,,masterpieces ,,in ,,colour    ,,edited
 ,,by ,t4 ,,leman ,,hare                
,,holbein      ,,plate ,i4--,,george    
,,gisze4 ,frontispiece    7,in the      
,royal ,museum1 ,berlin7        ,this   
picture of a leading merchant of the    
,steelyard was painted in      #aecb1   
and constituted the artist's successful 
attempt to capture      the patronage of
 one of the wealthiest merchant         
communities in the      world4 ,that the
 patronage was forthcoming quickly is   
suggested      by the picture of another
 merchant of the ,steelyard dated the   
same year1 and now in the ,windsor      
collection4    ,illustration            
,,holbein    ,,by ,s4 ,l4 ,,bensusan    
,,illustrated ,,with ,,eight            
,,reproductions ,,in ,,colour           
,illustration3 ,,in ,,sempiternum4      
,,london4 ,t4 ,c4  ,e4 ,c4 ,,jack       
,,new ,,york3 ,,frederick ,a4 ,,stokes  
,,co4          ,,contents               
,page         ,i4 ,introduction         
#aa      ,,ii4 ,the ,artist's ,life     

#bi     ,,iii4 ,holbein in ,england     
#ea          ,,list ,,of ,,illustrations
      ,plate                            
,page         ,i4 ,george ,gisze        
,frontispiece          ,in the ,royal   
,museum1 ,berlin          ,,ii4 ,the    
,ambassadors                            
#ad          ,in the ,national ,gallery1
 ,london       ,,iii4 ,portrait of a    
,man                                    
#bd          ,in the ,imperial ,gallery1
 ,vienna        ,,iv4 ,jane ,seymour    
#cd          ,in the ,imperial ,gallery1
 ,vienna         ,v4 ,anne of ,cleves   
#dj          ,in the ,louvre            
,,vi4 ,erasmus                          
#ej          ,in the ,louvre            
,,vii4 ,sir ,richard ,southwell         
#fj          ,in the ,uffizi ,gallery1  
,florence      ,,viii4 ,sir ,henry      
,wyatt                                  
#gj          ,in the ,louvre            
,illustration          ,i               
,,introduction      ,hans ,holbein the  
younger is perhaps the most outstanding 

figure in the  history of ,german art4  
,in the eyes of some he may yield place 
to his  great contemporary ,albert      
,drer1 but it is impossible to deny that
 for  all his indisputable genius ,drer 
stood for a time that was passing1  and 
,holbein for one that was to come4 ,the 
younger man touched art at  every point1
 nowhere without mastery2 and whether we
 consider him as a  draughtsman1 a      
decorator1 a painter of frescoes1 a     
portrait painter1 an  architect1 a      
modeller1 a designer of jewellery1 a    
book illustrator1 or a  miniaturist1 we 
find ourselves face to face with such an
 extraordinary  measure of achievement1 
that the claim to remembrance and       
admiration  could be sustained if his   
art gift had been single instead of     
universal4      ,,plate ,,ii4--,,the    
,,ambassadors    7,in the ,national     
,gallery1 ,london7        ,this picture1
 painted by ,holbein when he was at the 
zenith of his      powers1 is well known
 to visitors to our ,national ,gallery4 

,the      figures have been identified  
by some authorities as ,jean de         
,dinteville and ,george de ,selve1 one  
was the ,french ,ambassador      to     
,king ,henry's ,court1 the other a great
 scholar who also served      diplomacy4
 ,both died young4 ,the picture has     
roused controversy1      as certain     
writers are of opinion that the subjects
 are ,henry      and ,philip1 ,counts   
,palatine of the ,rhine4                
,illustration      ,some men are echoes 
of their own time4 ,circumstance has    
made them what  they are2 their work1   
however greatly it may please their     
generation1  does nothing to probe the  
future1 to indicate the direction that  
thought  or taste will follow1 nor does 
it set an example for those who are to  
come4 ,hans ,holbein the younger is of  
the smaller and more distinguished      
class that accepts tradition just so far
 as it is useful or indispensable1  and 
can face the problems of changing       
seasons and new thought with perfect    

confidence and unerring instinct1       
finding no terror in change4 ,his father
  was an artist1 and this fact would    
seem to have marked out his path  in    
life4 ,but1 considering the work he did1
 in its extent and quality1  we have    
every reason to believe that the artist 
was born to succeed1  and that had he   
been an engineer1 a general1 or a       
statesman1 he would  have left the same 
indelible mark upon his generation1 and 
would have  been remembered with        
gratitude and admiration by those who   
came after  him4 ,for he was the strong 
man armed at all points1 who chose to be
 an  artist1 though many another path   
before him would have led to fame4      
,it is not difficult1 if one has a      
certain measure of talent1 to impose    
upon one's contemporaries4 ,criticism is
 seldom exhaustive or final  until time 
has taken its stand between man and his 
labours1 adjusting  the earlier         
perspective that is seldom correct and  
never exact1 but with  ,holbein the case

 was different4 ,his generation         
recognised a genius to  which we pay    
tribute after #cej years have passed    
away4    ,i could make six peers out of 
six ploughmen1 said ,henry ,,viii41 who 
was no mean judge2 but out of six peers 
,i could not make one ,holbein4    ,we  
who come to pay our tribute of          
admiration so long after opinion1  good 
or bad1 has ceased to concern the       
artist1 are at no small  disadvantage4  
,we can learn little or nothing about   
the personal details  of his life2 the  
year of his birth and even the place are
 in dispute1  while between the various 
authorities who deal with the date of   
his death  there is a difference of no  
less than twelve years1 although the    
balance  of evidence is greatly in      
favour of the earlier date and shorter  
life4  ,moreover1 a great part of the   
artist's output is lost4 ,in these days1
  when the work of old masters is being 
discovered so frequently1 and  many a   
forgotten chef d'oeuvre is being rescued

 from oblivion1  there is every reason  
to hope that the future has something   
valuable  in store for us4 ,but we know 
that1 as far as this country is         
concerned1  much of the labour of       
,holbein's hands has passed beyond      
recall4 ,during  the ,commonwealth many 
of the artist's pictures were sent to   
the  ,continent1 the great fire in the  
,whitehall destroyed some priceless     
works1 and the drawings that attract so 
many artists to ,windsor have had  a    
very chequered career4 ,as far as we can
 learn1 they were collected  in the     
first place by ,king ,edward ,,vi41 and 
were then sold in ,france1  where their 
owner sold them back to ,charles ,i41   
who1 in his turn1  disposed of them to  
the ,earl of ,pembroke1 from whom they  
passed to  the ,earl of ,arundel1 who   
disposed of them to ,king ,charles      
,,ii41 who was  probably advised in the 
transaction by ,sir ,peter ,lely4 ,then 
they were  taken to ,kensington ,palace1
 thrown into a drawer and forgotten     

until1  in the time of the ,georges1    
,queen ,caroline discovered some and    
,king  ,george ,,iii4 found the rest4   
,when ,queen ,victoria ruled over us the
 ,prince  ,consort gave these           
masterpieces their present frames and   
places1 and we  may presume that they   
will never be disturbed4 ,it is not     
unreasonable  to suppose that the       
experience of this famous collection is 
typical  of that which has befallen many
 other works from the same hand4 ,our   
interest in fine art is comparatively   
modern2 only in the last hundred  years 
have the rank and file of cultured1     
wealthy1 or leisured people  bethought  
them of the great treasures that lay    
neglected in the highways  and byways of
 big cities2 and we must not forget that
 damp1 neglect1  and indifference are   
troubles that have a very serious and   
unfavourable  effect upon works of art4 
,the favour extended to a fine picture  
must be  enduring1 nor will ten         
generations of careful attention atone  

for ten  years of bad housing and       
neglect4    ,we owe a great deal to     
,holbein1 because he was one of the few 
great  painters of the sixteenth century
 who pictured the commercial age that   
others had held in contempt4 ,he seems  
to have seen that ,europe had  reached  
the parting of the ways1 and that war   
was no longer to stand  as the greatest 
interest of national life4 ,to realise  
how the temper  of the world has        
changed1 we need do no more than        
remember that if the  sword is drawn in 
the twentieth century it is in the      
service of commerce4    ,the            
,renaissance that worked so many wonders
 in ,italy opened ,holbein's  eyes and  
broadened his point of view1 but after  
the first few years  he turned aside    
from the ,italian influence and looked  
upon the life  around him with eyes that
 had been aided rather than blinded by  
the  bright light that shone over       
,milan1 ,florence1 and ,venice4 ,he was 
a  realist with an exquisite sense of   

proportion1 and a definite certainty  of
 intention and expression1 that kept him
 from playing tricks with his  art4 ,as 
great opportunities came to him1 he took
 such complete advantage  of them that  
to-day we may turn to his work and read 
in it the history  of his own           
fascinating times4 ,he has left us a    
gallery of the people who  ruled a      
considerable section of middle and      
western ,europe in the first  half of   
the sixteenth century1 when the near    
,east was still untouched  by ,christian
 civilisation1 and few artists looked   
beyond the ,adriatic  for sitters or for
 patronage4    ,no small part of the    
,tudor period lives again under         
,holbein's hand4 ,he  gives us the vivid
 and enduring impression of an age that 
had found  itself1 and his subjects walk
 with fact1 just as the creations of his
  great contemporary ,albert ,drer had  
walked with fancy4 ,as he saw them so   
he portrayed them1 and history brings no
 charge of flattery against him  save in

 the case of ,anne of ,cleves1 whose    
portrait he painted for ,king  ,henry   
,,viii4 before that much married monarch
 had seen her4 ,here he is  said to have
 been guilty of flattery1 but it was    
generally believed at  the time that    
,thomas ,cromwell1 who was his patron   
and had commissioned  the portrait1 was 
responsible for it4 ,the fact that ,king
 ,henry himself  accepted this view1 and
 that ,cromwell suffered for it1        
suggests that  there must be no little  
foundation for the story1 though the    
king  certainly understood the worth of 
a great artist too well to quarrel  with
 him4      ,,plate ,,iii4--,,portrait   
,,of ,a ,,man    7,in the ,imperial     
,gallery1 ,vienna7        ,research has 
not availed to identify this man1 who   
sits at a table1      book in hand1     
though he has a commanding personality4 
,few artists      have left more        
portraits beyond the reach of           
identification      than has ,holbein4  
,other remarkable but unnamed studies   

are to      be found in ,basle and      
,darmstadt1 at the ,berlin ,royal       
,museum1      at ,windsor ,castle1 and  
elsewhere4    ,illustration      ,apart 
from this work1 we look to ,holbein for 
a long roll of kings1  princes1         
churchmen1 statesmen1 doctors1 lawyers1 
men of letters1  reformers1 and social  
celebrities all in their habit as they  
lived1  and vested with the dignity that
 seems to have been an integral part of 
the ,tudor period4 ,it would seem to    
have been a curiously practical and     
business-like age1 with rather less     
imagination than we associate with      
,elizabethan times4 ,in dealing with one
 and all of his varied sitters1  the    
painter seems to have preserved the     
essential characteristics1  and1 if we  
must admit the ,holbein touch1 there is 
at least no ,holbein  type4 ,he started 
his work under the influence of the     
,renaissance1 and  with an almost       
childish delight in decorative effects4 
,as he progressed  he threw aside one by

 one the details that he had ceased to  
regard as  essential1 until in the end  
he could express everything he saw in   
the  simplest possible manner1 without  
any suggestion of superfluity or        
redundancy1 without concession to the   
merely superficial side of              
picture-making that stood lesser men in 
good stead4 ,the extraordinary  success 
of his portraiture is best understood   
when we learn that for  most of his work
 he did not trouble sitters after the   
modern fashion4  ,they sat to him for a 
sketch1 and then he took the sketch away
 with  him and produced in due course   
the finished portrait4 ,when we look at 
the portraits in the great ,european    
galleries1 at ,windsor or ,basle1  the  
,louvre or ,munich1 we may be astonished
 that such results should be  achieved  
from mere sketches4 ,but the study of   
these sketches themselves  avails to    
explain much2 and as there are more than
 eighty of them at  ,windsor1 and these 
have been reproduced very finely in     

several volumes1  the lover of ,holbein 
has no occasion to leave this country in
 order to  understand the technique of  
this branch of the master's work4       
,naturally  an artist is judged very    
readily by his efforts in portraiture1  
for they  are the things that appeal    
most readily to the eye2 but in the case
 of  ,holbein1 who would have been a    
great master if he had never painted a  
portrait1 it is well to look in other   
directions for evidences of his  many   
gifts4 ,what manner of man he was1 how  
and when he lived and died1  is1 as we  
have hinted already1 a matter of        
conjecture2 and in setting  down the    
facts of his life that are generally    
accepted1 it is necessary  to admit     
reservations at short intervals4 ,of    
course1 we would give much  to know the 
full story of his progress1 to learn the
 conditions under  which some of his    
most notable achievements were          
accomplished1 to catch  some really     
reliable glimpses of his domestic life1 

but in all these  matters we have       
nothing but stray facts and countless   
conjectures4  ,even the portrait in     
,basle that is said to stand for him is 
a doubtful  authority1 because it is not
 clear from the original inscription    
whether it is of ,holbein or by         
,holbein4 ,we know that he painted it1  
but we do not know whether he was       
painting himself4 ,happily1 perhaps1    
the satisfaction of this curiosity1     
though it be human and reasonable       
enough1 is not of the first importance4 
,it may suffice us amply that  the great
 artist left many and varied monuments  
of his achievements1  and that the most1
 or very many1 of these are open to our 
inspection  to this day1 that they have 
preserved their quality and their power 
to  teach as well as to charm succeeding
 generations4          ,,ii    ,,the    
,,artist',s ,,life      ,if we may      
accept the balance of evidence1 ,hans   
,holbein was born in the  last years of 
the fifteenth century in ,augsburg1 then

 a city of great  importance4 ,the      
visitor to ,bavaria to-day will find few
 traces of its  vanished prosperity1 but
 in the years when ,hans ,holbein was a 
little boy  ,augsburg held merchant     
princes by the dozen1 and men of        
distinction by  the score1 and enjoyed  
the favour of the ,emperor ,maximilian1 
himself no  mean patron of the arts4 ,in
 such a city at the beginning of the    
sixteenth  century there would have been
 a certain community of interest between
  the leaders of state1 commerce1 and   
religion1 who1 keenly conscious  of the 
honour that had come to ,italy through  
the ,revival of ,learning  and the      
practice of the arts1 would do all that 
in them lay to devote a  part of their  
wealth and leisure to placing their city
 in an honourable  position4 ,civic     
pride was rampant throughout the great  
cities of ,europe  in the ,middle ,ages1
 and ,augsburg was no exception to the  
rule4 ,holbein's  father1 whose work may
 be studied to great advantage in       

,berlin1 was an  artist of repute4 ,he  
belonged to the ,guild of ,painters that
 had been  successfully established in  
the city1 and enjoyed the patronage of  
the  leisured classes to an extent that 
brought a measure of prosperity to  all 
its members4 ,the practice of the arts  
was comparatively new to  ,augsburg1 and
 doubtless the story of ,italian        
prosperity had lost nothing  on its     
journey across the ,tyrol4 ,the         
,bavarian city would expect its         
prosperous ,guild to achieve            
distinction1 and was ready and able to  
respond to progress1 so that the        
conditions were very favourable to      
endeavour and to success4 ,every great  
city sought to achieve renown by        
raising in its midst1 or attracting to  
its circle1 scholars and artists  of    
world-wide repute4 ,hans ,holbein had a 
double advantage4 ,not only was  the    
time ripe for his achievements1 but the 
family surroundings were  of the kind   
calculated to develop his powers early4 

,his father1 nephew1  and brothers were 
painters1 and from his earliest years he
 would have  been brought into intimate 
touch with the life and work of artists4
  ,he would have had access to the hall 
of the ,painters' ,guild1 where as  much
 as could be secured of the world's fine
 work was to be seen4 ,the  ,guild was  
the centre of a great city's            
enthusiasms2 the work was  criticised   
and studied4 ,great financiers of       
,augsburg brought artists  and craftsmen
 from other towns1 and it is safe to    
assume that the best  of them would have
 been found in the hall of the ,guild   
from time to time  exhibiting their own 
work1 and telling an interested         
gathering of the  wonders of other      
cities in days when the journey across  
the frontiers of  one's own country was 
not to be safely or lightly undertaken4 
,the elder  ,holbein would have         
introduced his son into the best        
artistic circles  of his time and place2
 for although he does not seem to have  

been the  leading artist of his city1 he
 received important commissions from the
  religious houses1 and the collection  
of sketches in the ,berlin ,national    
,gallery shows how much the son owed to 
the father1 and what a clever  fellow   
the father was4      ,,plate            
,,iv4--,,jane ,,seymour    7,in the     
,imperial ,gallery1 ,vienna7            
,this portrait is one of the            
masterpieces of the ,vienna ,gallery4   
,the queen is painted almost life size1 
and wears a dark red dress      over a  
petticoat of silver brocade4 ,the       
marvellous complexion for      which she
 was noted and the fine jewels she wore 
are rendered      with rare skill by the
 painter4    ,illustration              
,unfortunately history has nothing to   
tell us of the boyhood of young ,hans1  
though we may gather that his father was
 in straitened circumstances and  not on
 the best of terms with members of his  
family who were better off  than he4    
,perhaps we may assume that the res     

angusta domi turned young  ,han's steps 
from his father's house while he was yet
 little more than a  boy1 for when he   
could have been no more than seventeen1 
and was perhaps  younger1 he and his    
brother ,ambrosius would seem to have   
left ,augsburg  for ,basle1 where so    
much of his work is to be found to-day4 
,here in  his first youth he painted a  
rather poor ,madonna and ,christ1 which 
was  discovered little more than thirty 
years ago after centuries of neglect1   
and is remarkable chiefly for the tiny  
,renaissance cherubs on the frame1      
figures painted with so much freshness1 
ease1 and vigour that one is  inclined  
to overlook the poor quality of the     
picture they enshrine4 ,it  would seem  
that at the time when this work was     
painted the elder ,holbein  had taken   
his family from ,augsburg to ,lucerne1  
and that he was at once  admitted to the
 ,painters' ,guild there4    ,it was    
well for ,holbein that he selected      
,basle as a place of residence1  for the

 chances of his life threw him at a very
 impressionable age into  the company of
 men who found a fresh field for his    
talents1 and widened  very considerably 
the scope of his achievement4 ,he was   
not destined to  remain constant to     
painting4    ,in #aeae ,frobenius and   
,amerbach the great printers were at    
,basle1  ,erasmus had been and gone1 and
 ,frobenius must have been attracted by 
some of the clever sensational work with
 which ,holbein made his artistic       
debut1 for when the third edition of the
 famous ,breve ad ,erasmum was          
published by ,frobenius1 the title-page 
was designed by ,holbein4 ,he was  not  
turning his attention to this class of  
work to the detriment of  others1 for we
 associate with the stay in ,basle some 
half-dozen of the  second-rate efforts  
in paint of a man who is striving to    
find himself  and is at the stage in his
 life where he is little more than the  
echo  of greater men who have influenced
 him4 ,holbein was already a man of  all

 art work2 he prepared the title-page of
 ,sir ,thomas ,more's ,utopia1  and     
painted religious pictures or table tops
 with equal assurance and  facility4 ,he
 was never one of the young men with a  
mission who shun  delights and live     
laborious days working from dawn to dusk
 in pursuit  of an ideal1 and wake one  
morning to find ,fame has arrived       
overnight4  ,and yet on a sudden he     
found himself1 as his sketches for the  
portrait  of ,jacob ,meier and ,dorothea
 ,kannegiesser testify4 ,darmstadt and  
,dresden  hold the ripe fruits of his   
friendship with ,jacob ,meier1 and it   
would  seem that his earliest commission
 there served to bring him the measure  
of inspiration that lifts uncertain     
talent to the height of a great         
achievement1 never to fall back to the  
ranks of those who struggle year  in    
year out1 achieving nothing of permanent
 value4 ,certainly he was well  served  
by his sitters1 for the man and the     
woman seem to have been born  to be     

painted4      ,,plate ,v4--,,anne ,,of  
,,cleves    7,in the ,louvre7           
,this is the portrait that ,holbein was 
said to have made too      flattering1  
at the instance of ,thomas ,cromwell4   
,if the story be      true1 this        
unfortunate consort of ,henry ,,viii4   
must have been      singularly homely in
 appearance4 ,this oil-painting on      
vellum      reproduced here gives the   
suggestion of a woman who could not     
have roused interest in anybody1 and the
 peculiar quality of      something akin
 to inspiration that ,holbein brought to
 nearly      all portrait painting is   
conspicuous by its absence4             
,illustration      ,we do not know what 
followed when ,holbein had found        
himself4 ,it is stated  by some         
authorities that he left ,basle for     
,lucerne1 where he had some  trouble    
with the authorities1 and did a certain 
amount of decorative  work4 ,altdorf is 
named as a city in which he resided for 
a time1 and  it is suggested1 not       

without justification1 that he went into
 ,northern  ,italy and studied some of  
the master-works of the ,renaissance4   
,but by the  time he had reached man's  
estate he had returned to ,basle1       
bringing with  him a reputation that he 
was destined to develop steadily for the
 rest  of his life1 and hand down to    
posterity to be the glory of ,german    
art4    ,his history after being lost   
for a time finds some record in #aeai1  
when he was admitted to the ,art ,guild 
of ,basle1 and a year later he  became a
 free man of the city and married a     
widow with two children4 ,her  portrait 
may be seen in ,basle to-day1 and there 
is one that is said to  stand for the   
painter himself1 also a work of his     
hand4 ,the drawing  depicts a strong    
man1 who looks out upon the world with  
serene  consciousness that he can play a
 full and worthy part in it4    ,when he
 was a married man and a citizen of     
,basle1 ,holbein developed  to a very   
considerable extent his earlier         

acquaintance with the  ,humanists4 ,his 
work was always at the service of the   
great printers1  and1 not unnaturally1  
the authors who were in touch with them 
took an  interest in the young artist   
who added so much to the attractions of 
their books4 ,his religious feelings we 
do not know1 but he associated  himself 
with the publication of certain         
,lutheran pamphlets of marked           
scurrility1 and would seem to have taken
 his full share in the contest  between 
the ,reformers and their opponents4 ,the
 history of the differences  that       
ultimately drove ,erasmus from the city 
is full of interest and  instruction1   
but the limits of space forbid the      
disgression necessary  to deal with     
them4 ,erasmus lives for us in several  
portraits by ,holbein1  and there can be
 no doubt but that association with the 
leading literary  men of the city must  
have done a great deal to develop in the
 painter  the measure of culture that   
was to serve him in good stead when he  

left  the city of ,basle for places more
 important and the service of exalted   
patrons4 ,his designs for wood          
engravings in the years following his   
marriage are of the first importance1   
and include the famous ,dance of  ,death
 series4 ,he painted among many works of
 the first class a portrait  of his     
patron ,boniface ,amerbach1 the famous  
,dead ,man1 said by some  to be a       
picture of the dead ,christ1 a portrait 
of ,erasmus and the  ,zetter ,madonna4  
,of these the ,dead ,man is in ,basle1  
one of ,erasmus  is there1 and another  
is in the ,louvre1 while the ,zetter    
,madonna  is at ,soluthurn4 ,of course  
he did a great deal of work that cannot 
be enumerated here--work of the most    
varied description and almost  unvarying
 excellence1 and it is clear that he    
owed not a little of his  achievement to
 the steadiness of his labours4 ,we may 
reasonably suppose  that some of the    
output is lost1 but what is left to this
 day in ,basle  amazes us4 ,the ,museum 

is a monument of his talent and         
industry4 ,half  faded frescoes1 panel  
paintings1 subject pictures1 portraits1 
drawings1  studies of costume1 the eight
 scenes of the ,passion--there is enough
  in the ,museum to console the stranger
 for all the season of his stay  in a   
singularly unattractive city4 ,we owe   
the existing collection in  a very large
 extent to ,boniface ,amerbach1 the     
artist's friend and early  patron1 who1 
recognising the permanent value of his  
output1 collected  all he could secure1 
and established the nucleus of a        
collection that  forms to-day ,basle's  
chief claim to distinction4 ,if others  
had been  equally far seeing1 many a    
treasure now lost or destroyed would    
remain  to inspire and to teach2 but we 
must be content with the thought that   
the work lost through carelessness was  
probably not the best1 and for  the rest
 fire and ,puritans are jointly         
responsible1 and it is impossible  to   
argue satisfactorily with either4       

,fame travelled slowly in the sixteenth 
century1 but it had not so far to  go as
 it must to-day4 ,the art centres were  
small and few1 they belonged            
exclusively to the western world1 and   
there were no swarms of influential     
mediocrities to secure work that        
belonged of right to better men4 ,then  
again1 even in those days1 when war was 
still considered in certain  quarters to
 be the only occupation for a gentleman1
 art knew no boundaries  in the         
civilised world1 and the artist1 as a   
valued contributor to the  beauty of    
life1 could pass through countries in   
which his countrymen  of other pursuits 
would have received scant welcome4 ,of  
course there  were exceptions to this   
general rule1 and curiously enough      
,basle1  in which the ,lutherans were   
gaining ground so rapidly1 had become an
  impossible place for ,holbein by the  
summer of #aebf4 ,moreover1 there was   
trouble with the famous or notorious    
,dorothea ,offenburg1 who would  seem to

 have been a mistress of the painter4   
,apparently his marriage  was dictated  
more by convenience than affection1 and 
the catholicity  of his taste was not   
limited to things of art4 ,holbein      
painted the  fair ,dorothea twice1      
apparently in #aebf1 once as ,venus and 
once as  ,lais of ,corinth4 ,each       
portrait may be seen in the large salon 
of the  ,museum1 and the attractions of 
the lady must have been more apparent   
to the painter than they are to us4     
,some say that it was his desire to     
flee from before the face of his        
inamorata that turned ,holbein's feet   
towards ,london1 others that it was the 
strength of the ,lutheran movement  that
 made men look askance at the arts4 ,be 
that as it may he came to  town1 and    
,basle's loss was ,england's gain4      
,it may be remarked here1 that while    
,holbein's long stay in ,basle had  not 
been interrupted1 there is evidence to  
suggest1 if not to prove1  that he      
followed ,amerbach to ,france4          

,doubtless his position enabled him  to 
gratify any reasonable desire to travel2
 and in houses long since  demolished1  
for families long fallen from their high
 estate if not  altogether lost1 he may 
have painted portraits and decorated    
private  chapels or turned his rare gift
 as miniaturist to good account4 ,no    
flneur on the high-road of              
sixteenth-century life1 no chronicler   
of the times and changes of his         
generation1 has anything to record1     
because the world then took no count of 
the coming or going of the great  men   
who claimed fame through the arts4      
,,plate ,,vi4--,,erasmus    7,in the    
,louvre7        ,this marvellous piece  
of portraiture dates from the year      
#aebc4      ,holbein painted many       
portraits of his friend and patron1 and 
at      least three belong to this year1
 one being at ,longford ,castle4      ,a
 study for the one reproduced here may  
be seen in the ,basle      ,museum4 ,the
 great scholar is treated with a        

master-hand4 ,pallid      skin1 greying 
hair1 dark clothes1 and brown panelling 
go to the      making of wonderful      
colour harmony4    ,illustration        
,,iii    ,,holbein ,,in ,,england       
,if we cannot say with any certainty why
 ,holbein came to ,england1 we may  at  
least presume that ,sir ,thomas ,more   
was his earliest patron in these        
islands1 and his famous ,household of   
,sir ,thomas ,more would seem to  have  
been the first intimation to a          
considerable section of ,english art    
lovers that a new light had arisen4 ,it 
was of course most fortunate for  the   
painter that he could command the       
attention of the highest in the  land   
with his first serious effort1 for the  
future was at once assured2  and if it  
was well for the painter1 it is better  
still for us4 ,how many  notable men has
 he rescued from the comparative        
oblivion of the printed  record8 ,in how
 many cases has he helped us to correct 
or justify the  impressions of the      

historian8 ,the human face tells its own
 story1 and1  when it is set down by a  
master-hand1 we know something at least 
of  the brain that worked behind it4    
,holbein was a realist4 ,it was no part 
of his artistic intention to make a     
portrait a mere beautiful picture1  to  
treat his subject pictorially in fashion
 that would flatter a sitter's  vanity4 
,perhaps he had not the dangerous       
quality of imagination that would  make 
such a procedure possible4 ,he saw      
clearly1 fully1 dispassionately1  and   
set down on paper or canvas just what he
 had seen--neither more  nor less4 ,even
 the ,renaissance decorations that had  
delighted him as a  boy were laid aside 
long before he came from ,basle to      
,london1 and such  mere cleverness as he
 permitted himself was done obviously   
enough to  attract custom1 and was to be
 seen in the skilful composition of his 
portrait groups4 ,he was a hard-headed1 
serious artist1 and appealed to  a      
singularly level-headed generation1 that

 had not been educated up  or down to   
the special genius of the ,renaissance  
portrait painters of  ,italy4 ,for in   
spite of the exquisite and well-nigh    
inimitable quality  of the ,italian     
masters1 their work would have seemed   
rather exotic in  our colder clime4     
,moreover1 the days of revolt against   
the spirit that  so many of them        
expressed were upon the land4    ,we    
cannot say with any certainty when or   
why ,holbein decided to try  his fortune
 in ,england4 ,it is likely that one of 
the ,english noblemen  travelling on the
 ,continent1 the ,earl of ,surrey or the
 ,earl of ,arundel1  was the first to   
advise him to visit this island2 and    
when the troubles  that beset art in    
,basle made a change imperative1 the    
painter applied to  ,erasmus for        
introductions and received one to ,sir  
,thomas ,more1 to whom he  was advised  
to take one of his portraits of ,erasmus
 as a sample of his  talent4 ,apparently
 the good folks of ,basle were a little 

startled1 and  even vexed1 to find that 
their premier artist was leaving them4  
,they are  said to have put obstacles in
 the way of his departure1 but he would 
not  be denied4 ,holbein travelled by   
way of ,antwerp1 attracted by the works 
of ,quentin ,matsys1 and in #aebf he    
reached ,london1 presented himself  to  
the ,chancellor1 and made such a        
favourable impression that he was       
received forthwith and installed in his 
home at ,chelsea4 ,his gratitude  was   
expressed quickly and significantly4    
,sir ,thomas himself was the first  in  
the long roll of distinguished men who  
have perhaps obtained a larger  measure 
of immortality from ,holbein's brush    
than from the work of their  own hands4 
,but for ,erasmus and ,lord ,surrey1 the
 painter might have languished for  lack
 of opportunity to show his powers4 ,he 
might even have returned to  the        
,continent1 where his varied gifts      
commanded a certain market1 and in  that
 case the long roll of ,tudor worthies  

would not have been preserved  to us1   
and the bright light that he has thrown 
upon a fascinating period  of our       
history would have been lost4 ,but the  
,chancellor himself1 apparently  no mean
 judge of good work1 moved in the centre
 of the most select  and refined circle 
in ,christendom1 and as soon as he had  
expressed  his satisfaction with the    
painter's work there was no lack of     
sitters4 ,perhaps an artist would say   
that the quality of the sitter's  face  
does not matter1 and that personality is
 of small account1 but  from the        
layman's point of view this is not the  
case4 ,the born ruler1 the              
administrator1 scholar1 soldier1 poet1  
must be more interesting to most of  us 
than the person whose only qualification
 for an appearance on canvas  is the    
capacity to pay for it4 ,holbein's      
sitters were worthy of his  brush1 and  
between #aebf and #aebi the artist made 
an enduring reputation  in ,london1     
where1 according to some at least of his

 chroniclers1 he  came under the notice 
of ,king ,henry1 although he does not   
appear to  have done any work for him on
 the occasion of his first visit4       
,the sojourn of nearly three years      
completed1 the painter returned to  his 
home in ,basle1 and occupied himself in 
that city until #aeca4 ,he  would seem  
to have made up his mind to try the     
,continent again before  yielding to the
 invitations he had received in         
,england4 ,then again he  had domestic  
affairs to settle1 and they were not of 
the easiest1 for  his wife had certain  
good reasons to feel aggrieved1 and     
,holbein did  not regard constancy as   
one of the indispensable conditions of  
married  life4 ,in order that he might  
not be troubled overmuch on his return  
to  our shores1 he decided to leave his 
wife and family in ,basle1 where he     
left provision for all their wants4 ,he 
never failed to look after his  children
 and do his best for them4 ,in days when
 there was neither regular  postal      

service nor telegrams nor newspapers1 he
 could live his own life  without fear  
of any remonstrances2 and we know enough
 of his progress  in these islands to be
 satisfied that1 had he brought his wife
 over1  she would have had sound and    
sufficient reason to complain4 ,the     
religious squabbles in ,basle would seem
 to have made it hard for  any artist to
 earn a living1 and between the dates of
 his return and  his second visit to    
this country he found little work for   
his brush4  ,happily he was equipped in 
every branch1 and as his work as a      
painter  was not in great demand1 he    
went to the gold workers and the        
printers1  and did not go to them in    
vain4 ,they were happy enough to employ 
him1  and work that he executed at this 
period of his career is one of the      
prizes of the collector and the         
connoisseur4      ,,plate ,,vii4--,,sir 
,,richard ,,southwell    7,in the       
,uffizi ,gallery1 ,florence7            
,this striking portrait of one of       

,holbein's contemporaries is      one of
 the best examples of the master's work 
in ,italy4 ,a study      for the        
finished picture may be seen at         
,windsor1 and there is      another copy
 in the ,louvre4 ,it was ,sir ,richard  
,southwell who      did much to bring   
about the fall of ,sir ,thomas ,more4   
,illustration      ,when in #aeca the   
painter returned to ,england he could   
stand alone1 and  this was well for him1
 since ,sir ,thomas ,more was born to   
learn that  the favour of princes is not
 remarkable for a quality of permanence4
  ,there would seem to have been no lack
 of work for ,holbein as long as he     
lived4 ,here we may remark that the date
 of his death is in dispute1  some      
authorities placing it as early as      
#aedc1 while others grant him  another  
eleven years--a very valuable concession
 to any poor mortal1  but one that the  
,fates do not appear to have granted1   
#aedc being the  probable date of his   
death1 and the ,plague the cause4    ,he

 was not satisfied with portraits for   
long4 ,the ,steelyard1 of which  we     
shall soon speak at length1 gave him    
subject pictures to paint4  ,king ,henry
 took him into his service with a       
retainer of #cj a year1  no             
inconsiderable sum in those days1 and   
payment for all works done1  and he soon
 became a painter of the pictures that  
are produced to  commemorate state      
occasions4 ,happily he painted them     
better than some  more modern men have  
been able to4 ,it is hardly a reproach  
to a man  that he cannot invest with    
special interest a picture that is to   
all  intent and purpose composed for    
him1 a canvas on which the figures must 
be handled less with regard to          
composition than precedence1 and really 
,holbein did very well4 ,his education  
was certain to tell in his favour2  he  
began to enjoy the fruits of his        
association with the ,humanists4 ,great 
painters employed at ,european ,courts  
enjoyed a certain ambassadorial  rank3  

the interest taken in art was so        
considerable1 that the gift of  a       
picture by a great artist was as fine a 
present as could be given  or received1 
and when artists were sent to foreign   
courts they were  often entrusted with  
missions not associated directly or     
indirectly with  their profession4      
,to be sure1 ,holbein did not hold the  
same high position that fell to  ,peter 
,paul ,rubens1 but he was entrusted on  
two occasions with missions  of a very  
delicate character1 being instructed to 
paint the portraits  of ladies whom the 
king had married or was prepared to     
marry4 ,the  ,dowager ,duchess of ,milan
 was one of the few who declined to     
become  ,queen of ,england1 and ,anne of
 ,cleves was one who was less           
discriminating4  ,there can be no doubt 
that ,holbein's capacity for expressing 
strength  in the most delicate fashion  
imaginable appealed very strongly to his
  sitters4 ,the rugged character of one 
man's head1 the delicate lines of  a    

woman's face1 could be expressed without
 violence in the one case or  excess of 
sentiment in the other1 and he does not 
seem to have done more  than present his
 sitters in their most attractive       
aspect1 and with due  regard to their   
salient characteristics4 ,he did not    
flatter and he did  not shock1 but would
 seem to have found something at once   
pleasant and  true to express about all 
his sitters4    ,although it does not   
seem unreasonable to believe that       
,holbein would  have lacked work on his 
return to ,england1 even if the social  
troubles  of the time had been even     
greater than they were1 it must be      
admitted  that the painter was very     
fortunate in securing the patronage of  
the  ,steelyard1 the great ,german or   
,anglo-,german trading company          
established  on the banks of the        
,thames4 ,it was associated with the    
,hanseatic  ,league2 its buildings      
extended over a large part of the city  
in the  neighbourhood of ,thames ,street

 and ,cannon ,street2 its members had a 
,guildhall with beautiful garden in a   
place where ,london is almost at  its   
ugliest to-day1 and the ,steelyard      
,tavern was a very noted house4 ,to  the
 ,steelyard came all the traffic of the 
,orient1 all the spices of the          
merchant4 ,as much of ,europe as had the
 desire to trade with ,england--then    
only a second-rate power--relied largely
 upon the agency of the ,steelyard4     
,the ,corporation that governed the     
undertaking would seem to have been a   
very capable body1 and in return for the
 privileges granted to it by  successive
 rulers1 every member was sworn to play 
a man's part in the  defence of ,london4
 ,we have nothing like the ,steelyard in
 ,great ,britain  to-day1 but the ,east 
,india ,company probably had much in    
common with it2  and had ,rhodesia      
proved worthy of the highest hopes      
entertained by its  founder1 the        
,chartered ,company might have been     
conducted on similar  lines4 ,such      

associations are apt to spring up when  
an old country  discovers a new one4    
,german trading associations were as    
pushful in  ,renaissance times as they  
are to-day1 and more artistic4 ,it      
should  be remembered that ,bellini1    
,titian1 and ,tintoretto worked for     
,german  merchants in ,venice4    ,when 
,holbein came back to ,london to find   
,warham and ,colet dead1 and ,sir       
,thomas ,more1 with but a little space  
of life left1 retiring from the  high   
office of ,chancellor1 he seems to have 
found new friends in the  ,steelyard2   
and perhaps because he was anxious to   
establish a position  among the members 
of the richest trading guild of his     
time1 he seems to  have devoted a great 
deal of care and time to his            
world-famous portrait  of ,george       
,gisze1 one of the merchants of the     
,steelyard4 ,the picture1  in an        
admirable condition of preservation1 is 
to be seen in the ,berlin  ,gallery1 and
 is one of the richest1 most decorative 

portraits ever  painted by the artist4  
,it will be found reproduced in these   
pages1 and  perhaps there will be some  
who will wonder whether the artist did  
not  work deliberately to interest and  
astonish his new clients1 and whether1  
for that purpose1 he did not depart from
 his usual reticence and good  taste4   
,the portrait of ,gisze himself1 a      
handsome man1 wearing a bright  scarlet 
doublet under a black cloak1 is         
admirable1 it arrests and holds  the    
attention4 ,but the heterogeneous mass  
of accessories startles and  tires the  
spectator4 ,vase and flowers1 scissors1 
book1 scales1 letters1  golden balls1   
inscription1 keys1 watches1 seals--there
 seems to be no  limit to the material  
with which ,holbein has loaded his      
canvas1 and the  accessories are all so 
well painted that they seem to be       
wasted4 ,there  is no reason to doubt   
that ,holbein was deliberately painting 
a picture  for purpose of advertisement1
 and that he intended to make his appeal

  to a class that1 for all its business 
acumen and commercial intelligence1  was
 not on the same intellectual plane as  
the men of ,sir ,thomas ,more's  world4 
,,plate ,,viii4--,,sir ,,henry ,,wyatt  
7,in the ,louvre7        ,this portrait 
of ,sir ,henry ,wyatt1 a bust on panel  
with green      background1 was long    
thought to stand for the painter's      
friend      and patron ,sir ,thomas     
,more1 and it has been left for modern  
research to discover the mistake4       
,holbein painted this portrait          
twice4 ,there is a replica in the       
,national ,gallery of ,ireland4         
,illustration      ,if this was his     
intention1 he can at least plead that it
 was entirely  successful4 ,not only did
 it delight the magnates of the         
,steelyard1  who showered commissions   
upon him as long as he could execute    
them1 it  carried the story of his fame 
to the last corner of the earth where   
the  story of a man's achievement can   
obtain a generous hearing1 that is to   

his own city4 ,burgomaster ,meier zum   
,hirten1 not to be confused with that   
other ,meier who married ,dorothea      
,kannegiesser and looks at us to-day    
from  the walls of the ,basle ,museum1  
wrote to ,holbein in ,london inviting   
him  to return1 with the promise of a   
retainer of thirty gulden annually4 ,but
  the painter had learned that the      
tender mercies of the inartistic are    
cruel1 and he was now beyond the need   
for any of the service that ,basle      
could offer4    ,of ,holbein's work for 
the ,steelyard1 the greater part has    
been lost4 ,it  will be remembered that 
the ,guild fell on troublous times in   
the reign  of ,queen ,elizabeth1 and its
 ,hall suffered a long period of        
neglect4  ,we may say that we should not
 have a very complete knowledge of the  
artist's output had his sketches been no
 better preserved than his  finished    
work4 ,we know1 too1 that the ,council  
of the ,steelyard recognised  in the    
painter of ,george ,gisze a man whose   

attainments covered every  field of art2
 and a year after he had distinguished  
himself in their  service for the first 
time1 he was put in charge of the       
pageant arranged  by the ,steelyard in  
honour of the ,coronation of the        
unfortunate ,anne  ,boleyn4 ,he painted 
the ,triumph of ,riches and ,triumph of 
,poverty  for the ,steelyard1 but       
nothing remains of these pictures save a
 sketch  for the former that may be     
studied to-day in ,paris4    ,whether   
,holbein's work outside the circle of   
the merchants was  the result of his    
earlier association1 or came to him     
through the  intimate connection between
 the great guild and a certain section  
of the  aristocracy1 is a disputed      
point2 but we incline to the belief that
 the  painter's position was fully      
recognised1 and that if work was rather 
slow  in reaching him from the ranks of 
the men he had known on the occasion  of
 his first visit1 the times were to     
blame4 ,statesmen and churchmen  had    

been his patrons1 now they were fighting
 for their lives4 ,but very  soon after 
he had painted the portrait of ,george  
,gisze1 ,holbein gave to  the world the 
famous picture known as ,the            
,ambassadors1 now hanging  in our       
,national ,gallery1 and reproduced here4
 ,the man on the left is  generally held
 to be ,sieur ,jean de ,dinteville1     
,french ,ambassador to the  ,court of   
,henry ,,viii41 and his companion is    
said to be ,george de ,selve1  who was  
,french ,ambassador to the ,court of the
 great ,emperor ,charles ,v4    ,when   
,anne ,boleyn had suffered the fullest  
possible penalty for marrying  ,henry   
,,viii41 ,holbein painted her successor4
 ,he prepared a chalk drawing  of the   
unfortunate ,jane ,seymour and painted  
two portraits from it1  one being in    
,vienna and the other at ,woburn ,abbey2
 and he painted ,henry  himself for the 
,privy ,chamber1 which was burnt out in 
the closing years  of the seventeenth   
century4 ,the usual study in chalks was 

made for this  picture1 and is now in   
,munich4 ,in the ,bodleian ,library     
there is a drawing  by ,holbein of his  
exquisite design for the gold cup that  
was made when  ,edward ,,vi4 was born2  
and as soon as ,jane ,seymour was dead  
the painter  went to ,milan to paint his
 striking portrait of the young         
,christina  of ,denmark1 who was        
,duchess of ,milan1 and a widow at the  
early age of  sixteen4 ,she it is who is
 said to have declined the offer of     
,king ,henry's  hand1 on the ground that
 she had but one head and wished to keep
 it on  her shoulders4 ,so she became   
the ,duchess of ,lorraine instead--small
 blame  to her4 ,we have referred       
already to the portrait of ,anne of     
,cleves1 now  in the ,louvre2 before    
that was painted ,holbein had given the 
world what  is often regarded as his    
greatest effort in portraiture1 the     
portrait  of the goldsmith ,hubert      
,morett1 now to be seen in the ,dresden 
,gallery4  ,for many years this picture 

was supposed to be the work of ,leonardo
 da  ,vinci4 ,it is one of the special  
functions of art criticism to give the  
credit of unknown pictures to ,da ,vinci
 or ,giorgione--apparently to allow  the
 next generation of criticism to take   
that credit away again4 ,one may  remark
 in passing that ,leonardo da ,vinci has
 fared very badly of late1  but         
doubtless he will soon be restored to   
critical favour4    ,thomas ,howard1    
,duke of ,norfolk1 and twice uncle to   
the king by marriage1  was painted when 
,anne of ,cleves had been retired on a  
pension1 and the  star of ,catherine    
,howard was in its brief ascendant4     
,holbein is said  to have painted the   
new queen4 ,there is a miniature as well
 as a chalk  drawing in ,windsor that is
 said to stand for her4 ,and doubtless  
the king  would have continued to find  
new wives1 and ,holbein would have      
continued  to paint them1 but for the   
fact that both king and painter were    
nearing their end4 ,the portraits of the

 doctors of the royal household1  ,dr4  
,butt and ,dr4 ,chambers1 are among the 
last of the great works he              
accomplished4 ,in the month of ,october 
#ahdc1 at the time when the ,plague  was
 in ,london1 the artist made a will     
which was found some years ago  in the  
,city of ,london4 ,by this document     
,hans ,holbein sought to protect  two of
 his illegitimate children of tender    
age1 directing that all his  goods      
should be sold1 and the proceeds applied
 for their benefit as soon  as certain  
debts had been paid4 ,curiously enough1 
we have no means of  finding out who the
 children were1 we do not know the      
mother's name1  all is obscure4 ,but we 
know that ,holbein had settled an       
earlier legacy  upon his wife and       
legitimate issue1 that he had           
apprenticed his eldest son  to a        
jeweller in ,paris1 and that he had     
never been unmindful of his legal       
obligations to his family4 ,for the     
rest1 he had made a hasty marriage  that

 was not founded upon affection so much 
as upon convenience--and it  is not for 
us to judge him save as an artist1 and  
then modestly and with  due thought of  
our own limitations4 ,he was buried     
either in the ,church  of ,st4 ,andrew  
,undershaft or ,st4 ,catherine ,cree2 in
 the hour of his death  there was no    
anxiety to do more than get the dead    
underground as soon  as possible4 ,it   
will be remembered that another of the  
world's great  painters1 ,titian        
,vecelli1 died of the ,plague too1 but  
,titian had reached  a very great age1  
while ,holbein was in the prime of life1
 capable1 had  he been spared1 of much  
more work in every branch of art4    ,he
 worked for about thirty years in the   
light of history for the ,virgin  and   
,child1 the picture with panels in the  
,renaissance mood is dated  #aead1 and  
the picture of ,dr4 ,chambers belongs to
 the early forties4 ,to  sum up his     
known achievements with no more than a  
brief description would  exhaust all the

 pages of this little sketch4 ,his work 
retains much of  its freshness1 although
 time and the restorer have combined to 
do it  wrong2 and there are pictures    
that pass for the work of ,holbein's    
hand1  though it is more than likely    
that he never saw them4 ,he must have   
been  a man of infinite capacity1       
untiring industry1 and considerable     
strength  of character2 he owed little  
to outside help1 for when he left       
,augsburg  for ,basle he was almost     
without friends and influence1 while1   
when he  left ,london for the bourn from
 which no traveller returns1 he had made
  a reputation that has lasted to this  
hour1 and will never be destroyed  while
 western civilisation endures4          
99       99       99       99       99  
,the plates are printed by ,,bemrose    
,,sons1 ,,ltd41 ,derby and ,london      
,the text at the ,,ballantyne ,,press1  
,edinburgh      ,in ,the ,same ,series  
,artist4               ,author4         
,,velazquez4            ,s4 ,l4         

,bensusan4    ,,reynolds4               
,s4 ,l4 ,bensusan4    ,,turner4         
,c4 ,lewis ,hind4    ,,romney4          
,c4 ,lewis ,hind4    ,,greuze4          
,alys ,eyre ,macklin4    ,,botticelli4  
,henry ,b4 ,binns4    ,,rossetti4       
,lucien ,pissarro4    ,,bellini4        
,george ,hay4    ,,fra ,,angelico4      
,james ,mason4    ,,rembrandt4          
,josef ,israels4    ,,leighton4         
,a4 ,lys ,baldry4    ,,raphael4         
,paul ,g4 ,konody4    ,,holman ,,hunt4  
,mary ,e4 ,coleridge4    ,,titian4      
,s4 ,l4 ,bensusan4    ,,millais4        
,a4 ,lys ,baldry4    ,,carlo ,,dolci4   
,george ,hay4    ,,gainsborough4        
,max ,rothschild4    ,,tintoretto4      
,s4 ,l4 ,bensusan4    ,,luini4          
,james ,mason4    ,,franz ,,hals4       
,edgcumbe ,staley4    ,,van ,,dyck4     
,percy ,m4 ,turner4    ,,leonardo ,,da  
,,vinci4    ,m4 ,w4 ,brockwell4         
,,rubens4               ,s4 ,l4         
,bensusan4    ,,whistler4               
,t4 ,martin ,wood4    ,,holbein4        

,s4 ,l4 ,bensusan4      ,in ,preparation
      ,,burne-,,jones4          ,a4 ,lys
 ,baldry4    ,,vig,e ,,le ,,brun4       
,c4 ,haldane ,mac,fall4    ,,chardin4   
,paul ,g4 ,konody4    ,j4 ,f4 ,,millet4 
,percy ,m4 ,turner4    ,,memlinc4       
,w4 ,h4 ,james ,weale4    ,,albert      
,d,,rer4         ,herbert ,furst4       
,,fragonard4            ,c4 ,haldane    
,mac,fall4    ,,constable4              
,c4 ,lewis ,hind4    ,,raeburn4         
,james ,l4 ,caw4    ,,boucher4          
,c4 ,haldane ,mac,fall4    ,,watteau4   
,c4 ,lewis ,hind4    ,,murillo4         
,s4 ,l4 ,bensusan4      ,and ,others4   
99       99       99       99       99  
,transcriber's ,note3 ,the booklist     
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text4