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diff --git a/old/69502-0.txt b/old/69502-0.txt deleted file mode 100644 index e3eceee..0000000 --- a/old/69502-0.txt +++ /dev/null @@ -1,29363 +0,0 @@ -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. - -BINYON, LAURENCE, _Catalogue of Drawings by British Artists and Artists - of Foreign Origin working in Great Britain, preserved in the British - Museum_, Vol. ii. p. 326-243. - -BLACK, W. H., F.S.A., and FRANKS, A. W., F.S.A., _Discovery of the Will - of Hans Holbein_. Archæologia, vol. xxxix. pp. 1-18. - -BLACK, W. H., F.S.A., _On the Date and other Circumstances of the Death - of Holbein_, &c. Archæologia, vol. xxxix. pp. 272-6. - -BLOMFIELD, R., A.R.A., _History of Renaissance Architecture in England_, - i. p. 18, 1897. - -BREWER, J. S., M.A., and GAIRDNER, DR. JAMES, C.B., _Letters and Papers, - Foreign and Domestic, of the Reign of Henry VIII, 1509-1543_, - 1862-1902. - -BURCKHARDT, A., _Hans Holbein_. Basel, 1885. - -BURCKHARDT, A., _Hans Holbeins Ehefrau und ihr erster Ehemann Ulrich - Schmid_, Basler Zeitschrift für Geschichte und Altertumskunde, Bd. - v. p. 420. - -BURCKHARDT-WERTHEMANN, D., _Drei wiedergefundene Werke aus Holbeins - früherer Basler Zeit_. Basler Zeitschrift für Geschichte und - Altertumskunde, iv. 27. - -CHAMBERLAIN, A. B., _A Newly Discovered Portrait of Thomas Cromwell_. - Burlington Magazine, No. cv. vol. xx. (December, 1911) p. 175. - -CHAMBERLAIN, A. B., _Holbein’s Visit to “High Burgony.”_ Burlington - Magazine, No. cix. vol. xxi. (April, 1912) pp. 25-30. - -CHATTO, W. A., _A Treatise on Wood Engraving_, ed. H. G. Bohn. Chatto - and Windus, 1861. - -CHURCHILL, S. J. A., _Two Unpublished Portraits by Hans Holbein_. - Burlington Magazine, No. cvi. vol. xx. (January, 1912) p. 239. - -COLVIN, SIR SIDNEY, _The Ambassadors Unriddled_ (review of Mr. W. F. - Dickes’ book). Burlington Magazine, No. vi. vol. ii. (August, 1903) - pp. 367-9. - -COLVIN, SIR SIDNEY, _On a Portrait of Erasmus by Holbein_. Burlington - Magazine, No. lxxx. vol. xvi. (November, 1909) pp. 67-71. - -CONWAY, SIR MARTIN, and CUST, LIONEL, M.V.O., _Portraits of the Wyat - Family_. Burlington Magazine, No. lxxxi. vol. xvi. (December, 1909) - pp. 154-9. - -COX, MARY L., _Inventory of Pictures, &c., in the possession of Alethea, - Countess of Arundel, at the time of her Death at Amsterdam in 1654_. - Burlington Magazine, No. ci. vol. xix. (August, 1911) pp. 282-6; No. - cii. vol. xix. (September, 1911) pp. 323-5. - -CUST, LIONEL, M.V.O., F.S.A., _Lucas d’Heere_. Magazine of Art, August, - 1891. - -CUST, LIONEL, M.V.O., _Notice of the Life and Works of Lucas d’Heere_, - &c. Archæologia, vol. liv. pt. i. pp. 59-80. - -CUST, LIONEL, M.V.O., _The National Portrait Gallery_. Illustrated - Catalogue, 2 vols., Cassell & Co., 1901. - -CUST, LIONEL, M.V.O., _Foreign Artists of the Reformed Religion working - in London from about 1560 to 1660_. Proceedings of the Huguenot - Society in London, vol. vii. No. i. pp. 45-82, 1903. - -CUST, LIONEL, M.V.O., _The Royal Collection of Paintings_, vol. ii., - _Windsor Castle_. Heinemann, 1906. - -CUST, LIONEL, M.V.O., _John of Antwerp, Goldsmith, and Hans Holbein_. - Burlington Magazine, No. xxxv. vol. viii. (February, 1906) pp. - 356-60. - -CUST, LIONEL, M.V.O., _The Lumley Inventory and the Painter H. E._ - Burlington Magazine, No. lxxii. vol. xiv. (March, 1909) pp. 366-8. - -CUST, LIONEL, M.V.O., _A Portrait of Queen Catherine Howard by Hans - Holbein the Younger_. Burlington Magazine, No. lxxxviii. vol. xvii. - (July, 1910) pp. 193-9. - -CUST, LIONEL, M.V.O., _On a Portrait Drawing by Hans Holbein the - Younger_ (Sir Charles Wingfield). Burlington Magazine, No. xcv. vol. - xviii. (February, 1911) pp. 269-70. - -CUST, LIONEL, M.V.O., _On Two Portraits attributed to Gerlach Flicke_. - Burlington Magazine, No. c. vol. xix. (July, 1911) p. 239. - -CUST, LIONEL, M.V.O., _Notes on the Collections formed by Thomas Howard, - Earl_ _of Arundel and Surrey, K.G._ 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. - -CUST, LIONEL, M.V.O., _A Newly-discovered Portrait of Thomas Cromwell_. - Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 5-6. - -CUST, LIONEL, M.V.O., _“The Family of Sir Thomas More,” by Hans - Holbein_. Burlington Magazine, No. cxv. vol. xxii. (October, 1912) - pp. 43-4. - -CUST, LIONEL, M.V.O., and BELL, C. F., F.S.A., _Burlington Fine Arts - Club, Catalogue of Exhibition illustrative of Early English - Portraiture_, 1909. - -DAVIES, GERALD S., M.A., _Hans Holbein the Younger_. George Bell & Sons, - 1903. - -DAVIES, RANDALL, _An Inventory of the Duke of Buckingham’s Pictures in - 1635_. Burlington Magazine, No. xlviii. vol. x. (March, 1907) pp. - 376-82. - -DEVELAY, V., _Eloge de la Folie d’Erasme_. 3rd ed. Paris, 1876. - -DICKES, W. F., _Holbein’s “Ambassadors” Unriddled_. Cassell & Co., Ltd. - Not dated. - -DIMIER, L., _French Painting in the Sixteenth Century_. (Trans. by - Harold Child.) Duckworth & Co., 1904. - -DIMIER, L., _Le Primatice_. Paris, 1900. - -DODGSON, CAMPBELL, _Neues über Holbeins Metallschnitte zum Vaterunser_. - Mitteilungen der Gesellsch. für vervielfältig. Kunst, 1903, p. 1, - and 1905, p. 10. - -DODGSON, CAMPBELL, _Hans Lützelburger and the Master N. H._ Burlington - Magazine, No. xlvii. vol. x. (February, 1907) pp. 319-22. - -DODGSON, CAMPBELL, _An Alphabet by Hans Weiditz_. Burlington Magazine, - No. lix. vol. xii. (February, 1908) pp. 289-93. - -DODGSON, CAMPBELL, _A Portrait by Hans Holbein the Elder_. Burlington - Magazine, No. lxvii. vol. xiv. (October, 1908) pp. 37-43. - -DODGSON, CAMPBELL, _Das Holzschnittporträt von N. Borbonius_. Gesells. - für vervielfältigende Kunst, Mitteilungen xxxi. 1908, p. 37. - -DODGSON, CAMPBELL, _Catalogue of Early German and Flemish Woodcuts, &c., - in the British Museum_, vol. ii. 1911, p. 320. - -DODGSON, CAMPBELL, notes by, Vasari Society, Pt. i. Nos. 17 and 18; Pt. - ii. No. 31; Pt. v. No. 28. - -DOUCE, FRANCIS, _Holbein’s Dance of Death_. 1858 edition. H. G. Bohn. - -EARP, F. R., M.A., _Descriptive Catalogue of the Pictures in the - Fitzwilliam Museum_, pp. 97-8. University Press, Cambridge, 1902. - -EINSTEIN, LEWIS, _The Italian Renaissance in England_, 1902. - -FIDLER, G., _Holbein’s Porch_. The Art Journal, 1897, pp. 45-8. - -FORTESCUE, MRS. G., _Holbein_. (Little Books on Art.) Methuen & Co., - 1904. - -FOSTER, J. J., _British Miniature Painters and their Works_. 1898. - -FRISCH, A., and WOLTMANN, A., _Hans Holbein des Aeltern - Silberstiftzeichnungen im kgl. Museum zu Berlin_. Soldau, Nuremberg. - -FRÖLICHER, ELSA, _Die Porträtkunst Hans Holbeins des Jüngeren und ihr - Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert_ - (Studien zur deutschen Kunstgeschichte, No. 117). Heitz & Mündel, - Strasburg, 1909. - -FRY, ROGER, E., _Early English Portraiture at the Burlington Fine Arts - Club_. Burlington Magazine, No. lxxiv. vol. xv. (May, 1909) pp. - 73-5. - -GANZ, PAUL, _Hans Holbein d. J. Einfluss auf. d. schweizerische - Glasmalerei_. Jahrb. d. kgl. preuss. Kunstsamml., xxiv. (1903) pp. - 197-207. - -GANZ, PAUL, _Handzeichnungen schweiz. Meister des XV-XVIII Jahrh_. - Helbing and Lichtenhahn, Basel, 1908. - -GANZ PAUL, _Handzeichnungen von Hans Holbein dem Jüngeren_. Julius Bard, - Berlin, 1908. - -GANZ, PAUL, _Hans Holbeins Italienfahrt_. Süddeutsche Monatshefte, May, - 1909, p. 599. - -GANZ, PAUL, _Two Unpublished Portraits by Hans Holbein_. Burlington - Magazine, No. ciii. vol. xx. (October, 1911) pp. 31-2. - -GANZ, PAUL, _Hans Holbein d. J.: des Meisters Gemälde in 252 - Abbildungen_. (Klassiker der Kunst in Gesamtausgaben No. xx.) - Stuttgart, 1912. French translation, Hachette & Co., Paris, 1912. - -GANZ, PAUL, _Die Handzeichnungen Hans Holbeins des Jüngeren_. Deutscher - Verein für Kunstwissenschaft E.V., Julius Bard, Berlin. In course of - publication. To be completed in 50 parts (500 plates). - -GANZ, PAUL, and MAJOR, EMIL, _Die Entstehung des Amerbach’schen - Kunstkabinets und die Amerbach’schen Inventare_, in the 29th Annual - Report of the Public Picture Collection in Basel, 1907. - -GAUTHIEZ, PIERRE, _Hans Holbein sur la route d’Italie_. Gazette des - Beaux-Arts, December, 1897; February, 1898. - -GAUTHIEZ, PIERRE, _Holbein: Biographie Critique_ (Les Grands Artistes), - Laurens, Paris. Not dated. - -GLASER, CURT, _Hans Holbein der Ältere_ (Kunstgeschichtliche - Monographien, XI). K. W. Hiersemann, Leipzig, 1908. - -GOETTE, A., _Holbeins Totentanz und seine Vorbilder_. Strasburg, 1897. - -HEATH, DUDLEY, _Two New Portrait Miniatures by Hans Holbein_. The - Connoisseur, July, 1907, pp. 143-4. - -HEGNER, U., _Hans Holbein der Jüngere_. Reimer, Berlin, 1827. - -HEITZ, P., _Basler Büchermarken_. Heitz, Strasburg, 1895. - -HERVEY, MARY F. S., _Holbein’s “Ambassadors”: the Picture and the Men_. - George Bell & Sons, 1900. - -HERVEY, MARY F. S., _A Portrait of Jean de Dinteville, one of Holbein’s - Ambassadors_. Burlington Magazine, No. xvi. vol. v. (July, 1904) p. - 413. - -HERVEY, MARY F. S., _Notes on Some Portraits of Tudor Times_. Burlington - Magazine, No. lxxv. vol. xv. (June, 1909) pp. 151-60. - -HERVEY, MARY F. S., _Notes on a Tudor Painter: Gerlach Flicke_. - Burlington Magazine, No. lxxxvi. vol. xvii. (May, 1910) pp. 71-9; - No. lxxxvii. vol. xvii. (June, 1910) pp. 147-8. - -HERVEY, MARY F. S., and MARTIN-HOLLAND, R., _A Forgotten French Painter: - Félix Chrétien_. Burlington Magazine, No. xcvii. vol. xviii. (April, - 1911) pp. 48-55. - -HES, WILLY, _Ambrosius Holbein_ (Studien zur deutschen Kunstgeschichte, - No. 145). Heitz and Mündel, Strasburg, 1911. - -HIND, A. M., _Great Engravers: Hans Holbein the Younger_. Heinemann, - 1912. - -HIS-HEUSLER, E., _Hans Holbeins des Aelteren Feder- und - Silberstiftzeichnungen in den Kunstsammlungen zu Basel, &c._ Soldau, - Nuremberg. - -HIS-HEUSLER, E., _Die Basler Archive über Hans Holbein und seine - Familie_, Zahns Jahrbücher für Kunst, iii. p. 113 _et seq._ Leipzig, - 1870. - -HIS-HEUSLER, E., _Hans Lützelburger, le Graveur des Simulacres de la - Mort d’Holbein_. Gaz. des Beaux-Arts, 2nd period, iv. (1871) p. 481. - -HIS-HEUSLER, E., _Dessins d’Ornements de Hans Holbein_. Boussod, - Valadon, and Co., Paris, 1886. - -HIS-HEUSLER, E., _Einige Gedanken über die Lehr- und Wanderjahre H. H. - d. J._ Jahrbuch für K. K. preuss. Kunstsamml., 1891, 2nd fasc., p. - 59 _et seq._ - -HIS-HEUSLER, E., _Holbeins Bergwerkzeichnung im britischen Museum_. - Jahrbuch für K. K., &c., 1894, iii. p. 207 _et seq._ - -HIS-HEUSLER, E., _Holbeins Verhältniss zur Basler Reformation_. Rep. für - Kunstwissenschaft, iii. p. 156. - -HIS-HEUSLER, E., _Ambrosius Holbein als Maler_. Jahrbuch der kgl. - preuss. Kunst., xxiv. 1903, pp. 243-6. - -HOLMES, SIR RICHARD, K.C.V.O., _Hans Holbein: Portraits of Illustrious - Personages of the Court of Henry VIII, in the Royal Library, Windsor - Castle_, 2 vols. Hanfstaengl. Not dated. - -HOLMES, SIR RICHARD, K.C.V.O., _Note on an Unpublished Holbein Miniature - in the Collection of the Queen of Holland_. Burlington Magazine, No. - ii. vol. i. (April, 1903) p. 218. - -HOLMES, SIR RICHARD, K.C.V.O., _A Miniature by Holbein_ (Mrs. - Pemberton). Burlington Magazine, No. xvi. vol. v. (July, 1904) p. - 337. - -HOLMES, SIR RICHARD, K.C.V.O., _English Miniature Painters_: No. I. - _Nicholas Hilliard_. Burlington Magazine, No. xxxiv. vol. viii. - (January, 1906) pp. 229-34. - -HUEFFER, F. M., _Hans Holbein the Younger: a Critical Monograph_ - (Popular Library of Art). Duckworth & Co. Not dated. - -HUPPERTZ, A., _Der Sebastiansaltar in der Münchener A. Pinak_. - Repertorium für Kunst., xxxiv. 1911, p. 255. - -ISELIN, L., _Holbein_, in Historisch und geographisches Lexikon, Basel, - 1726. - -KAINZBAUER, L., _Holbein der “Verbesserte.” Eine neue Untersuchung der - beiden Madonnen des Bürgermeisters Mayer in Basel_, 1906. - -KINKEL, G., _Hans Holbein_ (review of Woltmann’s and Wornum’s books). - Fine Arts Quarterly Review, June, 1867. - -KNACKFUSS, H., _Hans Holbein der Jüngere_. Velhagen & Klasing, Bielefeld - and Leipzig, 1896; 4th edition, Bielefeld, 1902. - -KNACKFUSS, H., _Holbein_, English translation by Campbell Dodgson. H. - Grevel and Co., 1899. - -KOEGLER, HANS, _Ergänzungen zum Holzschnittwerk des Hans und Ambrosius - Holbein_. Jahrb. d. preuss. Kunstsamml., xxviii. (1907) p. 85. - -KOEGLER, HANS, _Hans Holbeins Holzschnitte für Sebastian Münsters - “Instrument über die zwei Lichter,” Basel, 1534_. Jahrb. d. preuss - Kunstsamml., xxxi. p. 254. - -KOEGLER, HANS, _Der Hortulus Animæ, illust. von H. Holbein_. 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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 - - - - ------------------------------------------------------------------------- - - - - -Printed by Ballantyne, Hanson & Co. -at Paul’s Work, Edinburgh - - - - ------------------------------------------------------------------------- - - - - - ● Transcriber’s Notes: - ○ The first volume of this work can be found here: - Gutenberg.org book number 64208 - ○ This book’s index includes links to both volume i and volume ii. - ○ Missing or obscured punctuation was silently corrected. - ○ Typographical errors were silently corrected. - ○ Inconsistent spelling and hyphenation were made consistent only - when a predominant form was found in this book. - ○ Text that: - was in italics is enclosed by underscores (_italics_); - was in bold by is enclosed by “equal” signs (=bold=). - ○ The use of a caret (^) before a letter, or letters, shows that the - following letter or letters was intended to be a superscript, as - in S^t Bartholomew or 10^{th} Century. - - - - -*** END OF THE PROJECT GUTENBERG EBOOK HANS HOLBEIN THE YOUNGER, -VOLUME 2 (OF 2) *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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