a id='Holbein'></a>Holbein family, i. 1-4</li>
-  <li class='c056'>Holbein, Ambrosius, elder son of Hans Holbein the Elder, i. 4, 5;
-    <ul>
-      <li>his portrait by his father in the “St. Paul” altar-piece and in drawings, 11, 20, 25-27;</li>
-      <li>training in his father’s workshop, 29;</li>
-      <li>sets out for Switzerland with his brother, and settles in Basel, 32;</li>
-      <li>his share in the “Virgin and Child” picture of 1514, 34-35;</li>
-      <li>his drawings, 34;</li>
-      <li>date of his arrival in Basel, 37;</li>
-      <li>his share in the “Passion” series of paintings, 39-42;</li>
-      <li>designs for Basel printers, 44-45;</li>
-      <li>his share in the “Praise of Folly” drawings, 47-48;</li>
-      <li>portrait of a man at Darmstadt (1515), 50-51;</li>
-      <li>probable visit to Lucerne, 58;</li>
-      <li>citizen of Basel, and joins Painters’ Guild, 58-59;</li>
-      <li>portrait of Schweiger, and probable date of his death, 59;</li>
-      <li>his paintings, and portrait of Herbster, 60-61;</li>
-      <li>his drawings and designs, 61;</li>
-      <li>portrait at St. Petersburg, 61-62;</li>
-      <li>woodcut designs, 59, 62-63;</li>
-      <li>his art, 63, 82, 185, 189, 192, 254;
-        <ul>
-          <li>ii. <a href='#Page_65'>65</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Ambrosius—</li>
-  <li class='c004'><i>Pictures and Drawings</i></li>
-  <li class='c056'>Portraits of Two Boys (Basel), i. 34, 51, 59, 60, 63</li>
-  <li class='c056'>Portrait of a Little Girl (Vienna), i. 60</li>
-  <li class='c056'>Portrait of Hans Herbster (Basel), i. 39, 50, 60-61</li>
-  <li class='c056'>Portrait of a Young Man, dated 1515 (Darmstadt), i. 50-51</li>
-  <li class='c056'>Portrait of Jörg Schweiger (Basel), i. 59</li>
-  <li class='c056'><span class='pageno' id='Page_425'>425</span>Portrait of a Young Man (Hermitage), i. 61-62</li>
-  <li class='c056'>The Saviour as the “Man of Sorrows” (Basel), i. 60</li>
-  <li class='c056'>Study of Two Death’s Heads (Basel), i. 60</li>
-  <li class='c056'>Drawing of a Girl, “Anne” (Basel), i. 34, 61, 63</li>
-  <li class='c056'>Drawing, Head of an Unknown Man (Basel Kunstverein), i. 51</li>
-  <li class='c056'>Silver-point studies for Portraits of Two Boys (Vienna and Paris), i. 60</li>
-  <li class='c056'>Drawing, Head of a Young Woman (Basel), i. 61</li>
-  <li class='c056'>Drawing, Head of Young Man turned to left, 1517 (Basel), i. 61</li>
-  <li class='c056'>Drawing, coloured, of a member of the Von Rüdiswiler family (Basel), i. 58, 185</li>
-  <li class='c056'>Drawing, Head and Body of a Baby (British Museum), i. 63</li>
-  <li class='c056'>Glass design, “Foundation of Basel” (Basel), i. 61</li>
-  <li class='c056'>Drawings, “Pyramus and Thisbe” and “Hercules and Antæus,” two roundels (Karlsruhe), i. 63</li>
-  <li class='c056'>Woodcut designs for T. Murner’s <i>Geuchmatt</i>, i. 59</li>
-  <li class='c056'>Woodcut designs for More’s <i>Utopia</i>, i. 62, 192</li>
-  <li class='c056'>Woodcut designs for title-pages, initial letters, &amp;c., i. 62-63</li>
-  <li class='c056'>Woodcut design for title-page, “Tarquin and Lucrece,” i. 193</li>
-  <li class='c056'>Holbein, Anna, sister of Hans Holbein the Elder, <i>see</i> <a href='#Eichinger'>Eichinger, Anna</a></li>
-  <li class='c056'>—— Barbara, sister of Hans Holbein the Elder, <i>see</i> <a href='#Oberhausen'>Oberhausen, Barbara von</a></li>
-  <li class='c056'>—— Bruno, mythical brother of Ambrosius and Hans Holbein, i. 4, 5</li>
-  <li class='c056'><a id='Holbein-Elsbeth'></a>—— Elsbeth (Schmid), wife of Hans Holbein the Younger, i. 83-84, 105-109, 222, 245, 248, 252-253, 339, 343-347;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_63'>63</a>, <a href='#Page_65'>65</a>, <a href='#Page_160'>160</a>-<a href='#Page_162'>162</a>, <a href='#Page_168'>168</a>, <a href='#Page_300'>300</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Felicitas, wife of Conrad Volmar, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>—— Hans, supposed grandfather of Hans Holbein the Younger, i. 3, 4, 7</li>
-  <li class='c056'>—— Hans, the Elder, i. 2;
-    <ul>
-      <li>
-        <ul>
-          <li>his family, 3, 4;</li>
-          <li>forged signatures on his pictures, 3;</li>
-          <li>his birth and earliest works, 4;</li>
-          <li>his art, 5-7;</li>
-          <li>settles in Ulm, 8;</li>
-          <li>visits Frankfurt, 9;</li>
-          <li>work for the Monastery of Kaisheim, 9-11;</li>
-          <li>portraits of himself and sons in “Baptism of St. Paul,” 11-12;</li>
-          <li>drawings of his sons, 11, 20, 25-27;</li>
-          <li>work for the Church of St. Moritz, Augsburg, 13;</li>
-          <li>financial troubles, 13;</li>
-          <li>the “St. Sebastian” altar-piece, 14-16, 30;</li>
-          <li>“Fountain of Life,” 16-18;</li>
-          <li>portrait-studies of heads in silver-point, 18-21;</li>
-          <li>portrait of a Lady, Sir F. Cook’s Collection, 20-22;</li>
-          <li>his last years, 22;</li>
-          <li>letter claiming his painting materials left at Isenheim, i. 22, 254;</li>
-          <li>his death, i. 22; 34, 38, 40, 51;</li>
-          <li><span class='pageno' id='Page_426'>426</span>legend that he lived in Lucerne with his sons, 58, 92, 108, 148, 186, 254</li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Hans, the Elder—</li>
-  <li class='c004'><i>Pictures and Drawings</i></li>
-  <li class='c056'>The Virgin with the Infant Christ in her Arms (Augsburg), i. 3</li>
-  <li class='c056'>Basilica of Santa Maria Maggiore (Augsburg), i. 4, 7</li>
-  <li class='c056'>Joachim’s Sacrifice, Birth of Mary, Presentation of Mary, and Presentation of Christ, four altar panels (Augsburg), i. 7</li>
-  <li class='c056'>The Death of Mary, Afra altar-piece (Basel), i. 7 <i>note</i></li>
-  <li class='c056'>Crowning of the Virgin, Vetter altar-piece (Augsburg), i. 8, 38</li>
-  <li class='c056'>Genealogy of Christ and of the Dominicans, &amp;c. (Frankfurt), i. 9</li>
-  <li class='c056'>Kaisheim Altar-piece (Munich), i. 9, 27</li>
-  <li class='c056'>Transfiguration of Christ (Augsburg), i. 10</li>
-  <li class='c056'>Basilica of St. Paul (Augsburg), i. 10, 11, 27, 186</li>
-  <li class='c056'>Martyrdom of St. Sebastian (Munich), i. 14-17, 30, 33, 104</li>
-  <li class='c056'>The Fountain of Life (Lisbon), i. 5, 16-18, 22, 34</li>
-  <li class='c056'>Portrait of a Lady (Sir F. Cook’s Collection), i. 20-21</li>
-  <li class='c056'>Martyrdom of St. Catherine, Legend of St. Ulrich, The Virgin and St. Anne Teaching the Infant Christ to Walk, &amp;c., altar panels (Augsburg), i. 23-25, 30</li>
-  <li class='c056'>The Death of Mary (Basel), i. 26-27</li>
-  <li class='c056'>Passion Series (Donaueschingen), i. 38, 40</li>
-  <li class='c056'>Drawing, Study of his Own Head (Chantilly), i. 11</li>
-  <li class='c056'>Drawing of a Lady’s Head, perhaps his wife (Munich), i. 12</li>
-  <li class='c056'>Studies for St. Sebastian (Copenhagen), i. 16</li>
-  <li class='c056'>Studies for Sir F. Cook’s portrait of a Lady (British Museum and Berlin), i. 21-22</li>
-  <li class='c056'>Portrait-Studies of his Sons, i. 11, 20, 25, 27, 186</li>
-  <li class='c056'>Portrait-Studies in silver-point, i. 18-21</li>
-  <li class='c056'>Study for the “Death of Mary” (Basel), i. 26</li>
-  <li class='c056'>Holbein, Hans, the Younger, his portrait by his father in the “St. Paul’s” altar-piece (1504), i. 11;
-    <ul>
-      <li>and in his father’s drawings, i. 11, 25-27;</li>
-      <li>personal appearance, i. 11;</li>
-      <li>works of his father wrongly ascribed to him, 14-15;</li>
-      <li>his supposed share in the “St. Sebastian” altar-piece, 15, 16, 30;</li>
-      <li>place and date of his birth, 23-29;</li>
-      <li>miniatures of himself, 28;</li>
-      <li>house where born, 29;</li>
-      <li>training in his father’s workshop, 29-30;</li>
-      <li>influence of Burgkmair, 30, of the Italian Renaissance, 30-31, and of Grien and Grünewald, &amp;c., 31;</li>
-      <li>sets out with his brother Ambrosius for Switzerland, 32;</li>
-      <li><span class='pageno' id='Page_427'>427</span>date of arrival in Basel, 37;</li>
-      <li>early works in Basel, 32-45;</li>
-      <li>possibility that he worked for a time in Hebster’s studio, 39;</li>
-      <li>work for printers and “Praise of Folly” drawings, 44-49;</li>
-      <li>legends as to his character, 49-50;</li>
-      <li>double portrait of Jakob Meyer and his wife, 52-55;</li>
-      <li>his methods of work at that time, 53;</li>
-      <li>work in Lucerne and decoration of the Hertenstein House, 57-72;</li>
-      <li>his visit to Lombardy and its influence on his art, 74-78;</li>
-      <li>other work in Lucerne, 78-81;</li>
-      <li>returns to Basel, enters Painters’ Guild, and becomes a burgher, 82-83;</li>
-      <li>his marriage, 83-84;</li>
-      <li>portrait of Bonifacius Amerbach, 84-87;</li>
-      <li>sacred pictures and drawings of this period, 88-101;</li>
-      <li>Italian influences in his work, and growing mastery of technique, &amp;c., 86, 94-95, 98;</li>
-      <li>Dead Christ in the Tomb, 101-103;</li>
-      <li>Solothurn Madonna, 103-111;</li>
-      <li>portraits of his wife, 106-109;</li>
-      <li>wall-paintings for the House of the Dance, and other buildings, 117-123;</li>
-      <li>his wall-paintings in the Council Chamber of the Basel Town Hall, 123-134;</li>
-      <li>work as a designer for glass-painters, 135-157;</li>
-      <li>costume studies and other drawings, 157-161;</li>
-      <li>his various portraits of Erasmus, 164-174;</li>
-      <li>his journey though the South of France, 174-176;</li>
-      <li>portraits of Froben, 166-168, 183-184, of Melanchthon, 184-185, and of himself, 185-186;</li>
-      <li>designs for woodcuts and book illustrations, 187-203;</li>
-      <li>the Dance of Death woodcuts, 204-224;</li>
-      <li>the happy partnership of Holbein and Lützelburger in these cuts, 223-225;</li>
-      <li>Alphabet of Death and Old Testament woodcuts, 224-230;</li>
-      <li>the Meyer Madonna, 232-252;</li>
-      <li>resolves to visit England, 252-253;</li>
-      <li>attempts to get his father’s painting materials from Isenheim, 254;</li>
-      <li>Erasmus’ letter of introduction to Ægidius, 255;</li>
-      <li>leaves Basel for England, 288;</li>
-      <li>his relationships with Sir Thomas More, 290-291;</li>
-      <li>painting of the More Family Group, 291-302;</li>
-      <li>other portraits of More and his family, 303-310;</li>
-      <li>his work in connection with the temporary Banqueting House at Greenwich (1527), 311-316;</li>
-      <li>portraits of Sir Henry Guldeford, Warham, Fisher, Thomas and John Godsalve, Kratzer, and others, 317-337;</li>
-      <li>returns to Basel and purchases two houses, 338-339;</li>
-      <li>portrait of his wife and two children, 343-346;</li>
-      <li>finishes his wall-paintings in the Basel Town Hall, 347-350;</li>
-      <li>paints a new portrait of Erasmus, 351;</li>
-      <li>lack of work caused by severe iconoclastic outbreaks sends him back to England, 352</li>
-      <li>ii. Second residence in London, and connection with the German merchants of the Steelyard, 1-32;</li>
-      <li>portraits of Gisze, Hans of Antwerp, Wedigh, Born, Tybis, Fallen, Berck, &amp;c., 4-23;</li>
-      <li><span class='pageno' id='Page_428'>428</span>his decorative paintings of the Triumphs of Riches and Poverty, 23-30;</li>
-      <li>triumphal arch designed for Anne Boleyn’s Coronation, 30-32;</li>
-      <li>painting of “The Two Ambassadors,” 34-53;</li>
-      <li>portraits of Cheseman, Thomas Cromwell, Morette, Poyntz, Nicolas Bourbon, 54-75;</li>
-      <li>woodcuts of the English period, 76-79;</li>
-      <li>portraits of members of the Wyat family, Sir Richard Southwell, and others, 79-89;</li>
-      <li>enters the service of Henry VIII, 90-92;</li>
-      <li>the Whitehall fresco of Henry VII and Henry VIII, &amp;c., 93-100, and other portraits of the King and of Jane Seymour, 100-113;</li>
-      <li>goes to Brussels to paint the Duchess of Milan (1538), 119-137;</li>
-      <li>goes to Havre in June and to Joinville and Nancy in August (1538), to take likenesses of ladies of the Guise and Lorraine families, 139-155, 343-344;</li>
-      <li>revisits Basel, and is entertained at a banquet, 156;</li>
-      <li>offer of a pension from Basel Town Council, 158-161;</li>
-      <li>death and will of his uncle Sigmund, 161-162;</li>
-      <li>returns to England, 162-164;</li>
-      <li>portraits of the infant Prince of Wales, 164-168;</li>
-      <li>goes to Düren (1539) to paint Anne of Cleves, 175-182;</li>
-      <li>his work in Whitehall Palace, 185-187;</li>
-      <li>residing in parish of St. Andrew Undershaft, 188-189;</li>
-      <li>payments in advance of his salary, 190-191;</li>
-      <li>possibility of a visit to Basel in 1540, 191-192;</li>
-      <li>portraits of Queen Catherine Howard, the Duke of Norfolk, the Earl of Surrey, the Earl of Southampton, Dr. John Chamber, Sir William and Lady Butts, and others of unknown men and ladies, 192-212;</li>
-      <li>various miniatures and portraits of himself, 213;</li>
-      <li>his work as a miniature painter, 217-242;</li>
-      <li>his drawings of the heads of the men and women of Henry’s court, now in the Royal Library, Windsor, 243-259;</li>
-      <li>similar drawings in Berlin, Basel, &amp;c., 259-261;</li>
-      <li>comparison between his portrait-drawings and those of the two Clouets, 261-262;</li>
-      <li>his work as a practical designer for craftsmen and jewellers, and architectural designs, 265-286;</li>
-      <li>his connection with various London goldsmiths, 287-288;</li>
-      <li>his last large picture, for the Barber-Surgeons’ Company, left unfinished, 289-294;</li>
-      <li>his death and will, and executors, 294-298;</li>
-      <li>earlier mistakes as to the date of his death, 298-299;</li>
-      <li>his wife, children, and descendants, 299-301;</li>
-      <li>some of his contemporaries and successors at the English Court, 302-311;</li>
-      <li>destruction or loss of all his larger decorative works, 312-314;</li>
-      <li>fertility of his invention and power of dramatic composition, 314-315;</li>
-      <li>influence of the Italian Renaissance on his art, 315-316;</li>
-      <li>the brilliance of his draughtsmanship, 316-318;</li>
-      <li>comparison of his art with Dürer’s, 318-320;</li>
-      <li>Lord Leighton and Ruskin upon his art, 319-321;</li>
-      <li><span class='pageno' id='Page_429'>429</span>his early drawings and glass designs, 323-327;</li>
-      <li>his connection with Dr. Johann Fabri, 330-332;</li>
-      <li>his return to England in 1532, 340-341;</li>
-      <li>his studio in Whitehall, 344-346</li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Hans, the Younger—<i>Pictures, Drawings, Woodcuts, &amp;c.</i>—</li>
-  <li class='c056'><i>Pictures</i></li>
-  <li class='c056'>Virgin and Child, 1514 (Basel), i. 32-35, 37;
-    <ul>
-      <li>ii. <a href='#Page_332'>332</a>, <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Christ bearing the Cross, 1515 (Karlsruhe), i. 38, 43, 101;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Crowning with Thorns, 1515 (Karlsruhe), i. 39;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Painted Table (Zürich), i. 35-37, 53, 77;
-    <ul>
-      <li>ii. <a href='#Page_358'>358</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Heads of the Virgin Mary and St. John (Basel), i. 37-38, 56;
-    <ul>
-      <li>ii. <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Scenes from Christ’s Passion, on canvas (Basel), i. 39-42, 68, 93, 99, 104, 156;
-    <ul>
-      <li>ii. <a href='#Page_356'>356</a></li>
-      <li>1. The Last Supper, i. 39, 40, 42, 76;
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-      <li>2. Christ on the Mount of Olives, i. 40, 42;
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-      <li>3. The Arrest in the Garden, i. 40, 42, 87;
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-      <li>4. The Scourging of Christ, i. 39, 40-42, 56;
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-      <li>5. Pilate Washing his Hands, i. 41-42;
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Schoolmaster’s Signboard, 1516 (Basel), i. 48 <i>note</i>, 51-52;
-    <ul>
-      <li>ii. <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Adam and Eve, 1517 (Basel), i. 38, 55-56, 112;
-    <ul>
-      <li>ii. <a href='#Page_93'>93</a>, <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Passion of Christ Altar-piece (Basel), i. 43-44, 87, 91-96, 150, 350;
-    <ul>
-      <li>ii. <a href='#Page_312'>312</a>. <a href='#Page_316'>316</a>, <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>The Last Supper (Basel), i. 75-76. 88, 91 <i>note</i>, 340;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Coat of Arms for the Painters’ Guild Chamber, Basel, i. 83</li>
-  <li class='c056'>Christ as the Man of Sorrows, i. 98-99;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Mary as Mater Dolorosa, i. 98-99;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>The Nativity (Freiburg), i. 87-91, 98;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>The Adoration of the Kings (Freiburg), i. 87-91, 98;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dead Christ in the Tomb, 1521 (Basel), i. 77, 160;
-    <ul>
-      <li>ii. <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>St. George, 1522 (Karlsruhe), i. 111-113, 160;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>St. Ursula, 1522 (Karlsruhe), i. 111-113, 249;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Solothurn Madonna, 1522 (Solothurn), i. 84, 103-113, 149, 160, 235, 245, 249, 345-346;
-    <ul>
-      <li>ii. <a href='#Page_316'>316</a>, <a href='#Page_324'>324</a>, <a href='#Page_358'>358</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Meyer Madonna (Darmstadt), i. 33, 103, 149, 232-246, 249-250, 293 <i>note</i>, 243;
-    <ul>
-      <li>ii. <a href='#Page_260'>260</a>, <a href='#Page_312'>312</a>, <a href='#Page_316'>316</a>, <a href='#Page_328'>328</a>, <a href='#Page_330'>330</a>, <a href='#Page_341'>341</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Meyer Madonna (Dresden), i. 236-239, 241-244;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_329'>329</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_430'>430</span>Magdalena Offenburg as Laïs, 1526, i. 75, 158, 162, 245-252, 289;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Magdalena Offenburg as Venus, 1526, i. 75, 158, 162, 245-252, 289;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Noli Me Tangere” (Hampton Court), i. 76, 95-98;
-    <ul>
-      <li>ii. <a href='#Page_77'>77</a>, <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Organ Doors, Basel Minster (Basel), i. 87, 113-115, 154, 249, 340;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Triumph of Riches,” i. 159;
-    <ul>
-      <li>ii. <a href='#Page_23'>23</a>-<a href='#Page_30'>30</a>, <a href='#Page_262'>262</a>-<a href='#Page_263'>263</a>, <a href='#Page_313'>313</a>-<a href='#Page_314'>314</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Triumph of Poverty,” ii. <a href='#Page_23'>23</a>-<a href='#Page_26'>26</a>, <a href='#Page_28'>28</a>-<a href='#Page_30'>30</a>, <a href='#Page_262'>262</a>, <a href='#Page_313'>313</a></li>
-  <li class='c056'>Various copies and engravings of the Triumphs of Riches and Poverty, by Zuccaro, Vorsterman, Bisschop, Merian, &amp;c., ii. <a href='#Page_26'>26</a>-<a href='#Page_27'>27</a></li>
-  <li class='c056'>Coats of arms painted for the borough of Waldenburg, i. 233</li>
-  <li class='c004'><i>Lost Pictures and Pictures Attributed to Holbein</i></li>
-  <li class='c056'>Head of Christ (Altorf), attributed to Holbein, i. 77</li>
-  <li class='c056'>Crucifixion (Altorf), attributed to Holbein, i. 77</li>
-  <li class='c056'>Christ in the Tomb (Altorf), copy of the 1521 painting, i. 77-78</li>
-  <li class='c056'>Five pictures mentioned by Patin as in Lucerne churches in his day, i. 80-81</li>
-  <li class='c056'>Taking Down from the Cross (Palermo), copy of lost original, i. 81</li>
-  <li class='c056'>Christ on the Cross between Mary and John (Basel), copy of lost original, i. 87</li>
-  <li class='c056'>Christ taken Prisoner (engraving only), copy of lost original, i. 87</li>
-  <li class='c056'>Lamentations over Christ, &amp;c. (etching), copy of lost original, i. 87-88</li>
-  <li class='c056'>St. Barbara (etching), copy of lost original, i. 88</li>
-  <li class='c056'>Series of Prophets, on canvas (Basel), by Sarburgh after lost originals, i. 88;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>, <a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Siege of Terouenne, painting for the Greenwich Banqueting Hall, 1527, i. 315-316;
-    <ul>
-      <li>ii. <a href='#Page_64'>64</a>, <a href='#Page_313'>313</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Painting of “Adam and Eve,” for a royal cradle (1534), ii. <a href='#Page_92'>92</a>-<a href='#Page_93'>93</a></li>
-  <li class='c056'>Death of Virginia (Dresden), copy of a lost picture, ii. <a href='#Page_263'>263</a>-<a href='#Page_264'>264</a></li>
-  <li class='c056'>Death’s Head and Cross Bones (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>A Picture with “divers figure Jocatori, &amp;c.” (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>Arms of England in water-colours (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>“Legge Vecchio &amp; Nove” (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>Jupiter and Io, water-colour (BuckinghamInventory, 1635), ii. <a href='#Page_215'>215</a></li>
-  <li class='c004'><span class='pageno' id='Page_431'>431</span><i>Wall-Paintings</i></li>
-  <li class='c056'>Hertenstein House wall-paintings, i. 57, 64-72, 117, 127, 142</li>
-  <li class='c056'>Tarquin and Lucrece, original fragment of above (Lucerne), i. 68;
-    <ul>
-      <li>ii. <a href='#Page_358'>358</a></li>
-    </ul>
-  </li>
-  <li class='c056'>House of the Dance wall-paintings, i. 117-121, 127, 200;
-    <ul>
-      <li>ii. <a href='#Page_157'>157</a>, <a href='#Page_315'>315</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Basel Town Hall wall-paintings, i. 123-134, 142, 232, 252, 343, 347-352;
-    <ul>
-      <li>ii. <a href='#Page_157'>157</a>, <a href='#Page_357'>357</a></li>
-      <li>Charondas, i. 127-128</li>
-      <li>Curius Dentatus, i. 127-128, 130-131</li>
-      <li>Zaleucus, i. 127-130;
-        <ul>
-          <li>ii. <a href='#Page_284'>284</a></li>
-        </ul>
-      </li>
-      <li>Sapor and Valerian, i. 128-129, 131-132</li>
-      <li>Rehoboam rebuking the Elders, i. 126-128, 347-349;
-        <ul>
-          <li>ii. <a href='#Page_263'>263</a>, <a href='#Page_314'>314</a></li>
-        </ul>
-      </li>
-      <li>Samuel and Saul, i. 126-128, 347, 349;
-        <ul>
-          <li>ii. <a href='#Page_314'>314</a></li>
-        </ul>
-      </li>
-      <li>Hezekiah breaking the Idols, i. 128, 347</li>
-      <li>Single figures of Christ, David, &amp;c., i. 128, 132-133</li>
-      <li>Original fragments of “Curius Dentatus,” i. 127, 130;
-        <ul>
-          <li>ii. <a href='#Page_357'>357</a></li>
-        </ul>
-      </li>
-      <li>Original fragments of “Rehoboam,” i. 127, 347-349;
-        <ul>
-          <li>ii. <a href='#Page_357'>357</a></li>
-        </ul>
-      </li>
-      <li>Copies of some of the remains by H. Hess, i. 127-129</li>
-    </ul>
-  </li>
-  <li class='c056'>Whitehall fresco—Henry VII and Elizabeth of York, Henry VIII and Jane Seymour, i. 286;
-    <ul>
-      <li>ii. <a href='#Page_91'>91</a>, <a href='#Page_93'>93</a>-<a href='#Page_97'>97</a>, <a href='#Page_100'>100</a>, <a href='#Page_103'>103</a>, <a href='#Page_105'>105</a>, <a href='#Page_109'>109</a>, <a href='#Page_113'>113</a>, <a href='#Page_185'>185</a>, <a href='#Page_187'>187</a>-<a href='#Page_188'>188</a>, <a href='#Page_271'>271</a>, #313</li>
-    </ul>
-  </li>
-  <li class='c004'><i>Portraits (arranged alphabetically)</i></li>
-  <li class='c056'>Amerbach, Bonifacius, 1519 (Basel), i. 74, 84-87, 90, 122, 162, 170;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a>, <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Amelie of Cleves (lost portrait), ii. <a href='#Page_174'>174</a>-<a href='#Page_176'>176</a></li>
-  <li class='c056'>Anne of Cleves, 1539 (Louvre), ii. <a href='#Page_65'>65</a>, <a href='#Page_115'>115</a>, <a href='#Page_171'>171</a>, <a href='#Page_174'>174</a>-<a href='#Page_176'>176</a>, <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_236'>236</a>-<a href='#Page_237'>237</a>, <a href='#Page_255'>255</a>, <a href='#Page_311'>311</a>, <a href='#Page_353'>353</a>;
-    <ul>
-      <li>other portraits, ii. <a href='#Page_183'>183</a>-<a href='#Page_184'>184</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Antwerp, Hans von, 1532 (Windsor), ii. <a href='#Page_8'>8</a>-<a href='#Page_14'>14</a>, <a href='#Page_16'>16</a>, <a href='#Page_215'>215</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Antwerp, Hans of, roundel (Salting Collection), ii. <a href='#Page_14'>14</a>-<a href='#Page_15'>15</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Antwerp, Hans of (?), roundel (Lord Spencer), after Holbein (?), ii. <a href='#Page_14'>14</a>-<a href='#Page_15'>15</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Berck, Derich, 1536 (Petworth), ii. <a href='#Page_22'>22</a>-<a href='#Page_23'>23</a>, <a href='#Page_83'>83</a>, <a href='#Page_351'>351</a>;
-    <ul>
-      <li>copy at Munich, ii. <a href='#Page_23'>23</a>, <a href='#Page_355'>355</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Born, Derich, 1533 (Windsor), ii. <a href='#Page_17'>17</a>-<a href='#Page_20'>20</a>, <a href='#Page_65'>65</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Born, Derich (Munich), ii. <a href='#Page_20'>20</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>Bourbon, Nicolas (lost portrait), ii. <a href='#Page_72'>72</a>-<a href='#Page_73'>73</a></li>
-  <li class='c056'>Butts, Sir William (Mrs. Gardner, Boston), ii. <a href='#Page_205'>205</a>, <a href='#Page_209'>209</a>-<a href='#Page_210'>210</a>, <a href='#Page_289'>289</a>, <a href='#Page_347'>347</a></li>
-  <li class='c056'>Butts, Lady (Mrs. Gardner, Boston), i. 354;
-    <ul>
-      <li>ii. <a href='#Page_83'>83</a>, <a href='#Page_205'>205</a>, <a href='#Page_209'>209</a>-<a href='#Page_210'>210</a>, <a href='#Page_347'>347</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Carew, Sir Nicholas (Dalkeith), i. 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_87'>87</a>-<a href='#Page_89'>89</a>, <a href='#Page_134'>134</a>, <a href='#Page_255'>255</a>, <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Chamber, Dr. John (Vienna), ii. <a href='#Page_65'>65</a>, <a href='#Page_112'>112</a>, <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>, <a href='#Page_255'>255</a>, <a href='#Page_289'>289</a>, <a href='#Page_349'>349</a>; copy at Oxford, ii. <a href='#Page_209'>209</a></li>
-  <li class='c056'><span class='pageno' id='Page_432'>432</span>Cheseman, Robert, 1533 (Hague), ii. <a href='#Page_46'>46</a>, <a href='#Page_54'>54</a>-<a href='#Page_57'>57</a>, <a href='#Page_203'>203</a>, <a href='#Page_206'>206</a>, <a href='#Page_255'>255</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>Cromwell, Thomas, 1534 (?) (Tyttenhanger Park), i. 328;
-    <ul>
-      <li>ii. <a href='#Page_58'>58</a>-<a href='#Page_60'>60</a>, <a href='#Page_65'>65</a>, <a href='#Page_88'>88</a>, <a href='#Page_255'>255</a>, <a href='#Page_311'>311</a>, <a href='#Page_351'>351</a>;</li>
-      <li>other versions of Cromwell portrait, ii. <a href='#Page_60'>60</a>-<a href='#Page_61'>61</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Denny, Sir Anthony (lost portrait?), ii. <a href='#Page_214'>214</a></li>
-  <li class='c056'>Dinteville, Jean de, and George de Selve, 1533 (The Ambassadors), (National Gallery), i. 327, 330;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_19'>19</a>, <a href='#Page_35'>35</a>-<a href='#Page_53'>53</a>, <a href='#Page_64'>64</a>, <a href='#Page_158'>158</a>, <a href='#Page_255'>255</a>, <a href='#Page_339'>339</a>, <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Edward VI (Hanover), ii. <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_65'>65</a>, <a href='#Page_164'>164</a>-<a href='#Page_165'>165</a>, <a href='#Page_171'>171</a>, <a href='#Page_205'>205</a>, <a href='#Page_288'>288</a>, <a href='#Page_354'>354</a></li>
-  <li class='c056'>Edward VI (Lord Yarborough), ii. <a href='#Page_165'>165</a>, <a href='#Page_353'>353</a>;
-    <ul>
-      <li>other versions, after Holbein, and by Stretes and others, ii. <a href='#Page_166'>166</a>-<a href='#Page_170'>170</a>, <a href='#Page_165'>165</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Erasmus, 1523 (Longford Castle), i. 164, 167-172, 177, 179, 180-182, 219, 253, 322-323;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— 1523 (Louvre), i. 168-169, 172-173, 181-182;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_353'>353</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— 1523 (Basel), study for Louvre portrait, i. 172-174;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_357'>357</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— 1530 (Parma), i. 177, 179-180, 351;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_355'>355</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— roundel (Basel), i. 171 <i>note</i>, 177, 179-180, 184, 351</li>
-  <li class='c056'>—— (Pierpont Morgan Collection), i. 171 <i>note</i>, 177-180;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_347'>347</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— various copies of above, i. 167-168, 171, 180-181;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_329'>329</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— and Froben, double portrait, i. 166, 182;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_329'>329</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— (Arundel Collection, 1655), ii. <a href='#Page_25'>25</a>, <a href='#Page_65'>65</a></li>
-  <li class='c056'>—— (Lumley Inventory, 1590), ii. <a href='#Page_134'>134</a></li>
-  <li class='c056'>Fallen, Cyriacus, 1533 (Brunswick), i. 73;
-    <ul>
-      <li>ii. <a href='#Page_17'>17</a>, <a href='#Page_22'>22</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Fisher, John, Bishop of Rochester (lost portrait), i. 299, 323-325, 337</li>
-  <li class='c056'>Fitzwilliam, William, Earl of Southampton (Cambridge), after Holbein, ii. <a href='#Page_43'>43</a>, <a href='#Page_65'>65</a>, <a href='#Page_204'>204</a>, <a href='#Page_304'>304</a></li>
-  <li class='c056'>Froben, Johann (Hampton Court and Basel), i. 162, 166-167, 172, 183-184;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a>, <a href='#Page_349'>349</a>, <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Gage, Sir Edward (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>George, Simon (Frankfurt), ii. <a href='#Page_205'>205</a>, <a href='#Page_207'>207</a>, <a href='#Page_354'>354</a></li>
-  <li class='c056'>Gisze, Georg, 1532 (Berlin), i. 54;
-    <ul>
-      <li>ii. <a href='#Page_4'>4</a>-<a href='#Page_8'>8</a>, 10 <i>and note</i>, <a href='#Page_14'>14</a>, <a href='#Page_18'>18</a>, <a href='#Page_43'>43</a>, <a href='#Page_129'>129</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Godsalve, Thomas and John, 1528 (Dresden), i. 299, 317, 325-326, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_255'>255</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Guise, Louise of, 1538 (lost portrait), ii. <a href='#Page_144'>144</a>, <a href='#Page_146'>146</a>-<a href='#Page_149'>149</a>, <a href='#Page_299'>299</a></li>
-  <li class='c056'>Guldeford, Sir Henry, 1527 (Windsor), i. 299, 317-320, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_134'>134</a>, <a href='#Page_311'>311</a>, <a href='#Page_350'>350</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Guldeford, Lady, 1527 (W. C. Vanderbilt, New York), i. 299, 318-320, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_134'>134</a>, <a href='#Page_311'>311</a>, <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Henry VIII (Althorp), ii. <a href='#Page_93'>93</a>, <a href='#Page_107'>107</a>-<a href='#Page_109'>109</a>, <a href='#Page_299'>299</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'><span class='pageno' id='Page_433'>433</span>Henry VIII (Rome), ii. <a href='#Page_93'>93</a> <i>note</i>, <a href='#Page_101'>101</a>-<a href='#Page_103'>103</a>, <a href='#Page_171'>171</a> <i>note</i>, <a href='#Page_356'>356</a></li>
-  <li class='c056'>Henry VIII presenting a Charter to the Barber-Surgeons’ Company (Barber-Surgeons’ Hall), ii. <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>, <a href='#Page_289'>289</a>-<a href='#Page_294'>294</a>, <a href='#Page_346'>346</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Henry VIII, various portraits after Holbein or by his contemporaries, at Warwick Castle, ii. <a href='#Page_100'>100</a>-<a href='#Page_102'>102</a>, <a href='#Page_104'>104</a>, <a href='#Page_217'>217</a>, <a href='#Page_290'>290</a>;
-    <ul>
-      <li>Windsor Castle, ii. <a href='#Page_103'>103</a>-<a href='#Page_104'>104</a>, <a href='#Page_236'>236</a>;</li>
-      <li>St. Bartholomew’s Hospital, ii. <a href='#Page_101'>101</a>, <a href='#Page_103'>103</a>, <a href='#Page_234'>234</a>;</li>
-      <li>and at Belvoir, Petworth, Chatsworth, and elsewhere, ii. <a href='#Page_100'>100</a>-<a href='#Page_107'>107</a>, <a href='#Page_101'>101</a>, <a href='#Page_169'>169</a>, <a href='#Page_234'>234</a>, <a href='#Page_236'>236</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Henneage, Sir Thomas (Lumley Inventory, 1590), ii. <a href='#Page_134'>134</a></li>
-  <li class='c056'>Hertenstein, Benedikt von, 1517 (New York), i. 72-74, 86, 162;
-    <ul>
-      <li>ii. <a href='#Page_278'>278</a>, <a href='#Page_347'>347</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Elsbeth, early portrait (The Hague), i. 106-108, 345;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a>, <a href='#Page_65'>65</a>, <a href='#Page_355'>355</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein’s Wife and Children, 1528-529 (Basel), i. 106-107, 185, 250, 343-347;
-    <ul>
-      <li>ii. <a href='#Page_164'>164</a>, <a href='#Page_189'>189</a>, <a href='#Page_255'>255</a>, <a href='#Page_357'>357</a>;</li>
-      <li>other versions, i. 344-345</li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Hans (Uffizi), ii. <a href='#Page_213'>213</a>, <a href='#Page_231'>231</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>—— —— (Geigy Collection, Basel), ii. <a href='#Page_213'>213</a>, <a href='#Page_358'>358</a></li>
-  <li class='c056'>Howard, Queen Catherine (Dunn Collection, Canada), i. 354;
-    <ul>
-      <li>ii. <a href='#Page_192'>192</a>, <a href='#Page_195'>195</a>-<a href='#Page_196'>196</a>, 207, 283, 348;</li>
-      <li>copy in National Portrait Gallery, ii. <a href='#Page_194'>194</a>-<a href='#Page_196'>196</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Kratzer, Niklaus, 1528 (Louvre), i. 299, 317, 325, 327-328, 337, 350;
-    <ul>
-      <li>ii. <a href='#Page_4'>4</a>, <a href='#Page_88'>88</a>, <a href='#Page_241'>241</a>, <a href='#Page_255'>255</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Le Strange, Sir Thomas (Mr. H. Le Strange), ii. <a href='#Page_85'>85</a>-<a href='#Page_86'>86</a>, <a href='#Page_134'>134</a></li>
-  <li class='c056'>Lorraine, Anne of, 1538 (lost portrait), ii. <a href='#Page_144'>144</a>, <a href='#Page_146'>146</a>-<a href='#Page_149'>149</a>, <a href='#Page_154'>154</a></li>
-  <li class='c056'>Lovell, Sir Thomas (Lumley Inventory, 1590), ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'>Melanchthon, Philip, roundel (Hanover), i. 184-185, 351;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Meyer, Jakob, and his Wife, 1516 (Basel), i. 52-55, 73-74, 86, 162;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>, <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Milan, Christina, Duchess of, 1538 (National Gallery), ii. <a href='#Page_25'>25</a>, <a href='#Page_43'>43</a>, <a href='#Page_51'>51</a>, <a href='#Page_65'>65</a>, <a href='#Page_88'>88</a>, <a href='#Page_115'>115</a>, <a href='#Page_125'>125</a>-<a href='#Page_130'>130</a>, <a href='#Page_133'>133</a>-<a href='#Page_137'>137</a>, <a href='#Page_142'>142</a>, <a href='#Page_150'>150</a>-<a href='#Page_151'>151</a>, <a href='#Page_155'>155</a>, <a href='#Page_171'>171</a>, <a href='#Page_255'>255</a>, <a href='#Page_349'>349</a>;
-    <ul>
-      <li>copy of the upper half (Windsor), ii. <a href='#Page_125'>125</a>-<a href='#Page_127'>127</a></li>
-    </ul>
-  </li>
-  <li class='c056'>More Family Group, i. 293, 328, 337, 357;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_43'>43</a>, <a href='#Page_65'>65</a>, <a href='#Page_244'>244</a>, <a href='#Page_260'>260</a>, <a href='#Page_289'>289</a>, <a href='#Page_313'>313</a>, <a href='#Page_334'>334</a>-<a href='#Page_340'>340</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (Nostell Priory), i. 295-300, 308;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_334'>334</a>-<a href='#Page_340'>340</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (East Hendred), i. 300;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_335'>335</a>-<a href='#Page_336'>336</a>, <a href='#Page_125'>125</a>, <a href='#Page_352'>352</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (Thorndon), i. 300;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_334'>334</a>-<a href='#Page_336'>336</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (Burford), i. 301-302;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_45'>45</a> <i>note</i>, <a href='#Page_300'>300</a>-<a href='#Page_336'>336</a>, <a href='#Page_351'>351</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— miniature after the Burford picture, by R. Lockey (?) (Sotheby Collection), i. 302</li>
-  <li class='c056'>—— Sir Thomas and his Father (Hutton Hall), i. 300</li>
-  <li class='c004'><span class='pageno' id='Page_434'>434</span>More, Sir Thomas, 1527 (Frick Collection), i. 293, 299, 303-307, 316-317;
-    <ul>
-      <li>ii. <a href='#Page_221'>221</a>, <a href='#Page_289'>289</a>, <a href='#Page_340'>340</a>, <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas (Lumley Inventory, 1590), ii. <a href='#Page_134'>134</a></li>
-  <li class='c056'>—— Sir Thomas (Arundel Collection, 1655), ii. <a href='#Page_25'>25</a>, <a href='#Page_65'>65</a></li>
-  <li class='c056'>—— Lady (Methuen Collection), i. 299, 303, 307-308;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_289'>289</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Morette, Charles de Soliers, Sieur de (Dresden), i. 306;
-    <ul>
-      <li>ii. <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_38'>38</a>, <a href='#Page_49'>49</a> <i>note</i>, <a href='#Page_63'>63</a>-<a href='#Page_70'>70</a>, <a href='#Page_255'>255</a>, <a href='#Page_341'>341</a>, <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Musician, Portrait of a, called Dinteville (Bulstrode Park), ii. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a>, <a href='#Page_65'>65</a>, <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Norfolk, Duke of (Windsor), i. 330;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_171'>171</a>, <a href='#Page_197'>197</a>-<a href='#Page_199'>199</a>, <a href='#Page_330'>330</a>, <a href='#Page_350'>350</a>;</li>
-      <li>other versions, ii. <a href='#Page_197'>197</a>-<a href='#Page_199'>199</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Poyntz, Sir Nicholas (various versions), ii. <a href='#Page_63'>63</a>, <a href='#Page_72'>72</a>, <a href='#Page_342'>342</a>-<a href='#Page_343'>343</a></li>
-  <li class='c056'>Reskimer (Hampton Court), i. 299, 320, 333-334;
-    <ul>
-      <li>ii. <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rich, Sir Richard, attributed to Holbein (Knepp Castle, destroyed by fire), ii. <a href='#Page_311'>311</a></li>
-  <li class='c056'>Rich, Lady (America), ii. <a href='#Page_212'>212</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Roper, Margaret (Knole), after Holbein, i. 303. 307-309, 337;
-    <ul>
-      <li>ii. <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Russell, Sir John, attrib. to Holbein (Woburn Abbey), ii. <a href='#Page_351'>351</a></li>
-  <li class='c056'>Seymour, Queen Jane (Vienna), i. 54;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_109'>109</a>, <a href='#Page_111'>111</a>-<a href='#Page_113'>113</a>, <a href='#Page_181'>181</a>, <a href='#Page_237'>237</a>, <a href='#Page_280'>280</a>, <a href='#Page_349'>349</a>;</li>
-      <li>other versions, ii. <a href='#Page_112'>112</a>-<a href='#Page_113'>113</a>, <a href='#Page_169'>169</a>, <a href='#Page_351'>351</a>-<a href='#Page_352'>352</a>, <a href='#Page_355'>355</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Southwell, Sir Richard, 1536 (Florence), i. 330;
-    <ul>
-      <li>ii. <a href='#Page_23'>23</a>, <a href='#Page_83'>83</a>-<a href='#Page_85'>85</a>, <a href='#Page_355'>355</a>;</li>
-      <li>other versions, ii. <a href='#Page_83'>83</a>, <a href='#Page_85'>85</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Surrey, Earl of (lost portrait), ii. <a href='#Page_65'>65</a>, <a href='#Page_171'>171</a>, <a href='#Page_198'>198</a>, <a href='#Page_200'>200</a>, <a href='#Page_303'>303</a>-<a href='#Page_304'>304</a></li>
-  <li class='c056'>Tuke, Sir Bryan (Miss Guest and Munich), i. 299, 331-332, 337;
-    <ul>
-      <li>ii. <a href='#Page_351'>351</a>, <a href='#Page_355'>355</a>;</li>
-      <li>other versions, i. 332-333</li>
-    </ul>
-  </li>
-  <li class='c056'>Tybis, Derich, 1533 (Vienna), ii. <a href='#Page_7'>7</a>, <a href='#Page_10'>10</a>, <a href='#Page_17'>17</a>, <a href='#Page_20'>20</a>-<a href='#Page_21'>21</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Vaux, Lord (lost portrait), ii. <a href='#Page_87'>87</a> <i>and note</i></li>
-  <li class='c056'>—— Lady (Hampton Court and Prague), ii. <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_348'>348</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>Warham, Archbishop (Louvre and Lambeth), i. 299, 317, 321-323, 328, 337;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_350'>350</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— (Viscount Dillon), i. 323</li>
-  <li class='c056'>Wedigh of Cologne, 1532 (Schönborn Collection), ii. <a href='#Page_15'>15</a>-<a href='#Page_16'>16</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>Wedigh, Hermann H., 1533 (Berlin), ii. <a href='#Page_16'>16</a>-<a href='#Page_17'>17</a>, 17 <i>note</i>, <a href='#Page_18'>18</a>, <a href='#Page_22'>22</a>, <a href='#Page_49'>49</a> <i>note</i>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>Wyat, Sir Henry (Louvre), i. 304, 306, 335-337;
-    <ul>
-      <li>ii. <a href='#Page_353'>353</a>;</li>
-      <li>other versions (Dublin and Countess of Romney), i. 335;
-        <ul>
-          <li>ii. <a href='#Page_350'>350</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas (various portraits), ii. <a href='#Page_65'>65</a>, <a href='#Page_79'>79</a>-<a href='#Page_81'>81</a>, 134, 255</li>
-  <li class='c056'>—— Margaret, Lady Lee (Altman Collection, New York), ii. <a href='#Page_82'>82</a>-<a href='#Page_83'>83</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Zürich, Hans von (lost portrait), ii. <a href='#Page_15'>15</a>, <a href='#Page_65'>65</a></li>
-  <li class='c004'><span class='pageno' id='Page_435'>435</span>Unknown Young Woman, about 1528 (Basel), unfinished, i. 346-347;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Young Man, 1533, roundel (Goldschmidt-Przibram), ii. <a href='#Page_57'>57</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>—— Man in Henry VIII’s livery, 1534, roundel (Vienna), ii. <a href='#Page_62'>62</a>, <a href='#Page_70'>70</a>-<a href='#Page_71'>71</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>—— Lady, wife of above, 1534, roundel (Vienna), ii. <a href='#Page_62'>62</a>, <a href='#Page_70'>70</a>-<a href='#Page_71'>71</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>—— Young Man in Henry VIII’s livery, roundel (F. Engel-Gros), ii. <a href='#Page_71'>71</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>—— —— copy of above in Fitzwilliam Museum, Cambridge, ii. <a href='#Page_71'>71</a></li>
-  <li class='c056'>—— —— aged 28, 1541 (Vienna), ii. <a href='#Page_202'>202</a>-<a href='#Page_203'>203</a>, <a href='#Page_206'>206</a>, <a href='#Page_255'>255</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>—— —— aged 37, 1541 (Berlin) ii <a href='#Page_201'>201</a>-<a href='#Page_202'>202</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>—— Man with Falcon, 1542 (Hague), ii. <a href='#Page_54'>54</a>, <a href='#Page_57'>57</a>, <a href='#Page_203'>203</a>, <a href='#Page_205'>205</a>, <a href='#Page_255'>255</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>—— Lady (Vienna), ii. <a href='#Page_205'>205</a>, <a href='#Page_207'>207</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>—— Middle-aged Man (Berlin), ii. <a href='#Page_205'>205</a>-<a href='#Page_206'>206</a>, <a href='#Page_255'>255</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>—— Man (Basel), ii. <a href='#Page_211'>211</a>, <a href='#Page_255'>255</a>, <a href='#Page_357'>357</a></li>
-  <li class='c056'>—— English Lady (Lanckoronski Collection, Vienna), ii. <a href='#Page_211'>211</a>-<a href='#Page_212'>212</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>—— English Lady (Mr. A. H. Buttery), i. 353-358;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_351'>351</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Elderly Man (Prado), formerly attributed to Holbein, i. 334-335;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_356'>356</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Portrait of a Lady, “con gli mani giunti” (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>Portrait of a Lady aged forty, with motto “In all things,” &amp;c. (Arundel Collection, 1655), ii. <a href='#Page_65'>65</a></li>
-  <li class='c056'>Portraits of various unknown men, ladies, and boys, only known from Hollar’s etchings after Holbein, ii. <a href='#Page_214'>214</a>-<a href='#Page_215'>215</a></li>
-  <li class='c004'><i>Miniatures (by or attributed to Holbein)</i></li>
-  <li class='c056'>Abergavenny, Lord (Duke of Buccleuch), ii. <a href='#Page_62'>62</a>, <a href='#Page_222'>222</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Anne of Cleves (Salting Bequest), ii. <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_232'>232</a>, <a href='#Page_236'>236</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Audley, Lady (Windsor), ii. <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_223'>223</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Brandon, Charles, Duke of Suffolk (Morgan Collection), not by Holbein, ii. <a href='#Page_241'>241</a></li>
-  <li class='c056'>—— Charles, son of the Duke (Windsor), ii. <a href='#Page_201'>201</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>—— Henry, son of the Duke (Windsor), ii. <a href='#Page_63'>63</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Cromwell, Thomas (Morgan Collection), ii. <a href='#Page_61'>61</a>, <a href='#Page_231'>231</a>-<a href='#Page_232'>232</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Edward VI, various miniatures, ii. <a href='#Page_238'>238</a></li>
-  <li class='c056'>Franz, Arnold (Morgan Collection), ii. <a href='#Page_219'>219</a>, <a href='#Page_240'>240</a>-<a href='#Page_241'>241</a></li>
-  <li class='c056'>Henry VIII (Morgan Collection), ii. <a href='#Page_182'>182</a>, <a href='#Page_235'>235</a>-<a href='#Page_236'>236</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>—— —— (Duke of Buccleuch), ii. <a href='#Page_109'>109</a>, <a href='#Page_234'>234</a>;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>other miniatures of Henry VIII not by Holbein, ii. <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a>, <a href='#Page_351'>351</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein, Hans (Wallace Collection), ii. <a href='#Page_230'>230</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'><span class='pageno' id='Page_436'>436</span>Holbein, Hans (Duke of Buccleuch), ii. <a href='#Page_230'>230</a>-<a href='#Page_231'>231</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>—— —— other versions, ii. <a href='#Page_215'>215</a>, <a href='#Page_230'>230</a>-<a href='#Page_231'>231</a></li>
-  <li class='c056'>Howard, Queen Catherine (Windsor), ii. <a href='#Page_192'>192</a>-<a href='#Page_193'>193</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>, <a href='#Page_238'>238</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>—— —— —— (Duke of Buccleuch), ii. <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a></li>
-  <li class='c056'>Kratzer, Niklaus (Morgan Collection), i. 241, 328</li>
-  <li class='c056'>Mielich, Hans, or Maynert, Harry (?) (Munich), ii. <a href='#Page_241'>241</a>-<a href='#Page_242'>242</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>More, Sir Thomas (Morgan Collection), i. 306-308;
-    <ul>
-      <li>ii. <a href='#Page_220'>220</a>-<a href='#Page_222'>222</a>, <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (Duke of Buccleuch), ii. <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Pemberton, Mrs. Robert (Morgan Collection), ii. <a href='#Page_228'>228</a>-<a href='#Page_229'>229</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Seymour, Queen Jane, various miniatures, ii. <a href='#Page_237'>237</a>-<a href='#Page_238'>238</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Unknown Youth (Queen of Holland), ii. <a href='#Page_220'>220</a>, <a href='#Page_229'>229</a>-<a href='#Page_230'>230</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>—— Man in Black (Queen of Holland), ii. <a href='#Page_230'>230</a></li>
-  <li class='c004'><i>Drawings and Designs</i></li>
-  <li class='c056'>Calvary, early drawing (Augsburg), ii. <a href='#Page_323'>323</a></li>
-  <li class='c056'>Bearing the Cross (Basel), i. 42-44</li>
-  <li class='c056'>“Praise of Folly” marginal drawings (Basel), i. 45-50, 63, 85, 229</li>
-  <li class='c056'>Study for “Leæna and her Judges,” for Hertenstein House (Basel), i. 68</li>
-  <li class='c056'>Architectural design, Hertenstein House (Basel), i. 65-66, 69, 122</li>
-  <li class='c056'>Dagger sheath with a Roman Triumph (Basel), i. 73</li>
-  <li class='c056'>The Archangel St. Michael (Basel), i. 79, 80, 112, 248</li>
-  <li class='c056'>Miners at Work (British Museum), i. 80</li>
-  <li class='c056'>The Holy Family (Basel), i. 99, 100</li>
-  <li class='c056'>Virgin and Child (Basel), i. 99, 100</li>
-  <li class='c056'>Virgin and Child (Leipzig), i. 100</li>
-  <li class='c056'>Virgin and Child (Brunswick), 1520, ii. <a href='#Page_326'>326</a></li>
-  <li class='c056'>Design for Basel organ case (Basel), i. 113-115</li>
-  <li class='c056'>Study for Dancing Peasants, House of the Dance (Berlin), i. 119-121</li>
-  <li class='c056'>Various tracings and copies of studies for same house (Basel), i. 120-121</li>
-  <li class='c056'>Design for a painted house-front with figure of Emperor (Basel), i. 121-122</li>
-  <li class='c056'>Design for a painted framework of a window (Basel), i. 122</li>
-  <li class='c056'>Design for “Sapor and Valerian,” Basel Council Chamber (Basel), i. 131-132;
-    <ul>
-      <li>ii. <a href='#Page_264'>264</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Contemporary copies of the designs for the Council Chamber paintings (Basel), i. 132-133</li>
-  <li class='c056'>Studies of Ladies’ Costumes (Basel), i. 138, 157-159, 245, 248</li>
-  <li class='c056'>Coat of arms for Petrus Fabrinus (Basel University), i. 145-146;
-    <ul>
-      <li>ii. <a href='#Page_357'>357</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_437'>437</span>Costume Study (Dessau), i. 159</li>
-  <li class='c056'>Costume study of a Lady, full-length (British Museum), i. 356-357</li>
-  <li class='c056'>St. Adrian (Louvre), i. 159-160</li>
-  <li class='c056'>Study of a Nude Woman (Basel), i. 160</li>
-  <li class='c056'>Fight of Landsknechte (Basel), i. 160-161, 230;
-    <ul>
-      <li>(Albertina), i. 161 <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Lamb, Lamb’s Head, and Bat (Basel), i. 161</li>
-  <li class='c056'>Duke of Berry, copy of a sepulchral figure (Basel), i. 175-176</li>
-  <li class='c056'>Duchess of Berry, copy of a sepulchral figure (Basel), i. 175-176</li>
-  <li class='c056'>Designs for painted glass—
-    <ul>
-      <li>Virgin and Child, with Lucerne Bridge (Basel), i. 78-79</li>
-      <li>Three Peasants with Holdermeier arms (Basel), i. 79</li>
-      <li>Design for Hans Fleckenstein (Brunswick), i. 79;
-        <ul>
-          <li>ii. <a href='#Page_323'>323</a>-<a href='#Page_324'>324</a></li>
-        </ul>
-      </li>
-      <li>Design with arms of Lachner family (Stockholm), ii. <a href='#Page_325'>325</a>-<a href='#Page_326'>326</a></li>
-      <li>The Banner-Bearer of the Urseren Valley (Berlin), ii. <a href='#Page_324'>324</a>-<a href='#Page_325'>325</a></li>
-      <li>Martyrdom of St. Richardis (Basel), ii. <a href='#Page_326'>326</a>-<a href='#Page_327'>327</a></li>
-      <li>Design with figure of a Bishop (Basel), i. 77</li>
-      <li>St. Barbara (Basel), i. 88</li>
-      <li>Eight panels of Saints (Basel), i. 137-139, 248</li>
-      <li>The Prodigal Son (Basel), i. 139-141</li>
-      <li>Two Unicorns (Basel), i. 140-141</li>
-      <li>Various designs with figures of Landsknechte (Basel, Berlin, Berne, &amp;c.), i. 140-144</li>
-      <li>Scroll-work with helmets and coat of arms of Von Hewen family (Basel), i. 144-145;
-        <ul>
-          <li>ii. <a href='#Page_326'>326</a></li>
-        </ul>
-      </li>
-      <li>Design with coat of arms of Von Andlau family, i. 145;
-        <ul>
-          <li>ii. <a href='#Page_326'>326</a></li>
-        </ul>
-      </li>
-      <li>Terminus, for Erasmus (Basel), i. 146</li>
-      <li>Wild Man of the Woods (British Museum), i. 146-147</li>
-      <li>Christ on the Cross between the Virgin and St. John (Basel), i. 147-148</li>
-      <li>The Annunciation (Paris), i. 147-148</li>
-      <li>St. Elizabeth (Basel), i. 148-149;
-        <ul>
-          <li>ii. <a href='#Page_325'>325</a></li>
-        </ul>
-      </li>
-      <li>Virgin and Child with kneeling donor (Basel), i. 149-150, 249</li>
-      <li>Ten designs illustrating the Passion of Christ (Basel), i. 43-44, 115, 136, 150-157;
-        <ul>
-          <li>ii. <a href='#Page_327'>327</a>;</li>
-          <li>replicas in British Museum, i. 156-157;
-            <ul>
-              <li>ii. <a href='#Page_327'>327</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Rehoboam rebuking the Elders, study for Basel Council Chamber wall-painting (Basel), i. 347-348</li>
-  <li class='c056'>Meeting of Samuel and Saul, study for Basel Council Chamber wall-painting (Basel), i. 347, 349-350;
-    <ul>
-      <li>ii. <a href='#Page_264'>264</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Design for Dagger Sheath, dated 1529 (Basel), i. 350</li>
-  <li class='c056'><span class='pageno' id='Page_438'>438</span>Design for a Cup for Hans of Antwerp (Basel), ii. <a href='#Page_11'>11</a>, <a href='#Page_275'>275</a>, <a href='#Page_286'>286</a></li>
-  <li class='c056'>Triumph of Riches (Louvre), ii. <a href='#Page_26'>26</a>-<a href='#Page_29'>29</a>, <a href='#Page_264'>264</a></li>
-  <li class='c056'>Apollo and the Muses on Mount Parnassus, ii. <a href='#Page_31'>31</a>-<a href='#Page_33'>33</a></li>
-  <li class='c056'>Satirical drawings of the “Passion” for woodcuts, ii. <a href='#Page_77'>77</a>, <a href='#Page_342'>342</a></li>
-  <li class='c056'>Queen of Sheba and King Solomon (Windsor), ii. <a href='#Page_262'>262</a>-<a href='#Page_264'>264</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>A Transport Ship (Frankfurt), i. 161 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_264'>264</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Design for a royal fireplace (British Museum), ii. <a href='#Page_269'>269</a>-<a href='#Page_270'>270</a></li>
-  <li class='c056'>Queen Jane Seymour’s Cup (Oxford and British Museum), ii. <a href='#Page_113'>113</a>, <a href='#Page_274'>274</a>-<a href='#Page_275'>275</a>, <a href='#Page_286'>286</a></li>
-  <li class='c056'>Sir Anthony Denny’s Clock (British Museum), ii. <a href='#Page_276'>276</a>, <a href='#Page_286'>286</a></li>
-  <li class='c056'>Designs for cups, tankards, sword and dagger hilts, jewellery, hat-badges, &amp;c. (British Museum, Basel, Chatsworth, &amp;c.) i. 73, 161, 350;
-    <ul>
-      <li>ii. <a href='#Page_195'>195</a>-<a href='#Page_196'>196</a>, <a href='#Page_275'>275</a>-<a href='#Page_286'>286</a></li>
-    </ul>
-  </li>
-  <li class='c004'><i>Drawings: Portrait-Studies (arranged alphabetically)</i></li>
-  <li class='c056'>(Except where indicated, the drawings are all in the Windsor Castle Collection.)</li>
-  <li class='c056'>Abergavenny, Marquis of (Wilton House), ii. <a href='#Page_62'>62</a>, <a href='#Page_222'>222</a>, <a href='#Page_248'>248</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Audley, Lady, ii. <a href='#Page_255'>255</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Boleyn, Queen Anne, so-called, ii. <a href='#Page_110'>110</a></li>
-  <li class='c056'>Boleyn, Thomas, Earl of Wiltshire, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Borough, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Bourbon, Nicolas, ii. <a href='#Page_63'>63</a>, <a href='#Page_73'>73</a>-<a href='#Page_74'>74</a></li>
-  <li class='c056'>Butts, Lady, ii. <a href='#Page_210'>210</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Carew, Sir George, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>—— Sir Nicholas (Basel), ii. <a href='#Page_87'>87</a>-<a href='#Page_88'>88</a>, <a href='#Page_248'>248</a>, <a href='#Page_256'>256</a>, <a href='#Page_260'>260</a></li>
-  <li class='c056'>Clement, Margaret, i. 303</li>
-  <li class='c056'>Cleves, Anne of, so-called, ii. <a href='#Page_183'>183</a></li>
-  <li class='c056'>Clinton, Edward, Lord, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Cobham, George Brooke, Lord, ii. <a href='#Page_256'>256</a>-<a href='#Page_257'>257</a></li>
-  <li class='c056'>Cresacre, Anne, i. 303</li>
-  <li class='c056'>Dancy, Elizabeth, i. 296, 303</li>
-  <li class='c056'>Dorset, Marchioness of, ii. <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Edward VI., three drawings, ii. <a href='#Page_166'>166</a>-<a href='#Page_168'>168</a>, <a href='#Page_205'>205</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>—— —— with meerkat (Basel), ii. <a href='#Page_167'>167</a>-<a href='#Page_168'>168</a></li>
-  <li class='c056'>—— —— roundel in Basel Sketch-Book, ii. <a href='#Page_168'>168</a>, <a href='#Page_238'>238</a></li>
-  <li class='c056'>Elyot, Sir Thomas, i. 336</li>
-  <li class='c056'>Elyot, Lady, i. 336;
-    <ul>
-      <li>ii. <a href='#Page_258'>258</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Erasmus, study of hands for 1523 portraits (Louvre), i. 171</li>
-  <li class='c056'>Fisher, John, Bishop of Rochester, i. 324;
-    <ul>
-      <li>other versions in British Museum, &amp;c., i. 324;
-        <ul>
-          <li>ii. <a href='#Page_254'>254</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Fitzwilliam, William, Earl of Southampton, ii. <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a></li>
-  <li class='c056'>George, Simon, ii. <a href='#Page_207'>207</a>-<a href='#Page_208'>208</a>, <a href='#Page_252'>252</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Godsalve, Sir John, i. 325-326;
-    <ul>
-      <li>ii. <a href='#Page_125'>125</a>, <a href='#Page_251'>251</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c004'><span class='pageno' id='Page_439'>439</span>Guldeford, Sir Henry, i. 318-319, 321;
-    <ul>
-      <li>ii. <a href='#Page_250'>250</a>-<a href='#Page_252'>252</a>, <a href='#Page_255'>255</a>;</li>
-      <li>version formerly in Heseltine Collection, i. 318 <i>note</i>;
-        <ul>
-          <li>ii. <a href='#Page_254'>254</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lady (see below, Unknown Lady)</li>
-  <li class='c056'>Hemingham, Lady, i. 310 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_237'>237</a>, <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Henry VII and Henry VIII, &amp;c., study for Whitehall wall-painting (Chatsworth), ii. <a href='#Page_93'>93</a>, <a href='#Page_95'>95</a>, <a href='#Page_97'>97</a>-<a href='#Page_99'>99</a>, <a href='#Page_318'>318</a> <i>note</i>, <a href='#Page_105'>105</a>, <a href='#Page_107'>107</a>, <a href='#Page_134'>134</a>, <a href='#Page_236'>236</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Henry VIII (Munich), ii. <a href='#Page_93'>93</a>, <a href='#Page_99'>99</a>-<a href='#Page_101'>101</a>, <a href='#Page_104'>104</a>-<a href='#Page_105'>105</a>, <a href='#Page_107'>107</a>-<a href='#Page_108'>108</a>, <a href='#Page_236'>236</a>, <a href='#Page_248'>248</a></li>
-  <li class='c056'>Heron, Cecilia, i. 303;
-    <ul>
-      <li>ii. <a href='#Page_250'>250</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Hoby, Sir Philip, ii. <a href='#Page_119'>119</a></li>
-  <li class='c056'>Holbein, Hans (Basel), i. 185-186</li>
-  <li class='c056'>Holbein’s Wife as a Girl (?) (Louvre), i. 108, 112, 144</li>
-  <li class='c056'>Howard, Queen Catherine, ii. <a href='#Page_194'>194</a>, <a href='#Page_254'>254</a>-<a href='#Page_255'>255</a></li>
-  <li class='c056'>Le Strange, Sir Thomas, ii. <a href='#Page_86'>86</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>Lister, Lady, ii. <a href='#Page_258'>258</a></li>
-  <li class='c056'>“Mary, Lady, after Queen,” ii. <a href='#Page_110'>110</a>, <a href='#Page_215'>215</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Melanchthon, Philip, ii. <a href='#Page_200'>200</a>, <a href='#Page_250'>250</a></li>
-  <li class='c056'>Mewtas, Lady, ii. <a href='#Page_140'>140</a>, <a href='#Page_256'>256</a>-<a href='#Page_257'>257</a></li>
-  <li class='c056'>Meyer, Jakob, and Wife, study for double portrait of 1516 (Basel), i. 22, 55;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a>, <a href='#Page_328'>328</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Meyer, Jakob, Wife, and Daughter, studies for the Meyer Madonna (Basel), i. 236-237;
-    <ul>
-      <li>ii. <a href='#Page_256'>256</a>, <a href='#Page_260'>260</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Monteagle, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>More Family Group, study for (Basel), i. 291-296, 298-301, 303, 305, 308-310, 338, 341-342;
-    <ul>
-      <li>ii. <a href='#Page_255'>255</a>, <a href='#Page_331'>331</a>, <a href='#Page_335'>335</a>-<a href='#Page_339'>339</a></li>
-    </ul>
-  </li>
-  <li class='c056'>More, John, i. 303</li>
-  <li class='c056'>More, Sir John, i. 303</li>
-  <li class='c056'>More, Sir Thomas, i. 303;
-    <ul>
-      <li>ii. <a href='#Page_250'>250</a>-<a href='#Page_251'>251</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Morette, Charles de Soliers, Sieur de (Dresden), ii. <a href='#Page_66'>66</a>-<a href='#Page_67'>67</a>, <a href='#Page_69'>69</a>, <a href='#Page_248'>248</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>Parker, Lady, ii. <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Parr, William, Marquis of Northampton, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Parry, Sir Thomas, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Poyntz, Sir Nicholas, ii. <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a></li>
-  <li class='c056'>Poyntz, John, ii. <a href='#Page_71'>71</a>;
-    <ul>
-      <li>another version formerly in Heseltine Collection, ii. <a href='#Page_71'>71</a> <i>note</i>, <a href='#Page_254'>254</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ratcliffe, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Reskimer, i. 333-334;
-    <ul>
-      <li>ii. <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rich, Sir Richard, ii. <a href='#Page_212'>212</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>Rich, Lady, ii. <a href='#Page_212'>212</a>, <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Richmond, Mary, Duchess of, ii. <a href='#Page_110'>110</a>-<a href='#Page_111'>111</a>, <a href='#Page_257'>257</a></li>
-  <li class='c056'>Roper, Margaret (?) (Salting Bequest), i. 309;
-    <ul>
-      <li>ii. <a href='#Page_248'>248</a>, <a href='#Page_252'>252</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Russell, Sir John, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Seymour, Queen Jane, ii. <a href='#Page_112'>112</a>, <a href='#Page_251'>251</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Sherrington, Sir William, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Southwell, Sir Richard, ii. <a href='#Page_85'>85</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Stanley, Edward, Earl of Derby, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Suffolk, Catherine, Duchess of, ii. <a href='#Page_226'>226</a>;
-    <ul>
-      <li>replica in British Museum, ii. <a href='#Page_226'>226</a>, <a href='#Page_254'>254</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_440'>440</span>Surrey, Henry Howard, Earl of—three drawings, ii. <a href='#Page_200'>200</a>-<a href='#Page_201'>201</a></li>
-  <li class='c056'>Surrey, Lady, ii. <a href='#Page_201'>201</a></li>
-  <li class='c056'>Tuke, Sir Bryan, ii. <a href='#Page_255'>255</a></li>
-  <li class='c056'>Vaux, Lord, ii. <a href='#Page_52'>52</a>, <a href='#Page_87'>87</a>, <a href='#Page_252'>252</a>, <a href='#Page_256'>256</a>-<a href='#Page_257'>257</a></li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_87'>87</a>, <a href='#Page_252'>252</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Warham, William, Archbishop of Canterbury, i. 321;
-    <ul>
-      <li>ii. <a href='#Page_250'>250</a>-<a href='#Page_251'>251</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wentworth, Sir Thomas, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Wingfield, Sir Charles, ii. <a href='#Page_254'>254</a></li>
-  <li class='c056'>Wyat, Sir Thomas, ii. <a href='#Page_79'>79</a>, <a href='#Page_250'>250</a>, <a href='#Page_252'>252</a></li>
-  <li class='c056'>Zouch, Mary, ii. <a href='#Page_256'>256</a>, <a href='#Page_259'>259</a></li>
-  <li class='c056'>Unknown Man (called Dinteville), ii. <a href='#Page_43'>43</a>, <a href='#Page_69'>69</a> <i>and note</i>, <a href='#Page_257'>257</a></li>
-  <li class='c056'>—— Englishman (Berlin), ii. <a href='#Page_248'>248</a>, <a href='#Page_259'>259</a></li>
-  <li class='c056'>—— —— (Chatsworth), i. 336;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_248'>248</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— i. 337;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>
-                    <ul>
-                      <li>ii. <a href='#Page_248'>248</a></li>
-                    </ul>
-                  </li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— and Wife (Basel), i. 321;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_248'>248</a>, <a href='#Page_260'>260</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— English Lady (Lady Guldeford?) (Basel), i. 321;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_248'>248</a>, <a href='#Page_260'>260</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Young Man with Broad Hat (Basel), i. 186 <i>note</i>;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_259'>259</a>-<a href='#Page_260'>260</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— profile, to right, ii. <a href='#Page_257'>257</a></li>
-  <li class='c056'>—— Lady in White Cap, ii. <a href='#Page_258'>258</a></li>
-  <li class='c056'>—— —— ii. <a href='#Page_70'>70</a>, <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— —— full-face, ii. <a href='#Page_214'>214</a></li>
-  <li class='c056'>—— Boy, dated 1520 (Louvre), ii. <a href='#Page_214'>214</a></li>
-  <li class='c056'>Portrait group of a Lady and Children (British Museum), ii. <a href='#Page_226'>226</a>-<a href='#Page_227'>227</a></li>
-  <li class='c056'>Windsor Castle, Collection of Heads of the ladies and gentlemen of Henry VIII’s Court, &amp;c. (general), i. 294, 309, 321, 328, 336;
-    <ul>
-      <li>ii. <a href='#Page_62'>62</a>, <a href='#Page_69'>69</a>, <a href='#Page_70'>70</a>, <a href='#Page_73'>73</a>, <a href='#Page_79'>79</a>, <a href='#Page_85'>85</a>-<a href='#Page_87'>87</a>, <a href='#Page_101'>101</a>, <a href='#Page_110'>110</a>, <a href='#Page_125'>125</a>, <a href='#Page_134'>134</a>, <a href='#Page_140'>140</a>, <a href='#Page_191'>191</a>, <a href='#Page_200'>200</a>-<a href='#Page_201'>201</a>, <a href='#Page_223'>223</a>, <a href='#Page_243'>243</a>-<a href='#Page_259'>259</a>, <a href='#Page_318'>318</a>, <a href='#Page_342'>342</a></li>
-    </ul>
-  </li>
-  <li class='c004'><i>Designs for Woodcuts</i></li>
-  <li class='c056'>Earliest dated title-page, i. 34, 191, 193, 253</li>
-  <li class='c056'>Christ Bearing the Cross, i. 44</li>
-  <li class='c056'>Jacob’s Ladder (in Wolff’s <i>Pentateuch</i>), i. 77</li>
-  <li class='c056'>Table of Cebes, i. 77, 193-195</li>
-  <li class='c056'>The New Jerusalem (Wolff’s <i>New Testament</i>), i. 77</li>
-  <li class='c056'>Title-page, Statue-Book of Freiburg, i. 111, 193</li>
-  <li class='c056'>Erasmus, roundel, i. 181</li>
-  <li class='c056'>Erasmus “in eim Ghüs,” i. 181-182, 350;
-    <ul>
-      <li>ii. <a href='#Page_276'>276</a>, <a href='#Page_329'>329</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Various title-pages, &amp;c., metal cuts by Faber and “C.V.,” i. 188</li>
-  <li class='c056'>Mucius Scævola, i. 191-193</li>
-  <li class='c056'>St. Peter and St. Paul (Luther’s <i>New Testament</i>), i. 195</li>
-  <li class='c056'>Four Evangelists (Luther’s <i>New Testament</i>, octavo edition), i. 195-196</li>
-  <li class='c056'>St. Paul (Platter’s <i>New Testament</i>), i. 196, 350</li>
-  <li class='c056'>St. John Baptizing the Saviour, &amp;c. (Wolff, <i>New Testament</i>), i. 196-197</li>
-  <li class='c056'><span class='pageno' id='Page_441'>441</span>Death of Cleopatra, i. 198</li>
-  <li class='c056'>David Dancing before the Ark, i. 198</li>
-  <li class='c056'>Christ the True Light, i. 198-200</li>
-  <li class='c056'>The Sale of Indulgences, i. 198-199</li>
-  <li class='c056'>Borders, alphabets, printers’ marks, &amp;c., i. 200-202, 231;
-    <ul>
-      <li>ii. <a href='#Page_332'>332</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Dance of Death woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191, 204-224, 226-229, 290;
-    <ul>
-      <li>ii. <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a>, <a href='#Page_74'>74</a>, <a href='#Page_87'>87</a>-<a href='#Page_88'>88</a>, <a href='#Page_188'>188</a>, <a href='#Page_264'>264</a>, <a href='#Page_314'>314</a>-<a href='#Page_315'>315</a>, <a href='#Page_345'>345</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Alphabet of Death, i. 189, 201, 207, 224-226</li>
-  <li class='c056'>Old Testament Woodcuts, i. 85, 187, 190, 204, 211-212, 226-230;
-    <ul>
-      <li>ii. <a href='#Page_74'>74</a>-<a href='#Page_75'>75</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Title-page, Coverdale’s Bible, i. 97</li>
-  <li class='c056'>Designs for Münster’s Cosmography, &amp;c., i. 350-351</li>
-  <li class='c056'>Portrait of Nicolas Bourbon, ii. <a href='#Page_74'>74</a>, <a href='#Page_79'>79</a></li>
-  <li class='c056'>Woodcuts of English period, ii. <a href='#Page_78'>78</a>-<a href='#Page_79'>79</a></li>
-  <li class='c056'>Title-page, <i>Hall’s Chronicle</i>, i. 188 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_79'>79</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Portrait of Sir Thomas Wyat in <i>Næniæ</i>, ii. <a href='#Page_79'>79</a>-<a href='#Page_81'>81</a>, <a href='#Page_205'>205</a></li>
-  <li class='c056'>Holbein, Jacob, Hans Holbein’s younger son, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>—— Johann Georg, Knight of Holbeinsberg, ii. <a href='#Page_300'>300</a>-<a href='#Page_301'>301</a></li>
-  <li class='c056'>—— John, of Folkestone, and wife, ii. <a href='#Page_302'>302</a></li>
-  <li class='c056'>—— Katherine, wife of Jacob Gyssler, Hans Holbein’s daughter, i. 343-347;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_301'>301</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Kunigunde (Küngolt), wife of Andreas Syff, Hans Holbein’s daughter, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>—— Margreth, <i>see</i> <a href='#Herwart'>Herwart, Margreth</a></li>
-  <li class='c056'>—— Michel, of Oberschönefeld (1448), i. 1, 2</li>
-  <li class='c056'>—— —— leather-dresser, father of Hans Holbein the Elder, and his wife, i. 2, 3</li>
-  <li class='c056'>—— Ottilia, i. 3</li>
-  <li class='c056'>—— Philip, Hans Holbein’s eldest son, i. 105-106, 176, 343-347;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_162'>162</a>-<a href='#Page_164'>164</a>, <a href='#Page_298'>298</a>, <a href='#Page_300'>300</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Philip, son of above, ii. <a href='#Page_300'>300</a></li>
-  <li class='c056'>—— Ursula, <i>see</i> <a href='#Nepperschmid'>Nepperschmid, Ursula</a></li>
-  <li class='c056'>—— Sigmund, brother of Hans Holbein the Elder, i. 3, 13, 20, 32;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_161'>161</a>-<a href='#Page_162'>162</a>, <a href='#Page_300'>300</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— an Englishman, of Wells, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>—— Chamber, Strawberry Hill, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>—— Exhibition, Basel (1897-1898), i. 79</li>
-  <li class='c056'>—— —— Dresden (1871), i. 237;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_206'>206</a>, <a href='#Page_211'>211</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Society, i. 214</li>
-  <li class='c056'><i>Holbein’s Ambassadors</i> (Miss M. F. S. Hervey), 1900, <i>see</i> <a href='#Hervey'>Hervey</a></li>
-  <li class='c056'><i>Holbein’s Ambassadors Identified</i> (Elias Dexter), 1890, <i>see</i> <a href='#Dexter'>Dexter</a></li>
-  <li class='c056'><i>Holbein’s Ambassadors Unriddled</i> (W. F. Dickes), 1903, <i>see</i> <a href='#Dickes'>Dickes</a></li>
-  <li class='c056'>Holbein’s coat of arms, i. 1;
-    <ul>
-      <li>ii. <a href='#Page_280'>280</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Holbein’s Gate, <i>see</i> <a href='#Whitehall'>Whitehall</a></li>
-  <li class='c056'>Holbeinsberg, Knight of, <i>see</i> <a href='#Holbein'>Holbein, Johann Georg</a></li>
-  <li class='c056'>Holbyn, Johannes, of North Stoke, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>Holdermeier, State Councillor of Lucerne, i. 79</li>
-  <li class='c056'>Holford, Lieut.-Col. G. L., C.I.E. (collection), ii. <a href='#Page_304'>304</a></li>
-  <li class='c056'><span class='pageno' id='Page_442'>442</span>Holford, Mr. R. S. (collection), ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'><a id='Holland'></a>Holland, Earl of, i. 323</li>
-  <li class='c056'>—— Henry, Lord, Duke of Exeter, i. 334</li>
-  <li class='c056'>—— House, i. 328 <i>and note</i></li>
-  <li class='c056'>—— Jane, i. 334</li>
-  <li class='c056'>—— Queen of (collection), ii. <a href='#Page_220'>220</a>, <a href='#Page_229'>229</a>-<a href='#Page_230'>230</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>—— Robert, i. 334</li>
-  <li class='c056'>—— William, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Hollar, Wenceslaus, i. 27-28, 71, 87, 214, 308, 318, 320;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_44'>44</a>, <a href='#Page_61'>61</a>, <a href='#Page_67'>67</a>-<a href='#Page_69'>69</a>, <a href='#Page_77'>77</a>, <a href='#Page_112'>112</a>, <a href='#Page_166'>166</a>, <a href='#Page_182'>182</a> <i>and note</i>, <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>, <a href='#Page_200'>200</a>, <a href='#Page_209'>209</a>, <a href='#Page_214'>214</a>-<a href='#Page_215'>215</a>, <a href='#Page_231'>231</a>, <a href='#Page_253'>253</a>, <a href='#Page_263'>263</a>, <a href='#Page_275'>275</a>-<a href='#Page_276'>276</a>, <a href='#Page_283'>283</a>, <a href='#Page_329'>329</a>-<a href='#Page_330'>330</a>, <a href='#Page_346'>346</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Holmes, Mr. C. J., i. 251</li>
-  <li class='c056'>—— Sir Richard, ii. <a href='#Page_70'>70</a>, <a href='#Page_228'>228</a>-<a href='#Page_229'>229</a>, <a href='#Page_244'>244</a>, <a href='#Page_250'>250</a>-<a href='#Page_251'>251</a>, <a href='#Page_394'>394</a>-<a href='#Page_395'>395</a></li>
-  <li class='c056'>Holtesweller, Henry, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>“Holtein,” i. 17</li>
-  <li class='c056'>Holtscho, house-master of London Steelyard, ii. <a href='#Page_24'>24</a></li>
-  <li class='c056'>Holyrood Palace, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>Holywell Priory, Shoreditch, i. 272</li>
-  <li class='c056'>Holzwart, Matthias, poet, i. 132</li>
-  <li class='c056'>Hondius, H., ii. <a href='#Page_15'>15</a></li>
-  <li class='c056'>Hone, Galyon, glazier, i. 268</li>
-  <li class='c056'>Honthorst, Gerard, i. 224;
-    <ul>
-      <li>ii. <a href='#Page_101'>101</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Hoorenbault family, <i>see</i> <a href='#Hornebolt'>Hornebolt</a></li>
-  <li class='c056'>—— Lucas, painter of this name master of Ghent Guild (1512-32), i. 264</li>
-  <li class='c056'>Horace, ii. <a href='#Page_332'>332</a></li>
-  <li class='c056'>“Horebout, Gerard,” ii. <a href='#Page_102'>102</a></li>
-  <li class='c056'><a id='Horne'></a>Horne, Sir William van, Montreal (collection), i. 185</li>
-  <li class='c056'>Hornebaud, <i>see</i> <a href='#Hornebolt'>Hornebolt</a></li>
-  <li class='c056'><a id='Hornebolt'></a>Hornebolt family, ii. <a href='#Page_233'>233</a>-<a href='#Page_234'>234</a></li>
-  <li class='c056'>—— Gerard, i. 263-268, 287;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_100'>100</a>, <a href='#Page_102'>102</a>, <a href='#Page_105'>105</a>, <a href='#Page_217'>217</a>, <a href='#Page_220'>220</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Jacomyne, daughter of Lucas, i. 265</li>
-  <li class='c056'>—— Lucas, i. 263-268, 287;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_71'>71</a>, <a href='#Page_100'>100</a>, <a href='#Page_102'>102</a>, <a href='#Page_104'>104</a>-<a href='#Page_105'>105</a>, <a href='#Page_141'>141</a>-<a href='#Page_142'>142</a>, <a href='#Page_197'>197</a>, <a href='#Page_217'>217</a>-<a href='#Page_220'>220</a>, <a href='#Page_236'>236</a>, <a href='#Page_303'>303</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Margaret, wife of Lucas, i. 265</li>
-  <li class='c056'>—— Susanna, i. 263-265, 268, 287;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_70'>70</a>-<a href='#Page_71'>71</a>, <a href='#Page_217'>217</a>, <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Horsham St. Faith’s, ii. <a href='#Page_85'>85</a></li>
-  <li class='c056'>Hoskins, John, ii. <a href='#Page_235'>235</a></li>
-  <li class='c056'>Houbraken, <i>Heads of Illustrious Persons</i> (1745), ii. <a href='#Page_61'>61</a>, <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a></li>
-  <li class='c056'>House of the Dance, <i>see</i> <a href='#Dance'>Dance</a></li>
-  <li class='c056'>Houth, Thomas, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Howard family, ii. <a href='#Page_135'>135</a>, <a href='#Page_191'>191</a>-<a href='#Page_192'>192</a></li>
-  <li class='c056'>—— Queen Catherine, ii. <a href='#Page_55'>55</a>, <a href='#Page_192'>192</a>-<a href='#Page_197'>197</a>, <a href='#Page_200'>200</a>, <a href='#Page_207'>207</a>, <a href='#Page_220'>220</a>, <a href='#Page_222'>222</a>-<a href='#Page_223'>223</a>, <a href='#Page_238'>238</a>, <a href='#Page_254'>254</a>-<a href='#Page_255'>255</a>, <a href='#Page_283'>283</a>, <a href='#Page_286'>286</a></li>
-  <li class='c056'>—— Charles, i. 178</li>
-  <li class='c056'>—— Lord Edmund, ii. <a href='#Page_192'>192</a></li>
-  <li class='c056'>—— “Frances, Duchess of Norfolk,” ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— family of Greystoke Castle, i. 178;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_214'>214</a>, <a href='#Page_347'>347</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Henry, Earl of Surrey, <i>see</i> <a href='#Surrey'>Surrey</a></li>
-  <li class='c056'>—— Mr., i. 171 <i>note</i></li>
-  <li class='c056'>—— —— Soho Square, ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'>—— Thomas, Duke of Norfolk, <i>see</i> <a href='#Norfolk'>Norfolk</a></li>
-  <li class='c056'>—— Lord William, ii. <a href='#Page_138'>138</a></li>
-  <li class='c056'>Howell, John, painter-stainer, i. 261</li>
-  <li class='c056'>Huber, Andreas, tailor of Basel, i. 58</li>
-  <li class='c056'><span class='pageno' id='Page_443'>443</span>Hudson, William, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>Hueet, Hans, <i>see</i> <a href='#Eworthe'>Eworthe</a></li>
-  <li class='c056'>Hueffer, F. M., ii. <a href='#Page_395'>395</a></li>
-  <li class='c056'>Hughes, Gerard, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'><i>Humanae Industriae Monumenta</i> (Faesch), ii. <a href='#Page_329'>329</a></li>
-  <li class='c056'>Humphreys, H. Noel, i. 214</li>
-  <li class='c056'>Hungary, Isabella of, Queen of Denmark, ii. <a href='#Page_117'>117</a></li>
-  <li class='c056'>—— Queen Mary of, Regent of the Netherlands, ii. <a href='#Page_115'>115</a>-<a href='#Page_116'>116</a>, <a href='#Page_118'>118</a>-<a href='#Page_120'>120</a>, <a href='#Page_122'>122</a>-<a href='#Page_124'>124</a>, <a href='#Page_130'>130</a>-<a href='#Page_133'>133</a>, <a href='#Page_137'>137</a>, <a href='#Page_148'>148</a>, <a href='#Page_180'>180</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>Hunstanton, Norfolk, ii. <a href='#Page_86'>86</a></li>
-  <li class='c056'>Huppertz, A., ii. <a href='#Page_395'>395</a></li>
-  <li class='c056'>Hurebaut, Gheraerd, of Ghent, father of Lucas Hornebolt, i. 264, 268</li>
-  <li class='c056'>—— Joris, i. 264</li>
-  <li class='c056'>Hutchinson, Colonel, i. 167</li>
-  <li class='c056'>Huth family, ii. <a href='#Page_340'>340</a></li>
-  <li class='c056'>Huth, Mr. Edward, i. 293, 303, 306;
-    <ul>
-      <li>ii. <a href='#Page_221'>221</a>, <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Mr. Henry, i. 303</li>
-  <li class='c056'><a id='Hutten'></a>Hutten, Ulrich von, i. 36</li>
-  <li class='c056'>Hutton, John, resident English agent in Brussels, ii. <a href='#Page_115'>115</a>-<a href='#Page_128'>128</a>, <a href='#Page_130'>130</a>-<a href='#Page_131'>131</a>, <a href='#Page_180'>180</a></li>
-  <li class='c056'>—— Hall, i. 300</li>
-  <li class='c056'>Hymans, H., i. 165 <i>and note</i></li>
-  <li class='c056'>Hythlodæus, Raphael, i. 62, 163, 192</li>
-  <li class='c056'>Iconoclastic outbreaks in Basel, i. 113, 177, 339-343, 352</li>
-  <li class='c056'><i>Illustrated London News</i>, ii. <a href='#Page_294'>294</a></li>
-  <li class='c056'>Imhoff Collection, i. 18</li>
-  <li class='c056'>Imhoff, Magdalena, i. 14</li>
-  <li class='c056'>Immerzeel, <i>De Levens en Werken</i>, &amp;c. (1842), i. 265</li>
-  <li class='c056'>Imperial Diet at Speier (1529), i. 185</li>
-  <li class='c056'>Ingoldstadt, ii. <a href='#Page_50'>50</a></li>
-  <li class='c056'>Inquisition, Spanish, i. 272</li>
-  <li class='c056'><i>Interpretation of the Psalms</i> (Bugenhagen), i. 198</li>
-  <li class='c056'><i>Inventare hansischer Archive</i>, &amp;c., ii. <a href='#Page_19'>19</a></li>
-  <li class='c056'>Ipswich, Wolsey’s College, i. 267</li>
-  <li class='c056'>Ireland, National Gallery of, i. 335</li>
-  <li class='c056'>Irmi, Anna, <i>see</i> <a href='#Meyer'>Meyer, Anna</a></li>
-  <li class='c056'>—— Nikolaus, i. 236, 239</li>
-  <li class='c056'>—— Rosina, i. 239;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_328'>328</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Irnham Hall, Lincolnshire, ii. <a href='#Page_305'>305</a></li>
-  <li class='c056'>Iron Acton, Gloucestershire, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>Isabella of Denmark, sister of Charles V, ii. <a href='#Page_132'>132</a>, <a href='#Page_137'>137</a></li>
-  <li class='c056'>Iselin, Johan Lucas, i. 190</li>
-  <li class='c056'>—— Lucas, i. 239-241;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_328'>328</a>, <a href='#Page_330'>330</a>, <a href='#Page_344'>344</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Dr. Ludwig, i. 118, 123;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_156'>156</a>-<a href='#Page_157'>157</a>, <a href='#Page_301'>301</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Isenheim, i. 5, 13-15, 18, 22, 32, 82, 148, 254</li>
-  <li class='c056'>—— Monastery of St. Anthony, i. 13, 22</li>
-  <li class='c056'>Italian influences in Holbein’s pictures, &amp;c., i. 75-78, 80-81, 250-251</li>
-  <li class='c056'>—— painters and sculptors in England, i. 270-287</li>
-  <li class='c056'>Italy, Holbein’s visit to, <i>see</i> <a href='#Lombardy'>Lombardy</a></li>
-  <li class='c056'>Iveagh, Lord, ii. <a href='#Page_35'>35</a></li>
-  <li class='c004'><span class='pageno' id='Page_444'>444</span>Jabach, Eberhard, banker, of Cologne, i. 173, 335;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Jacob, Brother, of Dominican Monastery, Basel, ii. <a href='#Page_156'>156</a></li>
-  <li class='c056'>Jäger Collection, ii. <a href='#Page_57'>57</a></li>
-  <li class='c056'>“Jak, Mother,” nurse to Edward VI, ii. <a href='#Page_70'>70</a>, <a href='#Page_227'>227</a></li>
-  <li class='c056'>James I of England, ii. <a href='#Page_13'>13</a>, <a href='#Page_24'>24</a>, <a href='#Page_130'>130</a>, <a href='#Page_293'>293</a></li>
-  <li class='c056'>—— —— Catalogue, ii. <a href='#Page_87'>87</a></li>
-  <li class='c056'>—— II of England, Catalogue, i. 97;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_14'>14</a>, <a href='#Page_224'>224</a>, <a href='#Page_249'>249</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— V. of Scotland, ii. <a href='#Page_139'>139</a>-<a href='#Page_141'>141</a>, <a href='#Page_143'>143</a>, <a href='#Page_147'>147</a></li>
-  <li class='c056'><i>James V and Marie of Lorraine</i>, by an unknown Scottish master, ii. <a href='#Page_141'>141</a> <i>and note</i></li>
-  <li class='c056'>Jane, maid to Hans of Antwerp, ii. <a href='#Page_13'>13</a></li>
-  <li class='c056'>Janet (Jennet), ii. <a href='#Page_105'>105</a>, <a href='#Page_107'>107</a>, <a href='#Page_137'>137</a>, <a href='#Page_216'>216</a> <i>and note</i></li>
-  <li class='c056'>Jenks (Gynkes), William, grocer, of London, ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>Jennings, Sir John, ii. <a href='#Page_337'>337</a></li>
-  <li class='c056'>Jentill, <i>see</i> <a href='#Gentils'>Gentils</a></li>
-  <li class='c056'>Jenyns, Robert, the King’s master mason, i. 271</li>
-  <li class='c056'>“Jeronimo Italion,” <i>see</i> <a href='#Treviso'>Treviso, G. da</a></li>
-  <li class='c056'>Jessop, Dr. Augustus, i. 305-306</li>
-  <li class='c056'>Jewel House, Master of the, <i>see</i> <a href='#Amadas'>Amadas and Cromwell</a></li>
-  <li class='c056'><i>Jewellery</i> (H. Clifford Smith), ii. <a href='#Page_281'>281</a>-<a href='#Page_282'>282</a></li>
-  <li class='c056'>Johann Ernst, Duke of Saxony, ii. <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a></li>
-  <li class='c056'>John IV of Portugal, i. 16</li>
-  <li class='c056'>Johnson, Mr. John G., Philadelphia (collection), ii. <a href='#Page_206'>206</a></li>
-  <li class='c056'>Joinville, i. 176;
-    <ul>
-      <li>ii. <a href='#Page_139'>139</a>, <a href='#Page_144'>144</a>, <a href='#Page_147'>147</a>-<a href='#Page_152'>152</a>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_343'>343</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Joseph, Mrs. (collection), i. 320</li>
-  <li class='c056'>Jura, i. 233</li>
-  <li class='c056'>Juxon, Archbishop, i. 322</li>
-  <li class='c004'>Kainzbauer, L., ii. <a href='#Page_395'>395</a></li>
-  <li class='c056'>Kaisheim Monastery, Donauwörth, i. 9</li>
-  <li class='c056'>Kale (for Fallen), ii. <a href='#Page_22'>22</a> <i>note</i></li>
-  <li class='c056'>Kämlin, Hans, i. 13, 22</li>
-  <li class='c056'>Kannengiesser von Tann, Dorothea, wife of Jakob Meyer, i. 52-55, 157-158, 234, 236, 239;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Karlsruhe Gallery, i. 38-39, 43, 63, 87, 101, 112, 160, 180, 249;
-    <ul>
-      <li>ii. <a href='#Page_354'>354</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Grand-Ducal Cabinet, i. 207</li>
-  <li class='c056'>Kastner, Adolph, joiner, i. 9</li>
-  <li class='c056'>—— Georg, Abbot, i. 9</li>
-  <li class='c056'>Katherine of Aragon, <i>see</i> <a href='#Aragon'>Aragon</a></li>
-  <li class='c056'>Kaulek, ii. <a href='#Page_143'>143</a></li>
-  <li class='c056'>Kensington Palace, i. 317, 319, 326;
-    <ul>
-      <li>ii. <a href='#Page_249'>249</a>, <a href='#Page_252'>252</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ketteringham, Norfolk, ii. <a href='#Page_258'>258</a></li>
-  <li class='c056'>Kildare, Earl of, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Killigrew, Sir Robert, i. 334</li>
-  <li class='c056'>Kimbolton Castle, i. 266;
-    <ul>
-      <li>ii. <a href='#Page_104'>104</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>King Saul and the Shepherd David</i> (M. Holzwart), i. 132</li>
-  <li class='c056'>King’s Bench, i. 293</li>
-  <li class='c056'>—— Book of Payments, <i>see</i> <a href='#Royal-Household-Accounts'>Royal Household Accounts</a></li>
-  <li class='c056'>—— Walden House, Herts, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'><span class='pageno' id='Page_445'>445</span>Kinkel, G., ii. <a href='#Page_395'>395</a></li>
-  <li class='c056'>Kinnaird, Lord (collection), i. 319 <i>note</i></li>
-  <li class='c056'>Kip, J., engraver, ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'><a id='Kirkheimer'></a>Kirkheimer, Erasmus, King’s armourer, ii. <a href='#Page_19'>19</a>, <a href='#Page_298'>298</a></li>
-  <li class='c056'>Klingenthal Nunnery, Little Basel, i. 205</li>
-  <li class='c056'>Kluber, Hans Hug, painter of Basel, i. 205;
-    <ul>
-      <li>ii. <a href='#Page_311'>311</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Knackfuss, Prof. H., i. 50, 96, 112, 184, 186, 249;
-    <ul>
-      <li>ii. <a href='#Page_395'>395</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Knapton Sale (1804), i. 309</li>
-  <li class='c056'>Knepp Castle, Sussex, fire at (1904), i. 320;
-    <ul>
-      <li>ii. <a href='#Page_212'>212</a>, <a href='#Page_311'>311</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Knight, <i>Life of Erasmus</i>, i. 320</li>
-  <li class='c056'>Knoedler, Messrs., ii. <a href='#Page_340'>340</a></li>
-  <li class='c056'>Knole, i. 287, 307-308, 310 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_112'>112</a>, <a href='#Page_201'>201</a>, <a href='#Page_303'>303</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Knörr, banker, Lucerne, i. 71</li>
-  <li class='c056'>Knowsley, ii. <a href='#Page_245'>245</a></li>
-  <li class='c056'>Koberger, bookseller of Nuremberg, ii. <a href='#Page_331'>331</a></li>
-  <li class='c056'>Koegler, Dr. Hans, i. 98;
-    <ul>
-      <li>ii. <a href='#Page_330'>330</a>-<a href='#Page_332'>332</a>, <a href='#Page_395'>395</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Kolman family, armourers of Augsburg, i. 31</li>
-  <li class='c056'>Konody, Mr. P. G., ii. <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'>Kratzer, Niklaus, Henry VIII’s astronomer, i. 299, 327-330, 337, 350;
-    <ul>
-      <li>ii. <a href='#Page_4'>4</a>, <a href='#Page_43'>43</a>, <a href='#Page_73'>73</a>, <a href='#Page_88'>88</a>, <a href='#Page_143'>143</a>, <a href='#Page_152'>152</a>, <a href='#Page_241'>241</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Kugler, Dr., i. 237;
-    <ul>
-      <li>ii. <a href='#Page_395'>395</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Kulm, Dantiscus, Bishop of, i. 179</li>
-  <li class='c056'>Kunigunde, Empress, i. 114</li>
-  <li class='c056'><i>Kunstblatt</i>, ii. <a href='#Page_167'>167</a></li>
-  <li class='c056'>Kyrkenar, Erasmus, <i>see</i> <a href='#Kirkheimer'>Kirkheimer</a></li>
-  <li class='c004'>Lachner family, of Basel, ii. <a href='#Page_325'>325</a></li>
-  <li class='c056'>Lafenestre, i. 173</li>
-  <li class='c056'>Lago, Alice di, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— Jago di, of Newcastle-under-Lyme, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Laine, Richard, painter-stainer, i. 261</li>
-  <li class='c056'>“Lallenkönig,” i. 351</li>
-  <li class='c056'>Lambert, Bishop, i. 111</li>
-  <li class='c056'>Lambeth Palace, i. 321-323;
-    <ul>
-      <li>ii. <a href='#Page_350'>350</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lanckoronski Collection, Vienna, i. 20;
-    <ul>
-      <li>ii. <a href='#Page_211'>211</a>, <a href='#Page_349'>349</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Landgrave, The, ii. <a href='#Page_172'>172</a></li>
-  <li class='c056'>Lane, Sir Hugh P., i. 301;
-    <ul>
-      <li>ii. <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lange, Jehan, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Languedoc, ii. <a href='#Page_44'>44</a></li>
-  <li class='c056'>Lappenberg, Dr., ii. <a href='#Page_2'>2</a> <i>note</i>, <a href='#Page_13'>13</a>, <a href='#Page_24'>24</a>-<a href='#Page_25'>25</a>, <a href='#Page_395'>395</a></li>
-  <li class='c056'>Larpent, S., <i>Sur le Portrait de Morett</i>, ii. <a href='#Page_68'>68</a>, <a href='#Page_395'>395</a></li>
-  <li class='c056'>Lasora, Nic., painter, i. 262, 314;
-    <ul>
-      <li>ii. <a href='#Page_310'>310</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Latronet, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Lausanne, i. 180</li>
-  <li class='c056'>Lavater, i. 300</li>
-  <li class='c056'>Lavaur (town), ii. <a href='#Page_35'>35</a>, <a href='#Page_40'>40</a>-<a href='#Page_42'>42</a></li>
-  <li class='c056'>—— Bishop of, <i>see</i> <a href='#Selve'>Selve, George de</a></li>
-  <li class='c056'>Lavena, Trolli von, i. 72</li>
-  <li class='c056'>Law, Mr. Ernest, i. 97, 165, 167, 184, 318, 333-334;
-    <ul>
-      <li>ii. <a href='#Page_10'>10</a>, <a href='#Page_87'>87</a>, <a href='#Page_97'>97</a>, <a href='#Page_103'>103</a>-<a href='#Page_104'>104</a>, <a href='#Page_193'>193</a>, <a href='#Page_199'>199</a>, <a href='#Page_223'>223</a>, <a href='#Page_225'>225</a>, <a href='#Page_395'>395</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lawrence Collection, i. 144, 156, 357;
-    <ul>
-      <li>ii. <a href='#Page_327'>327</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Layer Marney, i. 270</li>
-  <li class='c056'><a id='Le-Blond'></a>Le Blond, Michel, i. 28, 166-168, 239-241;
-    <ul>
-      <li>ii. <a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_446'>446</span>Le Brun, J. B. P., ii. <a href='#Page_37'>37</a>-<a href='#Page_38'>38</a>, <a href='#Page_45'>45</a>-<a href='#Page_48'>48</a></li>
-  <li class='c056'>—— —— —— <i>Galerie des Peintures</i>, &amp;c., ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'>—— —— Madame Vigée, ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'>Lebrune, Isaac, painter, i. 262</li>
-  <li class='c056'>Lech Canals, Augsburg, i. 2, 19</li>
-  <li class='c056'>Leconfield, Lord (collection), ii. <a href='#Page_22'>22</a>, <a href='#Page_97'>97</a> <i>and note</i>, <a href='#Page_351'>351</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'>Lee, Sir Anthony, ii. <a href='#Page_82'>82</a></li>
-  <li class='c056'>—— Sir Henry, K.C., ii. <a href='#Page_82'>82</a></li>
-  <li class='c056'>—— Lady, <i>see</i> <a href='#Wyat'>Wyat, Margaret</a></li>
-  <li class='c056'>—— Dr., i. 329</li>
-  <li class='c056'>—— Priory, Kent, ii. <a href='#Page_109'>109</a>, <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_235'>235</a></li>
-  <li class='c056'><a id='Leemput'></a>Leemput, Remigius van, ii. <a href='#Page_94'>94</a>-<a href='#Page_97'>97</a>, <a href='#Page_97'>97</a> <i>note</i>, <a href='#Page_99'>99</a>, <a href='#Page_103'>103</a>-<a href='#Page_104'>104</a></li>
-  <li class='c056'>Lehmann, Rudolf, i. 238</li>
-  <li class='c056'>Leicester, Earl of, i. 333</li>
-  <li class='c056'>Leighton, Lord, <i>Addresses to Students of the Royal Academy</i>, ii. <a href='#Page_319'>319</a>-<a href='#Page_320'>320</a>, <a href='#Page_396'>396</a></li>
-  <li class='c056'>Leipzig, and Museum, i. 100, 106;
-    <ul>
-      <li>ii. <a href='#Page_31'>31</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Leithäuser, ii. <a href='#Page_396'>396</a></li>
-  <li class='c056'>Leland, John, ii. <a href='#Page_38'>38</a>, <a href='#Page_80'>80</a>, <a href='#Page_205'>205</a>;
-    <ul>
-      <li><i>Næniæ</i>, i. 202-203;</li>
-      <li>poem on birth of Prince of Wales, i. 203</li>
-    </ul>
-  </li>
-  <li class='c056'>Lely Collection, ii. <a href='#Page_26'>26</a></li>
-  <li class='c056'>Lely, Sir Peter, ii. <a href='#Page_345'>345</a></li>
-  <li class='c056'>Lenthall Sale (1808), i. 301; (1833) i. 301</li>
-  <li class='c056'>—— William, Speaker, i. 301;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_336'>336</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Leo X, Pope, i. 199</li>
-  <li class='c056'>Leominster, ii. <a href='#Page_119'>119</a></li>
-  <li class='c056'><a id='Leonardo'></a>Leonardo da Vinci, i. 74-76, 87, 106-107, 160, 173, 250, 257</li>
-  <li class='c056'>Leontorius, Conrad, i. 84</li>
-  <li class='c056'>Leopold, Archduke, ii. <a href='#Page_65'>65</a>, <a href='#Page_209'>209</a></li>
-  <li class='c056'>Leopold William, Archduke, ii. <a href='#Page_203'>203</a></li>
-  <li class='c056'>Lepzelter, Bastian, sculptor, of Basel, i. 58</li>
-  <li class='c056'>—— Martin, sculptor, i. 133</li>
-  <li class='c056'>Leslie, Sir John, Bt. (collection), ii. <a href='#Page_254'>254</a></li>
-  <li class='c056'>Le Strange, <i>see</i> <a href='#Strange'>Strange</a></li>
-  <li class='c056'>Lewes (town), ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Lewis, F. C., engraver, ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'>—— Rev. J., i. 295-296</li>
-  <li class='c056'>“Leysure, Nic., a German,” i. 314 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_310'>310</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Lezard, <i>see</i> <a href='#Lyzarde'>Lyzarde</a></li>
-  <li class='c056'>Liancourt, Duc de, i. 173;
-    <ul>
-      <li>ii. <a href='#Page_245'>245</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Lieberhaber-Bibliothek</i>, i. 214</li>
-  <li class='c056'>Liestall, near Basel, ii. <a href='#Page_5'>5</a></li>
-  <li class='c056'>Lille Museum, i. 344</li>
-  <li class='c056'>Linacre, Dr., ii. <a href='#Page_208'>208</a></li>
-  <li class='c056'>Lincoln, Bishop of, ii. <a href='#Page_226'>226</a></li>
-  <li class='c056'>Lindtmeyer, Daniel, glass-painter of Schaffhausen, ii. <a href='#Page_326'>326</a></li>
-  <li class='c056'>Linton, Henry, engraver, ii. <a href='#Page_294'>294</a></li>
-  <li class='c056'>Lippmann, Dr. F., i. 214</li>
-  <li class='c056'>Lisbon, i. 14, 16, 22;
-    <ul>
-      <li>ii. <a href='#Page_300'>300</a>;</li>
-      <li>Palacio das Necessidades, i. 16, 22 <i>note</i>;</li>
-      <li>Museu Nacional, i. 22 <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Lisle, Lord, i. 333</li>
-  <li class='c056'>Lister, Lady, ii. <a href='#Page_258'>258</a></li>
-  <li class='c056'>Little Basel, i. 90, 122, 351;
-    <ul>
-      <li>St. Theodore, i. 150;</li>
-      <li>Klingenthal Nunnery, i. 205</li>
-    </ul>
-  </li>
-  <li class='c056'><i>Little Passion</i> (Albrecht Dürer), i. 42-43</li>
-  <li class='c056'>Lizardi, Nicolo, <i>see</i> <a href='#Lyzarde'>Lyzarde</a></li>
-  <li class='c056'><span class='pageno' id='Page_447'>447</span>Lloyd, picture-restorer, ii. <a href='#Page_293'>293</a> <i>note</i></li>
-  <li class='c056'>Lobons, John, the King’s Master Mason, i. 271</li>
-  <li class='c056'>Lock, William, mercer, ii. <a href='#Page_19'>19</a>, <a href='#Page_92'>92</a> <i>note</i></li>
-  <li class='c056'>Lockey, Rowland, i. 302</li>
-  <li class='c056'>Lodge, Edmund, Lancaster Herald, ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'>Lodge’s <i>Portraits</i> (1835), ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>Lodi (town), i. 240</li>
-  <li class='c056'>—— Giovanni da, i. 240</li>
-  <li class='c056'>Lottie Mr. W. J., F.S.A., ii. <a href='#Page_346'>346</a>, <a href='#Page_396'>396</a></li>
-  <li class='c056'><i>Lomazzo on Painting</i> (trans. by Haydock), ii. <a href='#Page_308'>308</a></li>
-  <li class='c056'><a id='Lombardy'></a>Lombardy, Holbein’s visit to, i. 42, 57, 64-65, 69, 72, 74-78, 80, 143, 251;
-    <ul>
-      <li>ii. <a href='#Page_314'>314</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Lomentlin” (Anna), i. 20</li>
-  <li class='c056'><a id='London'></a>London, i. 169, 257, 265, 268, 271, 273, 278, 280, 282-283, 289-290, 295, 302, 315, 328, 331;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>-<a href='#Page_4'>4</a>, <a href='#Page_9'>9</a>, <a href='#Page_11'>11</a>, <a href='#Page_13'>13</a>-<a href='#Page_15'>15</a>, <a href='#Page_19'>19</a>, <a href='#Page_22'>22</a>, <a href='#Page_24'>24</a>, <a href='#Page_30'>30</a>, <a href='#Page_33'>33</a>, <a href='#Page_35'>35</a>, <a href='#Page_43'>43</a>-<a href='#Page_44'>44</a>, <a href='#Page_59'>59</a>, <a href='#Page_64'>64</a>, <a href='#Page_67'>67</a>-<a href='#Page_68'>68</a>, <a href='#Page_76'>76</a>, <a href='#Page_80'>80</a>, <a href='#Page_87'>87</a>, <a href='#Page_91'>91</a>-<a href='#Page_92'>92</a>, <a href='#Page_118'>118</a>, <a href='#Page_121'>121</a>, <a href='#Page_124'>124</a>, <a href='#Page_139'>139</a>, <a href='#Page_142'>142</a>, <a href='#Page_145'>145</a>, <a href='#Page_152'>152</a>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_164'>164</a>, <a href='#Page_172'>172</a>, <a href='#Page_175'>175</a>-<a href='#Page_176'>176</a>, <a href='#Page_184'>184</a>, <a href='#Page_219'>219</a>, <a href='#Page_221'>221</a>, <a href='#Page_233'>233</a>, <a href='#Page_261'>261</a>, <a href='#Page_281'>281</a>, <a href='#Page_288'>288</a>, <a href='#Page_294'>294</a>, <a href='#Page_297'>297</a>, <a href='#Page_299'>299</a>, <a href='#Page_300'>300</a>, <a href='#Page_308'>308</a>, <a href='#Page_319'>319</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— All Hallows St., ii. <a href='#Page_2'>2</a>;
-    <ul>
-      <li>Bridewell Hospital, ii. <a href='#Page_169'>169</a>;</li>
-      <li>Bridewell Palace, ii. <a href='#Page_42'>42</a>-<a href='#Page_43'>43</a>, <a href='#Page_292'>292</a>;</li>
-      <li>Cannon St., ii. <a href='#Page_2'>2</a> <i>and note</i>;</li>
-      <li>Christ’s Hospital, ii. <a href='#Page_169'>169</a>;</li>
-      <li>Cousins Lane, ii. <a href='#Page_2'>2</a>;</li>
-      <li>Dowgate, ii. <a href='#Page_2'>2</a>;</li>
-      <li>Farringdon Without and Within, i. 260;</li>
-      <li>Fenchurch St., ii. <a href='#Page_30'>30</a>;</li>
-      <li>Fleet St. ii. <a href='#Page_56'>56</a>;</li>
-      <li>Gracechurch St., ii. <a href='#Page_30'>30</a>;</li>
-      <li>Great Fire (1666), i. 261;
-        <ul>
-          <li>ii. <a href='#Page_189'>189</a>, <a href='#Page_299'>299</a>;</li>
-        </ul>
-      </li>
-      <li>Guildhall, ii. <a href='#Page_96'>96</a>;</li>
-      <li>Holywell Priory, Shoreditch, i. 272;</li>
-      <li>John Ball’s Buildings, ii. <a href='#Page_33'>33</a>;</li>
-      <li>Lombard St., ii. <a href='#Page_13'>13</a>, <a href='#Page_287'>287</a>;</li>
-      <li>London Bridge, ii. <a href='#Page_189'>189</a>;</li>
-      <li>Mercers’ Hall, i. 287;
-        <ul>
-          <li>ii. <a href='#Page_205'>205</a>, <a href='#Page_304'>304</a>;</li>
-        </ul>
-      </li>
-      <li>Monkwell St., ii. <a href='#Page_289'>289</a>;</li>
-      <li>Montagu House, ii. <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>;</li>
-      <li>Parliament St., ii. <a href='#Page_267'>267</a>;</li>
-      <li>Rolls Chapel, i. 272;</li>
-      <li>St. Andrew Undershaft, Aldgate Ward, ii. <a href='#Page_1'>1</a>, <a href='#Page_188'>188</a>-<a href='#Page_189'>189</a>, <a href='#Page_295'>295</a>-<a href='#Page_296'>296</a>, <a href='#Page_299'>299</a>;</li>
-      <li>St. Bartholomew’s Hospital, i. 266;
-        <ul>
-          <li>ii. <a href='#Page_101'>101</a>, <a href='#Page_103'>103</a>, <a href='#Page_234'>234</a>;</li>
-        </ul>
-      </li>
-      <li>St. Bride’s, ii. <a href='#Page_291'>291</a>;</li>
-      <li>St. Catherine Cree, ii. <a href='#Page_299'>299</a>;</li>
-      <li>St. Giles without Cripplegate, ii. <a href='#Page_305'>305</a>;</li>
-      <li>St. James’s Palace, i. 284;
-        <ul>
-          <li>ii. <a href='#Page_137'>137</a>, <a href='#Page_269'>269</a>-<a href='#Page_271'>271</a>, <a href='#Page_333'>333</a>;</li>
-        </ul>
-      </li>
-      <li>St. James St., ii. <a href='#Page_269'>269</a>;</li>
-      <li>St. Martin’s-in-the-Fields, i. 265;
-        <ul>
-          <li>ii. <a href='#Page_310'>310</a>;</li>
-        </ul>
-      </li>
-      <li>St. Martin Orgar, i. 280;</li>
-      <li>St. Nicholas Acon, ii. <a href='#Page_12'>12</a>-<a href='#Page_13'>13</a>;</li>
-      <li>St. Paul’s Cathedral, ii. <a href='#Page_294'>294</a>;</li>
-      <li>St. Saviour’s, Southwark, ii. <a href='#Page_307'>307</a>;</li>
-      <li>St. Vedast in Chepe, i, 260, 262;</li>
-      <li>Soho Square, ii. <a href='#Page_135'>135</a>, <a href='#Page_337'>337</a>;</li>
-      <li>South-Eastern Railway Station, ii. <a href='#Page_2'>2</a> <i>and note</i>;</li>
-      <li>Stafford House, ii. <a href='#Page_165'>165</a>;</li>
-      <li>Thames St., ii. <a href='#Page_2'>2</a> <i>and note</i>, <a href='#Page_3'>3</a>, <a href='#Page_5'>5</a>, <a href='#Page_33'>33</a>;</li>
-      <li>Tower, ii. <a href='#Page_30'>30</a>, <a href='#Page_200'>200</a>, <a href='#Page_221'>221</a>;</li>
-      <li>Tyburn, ii. <a href='#Page_196'>196</a>;</li>
-      <li>Waterloo Place, ii. <a href='#Page_60'>60</a>;</li>
-      <li>Westminster, ii. <a href='#Page_30'>30</a>;</li>
-      <li>Westminster Abbey, ii. <a href='#Page_50'>50</a>;</li>
-      <li>Westminster Palace, ii. <a href='#Page_127'>127</a>, <a href='#Page_310'>310</a>;</li>
-      <li>Windgoose Alley, ii. <a href='#Page_3'>3</a>, <a href='#Page_21'>21</a>;</li>
-      <li>York House, ii. <a href='#Page_14'>14</a>, <a href='#Page_215'>215</a></li>
-    </ul>
-  </li>
-  <li class='c056'>London, Registers of the Commissary of, ii. <a href='#Page_294'>294</a></li>
-  <li class='c056'>Longford Castle, i. 164, 167, 169, 171, 177, 289, 292;
-    <ul>
-      <li>ii. <a href='#Page_37'>37</a>, <a href='#Page_137'>137</a>, <a href='#Page_214'>214</a>, <a href='#Page_307'>307</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Long Walk, Windsor Park, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Longueville (town), ii. <a href='#Page_140'>140</a></li>
-  <li class='c056'>—— Charles d’Orléans, Duke of, ii. <a href='#Page_139'>139</a></li>
-  <li class='c056'><span class='pageno' id='Page_448'>448</span><a id='Longueville'></a>Longueville, Duchess of, <i>see</i> <a href='#Guise'>Guise, Marie of</a></li>
-  <li class='c056'>—— François, Duke of, son of Marie of Guise, ii. <a href='#Page_146'>146</a>-<a href='#Page_148'>148</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>Loo, Andries de, i. 295, 298, 323, 328 <i>and note</i>;
-    <ul>
-      <li>ii. <a href='#Page_60'>60</a>-<a href='#Page_61'>61</a>, <a href='#Page_334'>334</a>-<a href='#Page_337'>337</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lord, Robert, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Lorenzo, Antonio di Piergiovanni di, i. 273</li>
-  <li class='c056'>Lorraine, ii. <a href='#Page_120'>120</a>, <a href='#Page_148'>148</a>, <a href='#Page_150'>150</a></li>
-  <li class='c056'>—— Anne of, ii. <a href='#Page_145'>145</a>-<a href='#Page_146'>146</a>, <a href='#Page_148'>148</a>-<a href='#Page_149'>149</a>, 153 <i>note</i>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_176'>176</a>, <a href='#Page_344'>344</a></li>
-  <li class='c056'>—— Duke of, ii. <a href='#Page_146'>146</a>, <a href='#Page_149'>149</a>-<a href='#Page_150'>150</a>, <a href='#Page_153'>153</a> <i>and note</i></li>
-  <li class='c056'>—— Duchess of, ii. <a href='#Page_148'>148</a>, <a href='#Page_152'>152</a></li>
-  <li class='c056'>—— Christina, Duchess of, <i>see</i> <a href='#Milan'>Milan</a></li>
-  <li class='c056'>Loseley MSS., ii. <a href='#Page_244'>244</a></li>
-  <li class='c056'>Loskart, Jasper, i. 241, 243</li>
-  <li class='c056'>Lössert, Johann, i. 240-241, 243</li>
-  <li class='c056'>Lothian, Marquis of (collection), i. 304 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_305'>305</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lotter, Jörg, i. 13</li>
-  <li class='c056'>Louis XII of France, i. 269;
-    <ul>
-      <li>ii. <a href='#Page_225'>225</a>, <a href='#Page_234'>234</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— XIII of France, i. 173, 239</li>
-  <li class='c056'>—— XIV of France, i. 173, 323, 335;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_181'>181</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Louvain, i. 179, 192</li>
-  <li class='c056'><a id='Louvre'></a>Louvre Gallery, Paris, i. 108, 122, 159-160, 171, 234 <i>note</i>, 304, 322, 325, 327-328, 335;
-    <ul>
-      <li>ii. <a href='#Page_26'>26</a>, <a href='#Page_81'>81</a>, <a href='#Page_83'>83</a>, <a href='#Page_85'>85</a>, <a href='#Page_176'>176</a>, <a href='#Page_181'>181</a>-<a href='#Page_183'>183</a>, <a href='#Page_214'>214</a>, <a href='#Page_237'>237</a>, <a href='#Page_241'>241</a>, <a href='#Page_255'>255</a>, <a href='#Page_314'>314</a>, <a href='#Page_353'>353</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lovelace, Richard, <i>Lucasta</i>, ii. <a href='#Page_345'>345</a></li>
-  <li class='c056'>Lovell, Sir Thomas, i. 272, 274</li>
-  <li class='c056'>Lubeck, i. 204</li>
-  <li class='c056'>Lucas, William, painter-stainer, i. 261</li>
-  <li class='c056'>Lucerne, i. 31, 42, 46, 57-58, 63-67, 70-72, 74, 78-82, 90, 100, 109, 116-117, 137, 142-144, 185, 197, 248;
-    <ul>
-      <li>ii. <a href='#Page_313'>313</a>, <a href='#Page_323'>323</a>-<a href='#Page_324'>324</a>, <a href='#Page_326'>326</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lucerne, Brotherhood of St. Luke (Painters’ Guild), i. 64;
-    <ul>
-      <li>Church of the Augustines, i. 80-81;</li>
-      <li>Convent of the Franciscans, i. 78;</li>
-      <li>Fountain of the Cordeliers, i. 78;</li>
-      <li>Museum, i. 79, ii. <a href='#Page_358'>358</a>;</li>
-      <li>Town Library, i. 72, 74;</li>
-      <li>Town Hall, i. 74</li>
-    </ul>
-  </li>
-  <li class='c056'>Lucian, i. 62</li>
-  <li class='c056'>Ludi, Johannes, <i>see</i> <a href='#Ludin'>Lüdin</a></li>
-  <li class='c056'><a id='Ludin'></a>Lüdin, Johannes, i. 239-240;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Lugano, i. 77</li>
-  <li class='c056'>“Luike, Cardinal of,” ii. <a href='#Page_116'>116</a></li>
-  <li class='c056'>Luini, i. 81, 87, 95</li>
-  <li class='c056'>“Lukas, Master,” <i>see</i> <a href='#Hornebolt'>Hornebolt, Lucas</a></li>
-  <li class='c056'>Lumley Castle, Collection and Inventory (1590), i. 178, 304 <i>and note</i>, 318-320;
-    <ul>
-      <li>ii. <a href='#Page_81'>81</a>, <a href='#Page_88'>88</a>-<a href='#Page_89'>89</a>, <a href='#Page_99'>99</a>, <a href='#Page_133'>133</a>-<a href='#Page_135'>135</a>, <a href='#Page_243'>243</a>-<a href='#Page_245'>245</a>, <a href='#Page_305'>305</a>, <a href='#Page_307'>307</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— family, ii. <a href='#Page_89'>89</a>, <a href='#Page_245'>245</a></li>
-  <li class='c056'>—— John, Lord, i. 178, 277, 304, 319;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_130'>130</a>, <a href='#Page_133'>133</a>-<a href='#Page_135'>135</a>, <a href='#Page_245'>245</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Lupset, i. 253</li>
-  <li class='c056'>Luther, Martin, i. 212, 260</li>
-  <li class='c056'>—— —— <i>German Translation of New Testament</i> (Petri), i. 195</li>
-  <li class='c056'>—— —— <i>German Translation of New Testament</i>, quarto ed. (Wolff), i. 196</li>
-  <li class='c056'>—— —— <i>German Translation of Old Testament</i> (Petri), i. 197</li>
-  <li class='c056'>—— —— <i>Servum Arbitrium</i>, i. 291</li>
-  <li class='c056'>Luton House, i. 266</li>
-  <li class='c056'><span class='pageno' id='Page_449'>449</span>Lutterell, Sir John, portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>Lützelburger, Hans, i. 44, 175, 181-182, 188, 189-191, 193, 195-197, 199, 201-202, 206-208, 210-213, 221-223, 226-229;
-    <ul>
-      <li>ii. <a href='#Page_77'>77</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Jacob, i. 190</li>
-  <li class='c056'>—— Michael, i. 190</li>
-  <li class='c056'>Lutzow, De, i. 237</li>
-  <li class='c056'>Lydio, <i>see</i> <a href='#Ludin'>Lüdin</a></li>
-  <li class='c056'>Lynne, Walter, printer, ii. <a href='#Page_78'>78</a>-<a href='#Page_79'>79</a></li>
-  <li class='c056'>Lyon, i. 149, 174-175, 188, 190, 208-209, 211-213, 222, 224, 226-228;
-    <ul>
-      <li>ii. <a href='#Page_6'>6</a>, <a href='#Page_38'>38</a>, <a href='#Page_74'>74</a>-<a href='#Page_75'>75</a>, <a href='#Page_187'>187</a>-<a href='#Page_188'>188</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Corneille de, i. 305</li>
-  <li class='c056'>—— St. Pierre-les-Nonnains, i. 209;
-    <ul>
-      <li>St. Romain, i. 210</li>
-    </ul>
-  </li>
-  <li class='c056'><i>Lytle Treatise</i>, &amp;c. (Dr. U. Regius), ii. <a href='#Page_78'>78</a>-<a href='#Page_79'>79</a></li>
-  <li class='c056'><a id='Lyzarde'></a>Lyzarde, Nicholas, i. 287, 314 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_12'>12</a>, <a href='#Page_309'>309</a>, <a href='#Page_310'>310</a> <i>and note</i></li>
-    </ul>
-  </li>
-  <li class='c004'>Mabuse, i. 56, 307;
-    <ul>
-      <li>ii. <a href='#Page_93'>93</a>, <a href='#Page_136'>136</a>-<a href='#Page_137'>137</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Machiels, A., i. 164 <i>note</i>, 166 <i>note</i>, 180 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_396'>396</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Machyn, <i>Diary</i>, i. 285</li>
-  <li class='c056'>Maçon, i. 174</li>
-  <li class='c056'>Madresfield Court, ii. <a href='#Page_304'>304</a>, <a href='#Page_308'>308</a></li>
-  <li class='c056'>Madrid, Prado, i. 304 <i>note</i>, 334;
-    <ul>
-      <li>ii. <a href='#Page_356'>356</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Magazine of Art</i>, ii. <a href='#Page_39'>39</a></li>
-  <li class='c056'>Magniac Collection Sale (1892), i. 335;
-    <ul>
-      <li>ii. <a href='#Page_234'>234</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Maguire, T. H., lithographer, ii. <a href='#Page_125'>125</a></li>
-  <li class='c056'>Mähly, J., i. 170</li>
-  <li class='c056'><a id='Maiano'></a>Maiano, Giovanni da, i. 278, 280-281, 287 <i>note</i>, 314;
-    <ul>
-      <li>ii. <a href='#Page_266'>266</a>-<a href='#Page_267'>267</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Maintz, i. 190</li>
-  <li class='c056'>Mair, Paulson, i. 13</li>
-  <li class='c056'>Major, Dr. Emil, i. 85 <i>note</i>, 241;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_329'>329</a>, <a href='#Page_396'>396</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Malcolm Collection, British Museum, i. 147, 357;
-    <ul>
-      <li>ii. <a href='#Page_226'>226</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Malermi Bible (1490), i. 230 <i>note</i></li>
-  <li class='c056'>Malines, i. 179;
-    <ul>
-      <li>ii. <a href='#Page_137'>137</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Maltravers, Lord, portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'><a id='Manchester'></a>Manchester, Art Treasures Exhibition, 1857, ii. <a href='#Page_360'>360</a>-<a href='#Page_361'>361</a></li>
-  <li class='c056'>Manchester, Duke of (collection), ii. <a href='#Page_61'>61</a>, <a href='#Page_104'>104</a></li>
-  <li class='c056'><a id='Mander'></a>Mander, Carel van, i. 23, 27-28, 50, 74, 224, 252, 289-290, 295, 298, 328;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_24'>24</a>, <a href='#Page_29'>29</a>, <a href='#Page_60'>60</a>, <a href='#Page_94'>94</a>, <a href='#Page_112'>112</a>, <a href='#Page_134'>134</a>, <a href='#Page_187'>187</a>, <a href='#Page_213'>213</a>, <a href='#Page_217'>217</a>, ii. <a href='#Page_231'>231</a>, <a href='#Page_289'>289</a>, <a href='#Page_290'>290</a>, <a href='#Page_298'>298</a>-<a href='#Page_299'>299</a>, <a href='#Page_344'>344</a>, <a href='#Page_396'>396</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Mane,” <i>see</i> <a href='#Maiano'>Maiano</a></li>
-  <li class='c056'>Manion, <i>see</i> <a href='#Maiano'>Maiano</a></li>
-  <li class='c056'>Manners, Lady Victoria, ii. <a href='#Page_396'>396</a></li>
-  <li class='c056'>Mannheim, ii. <a href='#Page_20'>20</a></li>
-  <li class='c056'>Mantegna, i. 67, 73-74, 95, 114, 121, 151, 234 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_27'>27</a>, <a href='#Page_314'>314</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Mantes, ii. <a href='#Page_333'>333</a></li>
-  <li class='c056'>Mantz, P., ii. <a href='#Page_396'>396</a></li>
-  <li class='c056'>Manuel, H. R., i. 130</li>
-  <li class='c056'>—— Niklaus, <i>see</i> <a href='#Deutsch'>Deutsch</a></li>
-  <li class='c056'>—— Rudolf, i. 173</li>
-  <li class='c056'>Margaret of Austria, i. 264</li>
-  <li class='c056'>—— of Navarre, i. 305;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_145'>145</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_450'>450</span><a id='Margaret'></a>Margaret, Duchess of Savoy, daughter of Francis I, ii. <a href='#Page_139'>139</a></li>
-  <li class='c056'>—— Princess, afterwards Queen of Scotland, i. 353, 357;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_136'>136</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Marguyson, i. 284</li>
-  <li class='c056'>Mariette Collection, ii. <a href='#Page_276'>276</a></li>
-  <li class='c056'>Marignano, battle of, i. 35, 66</li>
-  <li class='c056'>Marillac, Charles de, French ambassador in England, i. 282-283;
-    <ul>
-      <li>ii. <a href='#Page_176'>176</a>, <a href='#Page_197'>197</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Marlborough Collection, ii. <a href='#Page_206'>206</a></li>
-  <li class='c056'>Marne, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Marseilles, i. 305</li>
-  <li class='c056'>Marthyn, Cornwall, i. 334</li>
-  <li class='c056'>Martin-Holland, Mr. R., ii. <a href='#Page_45'>45</a> <i>note</i></li>
-  <li class='c056'>Martyr, Peter, ii. <a href='#Page_226'>226</a></li>
-  <li class='c056'>Mary, Princess, Queen of England, i. 178, 266, 269, 311;
-    <ul>
-      <li>ii. <a href='#Page_110'>110</a>, <a href='#Page_112'>112</a>, <a href='#Page_135'>135</a>, <a href='#Page_168'>168</a>, <a href='#Page_172'>172</a>, <a href='#Page_195'>195</a>, <a href='#Page_200'>200</a>, <a href='#Page_215'>215</a>, <a href='#Page_235'>235</a>, <a href='#Page_239'>239</a>, ii. <a href='#Page_257'>257</a>, <a href='#Page_272'>272</a>, <a href='#Page_304'>304</a>-<a href='#Page_305'>305</a>, <a href='#Page_310'>310</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Mary, Queen,” portrait by “Evolls,” ii. <a href='#Page_308'>308</a></li>
-  <li class='c056'><a id='Mary-Tudor'></a>Mary Tudor, sister of Henry VIII, widow of Louis XII, afterwards Duchess of Suffolk, i. 269, 357;
-    <ul>
-      <li>ii. <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>, <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>, <a href='#Page_234'>234</a>, <a href='#Page_258'>258</a>, <a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Mary, Queen of Scots, <i>see</i> <a href='#Scots'>Scots</a></li>
-  <li class='c056'>Mary, Princess, daughter of Charles I, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'><i>Mary and John</i> (ship), i. 258</li>
-  <li class='c056'><i>Mary Rose</i> (ship), i. 258</li>
-  <li class='c056'>Marzohl, Lucerne painter, i. 72</li>
-  <li class='c056'>Mason, Sir John, ii. <a href='#Page_168'>168</a></li>
-  <li class='c056'>Massmünster, Georg von, abbot of Murbach, i. 145</li>
-  <li class='c056'>Master of the “Death of Mary,” i. 335</li>
-  <li class='c056'>Mather, Mr. F. J., ii. <a href='#Page_206'>206</a></li>
-  <li class='c056'>Matted Gallery, Whitehall, <i>see</i> <a href='#Whitehall'>Whitehall</a></li>
-  <li class='c056'>Matthias, Emperor, ii. <a href='#Page_300'>300</a></li>
-  <li class='c056'>Mauclair, C., ii. <a href='#Page_396'>396</a></li>
-  <li class='c056'>Maximilian, Emperor, i. 19, 20, 31, 49, 189, 217</li>
-  <li class='c056'>—— I, Elector of Bavaria, i. 17, 91-92</li>
-  <li class='c056'>Mayfield, Staffordshire, i. 156</li>
-  <li class='c056'>Mayn, John de la, <i>see</i> <a href='#Maiano'>Maiano</a></li>
-  <li class='c056'>Maynard, John, painter, i. 269, 271;
-    <ul>
-      <li>ii. <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Maynert, Henry, painter, witness of Holbein’s will, i. 269;
-    <ul>
-      <li>ii. <a href='#Page_242'>242</a>, <a href='#Page_295'>295</a>, <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Maynors, Katherine, miniaturist, i. 268-269;
-    <ul>
-      <li>ii. <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Mazzoni'></a>Mazzoni, Guido (Paganino), i. 270-271</li>
-  <li class='c056'>Meade, Dr. (Sale), i. 164, 171;
-    <ul>
-      <li>ii. <a href='#Page_183'>183</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Meath, ii. <a href='#Page_209'>209</a></li>
-  <li class='c056'><a id='Mechel'></a>Mechel, Christian von, engraver, i. 183, 299;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_27'>27</a>, <a href='#Page_300'>300</a>, <a href='#Page_396'>396</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Mechlin, i. 264</li>
-  <li class='c056'>Medici family, i. 199;
-    <ul>
-      <li>ii. <a href='#Page_85'>85</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lorenzo de’, i. 271</li>
-  <li class='c056'>—— Maria de’, i. 239-241;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_330'>330</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Society, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>Melanchthon, Philip, i. 184-185, 351;
-    <ul>
-      <li>ii. <a href='#Page_200'>200</a>, <a href='#Page_241'>241</a>, <a href='#Page_250'>250</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Melem, Von, i. 332</li>
-  <li class='c056'>Melman, Henry, Steelyard merchant, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Meltinger, Heinrich, burgomaster of Basel, i. 22, 254</li>
-  <li class='c056'><span class='pageno' id='Page_451'>451</span>Mélun, ii. <a href='#Page_283'>283</a>, <a href='#Page_333'>333</a></li>
-  <li class='c056'>Melville, Mr. James, ii. <a href='#Page_343'>343</a></li>
-  <li class='c056'>Memlinc, i. 288-289</li>
-  <li class='c056'><i>Memorials of Old Chelsea</i> (Alfred Beaver), i. 315</li>
-  <li class='c056'>Mercator, Sir Michael, ii. <a href='#Page_178'>178</a></li>
-  <li class='c056'>Mercers’ Hall, i. 287</li>
-  <li class='c056'><i>Merchants’ Arithmetic Book</i> (Apian, 1527), ii. <a href='#Page_50'>50</a></li>
-  <li class='c056'>Merchant Taylors’ Company, ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'>Meres, Francis, i. 302;
-    <ul>
-      <li>ii. <a href='#Page_308'>308</a>-<a href='#Page_309'>309</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Mereworth Castle, Kent, ii. <a href='#Page_189'>189</a></li>
-  <li class='c056'>Mergenthau, i. 3</li>
-  <li class='c056'>Merian, C., i. 50, 206</li>
-  <li class='c056'>—— Friedrich, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>—— Matthäus, <i>Topographia Helvetiæ</i>, i. 113, 131;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_27'>27</a>, <a href='#Page_301'>301</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Merlin, Conrad, i. 20</li>
-  <li class='c056'>Merlo of Cologne Collection, ii. <a href='#Page_202'>202</a></li>
-  <li class='c056'>Methuen, General Lord, i. 307</li>
-  <li class='c056'>Metropolitan Museum, New York, i. 72, 179;
-    <ul>
-      <li>ii. <a href='#Page_347'>347</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Metsys, Quentin, i. 163-165, 169, 255, 288-289, 292</li>
-  <li class='c056'>Mewtas (Meutas), Lady, ii. <a href='#Page_140'>140</a>, <a href='#Page_256'>256</a>-<a href='#Page_257'>257</a></li>
-  <li class='c056'>—— —— Peter, ii. <a href='#Page_140'>140</a>-<a href='#Page_141'>141</a>, <a href='#Page_143'>143</a>, <a href='#Page_155'>155</a></li>
-  <li class='c056'><a id='Meyer'></a>Meyer, Adelberg, burgomaster of Basel, i. 124;
-    <ul>
-      <li>ii. <a href='#Page_163'>163</a>, <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Anna, i. 234-236, 239</li>
-  <li class='c056'>—— C., i. 81</li>
-  <li class='c056'>—— Dorothea, <i>see</i> <a href='#Kannengiesser'>Kannengiesser</a></li>
-  <li class='c056'>—— Jakob, zum Hasen, i. 52-55, 61, 109, 124-125, 131, 157, 174, 233-236, 239, 243, 343;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_34'>34</a>, <a href='#Page_256'>256</a>, <a href='#Page_328'>328</a>, <a href='#Page_330'>330</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— Hirschen, ii. <a href='#Page_34'>34</a>, <a href='#Page_158'>158</a>-<a href='#Page_159'>159</a></li>
-  <li class='c056'>Meyrick, General, ii. <a href='#Page_182'>182</a>, <a href='#Page_235'>235</a>-<a href='#Page_236'>236</a></li>
-  <li class='c056'>—— Sir Samuel Rush, ii. <a href='#Page_182'>182</a>, <a href='#Page_235'>235</a></li>
-  <li class='c056'>Michelangelo, i. 271;
-    <ul>
-      <li>ii. <a href='#Page_186'>186</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Microcosmo</i> (Scannelli), ii. <a href='#Page_66'>66</a></li>
-  <li class='c056'>Middleton, Alice, <i>see</i> <a href='#More'>More, Lady</a></li>
-  <li class='c056'>Mielich, Hans, painter, of Munich, ii. <a href='#Page_241'>241</a></li>
-  <li class='c056'><a id='Milan'></a>Milan, i. 6, 75, 140, 174, 250, 283;
-    <ul>
-      <li>ii. <a href='#Page_159'>159</a>-<a href='#Page_160'>160</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Brera Gallery, i. 251;
-    <ul>
-      <li>Archæological Museum, i. 140</li>
-    </ul>
-  </li>
-  <li class='c056'>—— Christina, Duchess of, ii. <a href='#Page_25'>25</a>, <a href='#Page_65'>65</a>, <a href='#Page_88'>88</a>, <a href='#Page_115'>115</a>-<a href='#Page_138'>138</a>, <a href='#Page_142'>142</a>, <a href='#Page_150'>150</a>-<a href='#Page_151'>151</a>, <a href='#Page_153'>153</a> <i>and note</i>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_171'>171</a>, <a href='#Page_173'>173</a>-<a href='#Page_174'>174</a>, <a href='#Page_176'>176</a>-<a href='#Page_178'>178</a>, <a href='#Page_235'>235</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>Milburne, Mr., i. 167-168</li>
-  <li class='c056'>Mildmay, Sir Henry B. St. John, Bt., i. 184</li>
-  <li class='c056'>Milhars, Château de, Languedoc, ii. <a href='#Page_44'>44</a>, <a href='#Page_46'>46</a></li>
-  <li class='c056'>Millais, Sir J. E., and Sale (1897), ii. <a href='#Page_206'>206</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'><i>Miniatura, or the Arte of Limning</i> (E. Norgate), ii. <a href='#Page_219'>219</a> <i>and note</i></li>
-  <li class='c056'>Miniatures, Exhibition of, Brussels (1912), ii. <a href='#Page_57'>57</a> <i>note</i>, <a href='#Page_230'>230</a></li>
-  <li class='c056'>—— —— —— Rotterdam (1910), ii. <a href='#Page_230'>230</a></li>
-  <li class='c056'>—— —— —— South Kensington (1865), i. 308 <i>note</i>;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_72'>72</a> <i>note</i>, <a href='#Page_109'>109</a>, <a href='#Page_183'>183</a>, <a href='#Page_228'>228</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Mitcham, i. 279</li>
-  <li class='c056'>Mitchell, William, Collection, British Museum, i. 188</li>
-  <li class='c056'>Modecio, Nic. de, <i>see</i> <a href='#Bellin'>Bellin</a></li>
-  <li class='c056'>Modena (town), i. 281, 284;
-    <ul>
-      <li>ii. <a href='#Page_186'>186</a>, <a href='#Page_201'>201</a>, <a href='#Page_303'>303</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_452'>452</span>Modena, Collection, ii. <a href='#Page_66'>66</a>-<a href='#Page_67'>67</a></li>
-  <li class='c056'>—— Duke of, i. 306; <i>see also</i> <a href='#Este'>Este</a></li>
-  <li class='c056'>—— Nicholas de, <i>see</i> <a href='#Bellin'>Bellin</a></li>
-  <li class='c056'>Modène, <i>see</i> <a href='#Bellin'>Bellin</a></li>
-  <li class='c056'>Modon, <i>see</i> <a href='#Bellin'>Bellin</a></li>
-  <li class='c056'><a id='Molitor'></a>Molitor, Oswald, i. 45-46, 49, 52, 57, 66, 125</li>
-  <li class='c056'>Monforde, barber-surgeon, ii. <a href='#Page_291'>291</a></li>
-  <li class='c056'>Mont, <i>see</i> <a href='#Mount'>Mount</a></li>
-  <li class='c056'>Montagu House, ii. <a href='#Page_221'>221</a>-<a href='#Page_222'>222</a>, <a href='#Page_230'>230</a>, <a href='#Page_235'>235</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>Monteagle, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Montecucculi, Marquis Massimiliano, ii. <a href='#Page_66'>66</a></li>
-  <li class='c056'>Montmorency, Anne de, Grand Master of France, i. 283;
-    <ul>
-      <li>ii. <a href='#Page_42'>42</a>-<a href='#Page_43'>43</a>, <a href='#Page_139'>139</a>, <a href='#Page_142'>142</a>-<a href='#Page_145'>145</a>, <a href='#Page_152'>152</a>, <a href='#Page_154'>154</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Montpellier, i. 84, 149, 151, 153, 174, 176</li>
-  <li class='c056'>Montreal, i. 185</li>
-  <li class='c056'>Montrottier, i. 210</li>
-  <li class='c056'>Moor, The, ii. <a href='#Page_110'>110</a></li>
-  <li class='c056'>Mor, Sir Anthonis, ii. <a href='#Page_235'>235</a></li>
-  <li class='c056'>Morant, Mr., ii. <a href='#Page_53'>53</a></li>
-  <li class='c056'>More family, i. 243, 301</li>
-  <li class='c056'>—— Chapel, <i>see</i> <a href='#Chelsea'>Chelsea</a></li>
-  <li class='c056'>—— Sir John (Sir T. More’s father), i. 293, 296-297, 300, 302-303;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_336'>336</a>, <a href='#Page_338'>338</a>-<a href='#Page_339'>339</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— John (Sir T. More’s son), i. 292, 294, 303;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_335'>335</a>-<a href='#Page_337'>337</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'><a id='More'></a>—— Lady (Sir T. More’s wife), i. 293-294, 296-297, 299, 300-301, 303, 337, 342;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_337'>337</a>-<a href='#Page_338'>338</a>, <a href='#Page_340'>340</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas More, i. 45, 62, 163-164, 169, 179, 191-193, 243, 252-253, 255, 289-310, 313, 316, 321-323, 335-338, 341, 357;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_16'>16</a>, <a href='#Page_25'>25</a>, <a href='#Page_28'>28</a>-<a href='#Page_29'>29</a>, <a href='#Page_65'>65</a>-<a href='#Page_66'>66</a>, <a href='#Page_76'>76</a>, <a href='#Page_84'>84</a>, <a href='#Page_145'>145</a>, <a href='#Page_185'>185</a>, <a href='#Page_203'>203</a>-<a href='#Page_204'>204</a>, <a href='#Page_212'>212</a>, <a href='#Page_220'>220</a>-<a href='#Page_222'>222</a>, <a href='#Page_250'>250</a>, <a href='#Page_255'>255</a>, <a href='#Page_271'>271</a>-<a href='#Page_272'>272</a>, <a href='#Page_289'>289</a>, <a href='#Page_331'>331</a>, <a href='#Page_334'>334</a>-<a href='#Page_338'>338</a>, <a href='#Page_340'>340</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Thomas (More’s grandson), i. 301</li>
-  <li class='c056'>—— —— (More’s great-grandson), i. 301</li>
-  <li class='c056'>Morett, Hubert, French goldsmith, ii. <a href='#Page_67'>67</a>-<a href='#Page_69'>69</a>, <a href='#Page_288'>288</a></li>
-  <li class='c056'><a id='Morette'></a>Morette, Charles de Soliers, Sieur de, French ambassador in England, ii. <a href='#Page_49'>49</a> <i>note</i>, <a href='#Page_63'>63</a>-<a href='#Page_70'>70</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>Morgan, J. Pierpont, the late (collection), i. 177-179, 307, 328;
-    <ul>
-      <li>ii. <a href='#Page_61'>61</a>, <a href='#Page_182'>182</a>, <a href='#Page_219'>219</a>-<a href='#Page_221'>221</a>, <a href='#Page_227'>227</a>-<a href='#Page_228'>228</a>, <a href='#Page_231'>231</a>-<a href='#Page_232'>232</a>, <a href='#Page_235'>235</a>-<a href='#Page_236'>236</a>, <a href='#Page_240'>240</a>-<a href='#Page_241'>241</a>, <a href='#Page_347'>347</a>-<a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— junior, ii. <a href='#Page_214'>214</a></li>
-  <li class='c056'><i>Morning Post</i>, i. 354;
-    <ul>
-      <li>ii. <a href='#Page_212'>212</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>“Moro, Il,” ii. <a href='#Page_66'>66</a>-<a href='#Page_67'>67</a></li>
-  <li class='c056'>Morysin, Sir Richard, ii. <a href='#Page_165'>165</a>-<a href='#Page_166'>166</a></li>
-  <li class='c056'>Moseley, Acton, ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>—— Captain, H. R., ii. <a href='#Page_212'>212</a></li>
-  <li class='c056'>—— Mr. Walter Michael, ii. <a href='#Page_212'>212</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'><i>Moses and Aaron before Pharaoh</i> (Félix Chrétien), <i>see</i> <a href='#Chretien'>Chrétien</a></li>
-  <li class='c056'><a id='Mount'></a>Mount (Mont), Christopher, ii. <a href='#Page_12'>12</a> <i>and note</i>, <a href='#Page_172'>172</a>-<a href='#Page_174'>174</a></li>
-  <li class='c056'>Mühlhausen, i. 46</li>
-  <li class='c056'>Mundy, Alderman Sir John, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Munich, i. 15, 91, 98, 328-329, 350;
-    <ul>
-      <li>ii. <a href='#Page_231'>231</a> <i>note</i>, 241</li>
-    </ul>
-  </li>
-  <li class='c056'>—— Gallery, i. 9, 14, 27, 104, 331-332;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_20'>20</a>, <a href='#Page_23'>23</a>, <a href='#Page_93'>93</a>, <a href='#Page_99'>99</a>, <a href='#Page_100'>100</a>, <a href='#Page_104'>104</a>, <a href='#Page_248'>248</a>, <a href='#Page_355'>355</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Print Room, i. 12, 182;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_77'>77</a>, <a href='#Page_236'>236</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Academy of Fine Arts, i. 214</li>
-  <li class='c056'>—— Bavarian National Museum, ii. <a href='#Page_241'>241</a>, <a href='#Page_355'>355</a></li>
-  <li class='c056'><span class='pageno' id='Page_453'>453</span>Münster, Sebastian, <i>Cosmography</i>, i. 173, 198, 350</li>
-  <li class='c056'>Müntz, ii. <a href='#Page_249'>249</a></li>
-  <li class='c056'>Murbach, i. 82, 145</li>
-  <li class='c056'>Murner, Thomas, <i>Geuchmatt</i>, i. 59</li>
-  <li class='c056'>Murten, battle of, i. 66</li>
-  <li class='c056'>Musée Royal, i. 173</li>
-  <li class='c056'>Mychell, John, servant to Hans Eworthe, ii. <a href='#Page_308'>308</a></li>
-  <li class='c056'>Myconius, <i>see</i> <a href='#Molitor'>Molitor</a></li>
-  <li class='c056'>Mytens, D., ii. <a href='#Page_101'>101</a> <i>note</i></li>
-  <li class='c004'>“Næniæ,” &amp;c. (John Leland), i. 202-203;
-    <ul>
-      <li>ii. <a href='#Page_80'>80</a>-<a href='#Page_81'>81</a>, <a href='#Page_205'>205</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Nägely, Hans Franz, burgomaster of Berne, ii. <a href='#Page_162'>162</a></li>
-  <li class='c056'>Nancy, i. 176;
-    <ul>
-      <li>ii. <a href='#Page_139'>139</a>, <a href='#Page_148'>148</a>-<a href='#Page_150'>150</a>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a>, <a href='#Page_343'>343</a>-<a href='#Page_344'>344</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Napoleon, ii. <a href='#Page_85'>85</a></li>
-  <li class='c056'>Nassau family, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'>National Art-Collections Fund, i. 188;
-    <ul>
-      <li>ii. <a href='#Page_136'>136</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Gallery, i. 286;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_17'>17</a> <i>note</i>, 35, 37, 46, 52, 125, 127, 136, <a href='#Page_210'>210</a>-<a href='#Page_211'>211</a>, <a href='#Page_309'>309</a>, <a href='#Page_340'>340</a>, <a href='#Page_349'>349</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Catalogue, ii. <a href='#Page_36'>36</a>-<a href='#Page_37'>37</a></li>
-  <li class='c056'>—— —— of Ireland, i. 335;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_350'>350</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Portrait Exhibition (1862), ii. <a href='#Page_109'>109</a>, <a href='#Page_221'>221</a>, <a href='#Page_361'>361</a>-<a href='#Page_362'>362</a></li>
-  <li class='c056'>—— —— —— (1866), i. 297, 308;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_79'>79</a>, <a href='#Page_80'>80</a>, <a href='#Page_85'>85</a>, <a href='#Page_210'>210</a>, <a href='#Page_212'>212</a>, <a href='#Page_363'>363</a>-<a href='#Page_367'>367</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— (1868), i. 320, 332;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>
-                <ul>
-                  <li>ii. <a href='#Page_367'>367</a></li>
-                </ul>
-              </li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Gallery, i. 269;
-    <ul>
-      <li>
-        <ul>
-          <li>
-            <ul>
-              <li>ii. <a href='#Page_60'>60</a>, <a href='#Page_80'>80</a>-<a href='#Page_81'>81</a>, <a href='#Page_104'>104</a>, <a href='#Page_109'>109</a>, <a href='#Page_167'>167</a>, <a href='#Page_170'>170</a>, <a href='#Page_194'>194</a>, <a href='#Page_196'>196</a>, <a href='#Page_205'>205</a>, <a href='#Page_210'>210</a>, <a href='#Page_305'>305</a></li>
-            </ul>
-          </li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— —— Trustees, i. 301</li>
-  <li class='c056'>Navarre, Margaret of, <i>see</i> <a href='#Margaret'>Margaret</a></li>
-  <li class='c056'>Negker, Jost de, i. 189, 214 <i>and note</i></li>
-  <li class='c056'>Nell, Hans, i. 19</li>
-  <li class='c056'><a id='Nepperschmid'></a>Nepperschmid, Ursula, sister of Hans Holbein the Elder, i. 3;
-    <ul>
-      <li>ii. <a href='#Page_162'>162</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Netherland New Testament (1532), ii. <a href='#Page_19'>19</a></li>
-  <li class='c056'>Neuburg, ii. <a href='#Page_39'>39</a>, <a href='#Page_48'>48</a></li>
-  <li class='c056'>Nevers, François, Duke of, ii. <a href='#Page_154'>154</a> <i>note</i></li>
-  <li class='c056'>Neville, Sir Edward, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Newbattle Abbey, Dalkeith, ii. <a href='#Page_305'>305</a>-<a href='#Page_306'>306</a></li>
-  <li class='c056'>Newcastle, ii. <a href='#Page_204'>204</a>, <a href='#Page_211'>211</a></li>
-  <li class='c056'>Newcastle-under-Lyme, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Newdegate-Newdigate, Mr. F. A. (collection), ii. <a href='#Page_210'>210</a></li>
-  <li class='c056'>New Gallery Winter Exhibition (1899-1900), ii. <a href='#Page_184'>184</a> <i>note</i>; (1901-1902), ii. <a href='#Page_382'>382</a>-<a href='#Page_383'>383</a></li>
-  <li class='c056'>New Hall, masking at, i. 259</li>
-  <li class='c056'>Newmarket, ii. <a href='#Page_293'>293</a></li>
-  <li class='c056'><i>New Testament</i> (Erasmus), i. 45</li>
-  <li class='c056'>Newton family, i. 173, 323;
-    <ul>
-      <li>ii. <a href='#Page_85'>85</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— J. Adam, i. 173</li>
-  <li class='c056'>—— St. Cyres, Devon, i. 306</li>
-  <li class='c056'>New Year’s Gifts to and from Henry VIII, i. 267-268;
-    <ul>
-      <li>ii. <a href='#Page_12'>12</a> <i>and note</i>, <a href='#Page_164'>164</a>, <a href='#Page_232'>232</a>, <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a></li>
-    </ul>
-  </li>
-  <li class='c056'>New York, i. 72, 179, 320;
-    <ul>
-      <li>ii. <a href='#Page_82'>82</a>, <a href='#Page_340'>340</a>, <a href='#Page_347'>347</a>-<a href='#Page_348'>348</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“N. H.,” of Augsburg, i. 189</li>
-  <li class='c056'>Nichol, <i>History of Leicestershire</i>, i. 302</li>
-  <li class='c056'>Nicholas Florentine, painter, i. 314;
-    <ul>
-      <li>ii. <a href='#Page_310'>310</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_454'>454</span>Nichols, F. M., F.S.A., i. 169 <i>note</i>, 291-292, 312-313, 315-316;
-    <ul>
-      <li>ii. <a href='#Page_271'>271</a>-<a href='#Page_273'>273</a>, <a href='#Page_396'>396</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— John Gough, F.S.A., i. 164, 263, 274, 284;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_38'>38</a>, <a href='#Page_110'>110</a>, <a href='#Page_170'>170</a>, <a href='#Page_193'>193</a>, <a href='#Page_298'>298</a>, <a href='#Page_396'>396</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Nicolas, Sir Harris, <i>Privy Purse Expenses of Henry VIII</i>, ii. <a href='#Page_68'>68</a>, <a href='#Page_396'>396</a></li>
-  <li class='c056'>Nimeguen, i. 190;
-    <ul>
-      <li>ii. <a href='#Page_19'>19</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Nimes, i. 174</li>
-  <li class='c056'>Nonsuch Palace, i. 263, 276-277, 279, 287;
-    <ul>
-      <li>ii. <a href='#Page_135'>135</a>, <a href='#Page_245'>245</a>, <a href='#Page_270'>270</a>, <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Norfolk'></a>Norfolk, Thomas Howard, 3rd Duke of, ii. <a href='#Page_65'>65</a>, <a href='#Page_84'>84</a>, <a href='#Page_110'>110</a>, <a href='#Page_124'>124</a>, <a href='#Page_143'>143</a>, <a href='#Page_171'>171</a>, <a href='#Page_192'>192</a>, <a href='#Page_194'>194</a>, <a href='#Page_197'>197</a>-<a href='#Page_200'>200</a>, <a href='#Page_216'>216</a> <i>note</i>, <a href='#Page_255'>255</a>, <a href='#Page_257'>257</a>, <a href='#Page_305'>305</a></li>
-  <li class='c056'>—— Thomas Howard, 5th Duke of, ii. <a href='#Page_248'>248</a></li>
-  <li class='c056'>—— —— (1678), ii. <a href='#Page_216'>216</a></li>
-  <li class='c056'>—— Henry, 7th Duke of, Sale (1686), ii. <a href='#Page_249'>249</a>;
-    <ul>
-      <li>(1692), ii. <a href='#Page_198'>198</a>-<a href='#Page_199'>199</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Duke of (present), ii. <a href='#Page_135'>135</a>-<a href='#Page_136'>136</a>, <a href='#Page_201'>201</a>, <a href='#Page_303'>303</a></li>
-  <li class='c056'>—— Mary, Duchess of, portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>—— House, ii. <a href='#Page_198'>198</a>-<a href='#Page_199'>199</a></li>
-  <li class='c056'>Norgate, Edward, <i>Miniatura</i>, &amp;c., ii. <a href='#Page_219'>219</a> <i>and note</i>, <a href='#Page_246'>246</a>-<a href='#Page_247'>247</a> <i>and note</i></li>
-  <li class='c056'>Norman, Dr. Philip, ii. <a href='#Page_2'>2</a> <i>note</i>, <a href='#Page_3'>3</a> <i>note</i>, <a href='#Page_33'>33</a> <i>note</i>, <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a> <i>note</i>, <a href='#Page_397'>397</a></li>
-  <li class='c056'>Norris, Sir Edward, of Bray, i. 178</li>
-  <li class='c056'>—— Henry, i. 178</li>
-  <li class='c056'>—— (or Noryce), John, i. 178</li>
-  <li class='c056'>North, rebellion in the, ii. <a href='#Page_19'>19</a>, <a href='#Page_55'>55</a></li>
-  <li class='c056'>—— Montague, i. 305</li>
-  <li class='c056'>—— Hon. Roger, i. 305-306</li>
-  <li class='c056'>Northampton, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Northbrook, Lord (collection), i. 50</li>
-  <li class='c056'>Northcote, Essex, ii. <a href='#Page_54'>54</a></li>
-  <li class='c056'>North Stoke, near Bath, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>Northumberland, Duke of (collection), ii. <a href='#Page_112'>112</a>, <a href='#Page_166'>166</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>—— Earl of, ii. <a href='#Page_89'>89</a></li>
-  <li class='c056'>Northwick Collection, i. 286</li>
-  <li class='c056'>North Wokendon, Essex, ii. <a href='#Page_71'>71</a></li>
-  <li class='c056'>Norton, ii. <a href='#Page_11'>11</a></li>
-  <li class='c056'>Norwich, i. 325-327</li>
-  <li class='c056'>Norwood, ii. <a href='#Page_54'>54</a>, <a href='#Page_56'>56</a></li>
-  <li class='c056'>Nostell Priory, i. 295, 297, 299, 300;
-    <ul>
-      <li>ii. <a href='#Page_334'>334</a>, <a href='#Page_336'>336</a>-<a href='#Page_337'>337</a>, <a href='#Page_339'>339</a>-<a href='#Page_340'>340</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Nottingham Pursuivant, i. 259</li>
-  <li class='c056'>Noue, Le, Collection, ii. <a href='#Page_246'>246</a></li>
-  <li class='c056'><i>Nouvelles Archives de l’Art Français</i>, ii. <a href='#Page_327'>327</a></li>
-  <li class='c056'>Noviomagus, Gerardus, of Nimeguen, i. 192-193</li>
-  <li class='c056'><i>Nugæ</i> (Nicolas Bourbon), i. 211;
-    <ul>
-      <li>ii. <a href='#Page_73'>73</a>-<a href='#Page_75'>75</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Nunziata, Toto dell’, father of Antonio Toto, i. 276</li>
-  <li class='c056'>Nuremberg, i. 9, 92, 168, 171-172;
-    <ul>
-      <li>ii. <a href='#Page_278'>278</a>, <a href='#Page_320'>320</a>, <a href='#Page_331'>331</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Treaty of (1532), ii. <a href='#Page_39'>39</a>, <a href='#Page_46'>46</a>, <a href='#Page_48'>48</a></li>
-  <li class='c056'>“Nycolas, Master,” painter, i. 313-314;
-    <ul>
-      <li>ii. <a href='#Page_310'>310</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c004'><a id='Oberhausen'></a>Oberhausen, Barbara von, sister of Hans Holbein the Elder, i. 3</li>
-  <li class='c056'>Oberried, Hans, i. 90-91</li>
-  <li class='c056'>Oberschönefeld, near Augsburg, i. 1, 2</li>
-  <li class='c056'><span class='pageno' id='Page_455'>455</span>Obynger, Olrycke, merchant, witness of Holbein’s will, ii. <a href='#Page_295'>295</a>, <a href='#Page_298'>298</a></li>
-  <li class='c056'>Ochs, Peter, i. 91 <i>note</i>, 127;
-    <ul>
-      <li>ii. <a href='#Page_397'>397</a></li>
-    </ul>
-  </li>
-  <li class='c056'>œcolampadius, i. 350 <i>note</i></li>
-  <li class='c056'>œmmel, <i>see</i> <a href='#Aemilius'>Æmilius</a>, George</li>
-  <li class='c056'><a id='Offenburg'></a>Offenburg, Dorothea, i. 158, 246</li>
-  <li class='c056'>—— Hans, i. 158</li>
-  <li class='c056'>—— Magdalena, i. 158, 162, 245-249, 252-253, 345-346</li>
-  <li class='c056'>Old Testament woodcuts, i. 85, 87, 190, 226-230</li>
-  <li class='c056'>Olisleger, Dr. Henry, Vice-Chancellor of Cleves, ii. <a href='#Page_174'>174</a>-<a href='#Page_175'>175</a>, <a href='#Page_184'>184</a></li>
-  <li class='c056'>Oliver, Isaac, ii. <a href='#Page_188'>188</a>, <a href='#Page_209'>209</a></li>
-  <li class='c056'>—— Peter, i. 302;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_166'>166</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>“Olpeinus,” i. 341</li>
-  <li class='c056'>“Olpeius,” i. 342;
-    <ul>
-      <li>ii. <a href='#Page_331'>331</a>, <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Olpeius, Severinus, ii. <a href='#Page_331'>331</a></li>
-  <li class='c056'>Oporinus, i. 61</li>
-  <li class='c056'>Orange, René, Prince of, ii. <a href='#Page_154'>154</a></li>
-  <li class='c056'>—— William of, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'>Ordnance Department, ii. <a href='#Page_297'>297</a></li>
-  <li class='c056'>“Oret, Andrewe,” <i>see</i> <a href='#Wright-Andrew'>Wright, Andrew</a></li>
-  <li class='c056'>Orleans, ii. <a href='#Page_333'>333</a></li>
-  <li class='c056'>—— Charles d’, Duc de Longueville, <i>see</i> <a href='#Longueville'>Longueville</a></li>
-  <li class='c056'>—— Collection and Sale, ii. <a href='#Page_5'>5</a> <i>and note</i></li>
-  <li class='c056'>—— Duke of, i. 242</li>
-  <li class='c056'>—— Gallery, i. 304</li>
-  <li class='c056'>Osnabrüch, ii. <a href='#Page_305'>305</a></li>
-  <li class='c056'>Ostrelins, Maison des, Paris, ii. <a href='#Page_25'>25</a></li>
-  <li class='c056'>Othmarsheim, i. 95</li>
-  <li class='c056'>Ottener, Guillim, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'>Otto Henry of Neuburg, Count Palatine of the Rhine, ii. <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_39'>39</a>, <a href='#Page_46'>46</a>, <a href='#Page_48'>48</a> <i>and note</i>, <a href='#Page_49'>49</a> <i>and note</i></li>
-  <li class='c056'>Oxenbrigge Chapel, Brede Church, Sussex, ii. <a href='#Page_272'>272</a></li>
-  <li class='c056'>Oxford, i. 329;
-    <ul>
-      <li>Bodleian Library, i. 171 <i>note</i>, 326;</li>
-      <li>ii. <a href='#Page_81'>81</a>, <a href='#Page_113'>113</a>, <a href='#Page_247'>247</a>, <a href='#Page_274'>274</a>;</li>
-      <li>Corpus Christi College, i. 269, 329;</li>
-      <li>Merton College, ii. <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a>;</li>
-      <li>St. John’s College, ii. <a href='#Page_183'>183</a>;</li>
-      <li>St. Mary’s Church, i. 329;</li>
-      <li>Wolsey’s College, i. 267</li>
-    </ul>
-  </li>
-  <li class='c056'>Oxford, Earl of, Sale (1741), ii. <a href='#Page_205'>205</a> <i>note</i>, <a href='#Page_337'>337</a></li>
-  <li class='c056'>—— Lord Treasurer, ii. <a href='#Page_189'>189</a></li>
-  <li class='c056'><a id='Oxford'></a>—— Exhibition of Historical Portraits (1904), i. 323;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_81'>81</a>, <a href='#Page_184'>184</a>, <a href='#Page_209'>209</a>, <a href='#Page_383'>383</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c004'>Padua, ii. <a href='#Page_64'>64</a>, <a href='#Page_208'>208</a></li>
-  <li class='c056'>—— John of, ii. <a href='#Page_266'>266</a></li>
-  <li class='c056'>Paganino, <i>see</i> <a href='#Mazzoni'>Mazzoni, Guido</a></li>
-  <li class='c056'>“Pageny, Master,” <i>see</i> <a href='#Mazzoni'>Mazzoni, Guido</a></li>
-  <li class='c056'>Palermo, i. 81;
-    <ul>
-      <li>ii. <a href='#Page_203'>203</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Palladis Tamia</i> (F. Meres), ii. <a href='#Page_308'>308</a>-<a href='#Page_309'>309</a></li>
-  <li class='c056'>Palmer, Major Charles, ii. <a href='#Page_82'>82</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>Paludanus, i. 192</li>
-  <li class='c056'>Panell, Thomas, ii. <a href='#Page_12'>12</a></li>
-  <li class='c056'>Pantalus, first Bishop of Basel, i. 114, 137</li>
-  <li class='c056'>Paris, i. 60, 147-148, 171, 176, 204, 266, 325 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_25'>25</a>-<a href='#Page_26'>26</a>, <a href='#Page_38'>38</a>, <a href='#Page_44'>44</a>, <a href='#Page_68'>68</a>, <a href='#Page_71'>71</a> <i>note</i>, <a href='#Page_72'>72</a>, <a href='#Page_141'>141</a>, <a href='#Page_152'>152</a>, <a href='#Page_162'>162</a>-<a href='#Page_164'>164</a>, <a href='#Page_272'>272</a>, <a href='#Page_288'>288</a>, <a href='#Page_300'>300</a>, <a href='#Page_342'>342</a>-<a href='#Page_343'>343</a>;</li>
-      <li>Bibliothèque Nationale, i. 142, 144, 207;</li>
-      <li>Bibliothèque de l’Institut, ii. <a href='#Page_41'>41</a>;</li>
-      <li><span class='pageno' id='Page_456'>456</span>Cabinet des Estampes, ii. <a href='#Page_145'>145</a>;</li>
-      <li>Chapeaufort Maison, ii. <a href='#Page_45'>45</a>;</li>
-      <li>Louvre, <i>see</i> <a href='#Louvre'>Louvre</a>;</li>
-      <li>Rue du Four, St. Germain-des-Prez, ii. <a href='#Page_45'>45</a>;</li>
-      <li>St. Sulpice, ii. <a href='#Page_42'>42</a>, <a href='#Page_45'>45</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Parkenthorpe, Messrs., ii. <a href='#Page_351'>351</a></li>
-  <li class='c056'>Parker, Archbishop, i. 322</li>
-  <li class='c056'>—— John, yeoman of the robes, i. 264;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_70'>70</a>, <a href='#Page_217'>217</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Parliamentary Commissioners (1650), i. 276</li>
-  <li class='c056'>Parma and Gallery, i. 177, 180, 351;
-    <ul>
-      <li>ii. <a href='#Page_66'>66</a>, <a href='#Page_355'>355</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Parr, Queen Catherine, i. 269;
-    <ul>
-      <li>ii. <a href='#Page_233'>233</a>, <a href='#Page_238'>238</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir William, afterwards Marquis of Northampton, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Parrhasius, ii. <a href='#Page_75'>75</a></li>
-  <li class='c056'>Parry, Sir Thomas, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Parthey, G., i. 88;
-    <ul>
-      <li>ii. <a href='#Page_209'>209</a>, <a href='#Page_397'>397</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Partitiones Theologicæ</i>, &amp;c. (Conrad Gesner), i. 224</li>
-  <li class='c056'>Pasqualigo, Venetian ambassador to England, ii. <a href='#Page_98'>98</a></li>
-  <li class='c056'>Passavant, i. 4, 14-15, 49, 50, 296;
-    <ul>
-      <li>ii. <a href='#Page_347'>347</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Passion in Folio,” owned by Sandrart, i. 157</li>
-  <li class='c056'>Patenson, Henry, i. 294, 301-302, 305</li>
-  <li class='c056'>Patin, Caroline, <i>Tabellæ Selectæ</i> (1691), i. 299; 337</li>
-  <li class='c056'>—— Charles, i. 5, 23, 36, 80-81, 88, 117, 127;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_397'>397</a>, <a href='#Page_167'>167</a>, <a href='#Page_180'>180</a>, <a href='#Page_186'>186</a>, <a href='#Page_240'>240</a>, <a href='#Page_253'>253</a>; iii. ii. <a href='#Page_94'>94</a>, <a href='#Page_97'>97</a>, <a href='#Page_231'>231</a>, <a href='#Page_330'>330</a>, <a href='#Page_397'>397</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Pavia, battle of, i. 61</li>
-  <li class='c056'>—— Certosa of, i. 69, 76, 140</li>
-  <li class='c056'>Paynell, Thomas, ii. <a href='#Page_172'>172</a></li>
-  <li class='c056'>Paynter-Stayners’ Company, i. 260-261, 273</li>
-  <li class='c056'>—— Hall, Trinity Lane, i. 260-261</li>
-  <li class='c056'>Peacham, Henry, <i>Compleat Gentleman</i>, ii. <a href='#Page_186'>186</a> <i>note</i>, <a href='#Page_270'>270</a>, <a href='#Page_332'>332</a></li>
-  <li class='c056'>—— —— <i>Graphice</i>, ii. <a href='#Page_186'>186</a> <i>note</i></li>
-  <li class='c056'>Peartree, Mr. M., ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>Peasants’ War, i. 207, 252, 254</li>
-  <li class='c056'>Peltzer, R. A., ii. <a href='#Page_397'>397</a></li>
-  <li class='c056'><a id='Pemberton'></a>Pemberton, Lancashire, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— family, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— Major-General R. C. B., ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— Robert, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>—— Mrs. Robert, ii. <a href='#Page_220'>220</a>, <a href='#Page_228'>228</a>-<a href='#Page_229'>229</a></li>
-  <li class='c056'>—— William, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Pembroke, William Herbert, 1st Earl of (<i>d.</i> 1569), ii. <a href='#Page_62'>62</a>, <a href='#Page_268'>268</a>-<a href='#Page_269'>269</a></li>
-  <li class='c056'>—— —— 2nd Earl of, ii. <a href='#Page_134'>134</a></li>
-  <li class='c056'>—— —— ii. <a href='#Page_245'>245</a>-<a href='#Page_246'>246</a>, <a href='#Page_248'>248</a>, <a href='#Page_342'>342</a></li>
-  <li class='c056'>—— Collection, ii. <a href='#Page_222'>222</a>, <a href='#Page_268'>268</a></li>
-  <li class='c056'>—— and Montgomery, Earl of, ii. <a href='#Page_62'>62</a></li>
-  <li class='c056'>Pencz, George, portrait of Erasmus, i. 171-172, 181</li>
-  <li class='c056'>Pendrecht, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>“Pene, Anthony,” <i>see</i> <a href='#Toto'>Toto</a></li>
-  <li class='c056'>Pennacchi, Girolamo, <i>see</i> <a href='#Treviso'>Treviso</a></li>
-  <li class='c056'>—— Piermaria, i. 286</li>
-  <li class='c056'>Pennant, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'><a id='Penni'></a>Penne, Barthilmewe, <i>see</i> <a href='#Penni'>Penni, B.</a></li>
-  <li class='c056'>Penni, Bartolommeo, i. 276-277, 280;
-    <ul>
-      <li>ii. <a href='#Page_105'>105</a>, <a href='#Page_303'>303</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_457'>457</span>Penni, Gian Francesco (Il Fattore), i. 280</li>
-  <li class='c056'>—— Luca, i. 280</li>
-  <li class='c056'>Penny, Bartholomew, <i>see</i> <a href='#Penni'>Penni</a>, B.</li>
-  <li class='c056'>Penruddocke, Mr. Charles, ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>Pepys, <i>Diary</i>, i. 276;
-    <ul>
-      <li>ii. <a href='#Page_95'>95</a>, <a href='#Page_186'>186</a>, <a href='#Page_188'>188</a>, <a href='#Page_271'>271</a>, <a href='#Page_293'>293</a>-<a href='#Page_294'>294</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Perréal (de Paris), Jean, ii. <a href='#Page_233'>233</a>-<a href='#Page_234'>234</a></li>
-  <li class='c056'>Perreau, Louis de, <i>see</i> <a href='#Castillon'>Castillon</a></li>
-  <li class='c056'>Perrenot, Antoine, i. 111</li>
-  <li class='c056'><i>Peter Pounde Garnarde</i> (ship), i. 258</li>
-  <li class='c056'>Petre, Dr. William, ii. <a href='#Page_175'>175</a></li>
-  <li class='c056'>Petre, Lord, i. 300</li>
-  <li class='c056'>Petri, Adam, i. 59, 62, 111, 187, 190, 195, 197-198, 200, 228-229</li>
-  <li class='c056'>—— Heinrich, i. 350</li>
-  <li class='c056'>Petworth, Sussex, ii. <a href='#Page_22'>22</a>, <a href='#Page_97'>97</a>, <a href='#Page_169'>169</a>, <a href='#Page_351'>351</a></li>
-  <li class='c056'>Pfleger, Hans, i. 19</li>
-  <li class='c056'>Philadelphia, ii. <a href='#Page_206'>206</a></li>
-  <li class='c056'>Phillip, Morgan, <i>see</i> <a href='#Wolf-Morgan'>Wolf, Morgan</a></li>
-  <li class='c056'>Philipp of Neuburg, Count Palatine of the Rhine, i. 305 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_39'>39</a>, <a href='#Page_46'>46</a>, <a href='#Page_48'>48</a> <i>and note</i>, <a href='#Page_49'>49</a> <i>and note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Phillips, Sir Claude, i. 164 <i>note</i>, 309;
-    <ul>
-      <li>ii. <a href='#Page_86'>86</a>, <a href='#Page_125'>125</a>, <a href='#Page_397'>397</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas, Sale (1903), i. 282</li>
-  <li class='c056'>Physicians, Royal College of, ii. <a href='#Page_208'>208</a>-<a href='#Page_209'>209</a></li>
-  <li class='c056'>Picart, C., engraver, ii. <a href='#Page_214'>214</a> <i>note</i></li>
-  <li class='c056'>“Picart, Nicolas, Account of,” i. 282</li>
-  <li class='c056'>Piccard, T. Nieuhoff, ii. <a href='#Page_186'>186</a>-<a href='#Page_188'>188</a></li>
-  <li class='c056'>Pierron, J. A., engraver, ii. <a href='#Page_37'>37</a>-<a href='#Page_38'>38</a>, <a href='#Page_46'>46</a></li>
-  <li class='c056'>Pirkheimer, Wilibald, i. 166, 168, 174, 340</li>
-  <li class='c056'>Pisselieu, Anne de, Duchesse d’Estampes, ii. <a href='#Page_194'>194</a></li>
-  <li class='c056'>Plasyngton, William, painter, i. 262</li>
-  <li class='c056'>Plato, i. 199</li>
-  <li class='c056'>Platter, T., publisher of Basel, i. 196, 350 <i>note</i></li>
-  <li class='c056'>Playne, David, painter-stainer, i. 261</li>
-  <li class='c056'>Plepp, H. J., glass-painter, i. 129 <i>note</i></li>
-  <li class='c056'>Plessis-Praslain, M. le Mareschal, ii. <a href='#Page_42'>42</a></li>
-  <li class='c056'>Plumier, Alard (Alart Plymmer), jeweller of Paris, ii. <a href='#Page_142'>142</a>, <a href='#Page_288'>288</a></li>
-  <li class='c056'>Pole, Cardinal, ii. <a href='#Page_87'>87</a></li>
-  <li class='c056'>—— Carew, Mr. W. H., ii. <a href='#Page_210'>210</a>, <a href='#Page_347'>347</a></li>
-  <li class='c056'>—— Sir Geoffrey, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Polisy, ii. <a href='#Page_35'>35</a>, <a href='#Page_38'>38</a>-<a href='#Page_41'>41</a>, <a href='#Page_44'>44</a>, <a href='#Page_48'>48</a>, <a href='#Page_50'>50</a></li>
-  <li class='c056'>—— Lord of, <i>see</i> <a href='#Dinteville'>Dinteville</a></li>
-  <li class='c056'>Pollard, A. F., ii. <a href='#Page_397'>397</a></li>
-  <li class='c056'>Pomarancio, Il, <i>see</i> <a href='#Pomerantius'>Pomerantius</a></li>
-  <li class='c056'><a id='Pomerantius'></a>Pomerantius (N. Circignano), i. 305-306</li>
-  <li class='c056'>Pope, Sir Thomas, ii. <a href='#Page_60'>60</a></li>
-  <li class='c056'>Porta, Hugo à, printer of Lyon, i. 227-228</li>
-  <li class='c056'>Portland, Duke of, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Portrait Miniatures, Special Exhibition of (1865), i. 308 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_72'>72</a> <i>note</i>, <a href='#Page_109'>109</a>, <a href='#Page_183'>183</a>, <a href='#Page_228'>228</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Poyntz (or Poyns), Anthony, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>—— —— Elizabeth, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>—— —— Joan, ii. <a href='#Page_72'>72</a></li>
-  <li class='c056'>—— —— John, ii. <a href='#Page_254'>254</a></li>
-  <li class='c056'>—— —— Nicholas, the Elder, ii. <a href='#Page_71'>71</a></li>
-  <li class='c056'>—— —— —— the Younger, ii. <a href='#Page_63'>63</a>, <a href='#Page_71'>71</a>-<a href='#Page_72'>72</a>, <a href='#Page_342'>342</a>-<a href='#Page_343'>343</a></li>
-  <li class='c056'>Prado, Madrid, i. 304 <i>note</i>, 334</li>
-  <li class='c056'><span class='pageno' id='Page_458'>458</span>Prague Gallery, ii. <a href='#Page_86'>86</a>, <a href='#Page_348'>348</a></li>
-  <li class='c056'>“Praise of Folly” drawings, i. 45-50, 63, 85, 171, 186</li>
-  <li class='c056'>Pré-Saint-Gervais, ii. <a href='#Page_39'>39</a></li>
-  <li class='c056'>Price, J. E., ii. <a href='#Page_2'>2</a> <i>note</i></li>
-  <li class='c056'>Primadicis, Francisque de, <i>see</i> <a href='#Primaticcio'>Primaticcio</a></li>
-  <li class='c056'><a id='Primaticcio'></a>Primaticcio, i. 257, 282;
-    <ul>
-      <li>ii. <a href='#Page_75'>75</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Prior, Matthew, ii. <a href='#Page_345'>345</a></li>
-  <li class='c056'><i>Private Collections of England</i> (F. G. Stephens), i. 297</li>
-  <li class='c056'>Privy Chamber, i. 178;
-    <ul>
-      <li>ii. <a href='#Page_119'>119</a>, <a href='#Page_140'>140</a>, <a href='#Page_173'>173</a>, <a href='#Page_177'>177</a>, <a href='#Page_185'>185</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Council, i. 271, 283;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_59'>59</a>, <a href='#Page_114'>114</a>, <a href='#Page_117'>117</a>, <a href='#Page_138'>138</a>, <a href='#Page_142'>142</a>, <a href='#Page_168'>168</a>, <a href='#Page_177'>177</a>, <a href='#Page_201'>201</a>, <a href='#Page_208'>208</a>, <a href='#Page_303'>303</a>-<a href='#Page_304'>304</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Purse Expenses, <i>see</i> <a href='#Royal-Household-Accounts'>Royal Payments</a></li>
-  <li class='c056'><i>Privy Purse Expenses of Henry VIII</i> (Nicolas), ii. <a href='#Page_68'>68</a></li>
-  <li class='c056'>Privy Purse Expenses of the Princess Mary, ii. <a href='#Page_11'>11</a></li>
-  <li class='c056'>Propert, Lumsden, Collection, ii. <a href='#Page_237'>237</a>, <a href='#Page_241'>241</a>, <a href='#Page_309'>309</a></li>
-  <li class='c056'>Prussia, Princess Elizabeth of, i. 242</li>
-  <li class='c056'>—— Prince William of, i. 237, 242</li>
-  <li class='c056'>Przibram, Fräulein Gabriele (collection), ii. <a href='#Page_57'>57</a></li>
-  <li class='c056'>Puttick and Simpson, Messrs., i. 353, 356</li>
-  <li class='c004'>Quad, Matthis, i. 23</li>
-  <li class='c056'>Quandt, Von, ii. <a href='#Page_67'>67</a></li>
-  <li class='c056'>Queen’s House, <i>see</i> <a href='#Buckingham-Palace'>Buckingham</a></li>
-  <li class='c056'>Quesnel, François (portrait of Mary Ann Walker), ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>—— Jacques, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>—— Nicolas, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>—— Pierre, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>Quicke family, of Newton St. Cyres, i. 306-307</li>
-  <li class='c056'>—— Mr. John, i. 307</li>
-  <li class='c056'>Quaritch, Bernard, i. 214</li>
-  <li class='c056'>Quocote, ii. <a href='#Page_207'>207</a></li>
-  <li class='c004'>Raczynski, ii. <a href='#Page_397'>397</a></li>
-  <li class='c056'>Radnor, second Earl of, ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'>—— fifth Earl of, ii. <a href='#Page_35'>35</a></li>
-  <li class='c056'>—— Earl of (collection), i. 164;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_214'>214</a> <i>and note</i>, <a href='#Page_308'>308</a> <i>note</i>, <a href='#Page_352'>352</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Raf (Rave), Jan, <i>see</i> <a href='#Corvus'>Corvus</a></li>
-  <li class='c056'>—— Jehan, painctre de Flandres, <i>see</i> <a href='#Corvus'>Corvus</a></li>
-  <li class='c056'>Ramsden, Sir John, Bt., of Bulstrode Park, ii. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a>. <a href='#Page_352'>352</a></li>
-  <li class='c056'>Raphael, i. 160, 250, 280, 286;
-    <ul>
-      <li>ii. <a href='#Page_24'>24</a>, <a href='#Page_62'>62</a>, <a href='#Page_245'>245</a>, <a href='#Page_314'>314</a>, <a href='#Page_338'>338</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Italian lead-caster, i. 314</li>
-  <li class='c056'>Rastall (or Rastell), John, i. 259, 314</li>
-  <li class='c056'>Ratcliffe, Lady, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Ratisbon, i. 91</li>
-  <li class='c056'>Rauner, Gumprecht, i. 19</li>
-  <li class='c056'>Ravensburg, i. 1</li>
-  <li class='c056'>Ravesbury, Surrey, i. 279</li>
-  <li class='c056'>Rawlinson MSS., Bodleian Library, ii. <a href='#Page_219'>219</a></li>
-  <li class='c056'>Rawnsley, Canon, ii. <a href='#Page_397'>397</a></li>
-  <li class='c056'>Razet, Jacques, i. 28</li>
-  <li class='c056'>Record Office, i. 267, 312;
-    <ul>
-      <li>ii. <a href='#Page_64'>64</a>, <a href='#Page_127'>127</a>, <a href='#Page_232'>232</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Ree, Isle of,” i. 166</li>
-  <li class='c056'><span class='pageno' id='Page_459'>459</span>Regius, Dr. Urbanus, ii. <a href='#Page_78'>78</a></li>
-  <li class='c056'>Reinach, S., ii. <a href='#Page_22'>22</a> <i>note</i>, <a href='#Page_397'>397</a></li>
-  <li class='c056'>Reinhart, H., ii. <a href='#Page_209'>209</a></li>
-  <li class='c056'>Rembrandt, ii. <a href='#Page_318'>318</a> <i>note</i>, <a href='#Page_342'>342</a></li>
-  <li class='c056'>Reperdius, Georgius, <i>see</i> <a href='#Reverdino'>Reverdino</a></li>
-  <li class='c056'><i>Repertorium für Kunstwissenschaft</i>, ii. <a href='#Page_331'>331</a></li>
-  <li class='c056'>Reskemeer, <i>see</i> <a href='#Reskimer'>Reskimer</a></li>
-  <li class='c056'><a id='Reskimer'></a>Reskimer, i. 299, 333-334;
-    <ul>
-      <li>ii. <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Catherine, <i>see</i> <a href='#Trethurff'>Trethurff</a></li>
-  <li class='c056'>—— Elizabeth, <i>see</i> <a href='#Arundel'>Arundel</a></li>
-  <li class='c056'>—— Jane, <i>see</i> <a href='#Holland'>Holland</a></li>
-  <li class='c056'>—— John, of Marthyn, i. 334</li>
-  <li class='c056'>—— William, i. 334</li>
-  <li class='c056'>Reuss (river), i. 138;
-    <ul>
-      <li>ii. <a href='#Page_324'>324</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Reutlingen, i. 84</li>
-  <li class='c056'><a id='Reverdino'></a>Reverdino, Italian engraver, ii. <a href='#Page_75'>75</a></li>
-  <li class='c056'><i>Revue de Champagne et de Brie</i>, ii. <a href='#Page_39'>39</a></li>
-  <li class='c056'>—— <i>des Deux Mondes</i>, i. 107 <i>note</i></li>
-  <li class='c056'>Reynolds, Sir Joshua, ii. <a href='#Page_321'>321</a></li>
-  <li class='c056'>—— —— —— <i>Journey to Flanders</i>, ii. <a href='#Page_56'>56</a></li>
-  <li class='c056'>Rhenanus, Beatus, i. 84, 125, 168</li>
-  <li class='c056'>Rhine, i. 141-142, 176, 288, 339</li>
-  <li class='c056'>—— Gate, Basel, i. 351</li>
-  <li class='c056'>Rhône, i. 174</li>
-  <li class='c056'>Rhoon, ii. <a href='#Page_187'>187</a></li>
-  <li class='c056'>Rich, Sir Richard, Lord Chancellor, ii. <a href='#Page_212'>212</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_212'>212</a>, <a href='#Page_256'>256</a>, <a href='#Page_258'>258</a></li>
-  <li class='c056'>Richard I of England, ii. <a href='#Page_2'>2</a></li>
-  <li class='c056'>—— III of England, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>—— servant to Hans of Antwerp, ii. <a href='#Page_13'>13</a></li>
-  <li class='c056'>Richardson, Jonathan, the Younger, ii. <a href='#Page_193'>193</a></li>
-  <li class='c056'>—— Jonathan Collection and Sale (1746), i. 309, 324;
-    <ul>
-      <li>ii. <a href='#Page_68'>68</a>, <a href='#Page_270'>270</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Richardson’s <i>Architectural Remains</i>, &amp;c., ii. <a href='#Page_271'>271</a> <i>note</i>, <a href='#Page_397'>397</a></li>
-  <li class='c056'>Richmond, i. 20;
-    <ul>
-      <li>ii. <a href='#Page_184'>184</a>, <a href='#Page_249'>249</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Richmond and Derby, Margaret, Countess of, i. 307</li>
-  <li class='c056'>—— and Suffolk, Duke of, <i>see</i> <a href='#Fitzroy'>Fitzroy</a></li>
-  <li class='c056'>—— Mary, Duchess of, wife of Henry Fitzroy, ii. <a href='#Page_110'>110</a>-<a href='#Page_111'>111</a>, <a href='#Page_20'>20</a></li>
-  <li class='c056'>Richtenberger, i. 173</li>
-  <li class='c056'>Rickenbach, near Constance, i. 33-34, 37;
-    <ul>
-      <li>ii. <a href='#Page_332'>332</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ricketts, Mr. Charles, ii. <a href='#Page_206'>206</a></li>
-  <li class='c056'>Ridgway, Captain (collection), ii. <a href='#Page_60'>60</a></li>
-  <li class='c056'>Rieher, Eucharius, cloth-weaver of Basel, i. 339</li>
-  <li class='c056'>Ringle, Sixt, i. 113;
-    <ul>
-      <li>ii. <a href='#Page_329'>329</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ripaille, Château de, near Thonon, ii. <a href='#Page_71'>71</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>Rippel, Niklaus, glass painter of Basel, i. 121</li>
-  <li class='c056'>Robinson Collection, i. 336;
-    <ul>
-      <li>ii. <a href='#Page_226'>226</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir J. C., ii. <a href='#Page_38'>38</a>, <a href='#Page_292'>292</a></li>
-  <li class='c056'>Rocheford, Thomas, Lord, i. 281;
-    <ul>
-      <li>ii. <a href='#Page_38'>38</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rochfort, Lady, ii. <a href='#Page_196'>196</a></li>
-  <li class='c056'>Rodriguez Collection, Paris, i. 60</li>
-  <li class='c056'>Rölingerin, Dorothea, i. 4, 7</li>
-  <li class='c056'>Rollin, Nicolas, Chancellor (his hospital in Beaune), i. 153</li>
-  <li class='c056'>Rolls Chapel, i. 272</li>
-  <li class='c056'>Romaynes, Peter, jeweller of Paris, ii. <a href='#Page_288'>288</a></li>
-  <li class='c056'><span class='pageno' id='Page_460'>460</span><a id='Rome'></a>Rome, i. 165, 271, 277, 305;
-    <ul>
-      <li>ii. <a href='#Page_59'>59</a>, <a href='#Page_66'>66</a>, <a href='#Page_101'>101</a>, <a href='#Page_134'>134</a>;</li>
-      <li>Corsini Gallery, i. 166;</li>
-      <li>National Gallery, ii. <a href='#Page_93'>93</a> <i>note</i>, <a href='#Page_102'>102</a>-<a href='#Page_103'>103</a>, <a href='#Page_356'>356</a>;</li>
-      <li>Palazzo de’ Crescenzi, i. 306;</li>
-      <li>Vatican, i. 271</li>
-    </ul>
-  </li>
-  <li class='c056'>Romney, Constance, Countess of (collection), i. 335;
-    <ul>
-      <li>ii. <a href='#Page_81'>81</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Ronsard, ii. <a href='#Page_218'>218</a></li>
-  <li class='c056'>Roper family, i. 307;
-    <ul>
-      <li>ii. <a href='#Page_337'>337</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Edward, ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>—— Margaret, i. 290, 292, 294-297, 303, 308-310, 337-338, 341-342;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_258'>258</a>, <a href='#Page_334'>334</a>, <a href='#Page_336'>336</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— William, ii. <a href='#Page_334'>334</a>, <a href='#Page_397'>397</a></li>
-  <li class='c056'>Rosen, Kunz von der, i. 19</li>
-  <li class='c056'>Rosenheim, the late Mr. Max, ii. <a href='#Page_69'>69</a></li>
-  <li class='c056'>Rosière, Marquis de la, ii. <a href='#Page_72'>72</a>, <a href='#Page_342'>342</a></li>
-  <li class='c056'>Rossie Priory, i. 319 <i>note</i></li>
-  <li class='c056'>Rosso, i. 280, 282</li>
-  <li class='c056'>Rotherwas House, Hereford, i. 353</li>
-  <li class='c056'>Rothschild &amp; Sons, Nathaniel, ii. <a href='#Page_35'>35</a></li>
-  <li class='c056'>Rotterdam, i. 180-181;
-    <ul>
-      <li>Exhibition of Miniatures (1910), ii. <a href='#Page_230'>230</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rouen Museum, i. 245;
-    <ul>
-      <li>town, ii. <a href='#Page_272'>272</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rouvray, Madame, ii. <a href='#Page_343'>343</a></li>
-  <li class='c056'>Rovesham (Rovesanne), Benedict, <i>see</i> <a href='#Rovezzano'>Rovezzano</a></li>
-  <li class='c056'><a id='Rovezzano'></a>Rovezzano, Benedetto da, i. 280-281, 287 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_266'>266</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Royal Academy, ii. <a href='#Page_319'>319</a></li>
-  <li class='c056'><a id='Royal-Academy'></a>—— —— Winter Exhibitions (1879), ii. <a href='#Page_221'>221</a>, <a href='#Page_230'>230</a>;
-    <ul>
-      <li>(1880), i. 320, 332;
-        <ul>
-          <li>ii. <a href='#Page_135'>135</a>;</li>
-        </ul>
-      </li>
-      <li>(1901), ii. <a href='#Page_209'>209</a>;</li>
-      <li>(1907), ii. <a href='#Page_82'>82</a>;</li>
-      <li>(1910), ii. <a href='#Page_307'>307</a>;</li>
-      <li>(1870-1912), ii. <a href='#Page_368'>368</a>-<a href='#Page_373'>373</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Royal-Household-Accounts'></a>—— Payments and Household Accounts (Hen. VIII), i. 261, 264, 268, 273-274, 276, 277 <i>note</i>, 280, 317, 330;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_12'>12</a>, <a href='#Page_68'>68</a>, <a href='#Page_90'>90</a>, <a href='#Page_124'>124</a>-<a href='#Page_125'>125</a>, <a href='#Page_143'>143</a>, <a href='#Page_148'>148</a>, <a href='#Page_150'>150</a>-<a href='#Page_151'>151</a>, <a href='#Page_155'>155</a>, <a href='#Page_175'>175</a>, <a href='#Page_180'>180</a>, <a href='#Page_190'>190</a>-<a href='#Page_191'>191</a>, <a href='#Page_239'>239</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Society, ii. <a href='#Page_219'>219</a></li>
-  <li class='c056'>Rubens, i. 224, 240, 242, 304 <i>note</i></li>
-  <li class='c056'>Rüdiswil, i. 58</li>
-  <li class='c056'>Rüdiswiler, Von, family, i. 58, 185</li>
-  <li class='c056'>Rumohr, i. 92, 250;
-    <ul>
-      <li>ii. <a href='#Page_67'>67</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Rushden, Northamptonshire, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Rushton Hall, Northamptonshire, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Ruskin, John, i. 244;
-    <ul>
-      <li>ii. <a href='#Page_8'>8</a>, <a href='#Page_321'>321</a>, <a href='#Page_397'>397</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Russell, Lord High Admiral, ii. <a href='#Page_179'>179</a></li>
-  <li class='c056'>Russell, Sir John, ii. <a href='#Page_141'>141</a>-<a href='#Page_142'>142</a></li>
-  <li class='c056'>Rutland, fourth Duke of, ii. <a href='#Page_100'>100</a></li>
-  <li class='c056'>Rydham, Norfolk, i. 327</li>
-  <li class='c056'>“Rye, plat of,” i. 274</li>
-  <li class='c056'>Ryff, Andreas, i. 80</li>
-  <li class='c056'>Rynach, Uly von, fisherman of Basel, i. 339</li>
-  <li class='c056'>Rypyngale, Richard, painter-stainer, i. 261</li>
-  <li class='c004'>Sackville, Lord (collection), i. 308;
-    <ul>
-      <li>ii. <a href='#Page_104'>104</a>, <a href='#Page_112'>112</a>-<a href='#Page_113'>113</a>, <a href='#Page_167'>167</a>, <a href='#Page_169'>169</a>, <a href='#Page_201'>201</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Saffron Walden, i. 332</li>
-  <li class='c056'>Saffroy, Mons., of Pré-Saint-Gervais, ii. <a href='#Page_39'>39</a></li>
-  <li class='c056'>Sainsbury, <i>Original Unpublished Papers</i>, &amp;c., (1859), ii. <a href='#Page_342'>342</a>, <a href='#Page_397'>397</a></li>
-  <li class='c056'>St. Albans, ii. <a href='#Page_58'>58</a>, <a href='#Page_332'>332</a></li>
-  <li class='c056'>—— Andrew Undershaft, <i>see</i> <a href='#London'>London</a></li>
-  <li class='c056'><span class='pageno' id='Page_461'>461</span>St. Albans, Anthony, Monastery, Isenheim, i. 13. 22</li>
-  <li class='c056'>—— Bartholomew’s Hospital, i. 266;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_101'>101</a>, <a href='#Page_103'>103</a>, <a href='#Page_234'>234</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Benedictus, patron saint of Lucerne, i. 70</li>
-  <li class='c056'>—— Catherine, Augsburg, i. 4, 7, 8, 10, 14-15, 23-24</li>
-  <li class='c056'>—— Denis, Paris, i. 271</li>
-  <li class='c056'>Saint-Dizier, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>St. Dunstans, near Canterbury, ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'>St. Edith, Monastery of, Wilton, ii. <a href='#Page_268'>268</a></li>
-  <li class='c056'>—— Gotthard, i. 74, 80, 138;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_325'>325</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>St. Ildefonse, Spain, ii. <a href='#Page_327'>327</a></li>
-  <li class='c056'>—— Moritz, Augsburg, i. 13</li>
-  <li class='c056'>—— Nicholas Acon, <i>see</i> <a href='#London'>London</a></li>
-  <li class='c056'>“St. Nobody” (Zürich Painted Table), i. 37</li>
-  <li class='c056'>St. Oswald, Lord, i. 295;
-    <ul>
-      <li>ii. <a href='#Page_334'>334</a>, <a href='#Page_339'>339</a>, <a href='#Page_352'>352</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Paul’s Cathedral, i. 205</li>
-  <li class='c056'>—— Petersburg, Hermitage Gallery, i. 61, 180;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_62'>62</a>, <a href='#Page_245'>245</a>-<a href='#Page_246'>246</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Pierre de Reims, ii. <a href='#Page_144'>144</a></li>
-  <li class='c056'>—— Sauveur, Augsburg, i. 15</li>
-  <li class='c056'>—— Ulrich, the monks of, i. 19, 20</li>
-  <li class='c056'>—— Ursus, patron saint of Solothurn, i. 103-104, 109, 111, 149, 160</li>
-  <li class='c056'>“Saints connected with the House of Habsburg,” woodcuts, i. 189</li>
-  <li class='c056'>Salford, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Salting, George, Collection, i. 28, 309;
-    <ul>
-      <li>ii. <a href='#Page_14'>14</a>, <a href='#Page_69'>69</a> <i>note</i>, <a href='#Page_181'>181</a>-<a href='#Page_182'>182</a>, <a href='#Page_232'>232</a>, <a href='#Page_239'>239</a>-<a href='#Page_240'>240</a>, <a href='#Page_248'>248</a>, <a href='#Page_252'>252</a>, <a href='#Page_350'>350</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Samm, Herr, of Mergenthau, i. 3</li>
-  <li class='c056'>Sancroft, Archbishop, i. 322</li>
-  <li class='c056'>Sandby, Paul, ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>—— Thomas, R. A., ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Sanderson, Mr. R., Sale (1848), i. 332</li>
-  <li class='c056'>Sandon Hall, Stafford, ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'><a id='Sandrart'></a>Sandrart, Joachim von, i. 3, 28, 36, 50, 92, 147, 157, 224, 240-241, 243;
-    <ul>
-      <li>ii. <a href='#Page_25'>25</a>, <a href='#Page_27'>27</a>, <a href='#Page_77'>77</a>, <a href='#Page_133'>133</a>, <a href='#Page_135'>135</a>, <a href='#Page_187'>187</a>, <a href='#Page_217'>217</a>, <a href='#Page_231'>231</a>, <a href='#Page_298'>298</a>-<a href='#Page_299'>299</a>, <a href='#Page_310'>310</a>, <a href='#Page_342'>342</a>, <a href='#Page_397'>397</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Sandwich, i. 331</li>
-  <li class='c056'>Sarburgh, Bartholomäus, painter, i. 88, 241;
-    <ul>
-      <li>ii. <a href='#Page_328'>328</a>-<a href='#Page_330'>330</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Savoie, Jacques de, Duc de Nemours, portrait by Flicke, ii. <a href='#Page_306'>306</a></li>
-  <li class='c056'>Saxony, i. 168</li>
-  <li class='c056'>—— King Frederick Augustus of, ii. <a href='#Page_67'>67</a></li>
-  <li class='c056'>—— Augustus III, Elector of, i. 242;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_67'>67</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Johann Ernst, Duke of, ii. <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a></li>
-  <li class='c056'>—— Duke of, ii. <a href='#Page_152'>152</a>-<a href='#Page_153'>153</a>, <a href='#Page_172'>172</a>-<a href='#Page_174'>174</a></li>
-  <li class='c056'>Scannelli, Francesco, i. 306;
-    <ul>
-      <li>ii. <a href='#Page_66'>66</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Schaeufelin, Hans, ii. <a href='#Page_47'>47</a></li>
-  <li class='c056'>Schaffhausen, i. 91;
-    <ul>
-      <li>ii. <a href='#Page_326'>326</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Schaffner, Martin, i. 20</li>
-  <li class='c056'>Scharf, Sir George, i. 286, 320;
-    <ul>
-      <li>ii. <a href='#Page_26'>26</a> <i>note</i>, <a href='#Page_95'>95</a> <i>note</i>, <a href='#Page_110'>110</a>, <a href='#Page_125'>125</a>-<a href='#Page_126'>126</a>, <a href='#Page_129'>129</a>-<a href='#Page_130'>130</a>, <a href='#Page_137'>137</a>, <a href='#Page_194'>194</a>, <a href='#Page_231'>231</a>, <a href='#Page_233'>233</a>, <a href='#Page_237'>237</a>-<a href='#Page_238'>238</a>, <a href='#Page_397'>397</a>-<a href='#Page_398'>398</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Schiavonetti, i. 320</li>
-  <li class='c056'>Schijverts von Merode, Willem, ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'>Schinz, von, family, of Zürich, i. 50</li>
-  <li class='c056'>Schlegel, Friedrich, i. 244</li>
-  <li class='c056'>Schleissheim, i. 9</li>
-  <li class='c056'><span class='pageno' id='Page_462'>462</span>Schlotthauer, Joseph, i. 214</li>
-  <li class='c056'>Schmid, tanner, i. 109</li>
-  <li class='c056'>—— Elsbeth, <i>see</i> <a href='#Holbein-Elsbeth'>Holbein, Elsbeth</a></li>
-  <li class='c056'>—— Franz, i. 83;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_162'>162</a>-<a href='#Page_163'>163</a>, <a href='#Page_300'>300</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Schmid, H. A., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Schneeli, G., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Schöffer, printer of Maintz, i. 190</li>
-  <li class='c056'>Schönborn, Count von, Vienna (collection), ii. <a href='#Page_15'>15</a>, <a href='#Page_16'>16</a>, <a href='#Page_349'>349</a></li>
-  <li class='c056'>Schöner, Johann, ii. <a href='#Page_50'>50</a></li>
-  <li class='c056'>Schongauer, Kaspar, i. 6</li>
-  <li class='c056'>—— Martin, i. 5, 6, 18</li>
-  <li class='c056'>Schrott, Johannes, i. 19, 20</li>
-  <li class='c056'>Schuman, Michel, i. 83</li>
-  <li class='c056'>Schwartz, Christopher, of Munich, painter, i. 98</li>
-  <li class='c056'>—— Gumpret, i. 20</li>
-  <li class='c056'>—— Hans, i. 20</li>
-  <li class='c056'>Schwartzensteiner, wife of Burgomaster, i. 20</li>
-  <li class='c056'>Schwegler, painter of Lucerne, i. 72</li>
-  <li class='c056'>Schweiger, Jörg, Basel goldsmith, i. 59</li>
-  <li class='c056'><a id='Scots'></a>Scots, Mary, Queen of, i. 353, 357, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Scrope, Maria, i. 301</li>
-  <li class='c056'>Seder, Herr Anton, i. 33</li>
-  <li class='c056'>Seeman, A., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Seine, ii. <a href='#Page_272'>272</a></li>
-  <li class='c056'>Seld, Jörig, i. 19</li>
-  <li class='c056'><a id='Selve'></a>Selve, George de, Bishop of Lavaur, ii. <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_35'>35</a>-<a href='#Page_36'>36</a>, <a href='#Page_39'>39</a>-<a href='#Page_43'>43</a>, <a href='#Page_48'>48</a>-<a href='#Page_51'>51</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>—— Jean de, Premier President of Parliament, Paris, ii. <a href='#Page_40'>40</a>-<a href='#Page_41'>41</a></li>
-  <li class='c056'>“Selve et d’Avaux, MM. de,” ii. <a href='#Page_37'>37</a>, <a href='#Page_46'>46</a>-<a href='#Page_47'>47</a></li>
-  <li class='c056'>“Semel” (Seymour), Edward, ii. <a href='#Page_112'>112</a></li>
-  <li class='c056'>Seneca, i. 296</li>
-  <li class='c056'>Serlby, ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'>Sessac, Sieur de, ii. <a href='#Page_42'>42</a></li>
-  <li class='c056'>Sesto, Cesare da, i. 250-251</li>
-  <li class='c056'>Settignano, i. 273</li>
-  <li class='c056'>Seville, i. 272</li>
-  <li class='c056'>Seward, Mr. Edwin, ii. <a href='#Page_27'>27</a> <i>note</i></li>
-  <li class='c056'>Seymour family, ii. <a href='#Page_101'>101</a>, <a href='#Page_200'>200</a>, <a href='#Page_237'>237</a></li>
-  <li class='c056'>—— Queen Jane, ii. <a href='#Page_65'>65</a>, <a href='#Page_90'>90</a>-<a href='#Page_91'>91</a>, <a href='#Page_94'>94</a>-<a href='#Page_96'>96</a>, <a href='#Page_101'>101</a>, <a href='#Page_109'>109</a>, <a href='#Page_111'>111</a>-<a href='#Page_117'>117</a>, <a href='#Page_138'>138</a>-<a href='#Page_139'>139</a>, <a href='#Page_169'>169</a>, <a href='#Page_180'>180</a>-<a href='#Page_181'>181</a>, <a href='#Page_208'>208</a>, <a href='#Page_234'>234</a>, <a href='#Page_237'>237</a>, <a href='#Page_254'>254</a>, <a href='#Page_259'>259</a>, <a href='#Page_274'>274</a>, <a href='#Page_276'>276</a>, <a href='#Page_280'>280</a>, <a href='#Page_286'>286</a>, <a href='#Page_313'>313</a></li>
-  <li class='c056'>Sforza, Francesco Maria, last Duke of Milan, ii. <a href='#Page_117'>117</a>, <a href='#Page_128'>128</a>, <a href='#Page_137'>137</a></li>
-  <li class='c056'>—— Lodovico (“Il Moro”), ii. <a href='#Page_66'>66</a>-<a href='#Page_67'>67</a></li>
-  <li class='c056'>Shakespeare, <i>Henry VIII</i>, ii. <a href='#Page_211'>211</a></li>
-  <li class='c056'>Shelley, Edward, portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>Shelton, Norfolk, ii. <a href='#Page_272'>272</a></li>
-  <li class='c056'>—— Sir John and Lady, ii. <a href='#Page_272'>272</a>-<a href='#Page_273'>273</a></li>
-  <li class='c056'>—— Mrs., ii. <a href='#Page_116'>116</a></li>
-  <li class='c056'>Shepherd, Rev. Charles, ii. <a href='#Page_57'>57</a></li>
-  <li class='c056'>Sheppard, Dr. Edgar, <i>Old Royal Palace of Whitehall</i>, ii. <a href='#Page_185'>185</a>, <a href='#Page_346'>346</a>, <a href='#Page_398'>398</a></li>
-  <li class='c056'>Shere, i. 309</li>
-  <li class='c056'>Sherrington, Sir William, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Shoreditch, i. 272</li>
-  <li class='c056'>Short, Robert, painter-stainer, i. 261</li>
-  <li class='c056'>Shrewsbury, Earl of (<i>temp.</i> Henry VIII), ii. <a href='#Page_211'>211</a></li>
-  <li class='c056'><span class='pageno' id='Page_463'>463</span>Shute, John, painter, ii. <a href='#Page_308'>308</a></li>
-  <li class='c056'>Silvestre, J., engraver, ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Simon, K., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Simson, John, painter, i. 287</li>
-  <li class='c056'>Singer’s edition of Cavendish’s <i>Life of Wolsey</i> (1825), ii. <a href='#Page_109'>109</a></li>
-  <li class='c056'>Singh, Prince Frederick Duleep, ii. <a href='#Page_210'>210</a></li>
-  <li class='c056'>Sketchley, R. E. D., <i>Holbein as Goldsmiths’ Designer</i>, ii. <a href='#Page_286'>286</a> <i>note</i>, <a href='#Page_398'>398</a></li>
-  <li class='c056'><a id='Slingelandt'></a>Slingelandt, G. von (collection), i. 107</li>
-  <li class='c056'>Sloane, Sir Hans, ii. <a href='#Page_276'>276</a>, <a href='#Page_278'>278</a></li>
-  <li class='c056'>Smetyng, Elard, of the Steelyard, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Smid, Ludwig, i. 13</li>
-  <li class='c056'>Smirke, Sir R., ii. <a href='#Page_270'>270</a></li>
-  <li class='c056'>Smith, H. Clifford, <i>Jewellery</i>, ii. <a href='#Page_281'>281</a>-<a href='#Page_282'>282</a>, <a href='#Page_398'>398</a></li>
-  <li class='c056'>—— John Russell, i. 214</li>
-  <li class='c056'>—— J. T., ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Snecher, Anthony, witness to Holbein’s will, ii. <a href='#Page_295'>295</a>, <a href='#Page_297'>297</a>-<a href='#Page_298'>298</a></li>
-  <li class='c056'>Society of Antiquaries, <i>see</i> <a href='#Antiquaries'>Antiquaries</a></li>
-  <li class='c056'>Socrates, i. 193</li>
-  <li class='c056'><i>Solace and Consolation of Princes</i> (Spalatinus), ii. <a href='#Page_153'>153</a></li>
-  <li class='c056'>Soliers, Charles de, <i>see</i> <a href='#Morette'>Morette</a></li>
-  <li class='c056'>Solimar, Thomas, King’s secretary, ii. <a href='#Page_73'>73</a></li>
-  <li class='c056'>Solly Collection, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Solothurn, i. 58, 106, 109-110</li>
-  <li class='c056'>—— Gallery, i. 111;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_358'>358</a>;</li>
-          <li>Minster, i. 109</li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Somerset, Charles, Duke of, ii. <a href='#Page_237'>237</a></li>
-  <li class='c056'>—— Lord Protector, i. 305</li>
-  <li class='c056'>Sotheby, Colonel, ii. <a href='#Page_216'>216</a> <i>note</i></li>
-  <li class='c056'>—— Major-General F. E., i. 302;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_216'>216</a> <i>note</i></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Souch, Mary, <i>see</i> <a href='#Zouch'>Zouch</a></li>
-  <li class='c056'>Sourdis, De, Collection, ii. <a href='#Page_246'>246</a></li>
-  <li class='c056'>Southam Delabere, near Cheltenham, ii. <a href='#Page_169'>169</a></li>
-  <li class='c056'>Southampton, William Fitzwilliam, Earl of, ii. <a href='#Page_65'>65</a>, <a href='#Page_204'>204</a> <i>and note</i>, <a href='#Page_205'>205</a>, <a href='#Page_211'>211</a>, <a href='#Page_304'>304</a></li>
-  <li class='c056'>South Kensington, i. 308 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_228'>228</a></li>
-    </ul>
-  </li>
-  <li class='c056'>South Kensington Museum, Exhibition of Portrait Miniatures (1862), ii. <a href='#Page_361'>361</a>;
-    <ul>
-      <li>(1865), ii. <a href='#Page_362'>362</a>-<a href='#Page_363'>363</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Exhibition of National Portraits (1866), ii. <a href='#Page_363'>363</a>-<a href='#Page_367'>367</a>;
-    <ul>
-      <li>
-        <ul>
-          <li>(1868), ii. <a href='#Page_367'>367</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Southwark, i. 262</li>
-  <li class='c056'>Southwell, Mr. Edward, ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>—— Sir Richard, i. 330;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_83'>83</a>-<a href='#Page_85'>85</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Spalatinus, Georgius, ii. <a href='#Page_152'>152</a>-<a href='#Page_153'>153</a></li>
-  <li class='c056'>Speier, Imperial Diet at, i. 185</li>
-  <li class='c056'>Spencer, Earl (collection), ii. <a href='#Page_14'>14</a>, <a href='#Page_72'>72</a>, <a href='#Page_93'>93</a>, <a href='#Page_107'>107</a>, <a href='#Page_109'>109</a>, <a href='#Page_141'>141</a>, <a href='#Page_234'>234</a>, <a href='#Page_240'>240</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Spenser, Robert, i. 265</li>
-  <li class='c056'>—— Thomas, painter-stainer, i. 261</li>
-  <li class='c056'>Spontini, i. 242</li>
-  <li class='c056'>Squire, Mr. W. Barclay, i. 164 <i>note</i>, 166 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_50'>50</a>, <a href='#Page_214'>214</a>, <a href='#Page_308'>308</a> <i>note</i>, <a href='#Page_398'>398</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Stafford, Marquis of, i. 309</li>
-  <li class='c056'>—— Viscount, son of Thomas Howard, Earl of Arundel, i. 335;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_25'>25</a>, <a href='#Page_64'>64</a>-<a href='#Page_65'>65</a>, <a href='#Page_199'>199</a>, <a href='#Page_248'>248</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Stahlhof, <i>see</i> <a href='#Steelyard'>Steelyard</a></li>
-  <li class='c056'>Stanley, Colonel, ii. <a href='#Page_95'>95</a></li>
-  <li class='c056'>Stapylton, Mr. H. E. Chetwynd, ii. <a href='#Page_85'>85</a></li>
-  <li class='c056'>State Papers, <i>see</i> <a href='#Calendars'>Calendars of Letters and Papers, &amp;c.</a></li>
-  <li class='c056'><span class='pageno' id='Page_464'>464</span>Steck, Matthäus, ii. <a href='#Page_156'>156</a></li>
-  <li class='c056'><a id='Steelyard'></a>Steelyard, London, i. 159, 327, 330;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>-<a href='#Page_35'>35</a>, <a href='#Page_57'>57</a>-<a href='#Page_58'>58</a>, <a href='#Page_88'>88</a>, <a href='#Page_215'>215</a>, <a href='#Page_219'>219</a>, <a href='#Page_229'>229</a>, <a href='#Page_255'>255</a>, <a href='#Page_262'>262</a>-<a href='#Page_263'>263</a>, <a href='#Page_287'>287</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Alderman and Deputy, ii. <a href='#Page_3'>3</a>, <a href='#Page_6'>6</a>, <a href='#Page_287'>287</a></li>
-  <li class='c056'>—— allegorical paintings in, ii, 23-30</li>
-  <li class='c056'>—— Guild Hall and Council Chamber, ii. <a href='#Page_2'>2</a>-<a href='#Page_5'>5</a>, <a href='#Page_11'>11</a>, <a href='#Page_13'>13</a>, <a href='#Page_20'>20</a>, <a href='#Page_24'>24</a>, <a href='#Page_28'>28</a>, <a href='#Page_313'>313</a></li>
-  <li class='c056'>—— triumphal arch at Anne Boleyn’s Coronation, ii. <a href='#Page_30'>30</a>-<a href='#Page_33'>33</a></li>
-  <li class='c056'><a id='Steenwyck'></a>Steenwijk, Vos von, family, ii. <a href='#Page_202'>202</a></li>
-  <li class='c056'>Steenwyck, Von, i. 167-168, 183-184</li>
-  <li class='c056'>Stephens, Mr. F. G., i. 297-298, 320;
-    <ul>
-      <li>ii. <a href='#Page_398'>398</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Sternen Platz, Lucerne, i. 66</li>
-  <li class='c056'>Stettin, Paul von, i. 4</li>
-  <li class='c056'>Stettler, W., i. 50</li>
-  <li class='c056'>“Stilliarde, le,” <i>see</i> <a href='#Steelyard'>Steelyard</a></li>
-  <li class='c056'>Stimmer, Tobias, ii. <a href='#Page_311'>311</a> <i>note</i></li>
-  <li class='c056'>Stock, Andreas, i. 179;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Stockholm, National Museum, ii. <a href='#Page_325'>325</a></li>
-  <li class='c056'>Stoddart, Miss Jane T., <i>Girlhood of Mary Queen of Scots</i>, ii. <a href='#Page_147'>147</a>, <a href='#Page_398'>398</a></li>
-  <li class='c056'>Stödtner, F., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Stokesley, Dr. John, Bishop of London, i. 337</li>
-  <li class='c056'>Stokesly, Rydham, Norfolk, i. 327</li>
-  <li class='c056'>Stolten, Hans, ii. <a href='#Page_7'>7</a></li>
-  <li class='c056'>Stow, <i>Annales</i> and <i>Survey</i>, i. 330;
-    <ul>
-      <li>ii. <a href='#Page_30'>30</a>-<a href='#Page_31'>31</a>, <a href='#Page_179'>179</a>, <a href='#Page_294'>294</a>, <a href='#Page_299'>299</a>, <a href='#Page_346'>346</a>, <a href='#Page_398'>398</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Stowe, i. 320</li>
-  <li class='c056'><a id='Strange'></a>Strange, Mr. Hamon le, ii. <a href='#Page_85'>85</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>—— Sir Thomas le, ii. <a href='#Page_85'>85</a>-<a href='#Page_86'>86</a>, <a href='#Page_256'>256</a></li>
-  <li class='c056'>Strangeways, Richard, ii. <a href='#Page_305'>305</a>-<a href='#Page_306'>306</a></li>
-  <li class='c056'>Strasburg, i. 145, 168, 204, 253;
-    <ul>
-      <li>ii. <a href='#Page_27'>27</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Stratford-le-Bow, i. 262</li>
-  <li class='c056'>Strawberry Hill and Sale (1842), i. 184-185;
-    <ul>
-      <li>ii. <a href='#Page_230'>230</a>, <a href='#Page_237'>237</a>, <a href='#Page_249'>249</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Strein, Richard, of Vienna, i. 181</li>
-  <li class='c056'>Stretes, Guillim, i. 270, 287;
-    <ul>
-      <li>ii. <a href='#Page_104'>104</a>, <a href='#Page_168'>168</a>-<a href='#Page_170'>170</a>, <a href='#Page_201'>201</a>, <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a>, <a href='#Page_220'>220</a>, <a href='#Page_234'>234</a>, <a href='#Page_238'>238</a>, <a href='#Page_241'>241</a>, <a href='#Page_292'>292</a>, <a href='#Page_303'>303</a>-<a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Strickland family, of Cokethorpe Park, i. 301</li>
-  <li class='c056'>Stroganoff, Count Alexander, Rome (collection), i. 165-166</li>
-  <li class='c056'>Strong, S. Arthur, i. 336;
-    <ul>
-      <li>ii. <a href='#Page_47'>47</a> <i>note</i>, <a href='#Page_98'>98</a>, <a href='#Page_101'>101</a> <i>note</i>, <a href='#Page_103'>103</a> <i>note</i>, <a href='#Page_285'>285</a> <i>note</i>, <a href='#Page_398'>398</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Strote, William,” ii. <a href='#Page_303'>303</a></li>
-  <li class='c056'>Strowse, Geo., of the Steelyard, ii. <a href='#Page_6'>6</a></li>
-  <li class='c056'>Stryienski, C., ii. <a href='#Page_398'>398</a></li>
-  <li class='c056'>Strype, <i>Memorials</i>, &amp;c., ii. <a href='#Page_168'>168</a>, <a href='#Page_201'>201</a>, <a href='#Page_299'>299</a>, <a href='#Page_303'>303</a>, <a href='#Page_346'>346</a>, <a href='#Page_398'>398</a></li>
-  <li class='c056'>Stuart, Alexander, Archbishop of St. Andrews, i. 146</li>
-  <li class='c056'>Stuttgart, i. 92</li>
-  <li class='c056'>Subsidies of aliens in England, ii. <a href='#Page_12'>12</a></li>
-  <li class='c056'>Sudeley Castle, ii. <a href='#Page_137'>137</a></li>
-  <li class='c056'>Suermondt, Herr B. (collection), i. 144;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>, <a href='#Page_202'>202</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Suffolk'></a>Suffolk, Anne, Duchess of, ii. <a href='#Page_227'>227</a></li>
-  <li class='c056'>—— Charles Brandon, Duke of, <i>see</i> <a href='#Brandon'>Brandon, Charles</a></li>
-  <li class='c056'>—— Mary, Queen Dowager of France, Duchess of, <i>see</i> <a href='#Mary-Tudor'>Mary Tudor</a></li>
-  <li class='c056'>—— Duke of, <i>see</i> <a href='#Grey-Henry'>Grey Henry</a></li>
-  <li class='c056'>—— Duchess of, ii. <a href='#Page_124'>124</a></li>
-  <li class='c056'><span class='pageno' id='Page_465'>465</span>Suffolk, Catherine de Eresby, Duchess of, ii. <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>, <a href='#Page_254'>254</a></li>
-  <li class='c056'>—— Duke of (<i>temp.</i> Charles I), ii. <a href='#Page_233'>233</a>-<a href='#Page_235'>235</a></li>
-  <li class='c056'>—— House, ii. <a href='#Page_89'>89</a></li>
-  <li class='c056'>Sultz, Joachim von, i. 246</li>
-  <li class='c056'>Surgeons, Guild of, ii. <a href='#Page_289'>289</a></li>
-  <li class='c056'>—— Royal College of, ii. <a href='#Page_293'>293</a></li>
-  <li class='c056'>Surrenden Dering, Kent, ii. <a href='#Page_334'>334</a></li>
-  <li class='c056'><a id='Surrey'></a>Surrey, Henry Howard, Earl of, i. 287;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a>, <a href='#Page_84'>84</a>, <a href='#Page_110'>110</a>-<a href='#Page_111'>111</a>, <a href='#Page_168'>168</a>, <a href='#Page_171'>171</a>, <a href='#Page_194'>194</a>, <a href='#Page_198'>198</a> <i>and note</i>, <a href='#Page_200'>200</a>-<a href='#Page_201'>201</a>, <a href='#Page_204'>204</a>, <a href='#Page_303'>303</a>-<a href='#Page_304'>304</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Thomas Howard, Earl of, ii. <a href='#Page_200'>200</a></li>
-  <li class='c056'>—— Earl of (in Basel), i. 252</li>
-  <li class='c056'><i>Survey of the Cities of London and Westminster</i> (Stow and Strype), ii. <a href='#Page_299'>299</a></li>
-  <li class='c056'>Sussex, Earl of, ii. <a href='#Page_133'>133</a></li>
-  <li class='c056'>Sustris, Lambert, painter, i. 98</li>
-  <li class='c056'>Sutherland, Duke of (collection), ii. <a href='#Page_61'>61</a>, <a href='#Page_198'>198</a></li>
-  <li class='c056'>Sutton Place, i. 270</li>
-  <li class='c056'>Svaunders, Derich, i. 264</li>
-  <li class='c056'>—— Margaret, i. 264</li>
-  <li class='c056'>Sweden, King of, i. 165</li>
-  <li class='c056'>—— Queen Christina of, i. 180</li>
-  <li class='c056'><a id='Sybel'></a>Sybel, von, Collection, ii. <a href='#Page_202'>202</a></li>
-  <li class='c056'>Syff, Andreas, miller of Basel, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>Symonds, Richard, i. 28;
-    <ul>
-      <li>ii. <a href='#Page_89'>89</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Syon House, ii. <a href='#Page_166'>166</a>, <a href='#Page_196'>196</a>, <a href='#Page_352'>352</a></li>
-  <li class='c004'>“Table of Cebes,” i. 193-195</li>
-  <li class='c056'>Tarbes, Bishop of, French ambassador in London, i. 283;
-    <ul>
-      <li>ii. <a href='#Page_124'>124</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Tate, Bartilmew,” <i>see</i> <a href='#Penni'>Penni</a></li>
-  <li class='c056'>Teerlinc, George, of Blankenberghe, ii. <a href='#Page_238'>238</a>-<a href='#Page_239'>239</a></li>
-  <li class='c056'>—— Livina, i. 268;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_220'>220</a>, <a href='#Page_238'>238</a>-<a href='#Page_240'>240</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Telverne, Cornwall, i. 334</li>
-  <li class='c056'>Tenison’s School, Archbishop, Leicester Square, i. 171 <i>note</i></li>
-  <li class='c056'>Terouenne, i. 316</li>
-  <li class='c056'>Tertullian, i. 194</li>
-  <li class='c056'><i>Teutsche Akademie</i> (Sandrart, 1675), i. 3;
-    <ul>
-      <li>ii. <a href='#Page_77'>77</a>, <a href='#Page_298'>298</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Thames, ii. <a href='#Page_42'>42</a></li>
-  <li class='c056'>Thausing, i. 237</li>
-  <li class='c056'>Thebes, i. 193</li>
-  <li class='c056'>Theodoricus, i. 192</li>
-  <li class='c056'>Thirty Years’ War, i. 91, 180</li>
-  <li class='c056'>Thonon, ii. <a href='#Page_71'>71</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>Thorndon, near Brentford, i. 300;
-    <ul>
-      <li>ii. <a href='#Page_334'>334</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Thornham, Norfolk, ii. <a href='#Page_210'>210</a></li>
-  <li class='c056'>Thornhill, Sir James, i. 171 <i>note</i></li>
-  <li class='c056'>Throgmorton, Margaret, <i>see</i> <a href='#Pemberton'>Pemberton, Mrs. Robert</a></li>
-  <li class='c056'>—— Richard, ii. <a href='#Page_228'>228</a></li>
-  <li class='c056'>Tieck, Ludwig, i. 244</li>
-  <li class='c056'>Tillman, Bernhard, treasurer of the Berne Council, ii. <a href='#Page_162'>162</a></li>
-  <li class='c056'><i>Times</i>, ii. <a href='#Page_35'>35</a>, <a href='#Page_38'>38</a>-<a href='#Page_39'>39</a></li>
-  <li class='c056'>Titian, i. 173</li>
-  <li class='c056'>Tixall, ii. <a href='#Page_61'>61</a></li>
-  <li class='c056'>Toke, Mr. John Leslie, i. 332</li>
-  <li class='c056'>Tomkinson Collection, ii. <a href='#Page_241'>241</a></li>
-  <li class='c056'>Tonjola, <i>Basilea Sepulta</i>, i. 127, 130, 349;
-    <ul>
-      <li>ii. <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_466'>466</span><i>Topographia Helvetiæ</i> (Merian), i. 113</li>
-  <li class='c056'>“Tornon, Cardynall of,” ii. <a href='#Page_333'>333</a></li>
-  <li class='c056'>Torrigiano, Pietro, i. 271-273, 276, 287 <i>note</i></li>
-  <li class='c056'>Torrington, Lord, Sale (1787), ii. <a href='#Page_100'>100</a></li>
-  <li class='c056'><a id='Toto'></a>Toto, Antonio, serjeant-painter, i. 268, 273, 276-281, 287 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_105'>105</a>, <a href='#Page_142'>142</a>, <a href='#Page_269'>269</a>, <a href='#Page_298'>298</a>, <a href='#Page_303'>303</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Helen, i. 278</li>
-  <li class='c056'>Touchet, John, ninth Lord Audley, ii. <a href='#Page_223'>223</a></li>
-  <li class='c056'>Tournai, i. 6, 316</li>
-  <li class='c056'>Touzele, Madame Jehanne de, abbess of St. Pierre-les-Nonnains, Lyon, i. 209</li>
-  <li class='c056'>Trappes, Thomas, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Traverse, Carlos de la, ii. <a href='#Page_327'>327</a></li>
-  <li class='c056'>Treasurer of the Chamber’s Accounts, <i>see</i> <a href='#Royal-Household-Accounts'>Royal Payments</a></li>
-  <li class='c056'><i>Treatise concerning the Arte of Limning</i> (Hilliard), ii. <a href='#Page_218'>218</a></li>
-  <li class='c056'>Trechsel, Johann, i. 212</li>
-  <li class='c056'>—— Melchior and Gaspar, printers, of Lyon, i. 175, 190, 208-213, 226-227</li>
-  <li class='c056'>Trelawney family, ii. <a href='#Page_16'>16</a></li>
-  <li class='c056'><a id='Trethurff'></a>Trethurff, Catherine, i. 334</li>
-  <li class='c056'>—— John, i. 334</li>
-  <li class='c056'><a id='Treviso'></a>Treviso, i. 286</li>
-  <li class='c056'>—— Girolamo Pennacchi da, i. 286-287;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_105'>105</a>, <a href='#Page_266'>266</a>, <a href='#Page_303'>303</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Trier, i. 145</li>
-  <li class='c056'>“Triumphal Procession” (Burgkmair), i. 31, 189</li>
-  <li class='c056'>Troyes, ii. <a href='#Page_35'>35</a>, <a href='#Page_40'>40</a>-<a href='#Page_41'>41</a></li>
-  <li class='c056'>—— Bailly of, <i>see</i> <a href='#Dinteville'>Dinteville</a></li>
-  <li class='c056'>Trümpy, Herr E., of Glarus, i. 344-345</li>
-  <li class='c056'>Tschekkenbürlin, Amalie, i. 90</li>
-  <li class='c056'>—— Hieronymus, i. 90</li>
-  <li class='c056'>—— Magdalena, <i>see</i> <a href='#Offenburg'>Offenburg, Magdalena</a></li>
-  <li class='c056'>Tuck, picture-dealer, ii. <a href='#Page_182'>182</a></li>
-  <li class='c056'><a id='Tudor'></a>Tudor Exhibition (1890), i. 184, 300, 302, 319, 323, 325, 328;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a>, <a href='#Page_61'>61</a>, <a href='#Page_72'>72</a>, <a href='#Page_82'>82</a>, <a href='#Page_85'>85</a>, <a href='#Page_112'>112</a>, <a href='#Page_165'>165</a>, <a href='#Page_170'>170</a>, <a href='#Page_199'>199</a>, <a href='#Page_216'>216</a> <i>note</i>, <a href='#Page_374'>374</a>-<a href='#Page_381'>381</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Tudor Exhibition, Manchester (1897), ii. <a href='#Page_381'>381</a>-<a href='#Page_382'>382</a></li>
-  <li class='c056'>Tuke, Sir Bryan, Treasurer of the Chamber, i. 275, 299, 331-333, 337;
-    <ul>
-      <li>ii. <a href='#Page_90'>90</a>, <a href='#Page_191'>191</a>, <a href='#Page_223'>223</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Mr. W. M., i. 332</li>
-  <li class='c056'>Tunstall, Bishop, i. 169, 329</li>
-  <li class='c056'>Turin, i. 171, 180;
-    <ul>
-      <li>ii. <a href='#Page_65'>65</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Twiselton, John, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Tybis, Derich, Steelyard merchant, ii. <a href='#Page_7'>7</a>, <a href='#Page_17'>17</a>, <a href='#Page_20'>20</a>-<a href='#Page_22'>22</a></li>
-  <li class='c056'>Tyrrell, Sir John, i. 300;
-    <ul>
-      <li>ii. <a href='#Page_335'>335</a></li>
-    </ul>
-  </li>
-  <li class='c056'>“Tyrwin, plat of,” i. 312, 315-316</li>
-  <li class='c056'>Tyttenhanger Park, St. Albans, ii. <a href='#Page_58'>58</a>, <a href='#Page_60'>60</a>-<a href='#Page_62'>62</a>, <a href='#Page_232'>232</a>, <a href='#Page_351'>351</a></li>
-  <li class='c004'>Uffizi Gallery, Florence, ii. <a href='#Page_83'>83</a>, <a href='#Page_213'>213</a>, <a href='#Page_231'>231</a></li>
-  <li class='c056'>Ulm, i. 6, 8, 29</li>
-  <li class='c056'>Uncle, Thomas, painter-stainer, i. 261</li>
-  <li class='c056'><a id='Upper-Burgundy'></a>Upper Burgundy, Holbein’s journey to, ii. <a href='#Page_12'>12</a> <i>note</i>, <a href='#Page_115'>115</a>, <a href='#Page_120'>120</a>, <a href='#Page_129'>129</a>, <a href='#Page_138'>138</a>-<a href='#Page_155'>155</a>, <a href='#Page_164'>164</a></li>
-  <li class='c056'>Urbino, Duke of, ii. <a href='#Page_38'>38</a></li>
-  <li class='c056'><i>Urbium Præcipuarum Mundi</i>, &amp;c. (Braun, 1583), i. 276</li>
-  <li class='c056'>Uri, i. 77;
-    <ul>
-      <li>ii. <a href='#Page_300'>300</a>, <a href='#Page_324'>324</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Uri, Heini von, i. 71</li>
-  <li class='c056'><span class='pageno' id='Page_467'>467</span>Urmeston, Clement, i. 259</li>
-  <li class='c056'>Urseren Valley, ii. <a href='#Page_324'>324</a></li>
-  <li class='c056'>Usteri, poet and painter, i. 72</li>
-  <li class='c056'><i>Utopia</i> (Sir T. More), i. 45, 62, 163, 191-193, 253, 290, 299</li>
-  <li class='c056'>Utrecht, i. 224</li>
-  <li class='c056'>Utricke, John van, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Utterson Collection, ii. <a href='#Page_226'>226</a></li>
-  <li class='c004'>Vaga, Perino del, i. 276, 286</li>
-  <li class='c056'>Vanderbilt, Mr. W. C., New York (collection), i. 320;
-    <ul>
-      <li>ii. <a href='#Page_348'>348</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Van-Doort'></a>Van der Doort, Abraham, i. 172;
-    <ul>
-      <li>ii. <a href='#Page_25'>25</a>, <a href='#Page_166'>166</a>, <a href='#Page_188'>188</a>, <a href='#Page_231'>231</a>, <a href='#Page_245'>245</a>, <a href='#Page_248'>248</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Vandergucht, ii. <a href='#Page_37'>37</a></li>
-  <li class='c056'><a id='Van-der-Weyden'></a>Van der Weyden, Rogier, i. 5, 6, 289</li>
-  <li class='c056'><a id='Van-Dyck'></a>Van Dyck, ii. <a href='#Page_28'>28</a>, <a href='#Page_198'>198</a>, <a href='#Page_200'>200</a></li>
-  <li class='c056'><a id='Van-Eycks'></a>Van Eycks, the, i. 288</li>
-  <li class='c056'>—— Heerweghe, Jan, i. 264</li>
-  <li class='c056'>—— Horne, Sir William, <i>see</i> <a href='#Horne'>Horne</a></li>
-  <li class='c056'>—— Leemput, Remigius, <i>see</i> <a href='#Leemput'>Leemput</a></li>
-  <li class='c056'>—— Mander, <i>see</i> <a href='#Mander'>Mander</a></li>
-  <li class='c056'>—— Merode, Willem Schijverts, ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'>Vane, Sir Harry, i. 165;
-    <ul>
-      <li>ii. <a href='#Page_13'>13</a>, <a href='#Page_224'>224</a>, <a href='#Page_341'>341</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Henry, Bt., i. 300</li>
-  <li class='c056'>Varallo, i. 105</li>
-  <li class='c056'>Vasari, G., i. 265, 271, 276-277, 280, 286-287;
-    <ul>
-      <li>ii. <a href='#Page_239'>239</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Society, i. 309;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_226'>226</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Vatican, <i>see</i> <a href='#Rome'>Rome</a></li>
-  <li class='c056'>Vaughan, Stephen, i. 267;
-    <ul>
-      <li>ii. <a href='#Page_131'>131</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Vaux of Harrowden, Thomas, Lord, ii. <a href='#Page_52'>52</a>-<a href='#Page_53'>53</a>, <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_87'>87</a> <i>note</i>, <a href='#Page_252'>252</a>, <a href='#Page_256'>256</a>-<a href='#Page_257'>257</a></li>
-  <li class='c056'>—— Lady, ii. <a href='#Page_86'>86</a>-<a href='#Page_87'>87</a>, <a href='#Page_252'>252</a>, <a href='#Page_255'>255</a></li>
-  <li class='c056'>—— Sir Nicholas, i. 259, 319</li>
-  <li class='c056'>Vauzelles, Jean de, poet and scholar of Lyon, i. 210-212, 222</li>
-  <li class='c056'>Velazquez, i. 349;
-    <ul>
-      <li>ii. <a href='#Page_318'>318</a> <i>note</i></li>
-    </ul>
-  </li>
-  <li class='c056'>Vendôme, Margaret of, ii. <a href='#Page_139'>139</a>, <a href='#Page_144'>144</a>-<a href='#Page_146'>146</a>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a></li>
-  <li class='c056'>—— Marie of, ii. <a href='#Page_144'>144</a>, <a href='#Page_154'>154</a>-<a href='#Page_155'>155</a></li>
-  <li class='c056'>Venice, i. 6, 230 <i>note</i>, 242-243, 286;
-    <ul>
-      <li>ii. <a href='#Page_37'>37</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Venturi, ii. <a href='#Page_66'>66</a></li>
-  <li class='c056'>Vernon, Mr. John, ii. <a href='#Page_107'>107</a></li>
-  <li class='c056'><i>Versailles Gallery</i>, ii. <a href='#Page_39'>39</a></li>
-  <li class='c056'>Vertue, George, i. 296, 320;
-    <ul>
-      <li>ii. <a href='#Page_26'>26</a>, <a href='#Page_135'>135</a>, <a href='#Page_169'>169</a>, <a href='#Page_194'>194</a>, <a href='#Page_198'>198</a>, <a href='#Page_205'>205</a> <i>note</i>, 216 <i>note</i>, <a href='#Page_249'>249</a>, <a href='#Page_253'>253</a>, <a href='#Page_267'>267</a>, <a href='#Page_309'>309</a>, <a href='#Page_334'>334</a>, <a href='#Page_336'>336</a>-<a href='#Page_338'>338</a>, <a href='#Page_346'>346</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Robert, the King’s master mason, i. 271</li>
-  <li class='c056'>Vetter, Christina, i. 8</li>
-  <li class='c056'>—— Veronica, i. 8</li>
-  <li class='c056'>—— Walburg, i. 8</li>
-  <li class='c056'><i>Vetusta Monumenta</i>, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>Vic, M. de, garde de sceaux, ii. <a href='#Page_42'>42</a></li>
-  <li class='c056'>Vicary, T., barber-surgeon, ii. <a href='#Page_291'>291</a></li>
-  <li class='c056'>Victoria and Albert Museum, ii. <a href='#Page_167'>167</a>, <a href='#Page_232'>232</a>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>—— Queen, ii. <a href='#Page_250'>250</a></li>
-  <li class='c056'>Vienna, i. 20, 60, 161 <i>note</i>, 171, 180-181, 189;
-    <ul>
-      <li>ii. <a href='#Page_15'>15</a>-<a href='#Page_16'>16</a>, <a href='#Page_57'>57</a>, <a href='#Page_211'>211</a>, <a href='#Page_236'>236</a>, <a href='#Page_300'>300</a>, <a href='#Page_331'>331</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Albertina, i. 5, 60, 344 <i>note</i></li>
-  <li class='c056'>—— Imperial Gallery, i. 60;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_7'>7</a>, <a href='#Page_17'>17</a>, <a href='#Page_20'>20</a>, <a href='#Page_62'>62</a>, <a href='#Page_65'>65</a>, <a href='#Page_70'>70</a>-<a href='#Page_71'>71</a>, <a href='#Page_109'>109</a>, <a href='#Page_111'>111</a>-<a href='#Page_112'>112</a>, <a href='#Page_201'>201</a>-<a href='#Page_203'>203</a>, <a href='#Page_205'>205</a>-<a href='#Page_209'>209</a>, <a href='#Page_211'>211</a>, <a href='#Page_237'>237</a>, <a href='#Page_255'>255</a>, <a href='#Page_280'>280</a>, <a href='#Page_348'>348</a>-<a href='#Page_349'>349</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Vierwaldstättersee, i. 143</li>
-  <li class='c056'>“Vincence of Naples,” <i>see</i> <a href='#Volpe'>Volpe</a></li>
-  <li class='c056'><span class='pageno' id='Page_468'>468</span>Vinci, Leonardo da, <i>see</i> <a href='#Leonardo'>Leonardo</a></li>
-  <li class='c056'>Vischer, Cornelius, i. 165</li>
-  <li class='c056'>—— Peter, ii. <a href='#Page_270'>270</a></li>
-  <li class='c056'>Vittadini, Signor, Arcorre, i. 105 <i>note</i></li>
-  <li class='c056'>Vögelin, Professor Salomon, i. 37;
-    <ul>
-      <li>ii. <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Voll, Professor Karl, i. 15;
-    <ul>
-      <li>ii. <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Volmar, Conrad, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'><a id='Volpe'></a>Volpe, Vincent, i. 258, 273-276, 314-315</li>
-  <li class='c056'>Von Hertenstein, <i>see</i> <a href='#Hertenstein'>Hertenstein</a></li>
-  <li class='c056'>—— Hewen, <i>see</i> <a href='#Hewen'>Hewen</a></li>
-  <li class='c056'>—— Hutten, <i>see</i> <a href='#Hutten'>Hutten</a></li>
-  <li class='c056'>—— Mechel, <i>see</i> <a href='#Mechel'>Mechel</a></li>
-  <li class='c056'>—— Sandrart, <i>see</i> <a href='#Sandrart'>Sandrart</a></li>
-  <li class='c056'>—— Slingelandt, <i>see</i> <a href='#Slingelandt'>Slingelandt</a></li>
-  <li class='c056'>—— Steenwyck, <i>see</i> <a href='#Steenwyck'>Steenwyck</a></li>
-  <li class='c056'>—— Sybel, <i>see</i> <a href='#Sybel'>Sybel</a></li>
-  <li class='c056'>Vorsterman, Lucas, engraver, i. 27-28, 179, 305 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_26'>26</a>-<a href='#Page_28'>28</a>, <a href='#Page_198'>198</a>, <a href='#Page_231'>231</a>, <a href='#Page_246'>246</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Vosges Mountains, ii. <a href='#Page_156'>156</a></li>
-  <li class='c056'>Voss, H., ii. <a href='#Page_399'>399</a></li>
-  <li class='c056'>Vries, Joan de, Sale (1738), i. 107</li>
-  <li class='c056'>Vulp, <i>see</i> <a href='#Volpe'>Volpe</a></li>
-  <li class='c004'>Waagen, Dr., i. 14, 24, 242, 250, 266, 289, 297;
-    <ul>
-      <li>ii. <a href='#Page_86'>86</a>, <a href='#Page_101'>101</a>-<a href='#Page_102'>102</a>, <a href='#Page_107'>107</a>, <a href='#Page_269'>269</a>, <a href='#Page_303'>303</a>, <a href='#Page_386'>386</a>-<a href='#Page_389'>389</a>, <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wagner, Leonhard, i. 20</li>
-  <li class='c056'>Wagynton, William, painter-stainer, i. 261</li>
-  <li class='c056'>Wake, Sir Isaac, ii. <a href='#Page_65'>65</a>-<a href='#Page_66'>66</a>, <a href='#Page_68'>68</a></li>
-  <li class='c056'>Wakefield, i. 295</li>
-  <li class='c056'>Waldenburg, i. 233</li>
-  <li class='c056'>Wales, Dowager Princess of, widow of Frederick, Prince of Wales, ii. <a href='#Page_199'>199</a></li>
-  <li class='c056'>—— Frederick, Prince of, ii. <a href='#Page_199'>199</a></li>
-  <li class='c056'>—— Henry, Prince of, son of James I, ii. <a href='#Page_244'>244</a></li>
-  <li class='c056'>Walker, Sir Edward, ii. <a href='#Page_246'>246</a></li>
-  <li class='c056'>—— Humphrey, metal founder, i. 271</li>
-  <li class='c056'>—— Mary Ann, portrait by François Quesnel, ii. <a href='#Page_141'>141</a></li>
-  <li class='c056'>—— Mr. W. H. Romaine, ii. <a href='#Page_85'>85</a></li>
-  <li class='c056'>Wallace Collection, ii. <a href='#Page_230'>230</a> <i>and note</i>, <a href='#Page_350'>350</a></li>
-  <li class='c056'>Wallop, Sir John, i. 283-284;
-    <ul>
-      <li>ii. <a href='#Page_59'>59</a>, <a href='#Page_139'>139</a>, <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wall-paintings in Augsburg, i. 65</li>
-  <li class='c056'>—— in Basel, i. 117-123</li>
-  <li class='c056'>—— in Lucerne, i. 65</li>
-  <li class='c056'>—— and decorations in Westminster Palace, i. 261-262</li>
-  <li class='c056'>Walpole, Collection and Sale (1842), ii. <a href='#Page_26'>26</a>, <a href='#Page_230'>230</a>, <a href='#Page_237'>237</a>, <a href='#Page_270'>270</a>, <a href='#Page_276'>276</a>, <a href='#Page_337'>337</a></li>
-  <li class='c056'>—— Horace, i. 167, 184, 243, 250, 263, 293, 296-297, 300-302, 322, 325, 328 <i>and note</i>;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_26'>26</a>, <a href='#Page_28'>28</a>, <a href='#Page_94'>94</a>, <a href='#Page_133'>133</a>, <a href='#Page_135'>135</a>, <a href='#Page_169'>169</a>-<a href='#Page_170'>170</a>, <a href='#Page_179'>179</a>, <a href='#Page_181'>181</a>, <a href='#Page_189'>189</a>, <a href='#Page_193'>193</a>-<a href='#Page_194'>194</a>, <a href='#Page_199'>199</a>, <a href='#Page_230'>230</a>, <a href='#Page_237'>237</a>, <a href='#Page_247'>247</a> <i>note</i>, <a href='#Page_249'>249</a>-<a href='#Page_251'>251</a>, <a href='#Page_266'>266</a>, <a href='#Page_301'>301</a>, <a href='#Page_308'>308</a>, <a href='#Page_334'>334</a>-<a href='#Page_335'>335</a>, <a href='#Page_344'>344</a>-<a href='#Page_345'>345</a>, <a href='#Page_399'>399</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Society, ii. <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a> <i>note</i></li>
-  <li class='c056'>Walther, Anna, i. 10</li>
-  <li class='c056'>—— Johann, <i>Geystliche Gesangbüchlein</i>, ii. <a href='#Page_50'>50</a></li>
-  <li class='c056'>—— Maria, i. 10</li>
-  <li class='c056'>—— Ulric, i. 10</li>
-  <li class='c056'>Wannewetsch, Hans Jörg, of Basel, painter, i. 81</li>
-  <li class='c056'>Warberge, Von, family, i. 242</li>
-  <li class='c056'>Ward, Mr. T. Humphry, i. 287</li>
-  <li class='c056'>Wardell, Joan, ii. <a href='#Page_208'>208</a></li>
-  <li class='c056'>Ware, Abbot Richard, ii. <a href='#Page_51'>51</a></li>
-  <li class='c056'><span class='pageno' id='Page_469'>469</span>Warham, William, Archbishop of Canterbury, i. 169, 253, 255, 289, 299, 321-323, 337;
-    <ul>
-      <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_59'>59</a>, <a href='#Page_65'>65</a>, <a href='#Page_250'>250</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Warner, Robert, ii. <a href='#Page_133'>133</a></li>
-  <li class='c056'>Wartburg, near Eisenach, i. 16</li>
-  <li class='c056'>Warwick Castle, i. 266;
-    <ul>
-      <li>ii. <a href='#Page_100'>100</a>-<a href='#Page_104'>104</a>, <a href='#Page_217'>217</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Countess of, i. 328 <i>note</i></li>
-  <li class='c056'>Wassy, ii. <a href='#Page_147'>147</a></li>
-  <li class='c056'>Watney, Mr. Vernon J., ii. <a href='#Page_169'>169</a>, <a href='#Page_237'>237</a>, <a href='#Page_352'>352</a></li>
-  <li class='c056'>Wauters, Mr. A. J., i. 305</li>
-  <li class='c056'>Weale, Mr. W. H. J., ii. <a href='#Page_239'>239</a>-<a href='#Page_240'>240</a>, <a href='#Page_399'>399</a></li>
-  <li class='c056'>Weaver, Mr. Lawrence, ii. <a href='#Page_33'>33</a></li>
-  <li class='c056'>Wedigh family, of Cologne, ii. <a href='#Page_15'>15</a>-<a href='#Page_16'>16</a></li>
-  <li class='c056'>—— Hermann Hillebrandt. ii. <a href='#Page_16'>16</a>-<a href='#Page_17'>17</a>, <a href='#Page_17'>17</a> <i>note</i>, <a href='#Page_49'>49</a> <i>note</i></li>
-  <li class='c056'>Weggis, near Lucerne, i. 66, 70</li>
-  <li class='c056'>Wegmann, Hans Heinrich, of Lucerne, painter, i. 81</li>
-  <li class='c056'>Weigel, Rudolph, Collection, Leipzig, i. 106;
-    <ul>
-      <li>ii. <a href='#Page_31'>31</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Weingarten, Abbey of, i. 7</li>
-  <li class='c056'>“Weisskunig” (H. Burgkmair), i. 31</li>
-  <li class='c056'>Well Hall, Eltham, i. 295;
-    <ul>
-      <li>ii. <a href='#Page_344'>344</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wells Cathedral, ii. <a href='#Page_301'>301</a></li>
-  <li class='c056'>Welser, Bartholomaeus, i. 10</li>
-  <li class='c056'>Welser, Veronica, i. 10, 12, 24</li>
-  <li class='c056'>Wenck, Petrus, i. 45</li>
-  <li class='c056'>Wentworth, Sir Thomas, ii. <a href='#Page_256'>256</a></li>
-  <li class='c056'>Wentz, J., i. 130</li>
-  <li class='c056'>Werden, Gerard van, Steelyard merchant, ii. <a href='#Page_6'>6</a>, <a href='#Page_10'>10</a></li>
-  <li class='c056'>Werner, Anton, ii. <a href='#Page_399'>399</a></li>
-  <li class='c056'>West, William, Lord De la Warr, ii. <a href='#Page_304'>304</a></li>
-  <li class='c056'>Westbury, Dean of, ii. <a href='#Page_177'>177</a></li>
-  <li class='c056'>Westminster, parish of St. Margaret, i. 265;
-    <ul>
-      <li>hermitage of St. Katherine, i. 265;</li>
-      <li>St. Peter’s, i. 271</li>
-    </ul>
-  </li>
-  <li class='c056'>—— Abbey, i. 272, 287 <i>note</i></li>
-  <li class='c056'>—— Palace, i. 275, 314;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_127'>127</a>, <a href='#Page_142'>142</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Marquis and Marchioness of, i. 332</li>
-  <li class='c056'>Westmorland, Earl of, Sale (1892), ii. <a href='#Page_222'>222</a></li>
-  <li class='c056'>Wettingen Cloisters, i. 79, 137</li>
-  <li class='c056'>Weybridge, ii. <a href='#Page_216'>216</a></li>
-  <li class='c056'>Weyden, Rogier, vander, <i>see</i> <a href='#Van-der-Weyden'>Van der Weyden</a></li>
-  <li class='c056'><i>Wheel of Fortune</i> (picture at Chatsworth), ii. <a href='#Page_47'>47</a></li>
-  <li class='c056'><a id='Whitehall'></a>Whitehall Palace, i. 97, 257, 286, 301, 305;
-    <ul>
-      <li>ii. <a href='#Page_25'>25</a>, <a href='#Page_91'>91</a>, <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a>, <a href='#Page_97'>97</a> <i>and note</i>, <a href='#Page_107'>107</a>, <a href='#Page_110'>110</a>, <a href='#Page_137'>137</a>, <a href='#Page_170'>170</a>, <a href='#Page_185'>185</a>-<a href='#Page_188'>188</a>, <a href='#Page_243'>243</a>, <a href='#Page_263'>263</a>, <a href='#Page_266'>266</a>-<a href='#Page_269'>269</a>, <a href='#Page_292'>292</a>, <a href='#Page_344'>344</a>-<a href='#Page_346'>346</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— —— Fire at (1698), ii. <a href='#Page_25'>25</a>, <a href='#Page_94'>94</a>-<a href='#Page_95'>95</a>, <a href='#Page_186'>186</a>, <a href='#Page_293'>293</a></li>
-  <li class='c056'>—— —— “Holbein’s Gate,” ii. <a href='#Page_185'>185</a>, <a href='#Page_266'>266</a>-<a href='#Page_269'>269</a>, <a href='#Page_345'>345</a>-<a href='#Page_346'>346</a></li>
-  <li class='c056'>—— —— Matted Gallery, ii. <a href='#Page_95'>95</a>, <a href='#Page_186'>186</a>, <a href='#Page_271'>271</a></li>
-  <li class='c056'>—— —— Privy Chamber wall-painting, ii. <a href='#Page_91'>91</a>, <a href='#Page_93'>93</a>-<a href='#Page_96'>96</a>, <a href='#Page_97'>97</a>, <a href='#Page_271'>271</a>, <a href='#Page_302'>302</a>, <a href='#Page_313'>313</a></li>
-  <li class='c056'><i>Whitehall, Historical and Architectural Notes</i> (W. J. Loftie), ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>—— <i>Old Royal Palace of</i> (Sheppard), ii. <a href='#Page_346'>346</a></li>
-  <li class='c056'>Whitley, Surrey, i. 258</li>
-  <li class='c056'>Whorstley, English sculptor, i. 265</li>
-  <li class='c056'>Wicklow, Earl of, Collection, ii. <a href='#Page_277'>277</a></li>
-  <li class='c056'>Wieland, Daniel, i. 46</li>
-  <li class='c056'>Wight, Isle of, ii. <a href='#Page_165'>165</a></li>
-  <li class='c056'>Willems, Marc, ii. <a href='#Page_170'>170</a></li>
-  <li class='c056'>Willett, Mr. Henry (Collection), ii. <a href='#Page_104'>104</a></li>
-  <li class='c056'>William III of England, i. 107;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a>, <a href='#Page_187'>187</a>, <a href='#Page_203'>203</a></li>
-    </ul>
-  </li>
-  <li class='c056'><span class='pageno' id='Page_470'>470</span>William V of Orange, i. 107;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— of Prussia, Prince, i. 237, 242</li>
-  <li class='c056'>Williams, Lewes, painter, i. 278</li>
-  <li class='c056'>Williamson, Dr. G. C., i. 306;
-    <ul>
-      <li>ii. <a href='#Page_219'>219</a> <i>note</i>, <a href='#Page_220'>220</a>, <a href='#Page_228'>228</a>, <a href='#Page_230'>230</a>, <a href='#Page_231'>231</a> <i>and note</i>, <a href='#Page_235'>235</a>, <a href='#Page_240'>240</a>-<a href='#Page_241'>241</a> <i>and note</i>, <a href='#Page_304'>304</a>, <a href='#Page_309'>309</a>, <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wilson, Hon. H. Tyrwhitt, i. 319, 325</li>
-  <li class='c056'>—— Thomas, Secretary of State to Queen Elizabeth, ii. <a href='#Page_225'>225</a></li>
-  <li class='c056'>Wilton House, ii. <a href='#Page_62'>62</a>, <a href='#Page_137'>137</a>, <a href='#Page_248'>248</a>, <a href='#Page_266'>266</a>, <a href='#Page_268'>268</a>-<a href='#Page_269'>269</a></li>
-  <li class='c056'>Wiltshire and Ormonde, Earl of, <i>see</i> <a href='#Boleyn-Sir-Thomas'>Boleyn, Sir Thomas</a></li>
-  <li class='c056'>Winchester, Bishop of, <i>see</i> <a href='#Foxe'>Foxe, Richard</a></li>
-  <li class='c056'>Windesore, Thomas, ii. <a href='#Page_55'>55</a></li>
-  <li class='c056'>Windsor (town), ii. <a href='#Page_208'>208</a></li>
-  <li class='c056'>—— Castle and Collections, i. 97, 171, 178, 302, 317, 319, 324, 333, 337, 357;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_8'>8</a>, <a href='#Page_14'>14</a>, <a href='#Page_17'>17</a>, <a href='#Page_19'>19</a>, <a href='#Page_44'>44</a>, <a href='#Page_52'>52</a>, <a href='#Page_62'>62</a>-<a href='#Page_63'>63</a>, <a href='#Page_73'>73</a>, <a href='#Page_90'>90</a>-<a href='#Page_91'>91</a>, <a href='#Page_103'>103</a>, <a href='#Page_110'>110</a>, <a href='#Page_112'>112</a>, <a href='#Page_125'>125</a>, <a href='#Page_167'>167</a>, <a href='#Page_169'>169</a>, <a href='#Page_183'>183</a>, <a href='#Page_191'>191</a>-<a href='#Page_193'>193</a>, <a href='#Page_197'>197</a>, <a href='#Page_200'>200</a>-<a href='#Page_201'>201</a>, <a href='#Page_204'>204</a>-<a href='#Page_205'>205</a>, <a href='#Page_207'>207</a>, <a href='#Page_210'>210</a>, <a href='#Page_212'>212</a>, <a href='#Page_214'>214</a>-<a href='#Page_215'>215</a>, <a href='#Page_222'>222</a>-<a href='#Page_223'>223</a>, <a href='#Page_226'>226</a>-<a href='#Page_227'>227</a>, <a href='#Page_233'>233</a>-<a href='#Page_234'>234</a>, <a href='#Page_236'>236</a>-<a href='#Page_237'>237</a>, <a href='#Page_243'>243</a>, <a href='#Page_262'>262</a>, <a href='#Page_307'>307</a>, <a href='#Page_339'>339</a>, <a href='#Page_350'>350</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Park, Ranger of (Duke of Cumberland), ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>—— —— Long Walk, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'>—— St. George’s Chapel, i. 280</li>
-  <li class='c056'>Wingfield, Sir Anthony, i. 287</li>
-  <li class='c056'>—— Sir Charles, ii. <a href='#Page_254'>254</a></li>
-  <li class='c056'>—— Sir Richard, i. 268;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_137'>137</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Winn family, i. 295</li>
-  <li class='c056'>—— Mr. Charles, ii. <a href='#Page_334'>334</a>-<a href='#Page_337'>337</a></li>
-  <li class='c056'>—— Sir Rowland, i. 295;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_334'>334</a>, <a href='#Page_337'>337</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>Winstanley, Mr., i. 332</li>
-  <li class='c056'>Wise, Ulric, Steelyard merchant, ii. <a href='#Page_10'>10</a></li>
-  <li class='c056'>Witt, Anna de, ii. <a href='#Page_342'>342</a></li>
-  <li class='c056'>Wittelsbach Collection (1597), i. 332</li>
-  <li class='c056'>Wittemberg, i. 214, 328;
-    <ul>
-      <li>ii. <a href='#Page_50'>50</a></li>
-    </ul>
-  </li>
-  <li class='c056'><i>Wit’s Treasury</i> (F. Meres), ii. <a href='#Page_308'>308</a>-<a href='#Page_309'>309</a></li>
-  <li class='c056'>Woburn Abbey, i. 304 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_112'>112</a>, <a href='#Page_351'>351</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wocher, Marquard, painter, i. 81</li>
-  <li class='c056'><a id='Wolf'></a>Wolf, Hans, of Lucerne, i. 66</li>
-  <li class='c056'>—— or Wolffe, John, painter, i. 274;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_1'>1</a>, <a href='#Page_2'>2</a>, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a> <i>note</i></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Wolf-Morgan'></a>—— (Fenwolf or Phillip), Morgan, ii. <a href='#Page_10'>10</a>, <a href='#Page_288'>288</a></li>
-  <li class='c056'>Wolfe, Reinhold, printer, i. 202;
-    <ul>
-      <li>ii. <a href='#Page_79'>79</a>, <a href='#Page_332'>332</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wolff, Thomas, i. 62, 187, 196, 202</li>
-  <li class='c056'>Wolhusen, Christof Truchsess von, i. 158</li>
-  <li class='c056'>Wolleb, Conradt, magistrate of Basel, i. 132</li>
-  <li class='c056'>Wolsey, Cardinal, i. 169, 259, 267, 280-281, 321, 327, 329, 331, 334;
-    <ul>
-      <li>ii. <a href='#Page_16'>16</a>, <a href='#Page_55'>55</a>, <a href='#Page_59'>59</a>, <a href='#Page_137'>137</a>, <a href='#Page_187'>187</a>, <a href='#Page_199'>199</a>, <a href='#Page_288'>288</a>, <a href='#Page_333'>333</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Woltmann, Dr., i. 4, 5, 14-15, 19, 23-25, 38, 51, 62, 93, 96, 102, 106-107, 109, 112, 121, 123, 165, 169, 174, 184, 187-188, 211, 222, 228, 237, 247, 288, 292, 297, 299, 319, 326, 332, 334, 336, 344 <i>note</i>, 356;
-    <ul>
-      <li>ii. <a href='#Page_5'>5</a>, <a href='#Page_9'>9</a>, <a href='#Page_10'>10</a>, <a href='#Page_13'>13</a>, <a href='#Page_16'>16</a>, <a href='#Page_22'>22</a>, <a href='#Page_26'>26</a>, <a href='#Page_32'>32</a>, <a href='#Page_37'>37</a>-<a href='#Page_38'>38</a>, <a href='#Page_57'>57</a>, <a href='#Page_60'>60</a>, <a href='#Page_72'>72</a>, <a href='#Page_77'>77</a>, <a href='#Page_79'>79</a>, <a href='#Page_97'>97</a>, <a href='#Page_101'>101</a>, <a href='#Page_105'>105</a>, <a href='#Page_108'>108</a>, <a href='#Page_125'>125</a>-<a href='#Page_126'>126</a>, <a href='#Page_150'>150</a>, <a href='#Page_158'>158</a>, <a href='#Page_161'>161</a>-<a href='#Page_162'>162</a>, <a href='#Page_175'>175</a>, <a href='#Page_199'>199</a>, <a href='#Page_203'>203</a>, <a href='#Page_211'>211</a>, <a href='#Page_223'>223</a>, <a href='#Page_225'>225</a>, <a href='#Page_230'>230</a>, <a href='#Page_260'>260</a>, <a href='#Page_269'>269</a>, <a href='#Page_284'>284</a>, <a href='#Page_323'>323</a>-<a href='#Page_325'>325</a>, <a href='#Page_327'>327</a>, <a href='#Page_329'>329</a>, <a href='#Page_342'>342</a>, <a href='#Page_347'>347</a>, <a href='#Page_393'>393</a>, <a href='#Page_399'>399</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Woodburne, Samuel, Sale (1860), ii. <a href='#Page_67'>67</a></li>
-  <li class='c056'>Wooley, Henry, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'><span class='pageno' id='Page_471'>471</span>Wooley, Nicholas, jeweller, ii. <a href='#Page_287'>287</a></li>
-  <li class='c056'>Wootton, Dr. Nicholas, ii. <a href='#Page_173'>173</a>-<a href='#Page_178'>178</a>, <a href='#Page_180'>180</a></li>
-  <li class='c056'>Worcester, i. 265</li>
-  <li class='c056'>Worksop Manor, ii. <a href='#Page_135'>135</a></li>
-  <li class='c056'>Wörlitz, Gothic House, i. 300</li>
-  <li class='c056'>Wornum, R. N., i. 14, 92, 165 <i>note</i>, 167, 184, 237, 247, 263, 266, 297, 300, 306, 328, 331-333;
-    <ul>
-      <li>ii. <a href='#Page_37'>37</a>, <a href='#Page_46'>46</a>, <a href='#Page_49'>49</a>, <a href='#Page_60'>60</a>, <a href='#Page_72'>72</a>, <a href='#Page_86'>86</a>, <a href='#Page_101'>101</a>, <a href='#Page_105'>105</a>, <a href='#Page_125'>125</a>, <a href='#Page_130'>130</a>, ii. <a href='#Page_150'>150</a>, <a href='#Page_165'>165</a>-<a href='#Page_167'>167</a>, <a href='#Page_169'>169</a>, <a href='#Page_212'>212</a>, <a href='#Page_225'>225</a>, <a href='#Page_233'>233</a>, <a href='#Page_269'>269</a>-<a href='#Page_270'>270</a>, <a href='#Page_292'>292</a>-<a href='#Page_293'>293</a>, <a href='#Page_298'>298</a>, <a href='#Page_345'>345</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Worsley, Sir Richard, ii. <a href='#Page_165'>165</a></li>
-  <li class='c056'>Woulpe, <i>see</i> <a href='#Volpe'>Volpe</a></li>
-  <li class='c056'>Wright, coach builder, ii. <a href='#Page_267'>267</a></li>
-  <li class='c056'><a id='Wright-Andrew'></a>—— Andrew, serjeant-painter, i. 261-262, 273</li>
-  <li class='c056'>—— Christopher, painter-stainer, i. 261-262</li>
-  <li class='c056'>—— Richard, painter-stainer, i. 261</li>
-  <li class='c056'>Wriothesley, Thomas, ii. <a href='#Page_117'>117</a>, <a href='#Page_131'>131</a>-<a href='#Page_133'>133</a>, <a href='#Page_211'>211</a></li>
-  <li class='c056'>Wurstisen, <i>Epitome Historiæ Basiliensis</i> (1577), i. 126;
-    <ul>
-      <li>ii. <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'><a id='Wyat'></a>Wyat, Sir Henry, i. 304, 306, 313, 327, 335-337;
-    <ul>
-      <li>ii. <a href='#Page_79'>79</a>, <a href='#Page_255'>255</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— Margaret, Lady Lee, ii. <a href='#Page_82'>82</a>-<a href='#Page_83'>83</a></li>
-  <li class='c056'>—— Sir Thomas, i. 203, 358;
-    <ul>
-      <li>
-        <ul>
-          <li>ii. <a href='#Page_37'>37</a>-<a href='#Page_38'>38</a>, <a href='#Page_65'>65</a>, <a href='#Page_71'>71</a>, <a href='#Page_79'>79</a>-<a href='#Page_83'>83</a>, <a href='#Page_118'>118</a>, <a href='#Page_205'>205</a>, <a href='#Page_250'>250</a>, <a href='#Page_252'>252</a>, <a href='#Page_280'>280</a></li>
-        </ul>
-      </li>
-    </ul>
-  </li>
-  <li class='c056'>—— Sir Thomas the Younger, ii. <a href='#Page_81'>81</a>-<a href='#Page_82'>82</a></li>
-  <li class='c056'>“Wyat, Mr.,” i. 357</li>
-  <li class='c056'>Wyat’s, Sir T., “Maze,” ii. <a href='#Page_81'>81</a></li>
-  <li class='c056'>—— rebellion, ii. <a href='#Page_82'>82</a>, <a href='#Page_306'>306</a></li>
-  <li class='c056'>Wyatt, Mr. M. Digby, i. 275, 277;
-    <ul>
-      <li>ii. <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Wyndham, Elizabeth, ii. <a href='#Page_237'>237</a></li>
-  <li class='c056'>—— Sir Thomas, portrait by Eworthe, ii. <a href='#Page_307'>307</a></li>
-  <li class='c056'>Wysdom family, painter-stainers, i. 261</li>
-  <li class='c056'>Wyzewa, Mons. T. de, i. 107 <i>note</i>, 248 <i>note</i>, 345-346;
-    <ul>
-      <li>ii. <a href='#Page_318'>318</a> <i>note</i>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c004'>Yarborough, Earl of, ii. <a href='#Page_104'>104</a>, <a href='#Page_164'>164</a>-<a href='#Page_166'>166</a>, <a href='#Page_353'>353</a></li>
-  <li class='c056'>Yattendon, Berkshire, i. 178</li>
-  <li class='c056'>York, Queen Elizabeth of, wife of Henry VII, <i>see</i> <a href='#Elizabeth-of-York'>Elizabeth  of York</a></li>
-  <li class='c056'>—— House, ii. <a href='#Page_14'>14</a>, <a href='#Page_215'>215</a>, <a href='#Page_308'>308</a></li>
-  <li class='c056'>Younge, Mr. John, Master of the Rolls, i. 272</li>
-  <li class='c004'>Zahn, A. von, i. 237;
-    <ul>
-      <li>ii. <a href='#Page_57'>57</a>, <a href='#Page_86'>86</a>, <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Zasius, Ulrich, i. 84, 111</li>
-  <li class='c056'>Zeitblom, Bartolomaeus, i. 6</li>
-  <li class='c056'>Zetter, Herr Franz Anton, i. 110-111</li>
-  <li class='c056'>Zetter-Collin, Herr F. A., i. 105 <i>note</i>, 111 <i>note</i>;
-    <ul>
-      <li>ii. <a href='#Page_400'>400</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Zeuxis, i. 227;
-    <ul>
-      <li>ii. <a href='#Page_75'>75</a></li>
-    </ul>
-  </li>
-  <li class='c056'>Zimmerman, Görg, tailor of Berne, ii. <a href='#Page_161'>161</a></li>
-  <li class='c056'><a id='Zouch'></a>Zouch (Souch), Lord, of Haringworth, ii. <a href='#Page_259'>259</a></li>
-  <li class='c056'>—— Richard, ii. <a href='#Page_259'>259</a></li>
-  <li class='c056'>—— Mary, ii. <a href='#Page_256'>256</a>, <a href='#Page_259'>259</a></li>
-  <li class='c056'>Zuccaro, Federigo, ii. <a href='#Page_24'>24</a>, <a href='#Page_26'>26</a> <i>and note</i>, <a href='#Page_27'>27</a>, <a href='#Page_134'>134</a>, <a href='#Page_336'>336</a></li>
-  <li class='c056'>Zürichü, i. 35, 46, 50, 202, 224, 228;
-    <ul>
-      <li>ii. <a href='#Page_76'>76</a>, <a href='#Page_156'>156</a> <i>and note</i>, <a href='#Page_213'>213</a>, <a href='#Page_358'>358</a></li>
-    </ul>
-  </li>
-  <li class='c056'>—— State Library, i. 36-37</li>
-  <li class='c056'>Zürich, Hans von, goldsmith, ii. <a href='#Page_15'>15</a>, <a href='#Page_65'>65</a></li>
-  <li class='c056'>Zwinger, Theodor, i. 118</li>
-</ul>
-<div class='pbb'>
- <hr class='pb c003' />
-</div>
-<p class='c057'><span class='pageno' id='Page_472'>472</span>Printed by Ballantyne, Hanson &amp; Co.<br />
-at Paul’s Work, Edinburgh</p>
-<div class='pbb'>
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