,,hans ,,holbein ,,the ,,younger ---------------------------------------- -------------------------------- ,illustration3 ,,vol4 ,,ii4 ,,frontispiece ,,king ,,henry ,,viii ,,earl ,,spencer',s ,,collection1 ,,althorp ---------------------------------------- -------------------------------- ,,hans ,,holbein ,,the ,,younger ,,by ,,arthur ,b4 ,,chamberlain ,,assistant ,,keeper ,,of ,,the ,,corporation ,,art ,,gallery1 ,,birmingham ,,with #beb ,,illustrations1 ,,including #bd ,,in ,,colour ,,in ,,two ,,volumes ,,vol4 ,,ii ,,new ,,york ,,dodd1 ,,mead ,,and ,,company #aiac ---------------------------------------- -------------------------------- ,printed by ,,ballantyne1 ,,hanson ,,co4 at the ,ballantyne ,press1 ,edinburgh ---------------------------------------- -------------------------------- ,,contents ,,chap4 ,,page ,,xvi4 ,,the ,,merchants ,,of ,,the ,,steelyard #a ,,xvii4 8,,the ,,two ,,ambassadors10 #aecc #cd ,,xviii4 ,,portraits ,,of #aecc-aecf #ed ,,xix4 8,,servant ,,of ,,the ,,king',s ,,majesty0 #ij ,,xx4 ,,the ,,duchess ,,of ,,milan #aad ,,xxi4 ,,the ,,visit ,,to 8,,high ,,burgony0 #ach ,,xxii4 ,,basel ,,revisited #aef ,,xxiii4 ,,anne ,,of ,,cleves3 #aeci #aga ,,xxiv4 ,,the ,,last ,,years3 #aedj-aedc #ahe ,,xxv4 ,,holbein ,,as ,a ,,miniature ,,painter #bag ,,xxvi4 ,,the ,,windsor ,,drawings ,,and ,,other ,,studies #bdc ,,xxvii4 ,,designs ,,for ,,jewellery ,,and ,,the ,,decorative #bfe ,,arts ,,xxviii4 ,,the ,,barber-,,surgeons' ,,picture ,,and ,,the #bhi ,,painter',s ,,death ,,xxix4 ,,conclusion #cab ,,appendix ,a4 ,,early ,,drawing ,,by ,,holbein ,,in ,,the #cbc ,,maximilians ,,museum1 ,,augsburg 7,vol4 i4 p4 #dc7 ,b4 ,,designs ,,for ,,painted ,,glass ,,of ,,the ,,lucerne #cbc ,,period 7,vol4 i4 p4 #gi7 ,c4 ,,early ,,drawings ,,for ,,wall-,,paintings 7,vol4 #cbf i4 p4 #aja7 ,d4 ,,glass ,,designs ,,with ,,the ,,coats ,,of ,,arms ,,of #cbf ,,the ,,von ,,andlau ,,and ,,von ,,hewen ,,families 7,vol4 i4 p4 #ade7 ,,the ,,glass ,,designs ,,of 8,,the ,,passion ,,of #cbg ,,christ0 7,vol4 i4 p4 #aef7 ,e4 ,,the ,,faesch ,,museum 7,vol4 i4 pp4 #hh1 #cbh #aff-h1 #ahj1 and #bci-da7 ,f4 ,,hans ,,holbein ,,and ,,dr4 ,,johann ,,fabri 7,vol4 #ccj i4 p4 #age7 ,g4 ,,the ,,trade-,,mark ,,of ,,reinhold ,,wolfe 7,vol4 #ccb i4 p4 #bjb7 ,h4 ,,nicolas ,,bellin ,,of ,,modena 7,vol4 i4 pp4 #ccc #bhb-d7 ,i4 ,,the ,,more ,,family ,,group 7,vol4 i4 pp4 #ccd #bia-cjb7 ,,the ,,portrait ,,of ,,sir ,,thomas ,,more 7,vol4 i4 #cdj pp4 #cjc-d7 ,j4 ,,holbein',s ,,return ,,to ,,england ,,in #aecb #cdj 7,vol4 i4 p4 #ceb7 ,k4 ,,lord ,,arundel ,,and ,,rembrandt ,,as ,,collectors #cda ,,of ,,holbein',s ,,pictures 7,vol4 ii4 p4 #ff7 ,,the ,,portraits ,,of ,,sir ,,nicholas ,,poyntz #cdb 7,vol4 ii4 p4 #ga-gb7 ,l4 ,,holbein',s ,,visit ,,to ,,joinville ,,and ,,nancy #cdc ,,in #aech 7,vol4 ii4 pp4 #adh-adi7 ,m4 ,,holbein',s ,,studio ,,in ,,whitehall 7,vol4 ii4 #cdd p4 #ahe7 ,,the ,,barber-,,surgeons' ,,picture 7,vol4 ii4 #cdf p4 #bid7 ,,summary ,,list ,,of ,,holbein',s ,,chief ,,pictures ,,and #cdg ,,portraits ,,pictures ,,by ,,and ,,attributed ,,to ,,holbein1 ,,and ,,of #cei ,,his ,,school ,,and ,,period1 ,,exhibited ,,at ,,various ,,exhibitions ,,between #ahdf ,,and #aiab ,i4 ,,the ,,british ,,institution1 #ahdf #cei ,,ii4 ,,art ,,treasures ,,of ,,the ,,united ,,kingdom #cfj ,,collected ,,at ,,manchester ,,in #aheg ,,iii4 ,,special ,,exhibition ,,of ,,works ,,of ,,art1 #cfa ,,south ,,kensington ,,museum1 ,,june1 #ahfb ,,iv4 ,,special ,,exhibition ,,of ,,portrait #cfb ,,miniatures ,,on ,,loan ,,at ,,the ,,south ,,kensington ,,museum1 ,,june1 #ahfe ,v4 ,,first ,,special ,,exhibition ,,of ,,national #cfc ,,portraits ,,ending ,,with ,,the ,,reign ,,of ,,king ,,james ,,the ,,second ,,on ,,loan ,,to ,,the ,,south ,,kensington ,,museum1 #ahff ,,vi4 ,,third ,,and ,,concluding ,,exhibition ,,of #cfg ,,national ,,portraits ,,on ,,loan ,,to ,,the ,,south ,,kensington ,,museum1 ,,april1 #ahfh ,,vii4 ,,royal ,,academy ,,of ,,arts1 ,,winter #cfh ,,exhibitions ,,of ,,works ,,by ,,the ,,old ,,masters1 #ahgj-aiab ,,viii4 ,,grosvenor ,,gallery1 ,,winter ,,exhibition ,,of #cgd ,,drawings ,,by ,,the ,,old ,,masters1 #ahgh-gi ,,ix4 ,,exhibition ,,of ,,the ,,royal ,,house ,,of ,,tudor4 #cgd ,,new ,,gallery1 #ahij ,x4 ,,exhibition ,,of ,,the ,,royal ,,house ,,of ,,tudor4 #cha ,,corporation ,,of ,,manchester ,,art ,,gallery1 #ahig ,,xi4 ,,new ,,gallery1 ,,winter ,,exhibition1 #aija-b4 #chb ,,monarchs ,,of ,,great ,,britain ,,and ,,ireland ,,xii4 ,,loan ,,collection ,,of ,,portraits ,,of ,,english #chc ,,historical ,,personages ,,who ,,died ,,prior ,,to ,,the ,,year #afbe4 ,,oxford1 #aijd ,,xiii4 ,,exhibition ,,illustrative ,,of ,,early ,,english #chd ,,portraiture4 ,,burlington ,,fine ,,arts ,,club1 #aiji ,,xiv4 ,,pictures ,,by ,,or ,,attributed ,,to ,,holbein1 #chf ,,described ,,by ,,dr4 ,,waagen ,,in ,,his 8,,treasures ,,of ,,art ,,in ,,great ,,britain10 #ahed ,a ,,short ,,bibliography #cij ,,index #dja ---------------------------------------- -------------------------------- ,,illustrations ,,king ,,henry ,,viii ,frontispiece ,reproduced in colour1 by kind permission of ,earl ,spencer1 ,g4,c4,v4,o4 ,althorp4 #a4 ,,georg ,,gisze 7#aecb7 #d ,reproduced in colour4 ,kaiser ,friedrich ,museum1 ,berlin4 #b4 ,,hans ,,of ,,antwerp 7#aecb7 #h ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #c4 ,,hermann ,,hillebrandt ,,wedig 7#aecc7 #ag ,reproduced in colour4 ,kaiser ,friedrich ,museum1 ,berlin4 #d4 7#a7 ,,derich ,,born 7#aecc7 #ah ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 7#b7 ,,derich ,,tybis 7#aecc7 #ah ,imperial ,gallery1 ,vienna4 #e4 ,,derich ,,berck 7#aecf7 #bb ,reproduced by kind permission of ,lord ,leconfield4 ,petworth1 ,sussex4 #f4 ,,the ,,triumph ,,of ,,riches #bf ,design for the wall-decoration in the ,guildhall of the ,london ,steelyard ,merchants4 ,pen-and-wash drawing heightened with white ,louvre1 ,paris4 #g4 ,,the ,,triumph ,,of ,,poverty #bg ,seventeenth-century copy1 by ,jan de ,bisschop1 of the wall-decoration in the ,guildhall of the ,london ,steelyard ,merchants4 ,british ,museum4 #h4 ,,apollo ,,and ,,the ,,muses #ca ,design for the decoration of the ,steelyard on the occasion of the coronation of ,anne ,boleyn4 ,pen-and-wash drawing touched with green4 ,royal ,print ,room1 ,berlin4 #i4 ,,the ,,two ,,ambassadors3 ,,jean ,,de ,,dinteville #cf ,,and ,,george ,,deselve 7#aecc7 ,reproduced in colour4 ,national ,gallery1 ,london4 #aj4 ,,portrait ,,of ,a ,,musician #eb ,reproduced by kind permission of ,sir ,john ,ramsden1 ,bt4 ,bulstrode ,park1 ,bucks4 #aa4 ,,robert ,,cheseman 7#aecc7 #ed ,reproduced in colour4 ,royal ,picture ,gallery1 ,mauritshuis1 ,the ,hague4 #ab4 ,,charles ,,de ,,solier1 ,,sieur ,,de ,,morette #fc ,royal ,picture ,gallery1 ,dresden4 #ac4 ,,title-,,page ,,of ,,coverdale',s ,,bible 7#aece7 #gf ,woodcut4 ,from a copy in the ,british ,museum4 #ad4 ,,sir ,,thomas ,,wyat #gi ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #ae4 ,,portrait ,,of ,a ,,lady1 ,,probably ,,margaret #hb ,,wyat1 ,,lady ,,lee ,until recently in the collection of ,major ,charles ,palmer1 by whose kind permission it is reproduced4 ,mr4 ,benjamin ,altman's ,collection1 ,new ,york4 #af4 ,,sir ,,richard ,,southwell 7#aecf7 #hd ,reproduced in colour4 ,uffizi ,gallery1 ,florence4 #ag4 ,,sir ,,nicholas ,,carew #hg ,drawing in black and coloured chalks4 ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #ah4 ,,henry ,,vii ,,and ,,henry ,,viii #ig ,cartoon for the ,whitehall wall-painting4 ,reproduced by kind permission of the ,duke of ,devonshire1 ,g4,c4,v4,o4 ,chatsworth1 formerly at ,hardwick ,hall4 #ai4 ,,henry ,,viii #ajb ,national ,gallery1 ,rome4 #bj4 ,,queen ,,jane ,,seymour #aaa ,reproduced in colour4 ,imperial ,gallery1 ,vienna4 #ba4 ,,the ,,duchess ,,of ,,milan 7#aech7 #abh ,reproduced in colour4 ,national ,gallery1 ,london4 #bb4 ,,edward ,,vi ,,when ,,prince ,,of ,,wales 7#aech-i7 #afe ,reproduced by kind permission of the ,earl of ,yarborough4 ,earl of ,yarborough's ,collection4 #bc4 ,,edward ,,vi1 ,,when ,,prince ,,of ,,wales #afg ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #bd4 ,,queen ,,anne ,,of ,,cleves 7#aeci7 #aha ,reproduced in colour4 ,louvre1 ,paris4 #be4 ,,thomas ,,howard1 ,,duke ,,of ,,norfolk #aig ,reproduced in colour1 by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #bf4 ,,henry ,,howard1 ,,earl ,,of ,,surrey #bjj ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #bg4 ,,portrait ,,of ,,an ,,unknown ,,young ,,man 7#aeda7 #bjb ,reproduced in colour4 ,imperial ,gallery1 ,vienna4 #bh4 ,,portrait ,,of ,,an ,,unknown ,,young ,,man ,,with ,a #bjc ,,falcon 7#aedb7 ,reproduced in colour4 ,royal ,picture ,gallery1 ,mauritshuis1 ,the ,hague4 #bi4 7#a7 ,,portrait ,,of ,,an ,,unknown ,,elderly ,,man #bje ,kaiser ,friedrich ,museum1 ,berlin4 7#b7 ,,portrait ,,of ,,an ,,unknown ,,english ,,lady #bje ,imperial ,gallery1 ,vienna4 #cj4 ,,dr4 ,,john ,,chamber #bjh ,imperial ,gallery1 ,vienna4 #ca4 ,,miniatures #bbb 7#a7 ,,henry ,,brandon4 7#b7 ,,charles ,,brandon4 7#c7 ,,lady ,,audley4 7#d7 ,,queen ,,catherine ,,howard4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 7#e7 ,,portrait ,,of ,,an ,,unknown ,,youth4 ,reproduced by gracious permission of ,h4,m4 the ,queen of ,holland4 ,royal ,palace1 ,the ,hague4 7#f7 ,,thomas ,,cromwell1 ,,earl ,,of ,,essex4 ,reproduced by kind permission of the late ,mr4 ,j4 ,pierpont ,morgan4 ,new ,york4 #cb4 ,,study ,,for ,,the ,,portrait ,,of ,a ,,family ,,group #bbf ,indian-ink wash drawing with brush outline4 ,british ,museum4 #cc4 ,,miniatures #bbh 7#a7 ,,mrs4 ,,robert ,,pemberton4 ,reproduced by kind permission of the late ,mr4 ,j4 ,pierpont ,morgan4 ,new ,york4 7#b7 ,,hans ,,holbein3 ,,self-,,portrait4 ,wallace ,collection4 #cd4 7#a7 ,,unknown ,,englishman4 7#b7 ,,william 7#a7 ,,parr1 ,,marquis ,,of ,,northampton #bef ,drawings in black and coloured chalks4 7#b7 ,reproduced by gracious permission of #bef ,h4,m4 the ,king4 ,windsor ,castle4 #ce4 ,,thomas1 ,,lord ,,vaux #beg ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #cf4 7#a7 ,,unknown ,,man1 ,,said ,,to ,,be ,,jean ,,de 7#a7 ,,dinteville 7#b7 ,,mary ,,zouch #beg ,drawings in black and coloured chalks4 7#b7 ,reproduced by gracious permission of #beg ,h4,m4 the ,king4 ,windsor ,castle4 #cg4 7#a7 ,,lady ,,audley4 7#b7 ,,lady ,,meutas 7#a7 ,drawings in black and coloured chalks4 #beg ,reproduced by gracious permission of 7#b7 ,h4,m4 the ,king4 #beg ,windsor ,castle4 #ch4 8,,the ,,lady ,,henegham03 ,,possibly ,,margaret #beh ,,roper ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #ci4 ,,portrait ,,of ,,an ,,unknown ,,young ,,man #bei ,drawing in black and coloured chalks4 ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #dj4 ,,the ,,queen ,,of ,,sheba',s ,,visit ,,to ,,king #bfb ,,solomon ,silver-point drawing washed with colour4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #da4 ,,queen ,,jane ,,seymour',s ,,cup #bgd ,pen-and-ink drawing4 ,british ,museum4 #db4 ,,hans ,,of ,,antwerp',s ,,cup #bge ,pen-and-wash drawing4 ,public ,picture ,collection1 ,basel4 #dc4 ,,sir ,,anthony ,,denny',s ,,clock #bgf ,indian-ink wash and pen drawing4 ,british ,museum4 #dd4 ,,design ,,for ,a ,,dagger ,,hilt ,,and ,,sheath #bgg ,pen-and-ink and ,indian-ink wash drawing4 ,british ,museum4 #de4 7#a7 ,,dagger ,,sheath ,,with ,,foliated ,,ornament #bgh 7,,dated #aebi74 7#b7 ,,upright ,,band ,,of ,,ornament3 ,,piper ,,and ,,bears4 7#c7 ,,dagger ,,sheath ,,with ,,the 8,,judgment ,,of ,,paris0 ,public ,picture ,collection1 ,basel4 #df4 7#a7 ,,dagger ,,sheath ,,with ,a ,,dance ,,of ,,death4 #bgh 7#b7 ,,dagger ,,sheath ,,with ,a ,,roman ,,triumph4 7#c7 ,,dagger ,,sheath ,,with 8,,joshua',s ,,passage ,,of ,,the ,,jordan0 ,public ,picture ,collection1 ,basel4 #dg4 ,,five ,,designs ,,for ,,dagger ,,hilts #bgh ,british ,museum4 #dh4 ,,eight ,,designs ,,for ,,pendants ,,and ,,ornaments #bgi ,british ,museum4 #di4 ,,nine ,,designs ,,for ,,pendants #bgi ,british ,museum4 #ej4 ,,nine ,,designs ,,for ,,medallions ,,or ,,enseignes #bhj ,british ,museum4 #ea4 7#a7 ,,band ,,of ,,ornament3 ,,children ,,at ,,play4 #bhb 7#b7 ,,band ,,of ,,ornament3 ,,children ,,and ,,dogs ,,hunting ,a ,,hare ,public ,picture ,collection1 ,basel4 7#c7 ,,design ,,for ,a ,,collar1 ,,with ,,nymphs ,,and #bhb ,,satyrs4 7#d7 ,,design ,,for ,a ,,chain4 7#e7 ,,design ,,for ,a ,,bracelet ,,or ,,collar ,,with ,,diamonds ,,and ,,pearls4 ,british ,museum4 #eb4 ,,designs ,,for ,,arabesque ,,enamel ,,ornaments #bhb ,british ,museum4 #ec4 ,,designs ,,for ,,medallions1 c4 #bhe 7#a7 ,,hagar ,,and ,,ishmael4 7#b7 ,,the ,,last ,,judgment4 7#c7 ,,icarus4 7#d7 ,,diana ,,and ,,act,,on4 7#e7 ,,cupid ,,and ,,bees4 7#f7 8,i ,,await ,,the ,,hour40 7#g7 ,,the ,,rape ,,of ,,helen4 ,reproduced by kind permission of the ,duke of ,devonshire4 ,chatsworth4 #ed4 ,,henry ,,viii ,,granting ,a ,,charter ,,to ,,the #bhh ,,barber-,,surgeons' ,,company ,reproduced by kind permission of the ,barber-,surgeons' ,company4 ,barber-,surgeons' ,hall1 ,london4 ---------------------------------------- -------------------------------- ,hans ,holbein the ,younger ,,chapter ,,xvi ,,the ,,merchants ,,of ,,the ,,steelyard ,the ,german ,steelyard in ,london1 and ,holbein's connection with its members--,portraits of ,georg ,gisze--,hans of ,antwerp--,the ,wedighs--,derich ,born--,derich ,tybis--,cyriacus ,fallen--,derich ,berck--8,the ,triumph of ,riches0--8,the ,triumph of ,poverty0--,triumphal arch designed by ,holbein for the ,steelyard on the occasion of ,queen ,anne ,boleyn's coronation4 ,,there is no record to show in what part of ,london ,holbein took up his residence upon his return to ,england4 ,possibly he may have settled in the house in the parish of ,st4 ,andrew ,undershaft1 in ,aldgate ,ward1 in which he was residing in #aeda2 or there may be some truth in the tradition recorded by ,walpole#a that he lived for a time in a house on ,london ,bridge1 in close proximity to the ,steelyard1 where he was much occupied in painting various members of that colony of ,german merchants for the next year or two4 ,there is nothing to indicate that he returned to ,chelsea1 for the purpose of finishing the ,more family picture1 or that he received further commissions from ,sir ,thomas and his immediate circle of friends4 ,during ,holbein's absence in ,basel ,more had been made ,lord ,chancellor1 but had resigned that office on ,may #afth1 #aecb1 which was about the time of ,holbein's return to ,london4 ,more1 a generous man1 had not amassed wealth in the public service1 and on relinquishing office and the salary it carried with it1 retired into private life on a modest income1 not sufficient to permit a lavish patronage of art4 ,two other members of the ,more circle1 and good friends to ,holbein1 ,sir ,henry ,guldeford1 and ,archbishop ,warham1 died in the same year1 the former in ,may and the latter in ,august1 and thus the painter lost two other patrons immediately after his return4 ,a certain ,john ,wolf was the painter employed to provide the escutcheons1 banners1 and other decorations for ,guldeford's funeral4#b ,footnote #a3 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 vol4 i4 #hf1 note4 ,footnote #b3 ,c4,l4,p41 v4 #ajfd4 ,whether ,holbein's appearance amid entirely new surroundings was due to these events is doubtful4 ,it is natural to suppose that he would turn instinctively towards a society of fellow-countrymen1 speaking the same language1 and of similar habits and modes of thought1 with whom he would feel most at home1 men of comfortable fortunes1 well able to afford the luxury of sitting for their portraits1 and with the means also of finding him other remunerative work4 ,these merchants of the ,hanseatic ,league in ,london formed a rich corporation of considerable numerical strength1 whose beginnings went back to the very early days of ,english history4 ,some of its most valuable privileges and trading monopolies were granted it by ,richard ,i and ,edward ,,iii1 in return for moneys lent1 monopolies which hampered ,english trade for centuries afterwards4 ,this colony had always occupied a part of the river bank above ,london ,bridge1 on the site of what is now the ,south-,eastern ,railway ,station in ,cannon ,street4#c ,their buildings were surrounded by a turreted wall1 which stretched from the river northward to ,thames ,street1 and from ,allhallows ,street on the east to ,cosin 7,cousins7 ,lane on the west1 their property extending towards ,dowgate4 ,entrance in the principal front in ,thames ,street was by three fortified gateways1 above which the ,imperial double-eagle floated1 and within stood their old stone ,guildhall1 with a pleasant garden planted on one side with fruit trees and vines after the fashion of their fatherland1 and1 to the west of the main gate1 vaults where ,rhenish wine and other foreign delicacies were sold1 a favourite place of resort for ,english citizens as well as foreigners4 ,it has been generally supposed that its name1 the ,steelyard1 or ,stahlhof1 arose from the great weighing-machine or steelyard which stood within its entrance4#d ,the ,guildhall and ,council ,chamber were situated in the western corner on ,thames ,street1 and several passages1 including ,windgoose ,alley1 ran from that street to the river1 giving access to the shops and small houses1 the latter usually consisting of a bedroom and sitting-room for the merchant1 and1 at the back1 stores and apartments for clerks and workmen4 ,the corporation was a close one1 and the rules by which its members were bound were as strict as those of a monastery4 ,within its precincts women were strictly forbidden2 all married members had to live outside the walls1 nor were guests allowed to lodge there unless also of the ,hanseatic community4 ,each night at nine the gates were shut1 and the ,steelyard was then like a small walled ,german town in the midst of ,london4 ,the breaking of its laws1 or the practice of any bad habits1 was followed by severe punishment4 ,its members1 too1 were obliged to take their share in the wider civic life of ,london4 ,the ,steelyard was represented by an ,alderman and a ,deputy1 and1 among other duties1 each merchant had his allotted post in case of war1 and was obliged to keep the necessary arms ready for the defence of the city4 ,footnote #c3 ,the buildings of the ,steelyard were finally pulled down in the autumn of #ahfc1 and the ground was excavated immediately afterwards4 ,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 ,street4 ,see ,philip ,norman1 8,notes on the ,later ,history of the ,steelyard in ,london10 ,archologia1 vol4 lxi4 pt4 ii4 7#aiji71 pp4 #chi-dbf2 ,wykeham ,archer1 ,once a ,week1 vol4 v4 7#ahfa72 ,j4 ,e4 ,price1 ,transactions of the ,london and ,middlesex ,archological ,society1 vol4 iii4 #fg 7#ahgj74 ,see also for the whole history of the ,steelyard1 ,lappenberg1 ,urkundliche ,geschichte des ,hansischen ,stahlhofes zu ,london1 ,hamburg1 #ahea4 ,footnote #d3 ,dr4 ,norman1 however1 considers that it has nothing to do with a weighing-machine1 but that it is an ,anglicised form of the ,german 8,stahlhof40 ,see his paper in ,archologia1 quoted on the preceding page4 ,their privileges were so great that they had always been unpopular1 and this dislike grew in strength until the reign of ,henry ,,viii1 when the first attempts were made to break up their monopolies1 which ended1 some sixty years later1 in their complete overthrow4 ,when ,holbein first came among them1 however1 they still occupied the foremost place in the commercial life of ,london1 and were an exceedingly rich and prosperous community4 ,they served the ,king and ,court in more ways than one1 for they were constantly made use of for the despatch of letters abroad and for the translation of communications received from foreign countries4 ,they made arrangements with their agents in ,europe for the payment of the diets and other expenses of ,henry's ambassadors and special messengers1 and much confidential continental news was received through their business houses4 ,books1 prints1 and various rare and artistic objects were also forwarded to them for delivery to the ,english court4 ,thomas ,cromwell1 in particular1 made much use of them in the sending and receiving of foreign correspondence4 ,they also entertained all important visitors1 artists1 craftsmen1 and others of their own countrymen who visited ,england4 ,holbein1 however1 does not appear to have come into contact with them during his first visit to ,england2 no portrait1 at least1 of a ,steelyard merchant of that date has survived1 though he painted ,niklaus ,kratzer1 who must have known many of them intimately4 ,possibly his introduction to them in #aecb was due to his friendship with the ,german astronomer4 ,in any case1 between #aecb and #aecf1 he painted a considerable number of them1 chiefly small half-length portraits1 in which the sitter is shown in his own room or office1 dressed in sober black1 with the accessories of his work scattered round him1 and with letters in front of him containing his name and his address at the ,steelyard4 ,these portraits were most probably painted for presentation by the sitters to the ,league of which they were leading members1 to be hung on the walls of the ,council ,chamber of their ,guildhall1 rather than for the purpose of sending them to family relations abroad4 ,this would account for the presence of several of them in ,england to-day1 for when the ,guild was finally broken up in #aeih and much of its property scattered far and wide1 some of the portraits remained in this country while others found their way abroad4 ,illustration3 ,,vol4 ,,ii41 ,,plate #a ,,georg ,,gisze ,,kaiser ,,friedrich ,,museum1 ,,berlin ,sidenote3 ,,portrait ,,of ,,georg ,,gisze ,the portrait of ,georg ,gisze1 now in the ,berlin ,museum 7,no4 #ehf7 7,pl4 #a71e was one of the first1 if not the first1 of these likenesses of ,steelyard merchants to be painted by ,holbein4 ,this portrait is not only the most elaborate work of the whole series1 but the sitter was also one of the most important members of the ,league then in ,london4 ,his name is spelt in more than one way on the picture itself1 and other versions of it are to be found in the ,english ,state ,papers4 ,in the letter from his brother1 which he holds in his hand1 he is addressed1 according to the ,berlin ,catalogue1 as ,jerg ,gisze4 ,the full address is 8,dem erszamen ,jergen ,gisze to lunden in engelant mynen broder to handen40 ,below the motto on the wall1 beneath the shelf on the left--8,nulla sine merore voluptas0--in the sitter's own handwriting1 is the signature ,g4 ,gisze or ,gyze4 ,it has been read both ways1 for the second letter may be taken either as an i followed by a long s1 or1 as two connected strokes representing the letter y4 ,on other letters from foreign correspondents1 tucked behind the wall-rails on the right1 his name is also spelt ,gisse and ,ghisse1 while in the distich inscribed on a cartellino fastened to the wall over his head it appears in its ,latinised form of ,gysen4 ,this distich1 which also contains the date and the sitter's age1 runs as follows3-- ,footnote #e3 ,woltmann1 #aae4 ,reproduced by ,davies1 p4 #adj2 ,knackfuss1 fig4 #aag2 ,berlin ,catg41 p4 #agf2 ,ganz1 ,holbein1 p4 #ie2 and in colour by the ,medici ,society4 8 ,jmagin ,georgii ,gysenii ,jsta refert vultus1 qua cernis ,jmago ,georgi ,sic oculos viuos1 sic habet ille ,genas4 ,anno tatis su xxxiiij ,anno dom #aecb40 ,in days when spelling was largely phonetic it is not surprising to find proper names spelt in a variety of ways1 and the ,hanse merchants1 in particular1 received letters from correspondents in all parts of the world1 speaking a variety of languages and dialects4 ,according to the ,berlin ,catalogue1 ,georg ,gisze was born on #bnd ,april #adig1 so that he was of ,holbein's own age1 and died in ,february #aefb1 and was a member of a leading ,danzig family4 ,woltmann regarded him as a ,swiss1 and states that there was a family called ,gysin settled in the neighbourhood of ,basel1 and that the name is still to be seen on numerous sign-boards in the adjacent small town of ,liestall4#f ,miss ,hervey1 on the other hand1 suggests that1 however the name may be spelt1 it was probably a variation of that of ,gueiss1 which was one of the most distinguished in the annals of the ,steelyard4#g ,the family belonged to ,cologne1 and ,albert von ,gueiss was a representative of the ,steelyard at the ,conference held at ,bruges in #aebj4 ,in at least one entry in the ,steelyard records this name is spelt ,gisse4 ,she suggests1 therefore1 that ,georg ,gisze may have been a younger brother or a son of this ,albert von ,gueiss4 ,in his book on ,holbein's 8,ambassadors0 picture1 ,mr4 ,w4 ,f4 ,dickes1 who1 in his anxiety to prove that ,holbein was not in ,england in #aecb1 conveniently ignores the evidence of the letter which ,gisze holds in his hand1 addressed to him 8in ,london10 conclusive proof that the portrait was produced in this country1 is of opinion that it was painted in ,basel4#h ,little is known of its history since it left the walls of the ,guildhall in ,thames ,street4 ,it was in the ,orleans ,collection in #agbg1 and was purchased at the sale of that collection by ,christian von ,mechel4#i ,various attempts to induce the ,basel ,library to buy it proved unavailing4 ,it was afterwards for a time in ,basel1 and in #ahba was added to the ,solly ,collection1 passing later into the ,berlin ,gallery4 ,footnote #f3 ,woltmann1 i4 #cff4 ,footnote #g3 ,holbein's ,ambassadors1 p4 #bdj4 ,footnote #h3 ,holbein's 8,ambassadors0 ,unriddled1 p4 #b4 ,footnote #i3 ,see ,ganz1 ,holbein1 p4 #bdj4 ,it was brought to ,england with the ,orleans pictures in #agib1 and in the ,sale-,catalogue was described as 8,portrait of ,gysset40 ,it fetched #fj guineas4 ,see ,waagen1 ,treasures1 c41 ,vol4 ii4 p4 #ejj4 ,the first time the name of ,georg ,gisze occurs in the ,english ,state ,papers is in #aebb1aj when he was twenty-four years of age4 ,the paper is an ,english translation of a protection1 dated ,lyon1 #bf ,june #aebb1 granted by ,francis ,i to ,gerrard van ,werden1 ,george ,hasse1 ,henry ,melman1 ,geo4 ,gyse1 ,geo4 ,strowse1 ,elard ,smetyng1 ,hans ,colynbrowgh1 and ,perpoynt ,deovanter1 merchants of the ,hanse1 during the war between him1 the ,emperor1 and ,england4 ,they are forbidden to deal in wheat1 salt1 8ollrons10 harness1 and weapons of war4 ,deovanter appears to have been one of the leading merchants4 ,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 ,boulogne4 ,during his absence he gave power of attorney in a suit of his against ,george ,byrom1 of ,salford1 to several friends and fellow-merchants1 among them 8,george ,guyse10 and1 it is interesting to note1 8,th4 ,crumwell1 of ,london1 gent40#aa ,footnote #aj3 ,c4,l4,p41 vol4 iii4 pt4 ii4 #bcej4 ,footnote #aa3 ,c4,l4,p41 vol4 iii4 pt4 ii4 #bddf1 #bddg1 #bged4 ,the next reference to ,gisze is at ,michaelmas1 #aecc1 in a letter from ,thomas ,houth to the ,earl of ,kildare in ,ireland1#ab respecting the death of a certain ,john ,wolff1 in which1 speaking of some bills1 he says1--8,i ascertained at the ,steelyard that the handwriting was his1 by the evidence of ,geo4 ,gyes1 the alderman's deputy1 and others40 ,this letter proves that ,gisze held an important position in the ,steelyard1 as ,deputy to the ,alderman1 who was probably ,barthold ,beckman1 of ,hamburg4#ac ,possibly his appointment to this position occasioned the painting of his portrait4 ,footnote #ab3 ,c4,l4,p41 vol4 vi4 #aagj4 ,footnote #ac3 ,lappenberg1 ,urkundliche ,geschichte des ,hansischen ,stahlhofes zu ,london1 p4 #aeg2 ,miss ,hervey1 ,holbein's ,ambassadors1 p4 #bci4 ,sidenote3 ,,portrait ,,of ,,georg ,,gisze ,the portrait is life-size1 and half-length1 the sitter being turned to the right1 the face towards the spectator1 and the eyes turned slightly to the left4 ,he is wearing a flat black cap over his fair hair1 which is cut straight across the forehead and covers the ears2 and a dress of rose-coloured silk with a sleeveless overcoat of black1 and a fine white linen shirt4 ,he is seated behind a table covered with a cloth of ,eastern design1 and is in the act of opening his brother's letter4 ,by him1 on the table1 stands a tall vase of ,venetian glass with twisted handles1 filled with carnations1 and scattered in front of him are various objects used in his business1 a seal1 inkstand1 scissors1 quill pens1 a leather case with metal bands and clasps1 and a box containing money4 ,from the shelves on the walls hang scales for weighing gold1 a seal attached to a long chain1 and a metal ball for string1 with a damascened design and a band with the words 8,,heer ,,en0 repeated round it4#ad ,books and a box are upon the shelves1 and tucked within the narrow wooden bars which run round the walls are parchment tags for seals and several letters with addresses in ,high ,german4 ,on these occur the dates #aebh and #aeca1 while the names of the correspondents with which they are endorsed can be more or less clearly discerned1 as well as the word 8,england40 ,woltmann reads the names as 8,tomas ,bandz10 8,jergen ze ,basel10 and 8,hans ,stolten40 ,this last letter is marked with the writer's particular device1 which also occurs on a second letter1 and is very similar to the device on the letter in the picture of ,derich ,tybis in ,vienna4 ,the walls of his room are painted in greyish green1 the paint shown as rubbed and discoloured here and there1 and along the bars and shelves1 which have been worn by constant use4 ,footnote #ad3 ,in the inventory of the goods of ,john ,wolff1 attached to the letter mentioned above1 a similar ball is included--8a round ball gilt for sealing thread to hang out of to seal withal40 ,c4,l4,p41 vol4 vi4 #aagj4 ,the painting of the numerous details is wonderful in its accurate realism1 showing the closest observation and an evident delight in their perfect rendering4 ,it has been suggested1 as the picture contains many more accessories than in his other portraits of members of the ,steelyard1 that ,holbein took particular pains with it as the first of a possible series1 and that it was a kind of 8show-piece10 in order that his clients might see of what he was capable4 ,this superb portrait1 which is in a better state of preservation than most of ,holbein's existing works1 is finer in its clear1 luminous colour and more delicate in its drawing than any other of his pictures of this period4 ,it is almost ,flemish in the minuteness and care of its finish and in its cool1 clear tones4 ,all the objects of still-life which surround the sitter1 which are placed about him as naturally as though the artist had come upon him suddenly when engaged upon his daily business1 and had there and then painted him1 without arranging or posing1 whether of silk1 or linen1 or gold1 or steel1 or glass1 are painted with a fidelity to nature never excelled by the ,dutchmen or ,flemings of the following century1 who devoted their whole career to the rendering of still-life4 ,in ,holbein's portrait1 however1 all these carefully-wrought minor details1 beautiful in themselves as they may be1 in no way force themselves on the attention to the detriment of the portrait itself1 which stands out as a vivid representation of the sitter's personality1 in which the essentials of his character have been seen with an unerring eye1 and set down upon the panel with an unerring hand4 ,we get here the young ,german merchant to the very life1 precise1 deliberate and orderly in the transaction of his affairs1 with strongly-marked ,german features1 long nose1 and determined chin1 a living presentment which only a master could have produced4 ,ruskin's glowing description of the picture is well known1 but it is so true and so eloquent that a sentence from it may be quoted3-- 8,every accessory is perfect with a fine perfection2 the carnations in the glass by his side2 the ball of gold1 chased with blue enamel1 suspended on the wall2 the books1 the steelyard1 the papers on the table1 the seal ring with its quartered bearings--all intensely there1 and there in beauty of which no one could have dreamed that even flowers or gold were capable1 far less parchment or steel4 ,but every change of shade is felt1 every rich and rubied line of petal followed1 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 paints4 ,the jewel itself was not so precious as the rays of enduring light which form it1 beneath that errorless hand4 ,the man himself what he was--not more2 but to all conceivable proof of sight1 in all aspect of life or thought--not less4 ,he sits alone in his accustomed room1 his common work laid out before him2 he is conscious of no presence1 assumes no dignity1 bears no sudden or superficial look of care or interest1 lives only as he lived--but for ever4 ,it is inexhaustible4 ,every detail of it wins1 retains1 rewards the attention with a continually increasing sense of wonderfulness4 ,it is also wholly true4 ,so far as it reaches1 it contains the absolute facts of colour1 form1 and character1 rendered with an unaccusable faithfulness40#ae ,footnote #ae3 ,ruskin1 8,sir ,joshua and ,holbein10 ,cornhill ,magazine1 ,march #ahfj2 reprinted in ,on the ,old ,road1 vol4 i4 pt4 i4 pp4 #bba-bcf4 ,illustration3 ,,vol4 ,,ii41 ,,plate #b ,,hans ,,of ,,antwerp #aecb ,,windsor ,,castle ,sidenote3 ,,portrait ,,of ,,hans ,,of ,,antwerp ,the portrait of ,hans of ,antwerp1 in ,windsor ,castle 7,pl4 #b71af belongs to the summer of the same year1 #aecb1 and was one of the earliest of the ,steelyard series4 ,it is in oil on panel1 and has darkened with age1 and has suffered to some extent from repaintings4 ,it represents the half-length figure of a middle-aged man1 about three-quarters the size of life4 ,he is turned to the right1 seated at a table1 upon which his elbows rest1 and he is about to cut the string of a letter with a long knife4 ,he has thick bushy hair and beard1 brown in colour1 and brown eyes1 and is wearing a dark overcoat1 which may have been originally dark green in colour1 edged with a broad band of brown fur1 and beneath it a brown dress and a white shirt with the collar embroidered with black ,spanish work4 ,on his head is a flat black cap4 ,the table is covered with a dark green cloth1 and upon it1 in front of him1 are placed a pad of paper with a quill pen resting on it1 some coins and a seal engraved with the letter ,w4 ,the head1 strongly lightened1 stands out against a background of grey-brown wall1 with a strip of darker colour on the right-hand side of the panel4 ,he wears a signet ring on the first finger of his left hand1 and a smaller ring on the little finger of the right4 ,footnote #af3 ,woltmann1 #bfe4 ,reproduced by ,law1 ,holbein's ,pictures at ,windsor ,castle1 ,pl4 ii42 ,davies1 p4 #cj2 ,knackfuss1 fig4 #aai2 ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 #aijf1 ,pl4 #df2 ,ganz1 ,holbein1 p4 #if4 ,the letter which he holds in his hand has a superscription in crabbed ,teutonic writing1 which ,woltmann1 after careful examination1 deciphered as follows3-- 8,dem ersamen ,hannsen ,von ,anwerpen 444 lo 4444 vpn ,stallhoff zv handen40 ,the parts in brackets are hidden in the original by the knife1 and have been added conjecturally by him1 so that the whole inscription would run in ,english3 8,to the honourable ,hans of ,antwerp in ,london1 in the ,steelyard1 these to hand40 ,the words 8ersamen0 and 8,stallhoff0 are distinct1 but the 8,anwerpen0 is less clear1 and only the first letter of the ,christian name is certain4 ,the brown under-dress the sitter is wearing certainly has some appearance of the leather apron worn by goldsmiths which ,woltmann declared it to be2#ag and this1 together with the gold coins on the table1 such as goldsmiths were in the habit of exhibiting in their shops1 he regarded as additional proof that the portrait represents the goldsmith1 ,hans of ,antwerp1 ,holbein's close friend and one of his executors4#ah ,there is considerable probability that this ascription is correct1 though it is by no means absolutely certain4 ,on the paper-pad lying on the table there is an inscription1 evidently in the sitter's handwriting1 giving his age and the date4 ,even this inscription is not absolutely clear4 ,woltmann reads it3-- ,footnote #ag3 ,woltmann1 i4 p4 #cfh4 ,an under-dress of similar fashion1 however1 is worn by nearly all ,holbein's ,steelyard sitters4 ,footnote #ah3 ,it should be noted1 however1 that similar coins appear in the box on the table in the portrait of ,georg ,gisze4 8,anno dm4 #aecb an4 d4 #bf ,julii tatis su 4440 ,the second 8,a4,d410 however1 is evidently wrong4 ,mr4 ,law#ai reads it as a possible 8,aug40 for ,august1 and is doubtful about the word 8,julii40 ,both these writers fail to decipher the sitter's age1 but it appears to be 8#ec10 or1 perhaps1 8#cc10 the latter agreeing better with the apparent age of the sitter4 ,footnote #ai3 ,law1 ,holbein's ,pictures1 c41 p4 #e4 ,the ,w4 on the seal affords some evidence against the portrait being that of ,john of ,antwerp4 ,woltmann calls it 8the device of his trading house10 and in this ,mr4 ,law follows him4 ,it is much more probable1 however1 that it is the initial of his surname4 ,the seal is of a similar shape to those in the portraits of ,georg ,gisze and ,derich ,tybis4 ,in the former the lettering is illegible1 but in the latter it is plainly 8,d4 ,t40 ,before ,hans of ,antwerp's surname was known1 ,woltmann's suggestion was not out of place1 but ,mr4 ,lionel ,cust#bj has recently discovered it to have been ,van der ,gow1 which does not accord with the letter on the seal4 ,among the numerous references to ,john of ,antwerp in the ,state ,papers and elsewhere he is never once spoken of as belonging to the ,steelyard1 whereas the picture in question is in all probability a portrait of some merchant of the ,hanseatic ,league4 ,more than one ,german merchant of the ,steelyard whose surname began with ,w is mentioned in the records1 such as ,gerard van ,werden and ,ulric ,wise1 while one of the leading jewellers of ,henry's reign was ,morgan ,wolf1 though he was almost certainly a ,welshman4 ,however1 until further evidence is forthcoming1 the name ,hans of ,antwerp must stand as the sitter for this portrait1 and it has much in its favour4 ,footnote #bj3 ,burlington ,magazine1 vol4 viii4 ,no4 ,,xxxv4 7,feb4 #aijf71 pp4 #cef-fj4 ,sidenote3 ,,portrait ,,of ,,hans ,,of ,,antwerp ,as the friend and witness and administrator of ,holbein's will1 the question of the true portrait of ,john of ,antwerp is of unusual interest4 ,the two men appear to have been closely associated1 and there is no doubt that ,holbein supplied him with designs4 ,one such design is well known--the drawing for a beautiful drinking-cup in the ,basel ,gallery upon which is inscribed the name 8,hans ,von ,ant44440 7,pl4 #db74ba ,mr4 ,lionel ,cust conjectures that the cup given by ,cromwell to the ,king on ,new ,year's ,day1 #aeci1 made by ,john of ,antwerp1 was this identical cup2 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 centre4 ,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 ,steelyard4 ,footnote #ba3 ,woltmann1 #aaj 7#ajd74 ,see p4 #bge4 ,john of ,antwerp's name occurs frequently in the private accounts of ,thomas ,cromwell for the years #aecg-ci1 and ,mr4 ,lionel ,cust has gathered together much interesting information about him4 ,in a letter from ,cromwell to the ,goldsmiths' ,company we learn that he had been settled in ,london since #aeae1 but the first reference to him ,mr4 ,cust finds is in ,march #aecg1 in the ,privy ,purse ,expenses of the ,princess ,mary1 which runs3 8,item payed for goldsmythes workes for my ladies grace to ,john of ,andwarpe iiij li1 xvij s1 vij d40 ,there is1 however1 an earlier reference1 and one of considerable interest1 in the ,state ,papers1 in a letter from one ,richard ,cavendish to the ,duke of ,suffolk1 dated ,norton1 #eth ,june #aecd1 which shows that ,john ,van ,andwerp was at that time employed with a certain ,hans ,de ,fromont in searching for a gold mine at ,norton4 8,they are10 says ,cavendish1 8applying themselves with diligence to find the mine4 ,here is the greatest diversity of earth and stones1 for the stones in the gravel in most places appear to be very gold4 ,many assays have been made to prove it1 but nothing found as yet1 and it is believed the glitter #8is but the scum of the metal which groweth beneath the ground4' ,they have now begun to dig pits to get at the principal vein4 ,the people are as glad as ever he saw to further the matter1 for in old evidences the place is called ,golden ,norton1 which proves that gold may be found there4 ,he sees no great forwardness as yet1 but prays ,god they may find some40#bb ,footnote #bb3 ,c4,l4,p41 vol4 vii4 #hjj4 ,cromwell employed him in a number of ways4 ,in ,december #aecgbc he received #aes4 for setting a great ruby1 and #bis4 for the gold in the ring4 ,in ,november #aechbd he was at work on the cup already mentioned for a ,new ,year's ,gift to ,henry1 for which purpose he received #eb oz4 of gold1 and was paid nearly #bj4 ,other work during these years consisted in making a ,george1 setting stones in rings1 making chains and trenchers1 and repairing various ,georges1 ,garters1 and other jewellery belonging to the ,lord ,privy ,seal1 full details of which will be found in ,mr4 ,cust's paper1 the last entry being dated #aeth ,december #aeci4be ,footnote #bc3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #ghb1 ii4 7p4 #ccc74 ,footnote #bd3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #ghb1 ii4 7p4 #cch74 ,footnote #be3 ,ibid41 under various dates4 ,an entry in the ,book of ,payments of the ,treasurer of the ,chamber for ,april #aecibf shows him in another capacity1 one1 as already noted1 in which the foreign traders in ,england were frequently employed by the ,court4 ,he received one shilling from the ,king's purse for forwarding letters of importance to ,christopher ,mount and ,thomas ,panell1 8his gracis servauntes and oratours in ,jarmayne40#bg ,footnote #bf3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #gha 7p4 #cji74 ,footnote #bg3 ,mr4 ,cust suggests that this message was addressed to ,holbein4 ,he says3 8,at ,lady ,day1 #aeci1 he 7,holbein7 seems to have been still absent 7in ,basel71 though he was back in ,england before ,midsummer40 7,burlington ,magazine1 ,february #aijf1 p4 #cei47 ,this1 however1 is not probable4 ,holbein was certainly back from ,basel by ,december #aech1 when he received #aj for his journey to ,upper ,burgundy1 and he presented a portrait of ,prince ,edward to the ,king on ,new ,year's ,day1 #aeci4 ,he received no salary on ,lady ,day1 #aeci1 because he had already received a year's wages in advance at ,midsummer1 #aech1 to date from the previous ,lady ,day1 and not because he was out of ,england4 ,at this period messages and money were being constantly sent to ,christopher ,mount1 who was much abroad on missions to the ,german ,protestant princes1 and the question of the marriage with ,cleves was only one of the many affairs1 and one of the least important1 upon which he was then engaged4 ,in #aecg ,hans of ,antwerp's name occurs in the return for ,subsidies of ,aliens in ,england1 among foreigners dwelling in the parish of ,st4 ,nicholas ,acon1 as 8,john ,andwarpe1 straunger1 xxx li41 xxx s40 ,in a similar list for the same parish in #aeda he is given for the first time his proper name3 8,john ,vander ,gow1 alias ,john ,andwerp1 in goodes1 xxx li41 xxx s40 ,mr4 ,cust suggests that his name may have been ,van der ,goes4 ,this assessment of his goods at #cj and the tax on it of thirty shillings was the customary rate for foreigners4 ,nicholas ,lyzarde1 ,elizabeth's serjeant-painter1#bh was assessed to the same amount--but ,holbein was taxed at the higher rate of #c on his salary of #cj1 as it was the custom to tax 8lands1 fees and annuities0 at double the rate of goods4 ,footnote #bh3 ,see p4 #cji4 ,sidenote3 ,,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 ,london4 ,cromwell's letter1 recommending him to the ,company 8most hartely10 states that he had already lived twenty-six years in ,london1 had married an ,englishwoman1 by whom he had many children1 and purposed continuing in ,london for the rest of his life4 ,this desire to become a naturalised ,englishman might be taken as some evidence that he was not a member of the ,steelyard confraternity4 ,from the register of the church of ,st4 ,nicholas ,acon1 in ,lombard ,street1 where the goldsmiths have always congregated1 we learn that he had a son1 ,augustine ,anwarpe1 baptized on #bgth ,november #aedb1 and a second son1 ,roger1 on #ajth ,december #aedg2 that on three successive days in ,september #aedc three of his servants1 ,john ,ducheman1 ,jane1 his maid1 and ,richard1 were buried2 that a fourth servant was buried on the #ajth ,august #aedh2 and that his son ,augustine was buried on #ast ,july #aeej4bi ,there can be little doubt that the three servants died of the plague which was raging in ,london in ,september #aedc4 ,holbein was almost certainly another of its victims1 and ,mr4 ,cust suggests that he may very probably have caught the infection in ,john ,van der ,gow's house4 ,footnote #bi3 ,these facts are taken from ,mr4 ,cust's paper4 ,the portrait1 it is to be supposed1 like ,holbein's other representations of ,steelyard merchants1 was very possibly presented to the ,guild1 and would remain hanging in their ,guildhall until they were expelled by ,elizabeth in #aeih4 8,when in #afjf10 says ,woltmann1 quoting from ,lappenberg1 8under ,james ,i1 the ,steelyard was given back to its possessors1 the rooms were found in an evil condition1 and all movables1 such as tables1 seats1 bedsteads1 and even panels and glass windows1 were almost entirely stolen4 ,that under such circumstances a sparing hand watched over the pictures is scarcely to be expected40#cj ,the portrait of ,hans of ,antwerp1 whatever its earlier adventures may have been1 was in the collection of ,charles ,i1 in which it was ,no4 #bi1 and is described in his catalogue as3 8,done by ,holbein4 ,item4 ,upon a cracked board1 the picture of a merchant1 in a black cap and habit having a letter with a knife in his hand cutting the seal thread of the letter2 a seal lying by on a green table2 bought by ,sir ,harry ,vane and given to the ,king40 ,the crack in the panel is still plainly visible4 ,it was valued by the ,commonwealth ,commissioners at #ajj1 and sold for that sum4 ,it reappears1 however1 in ,james ,,ii's catalogue1 ,no4 #dii3 8,by ,holbein4 ,a man's head1 in a black cap1 with a letter and penknife in his hand40 ,it is possible that it is the picture by 8,holbin0 of 8a ,dutchman sealing a letter10 which was in the ,duke of ,buckingham's collection at ,york ,house in #afce1ca from which it may have passed into that of ,charles ,i4 ,the picture1 though it has not the richness and transparency of colour of the 8,gisze10 or its extreme delicacy of execution and luxuriance of detail1 is a vigorous and life-like representation of a somewhat stolid ,german1 painted with the truth and sincerity which ,holbein brought to everything he touched4 ,footnote #cj3 ,woltmann1 i4 p4 #cha4 ,see also ,norman1 ,archologia1 vol4 lxi4 pt4 ii4 p4 #cid4 ,footnote #ca3 ,see ,randall ,davies1 8,inventory of the ,duke of ,buckingham's ,pictures10 c41 ,burlington ,magazine1 ,march #aijg1 p4 #chb4 ,sidenote3 ,,portraits ,,of ,,two ,,of ,,the ,,wedighs ,the two small roundels1 which hitherto have always been regarded as likenesses of ,holbein himself1 undoubtedly represent1 as ,dr4 ,ganz has recently pointed out1 the same individual as the sitter in the ,windsor picture1 who1 until his identity is finally settled1 it is most convenient to call ,hans of ,antwerp4 ,the first is the beautiful little painting on oak in the ,salting collection1#cb in which the sitter is shown in full-face1 with a flat black cap1 a gown lined with light-coloured fur1 and a dark under-coat or vest1 cut straight across the top1 as in most of ,holbein's other ,steelyard portraits4 ,the left hand only is shown1 with a ring on the first finger4 ,on the background on either side of the head is the faded inscription 8,,etatis ,,sv #ce40 ,it was possibly painted a year or two later than the ,windsor portrait1 to which the likeness is very marked4 ,if1 however1 the sitter really represents ,hans of ,antwerp1 and he was painted a second time by ,holbein about #aecd-e1 when #ce years of age1 he must have been only a boy when he settled in ,london in #aeae4 ,the second roundel is in ,lord ,spencer's collection at ,althorp1#cc and this1 too1 has always been regarded as a portrait of ,holbein by himself4 ,here again the likeness to the ,windsor picture is a strong one1 though the opposite side of the face is seen1 as he is shown in three-quarters profile to the spectator's left4 ,there are slight variations in the dress1 the undervest being lower1 and disclosing more of the white shirt4 ,some critics regard it as a genuine work by ,holbein1 but ,dr4 ,ganz places it among the doubtful and wrongly-attributed pictures4 ,he suggests that it is probably one of the two roundels considered to be self-portraits by ,holbein which ,c4 van ,mander saw in ,amsterdam in #afjd1 and was engraved by ,a4 ,stock as such in #afab and published by ,h4 ,hondius4 ,there is a replica of it in the ,provinzial ,museum in ,hanover4#cd ,all three works evidently represent the same man1 and at about the same age4 ,footnote #cb3 ,exhibited ,burlington ,fine ,arts ,club1 #aiji1 ,case ,d1 ,no4 #a1 and reproduced in the ,catalogue1 ,pl4 xxxiv42 also by ,ganz1 ,holbein1 p4 #aad4 ,footnote #cc3 ,reproduced by ,ganz1 ,holbein1 p4 #bbf4 ,footnote #cd3 ,see ,ganz1 ,holbein1 p4 #bec4 ,in the same year1 #aecb1 he painted another goldsmith1 ,hans von ,zrich1 but the picture has disappeared1 and is now only known from the engraving ,hollar made of it in #afdg1 when it was in the ,arundel collection4 ,in the engraving he is shown at half-length1 full-face1 the body turned slightly to the left1 and is a thin man1 with a pleasant expression4 ,it is inscribed on the top3 8,hans von ,zrch1 ,goltshmidt4 ,hans ,holbein1 #aecb10 and below1 8,w4 ,hollar fecit1 #afdg1 ex collectione ,arundeliana10 and has a dedication by the publisher1 ,h4 ,vander ,borcht1 to ,matthus ,merian4#ce ,the date indicates that ,hans von ,zrich must have been living in ,london at that time1 though his name does not occur in the ,state ,papers4 ,footnote #ce3 ,reproduced by ,ganz1 ,holbein1 p4 #aig 7i474 ,parthey1 ,no4 #adaa4 ,one other portrait of a ,german merchant by ,holbein was painted in the year #aecb4cf ,it is in the collection of ,count von ,schnborn in ,vienna1 and is one of a pair of portraits of brothers or near relations1 members of the ,wedigh family of ,cologne4#cg ,they hung together until #ahfe1 in which year the finer one of the two1 dated #aecc1 was acquired by ,herr ,b4 ,suermondt1 of ,aix-la-,chapelle1 and is now in the ,berlin ,gallery1 having been purchased in #ahgd1 together with another fine portrait by ,holbein of an unknown young man1 from the ,suermondt collection4 ,the close relationship of the two sitters is proved by the exactly similar coat of arms on the enamelled ring each one is wearing4 ,in the first edition of his book ,woltmann gave it as his opinion that they were ,englishmen1 but afterwards came to the conclusion that both portraits represented ,german ,steelyard merchants4 ,the belief that they were ,englishmen was afterwards strengthened by a communication to the ,berlin authorities from ,privy ,councillor ,dielitz1 who1 from the coat of arms on the rings1 held that the pictures represented two members of the ,english family of ,trelawney4 ,this ascription1 however1 has been proved to be wrong1 and it may be pointed out that the motto inscribed on the paper projecting from the book in the ,vienna portrait1--8,veritas odium parit0 78,truth brings hatred071 is not the present motto of the ,trelawney family4 ,on the side of the same book1 painted on the edges of the leaves1 are the letters 8,h ,e ,r4 ,w ,i ,d410 and more recent research has established the fact that the two men were members of the ,wedigh family4 ,members of this patrician family of ,cologne had been connected with the ,london ,steelyard since #adhj4 ,in this connection it is interesting to note that the seal in the so-called 8,hans of ,antwerp0 picture is engraved with the letter 8,w10 which suggests some possibility that he1 too1 may have been a ,wedigh4 ,footnote #cf3 ,woltmann1 #bfb4 ,reproduced by ,knackfuss1 fig4 #aah2 ,ganz1 ,holbein1 p4 #ig4 ,footnote #cg3 ,both portraits are mentioned in an inventory of #agdf4 ,the #aecb picture in the ,schnborn collection is a small half-length4 ,the subject1 who is seated at the back of a table1 is turned to the right1 with head almost full-front and looking at the spectator4 ,his right arm rests on the table1 and he holds his gloves in his left hand4 ,his hair1 cut straight across his forehead1 covers his ears1 and he is clean-shaven4 ,he is wearing the usual dark overcoat with deep fur collar1 and an inner collar or lining of lighter fur1 opened sufficiently to show a part of his embroidered under-dress1 the sleeves of which are of watered or patterned silk1 and a white pleated shirt gathered round the neck in a small frill4 ,the customary flat black cap is on his head4 ,on the table to the left is a leather-bound book with two clasps1 with the artist's initials on the cover1 and a piece of paper projecting from between the leaves on which is written the ,latin motto already quoted4 ,on the plain blue background is inscribed on either side of the head1 8,,anno4 #aecb40 and 8,,tatis4,,sv4 #bi40 ,it is a sympathetic and simple rendering of a young man of serious expression1 in which both the beardless face1 of a somewhat reddish complexion1 and the two hands are very finely painted4 ,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 ,england1 the secret dissemination of which neither ,wolsey or ,more could stay1 in spite of the drastic methods they employed to stamp it out4 ,although possessing many privileges1 the men of the ,steelyard were by no means free from persecutions of this nature4 ,sidenote3 ,,portrait ,,of ,,hermann ,,wedigh ,the companion picture1 in the ,berlin ,gallery 7,no4 #ehf;,b7 7,pl4 #c71 represents ,hermann ,hillebrandt ,wedigh4#ch ,like that of his brother1 it is a small half-length4 ,he stands directly facing the spectator1 the left hand holding his buff-coloured gloves1 and the right half hidden by the heavy dark-brown cloak1 with black velvet collar and velvet at the wrists1 the folds of which are finely arranged and painted4 ,this cloak lacks the customary fur collar4 ,the white shirt1 partly open and showing the bare chest beneath1 is tied in the front by long strings passed through a white button1 and the embroidered collar is almost hidden by his beard4 ,a flat black cap is on his head1 of the type worn by all the ,steelyard merchants in ,holbein's portraits4 ,the hair1 beard1 and long moustache are fair1 the separate hairs being indicated with almost microscopic care4 ,the eyes are brown1 the left one being decidedly smaller than the right1 and there is a corresponding difference in the development of the two sides of the face4 ,there are no accessories of any kind1 and upon the plain blue background1 on either side of the head1 is inscribed1 in gold letters3 8,,anno4 #aecc40 and 8,,tatis ,,sv4 #ci40 ,the gold ring is enamelled in red1 white and black1 and in the circle round the coat of arms there are some letters now undecipherable4 ,this is one of the finest and most sympathetic portraits ever painted by ,holbein4 ,the face1 in spite of its slight irregularity1 is one of great charm and much sweetness of expression4 ,the drawing of the hands and mouth is particularly fine4#ci ,footnote #ch3 ,woltmann1 #aaf4 ,reproduced by ,dickes1 p4 #gi2 ,knackfuss1 fig4 #aba2 ,ganz1 ,holbein1 p4 #ih2 and in colour in ,early ,german ,painters1 folio v4 ,footnote #ci3 ,mr4 ,dickes1 who does not hesitate to suggest that a date has been tampered with if it suits his argument to do so1 regards this picture as 8an unmistakable portrait of the second person0 in the 8,ambassadors0 picture1 such person being1 in his opinion ,philipp1 ,count ,palatine4 ,this picture1 he says1 8has a damaged date1 catalogued as #aecc1 and a more clear 8tatis #cd10 which is no doubt correct1 for the moustache shows five years' more growth0 7i4e4 than in the 8,ambassadors074 8,no one who compares the two faces can doubt the identity1 or that if of ,philipp--born ,november #ab1 #aejc1 as indicated in our picture--its correct date is #aech40 ,it requires a very vivid imagination to see a likeness between ,wedigh and the portrait of the ,bishop of ,lavaur in the ,national ,gallery group2 but ,mr4 ,dickes sees ,philipp and ,otto ,henry in so many portraits scattered about ,europe1 having but the faintest resemblance to one another1 and gives to ,holbein so many pictures he never painted1 and takes from him at least one of his finest works 7the ,morette in ,dresden1 which he calls ,otto ,henry and attributes to ,amberger7 that his attribution with regard to the ,wedigh portrait is not worth serious consideration4 ,the date upon it is plainly enough #aecc4 ,at the time he was writing his book the age of the sitter appeared to be 8#cd10 but recent cleaning shows it to be 8#ci40 7,dickes1 ,holbein's 8,ambassadors0 ,unriddled1 p4 #ha47 ,three other portraits of ,steelyard merchants bear the date #aecc3 ,derich ,born at ,windsor1 ,derich ,tybis at ,vienna1 and ,cyriacus ,fallen at ,brunswick4 ,the portrait of ,derich ,born 7,pl4 #d 7#a771dj in the royal collection at ,windsor ,castle1 painted when he was twenty-three1 is1 after the 8,gisze0 and 8,hermann ,wedigh0 portraits1 perhaps the most attractive of the ,steelyard series4 ,it is slightly under life-size1 the figure shown nearly to the waist1 turned to the right1 and the head1 upon which the light falls strongly from above on the right1 nearly in full-face4 ,his right elbow rests on a stone ledge or parapet which runs across the picture1 the left hand placed across the right wrist1 and a gold signet-ring with a coat of arms on his forefinger4 ,he wears a flat black cap1 black silk dress1 and a white shirt with a collar of so-called ,spanish work of black silk thread1 very delicately painted4 ,he is beardless1 and has chestnut-brown hair1 cut straight across the forehead and hiding the ears in the customary fashion4 ,footnote #dj3 ,woltmann1 #bff4 ,reproduced by ,law1 ,pl4 #c2 ,davies1 p4 #aed2 ,ganz1 ,holbein1 p4 #ajj2 ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 #aijf1 ,no4 #de4 ,on the flat stonework below the ledge on which his arm rests is inscribed1 in large ,roman letters as though cut in the stone1 the following ,latin couplet3 8,derichvs si vocem addas ipsissimvs hic sit ,hvnc dvbites pictor fecerit an genitor40 78,if you were to add a voice this would be ,derich1 his very self2 and you would doubt whether a painter or a parent had produced him407 ,below this runs1 in slightly smaller letters of the same type3 8,,der4 ,,born ,,etatis ,,sv #bc ,,anno #aecc40 ,the background is of a dark greenish blue against which stand out some branches and leaves of a vine or fig tree4 ,it is painted in cool and delicate tones1 with flesh tints of a pale brown1 in which it bears a close resemblance to the portrait of ,georg ,gisze4 ,it is marked1 too1 by the same simplicity and restraint1 and air of quiet and dignified repose1 and searching truth and insight in the rendering of what must have been a very attractive nature1 qualities which make ,holbein's portraiture so great4 ,illustration3 ,,vol4 ,,ii41 ,,plate #c ,,hermann ,,hillebrandt ,,wedig ,,kaiser ,,friedrich ,,museum1 ,,berlin 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #d;,a ,,derich ,,born #aecc ,,windsor ,,castle ,sidenote3 ,,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 merchants4 ,mr4 ,w4 ,f4 ,dickes suggests that it represents the eldest son and successor of ,theodorichus de ,born1 the printer1 of ,deventer and ,nimeguen1 who issued the ,netherland ,new ,testament in #aecb1 and he quotes a reference to a ,theodorichus de ,born de ,novimagio acting as ,secretary to the ,faculty of ,arts at ,cologne ,university1 and also to a ,derichus de ,born who had a licence to preach4 8,remembering10 he says1 8that ,erasmus spent his schooldays at ,deventer1 and that ,holbein owed to him several of his introductions1 ,i think my suggestion deserves to be considered4 ,at any rate1 there is no necessity to assume1 as is done without a tittle of evidence1 that this young scholar was a member of the ,stahlhof6 ,nor does the presence of this portrait at ,windsor prove that it was painted in ,england40#da ,footnote #da3 ,dickes1 ,holbein1 c41 p4 #f4 ,mr4 ,dickes1 whose chief object is to prove1 for the purposes of his theory about the 8,ambassadors10 that none of these ,steelyard portraits was painted in ,england1 starts by misquoting the inscription on the picture1 which he gives as 8,derichus si vocem addas de ,born10 an extraordinary mixing of the first and third lines4 ,there is no 8de ,born0 in it1 it is distinctly 8,der4 ,born10 and though the young man depicted may have been a member of ,theodorichus de ,born's family1 as he suggests1 he was certainly a member of the ,steelyard1 and known in ,london as ,derich ,born4 ,in the ,calendars of ,letters and ,papers1 under the heading of 8,ordnance10 a paper is printed which gives a list of 8payments made by ,erasmus ,kyrkenar1 the ,king's armourer1 by his ,majesty's command1 from #aeth ,sept1 to #acth ,oct4 #bh ,hen4 ,,viii0 7#aecf71 for wages of armourers1 and the providing of armour1 harness1 c41 in connection with the ,rebellion in the ,north4 ,among the items included in his account is the following3 8,for various bundles of harness bought of ,mr4 ,locke1 merchant of ,london1 and of ,dyrycke ,borne1 merchant of the ,steelyard10 c4#db ,this1 though it does not actually prove him to have been in ,london in #aecc1 shows that he was most certainly here three years later as a member of the ,steelyard4 ,evidence of his presence in ,london in the years #aedb-di is to be found in the ,inventare hansischer ,archive des #af4 ,jahrhunderts1 ,i1 quoted by ,dr4 ,ganz1#dc who states that he was a merchant of ,cologne4 ,footnote #db3 ,c4,l4,p41 vol4 xi4 #fhf4 ,footnote #dc3 ,holbein1 p4 #bdj4 ,the picture is on oak1 #a ft4 #aa in4 high by #a ft4 #g in4 wide4 ,it was at one time in the ,arundel collection1 and is entered in the #afee inventory as 8,derichius a ,born40 ,it is possible that the earl owned more than one of the ,steelyard portraits1 for there are two entries of portraits of men with black birettas4 ,on the back is the brand of ,charles ,i1 8,c4,r40 crowned1 though it is not described in his catalogue4 ,there is a second portrait of ,derich ,born by ,holbein1 a small oval of about #c in4 high 7#i #h mm471 on paper1 in the ,alte ,pinakothek at ,munich1 giving the head and shoulders only4#dd ,it is painted in oil on paper1 and has suffered somewhat from retouching1 but is still an excellent example of the small portraits in oil on wood or paper1 usually enclosed in a case of wood or ivory1 which ,holbein was fond of painting at this period1 closely akin to his true miniatures of a rather later date4 ,in the ,munich version the position is reversed1 the sitter being turned to the right1 and the face not quite so fully to the front4 ,the workmanship1 more particularly of the collar1 is as fine as in the larger ,windsor portrait4 ,his name and age and the date are given1 but the last figures and letters have been cut away1 probably when fitting it into the frame1 so that all that is left of the inscription on the background1 on either side of the head1 now reads3 ,footnote #dd3 ,woltmann1 #bbj4 ,reproduced by ,ganz1 ,holbein1 p4 #adg4 8,,debor 4 4 4 4 ,,tatis ,,sv 4 4 ,m4 ,d4 ,,xxx 4 4 40 ,there is every probability that the completed date was #aecc1 and that the little picture was produced at about the same time as the ,windsor version1 though the sitter looks slightly younger1 and while the more important work was painted for a place on the walls of the ,hanse ,guildhall1 the lesser one may well have been done for sending to the sitter's relations abroad4 ,the ,munich catalogue states that it is from the ,elector ,palatine's palace at ,mannheim1 but otherwise nothing is known of its history4 ,illustration3 ,,vol4 ,,ii41 ,,plate #d;,b ,,derich ,,tybis #aecc ,,imperial ,,gallery1 ,,vienna ,sidenote3 ,,portrait ,,of ,,derich ,,tybis ,the half-length portrait of ,derich ,tybis1 of ,duisburg 7,pl4 #d 7#b771 about half the size of life1 in the ,vienna ,gallery 7,no4 #adhe71 is of the same date1 #aecc4de ,it is a full-face representation of a young man1 with dark brown eyes and hair1 his double chin and upper lip being clean-shaven and tinged with blue4 ,in his hands1 which rest on a table in front of him1 he is holding a letter which he is about to open4 ,he wears the usual heavy1 black1 sleeveless cloak or overcoat1 with a deep collar of fur1 and a smaller inner collar of lighter fur4 ,the fore-sleeves of his under-dress are of dark-brown velvet4 ,the open fur collar allows a glimpse of a finely-pleated white shirt1 with a neck-band of a conventional design of holly leaves worked in gold thread in place of the more usual black ,spanish embroidery4 ,he wears two rings on the forefinger of his left hand1 one with an oval green stone in a claw setting4 ,the table is covered with an olive-green cloth1 and lying upon it are a second letter1 a paper with an inscription1 a seal1 quill-pen1 sealing-wax1 and a circular inkstand in two divisions1 with an ink-well in one half and some gold coins in the other4 ,footnote #de3 ,woltmann1 #bea4 ,reproduced by ,knackfuss1 fig4 #abj2 ,ganz1 ,holbein1 p4 #aja2 and in colour in ,early ,german ,painters1 folio ii4 ,the picture has suffered some damage1 more particularly in the colour4 ,the ground1 which was originally azure blue1 has turned to a greenish tone1 and the shadows of the flesh are now too grey2 but the masterly draughtmanship is still there and the extraordinary insight into character4 ,here again the fine and expressive hands at once attract attention4 ,the letter he holds in his hands is from his father1 and is addressed 8,dem ersamen ,deryck tybis von ,duysburch alwyl ,london vff wi 444 dgyss mynem lesten ,sun44440 78,to the honourable ,derich ,tybis of ,duisburg1 at the time in ,london1 in ,windgyss1 my dear son074 ,this address shows that ,tybis was living in ,windgoose ,alley1 one of the passage-ways running through the ,steelyard1 with the houses and shops of the members on either side4 ,on the open paper lying on the table is inscribed1 in imitation of the sitter's handwriting3 8,jesus ,christus4 8,da ick was #cc jar alt was ick ,deryck ,tybis to ,london dyser gestalt en hab dyser gelicken den mark geschrieben myt myner eigenen ,hant en was ,holpein malt anno #aecc4 per my ,deryck device here ,tybis fan ,drysburch40 78,when ,i was #cc years old1 ,i1 ,deryck ,tybis1 in ,london1 had this appearance1 and ,i have marked this portrait with my device in my own hand1 and it was painted by ,holbein in the year #aecc1 by me ,deryck 7here stands the device7 ,tybis von ,drys444407 ,the device1 a combination of crosses1 is repeated on the seal on the table1 with the letters ,d4,t41 reversed1 on either side of it4 ,there is a somewhat similar device on some of the letters in ,georg ,gisze's portrait4 ,the address on the second letter1 lying in front of him1 is now almost illegible4 ,there is no inscription on the background4 ,the writer has found no reference to ,tybis in the ,english ,state ,papers4 ,the fourth ,steelyard portrait of #aecc1 that of ,cyriacus ,fallen1 in the ,brunswick ,gallery1#df is also a half-length1 about half the size of life4 ,like ,derich ,tybis1 the sitter is shown full-face1 looking at the spectator4 ,his hair is cut in the customary ,steelyard fashion1 and he is clean-shaven4 ,his black cap is set rather jauntily on one side1 and his black overcoat has a very heavy fur collar1 while his fore-sleeves are of brown silk with a pattern1 as in the ,wedigh portrait4 ,the neck of his white embroidered shirt is just visible over the collar4 ,in his hands he holds his gloves and two letters1 superscribed with his name and address in ,london4 ,these addresses are not very legible4 ,dr4 ,woltmann at first supposed the ,christian name to be ,ambrose1 but further examination proved it to be ,cyriacus4 ,one of the inscriptions is3 8,dem ,ersamen syryacussfalen zu luden vp ,stalhoff sy disser briff02 and the other3 8,dem ,ersamen f4 444 syriakus fallenn in ,lunde 444 stalhuff sy dies44440 ,footnote #df3 ,woltmann1 #abf4 ,reproduced in ,the ,masterpieces of ,holbein 7,gowan's ,art ,books1 ,no4 #ac71 p4 #cd2 ,ganz1 ,holbein1 p4 #ii4 ,reinach gives the surname as ,kale1 ,rpertoire des ,peintures1 ,vol4 ii4 p4 #eah4 ,on the green background1 on either side of the sitter's head1 is inscribed his motto1 8,patient in all things10 his age1 and the date3 ,,in ,,als ,,gedoltig ,,sis ,,alters4 #cb4 ,,anno #aecc ,fallen has a broad face1 and a somewhat stolid expression2 like his fellow merchants1 he has been placed upon the panel with absolute truth and precision1 without a touch of flattery4 ,the eyes1 hands1 and dress are still in excellent condition1 but the head1 unfortunately1 has suffered greatly in the course of time1 and has been much rubbed and overcleaned1 and retouched in numerous places4#dg ,footnote #dg3 ,restored in #ahib by ,hauser4 ,illustration3 ,,vol4 ,,ii41 ,,plate #e ,,derich ,,berck #aecf ,lord ,leconfield's collection ,,petworth ,sidenote3 ,,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 reached1 that of ,derich ,berck or ,berg of ,cologne1 in ,lord ,leconfield's collection at ,petworth 7,pl4 #e71dh which is dated #aecf4 ,he is represented life-size1 at half-length1 and full face1 with brown hair and beard1 and black dress and cap4 ,both hands are shown1 and the left1 resting on a table with a red cover1 holds a letter addressed3--8,dem ,ersame' vnd fromen ,derich berk i4 ,london upt4 ,stalhoff10 together with the motto besad dz end 78,consider the end071 and the trade-mark of his business house4 ,on the table is a slip of paper with the ,latin motto1 8,olim meminisse juvabit10 selected by ,berck1 says ,dr4 ,ganz1 to indicate that ,holbein's brush will secure him immortality4#di ,in the top right-hand corner are the date and the sitter's age1 8,,an4 #aecf4 ,,ta3 #cj0 twice over1 a later inscription being painted over the faded original one4 ,the background is blue1 with a green curtain on the left4 ,footnote #dh3 ,woltmann1 #bda4 ,first published by ,dr4 ,ganz in ,burlington ,magazine1 ,october #aiaa1 vol4 xx4 p4 #cc2 ,ganz1 ,holbein1 p4 #ajg4 ,footnote #di3 ,see ,burlington ,magazine1 vol4 xx4 p4 #cb4 ,the writer has not seen this picture1 but it is described as follows by ,dr4 ,ganz in the ,burlington ,magazine3--8,the merchant's cloth and cap are black1 but not dark2 the heavy silk reflects the light in a greenish colour finely observed4 ,the background is blue1 of the same blue as in the portrait of ,richard ,southwell at ,florence executed in the same year4 ,it is enriched by a green curtain with red strings1 giving an opportunity for the artist--like the red cloth on the table--for introducing other tones into his composition1 such as black1 besides the main notes of blue and flesh colour4 ,the brightest point in this profound harmony of colours1 a part of the white shirt with black embroidery1 is placed just under the face and makes the fresh and lively expression of it stronger4 ,the light shines with a rare splendour over this man's healthy face and is reflected in the grey-blue eyes1 which look so frank and kindly40 ,this picture has suffered from over-painting1 but it remains a splendid and virile example of ,holbein's portraiture4 ,there is a poor copy of it in the ,alte ,pinakothek at ,munich1#ej purchased in #ahii from a local picture-dealer4 ,it had come originally from ,france1 and was regarded as an unfinished portrait by ,holbein of an unknown man4 ,the ,munich catalogue describes it as a school-replica4 ,footnote #ej3 ,reproduced by ,ganz1 ,holbein1 p4 #bai4 ,to ,holbein the ,steelyard proved to be in all ways a fruitful source of income4 ,not only was he busily engaged for some years in painting individual members of the ,league1 but he was also employed by them in their corporate capacity upon an important work of decoration for their ,guildhall1 and in at least one other direction4 ,this decoration consisted of two large allegorical paintings in tempera representing 8,the ,triumph of ,riches0 and 8,the ,triumph of ,poverty40 ,no record exists as to the date of this work1 but it is reasonable to suppose that the commission was given him in #aecb or #aecc1 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 occupations4 ,these decorative paintings have long since disappeared1 but the original design for 8,the ,triumph of ,riches0 exists1 as well as numerous copies of both compositions1 so that it is possible to gain some idea of their beauty and importance4 ,these allegories1 which contained many life-size figures1 were not painted on the walls1 but on canvas1 and so easily removable4 ,they added greatly to the artist's reputation in this country1 and before the close of the sixteenth century they were celebrated throughout ,europe among artists and connoisseurs of painting4 ,carel von ,mander says that ,federigo ,zuccaro1 about the year #aegd1 made two drawings from them1 and declared them to be equal to anything accomplished by ,raphael1 and that after his return to ,italy he told ,goltzius the painter that they were even finer than any wall-paintings from ,raphael's brush4 ,the two pictures remained in the ,guildhall of the ,steelyard until #aeih1 when it was closed by ,queen ,elizabeth1 who at the same time expelled the ,germans from their houses4 ,for some years the place remained desolate1 and when1 in #afjf1 under ,james ,i1 the buildings were restored to the ,league1 most of the property left behind was found to have been stolen or badly damaged4 ,the glory and prosperity of the ,steelyard1 indeed1 had completely vanished1 never to be fully restored again1 and when the affairs of the ,company in ,london were finally wound up1 the two pictures were presented by the ,league1 through their representative1 the house-master1 ,holtscho1 on ,january #bbnd1 #afaf 7old style7 to ,henry1 ,prince of ,wales1 like his brother1 ,charles ,i1 a patron of the fine arts4 ,holtscho1 in describing the event1 says3 8,i cannot1 also1 leave it unnoticed1 that although these works are old1 and have lost their freshness1 yet ,his ,highness1 as a lover of painting1 and as the works of the master1 specially this work1 have been highly commended1 has taken great pleasure in them1 as ,i have myself perceived1 and have also heard from himself40#ea ,the researches of ,dr4 ,lappenberg have placed these facts beyond doubt1 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 #afff4 ,footnote #ea3 ,woltmann1 i4 #cha1 quoting from ,lappenberg1 ,urkundliche ,geschichte des hansischen ,stahlhofes zu ,london1 #ahea1 pp4 #hb-hg4 ,sidenote3 ,,the ,,two 8,,triumphs0 ,it has been generally supposed that on the death of ,prince ,henry1 two years after they were presented to him1 the pictures passed into the possession of ,charles ,i2 and as they were not included among the pictures of that ,king's collection sold by order of the ,commonwealth in #afdh-ec1 ,dr4 ,lappenberg concluded that they must have remained at ,whitehall until destroyed in the fire at that palace in #afih4 ,further evidence1 however1 appears to contradict this conclusion4 ,in ,van der ,doort's carefully-prepared catalogue of ,charles ,i's collection1 although several less important works by ,holbein are included1 among them two miniatures1 these two celebrated pictures are not mentioned4 ,again1 ,sandrart1 in his autobiography1 describes the two compositions in some detail1 after seeing them in #afbg in the ,earl of ,arundel's possession1 in the long garden gallery in ,arundel ,house4 ,he does not say whether they were pictures or drawings1 so that they may have been only the original designs2 it is much more probable1 however1 that they were the large paintings1 as ,sandrart speaks of them first of all1 as the chief of ,holbein's works belonging to the ,earl1 and afterwards describes three of his best known portraits1 hanging in the same gallery1 those of ,erasmus1 ,sir ,thomas ,more1 and a 8,princess of ,lorraine0 7the ,duchess of ,milan71 which seems to indicate that ,lord ,arundel possessed the large works4 ,it has been suggested that they may have been presented by ,charles ,i to the ,earl2 but it is more likely that they were obtained by exchange with that monarch4 ,later on they were taken abroad with the rest of the collection by the ,countess of ,arundel1 and were in ,amsterdam at the time of her death in #afed4 ,in the inventory then drawn up they are merely described as 8,triumpho della ,richezza0 and 8,triumpho della ,poverta40 ,probably they were among the pictures hastily sold by ,lord ,stafford in that town immediately after his mother's decease4#eb ,the last trace of their history to be found is in a paragraph in ,flibien's ,entretiens sur les ,vies et sur les ,ouvrages des plus excellents ,peintres anciens et modernes1 published in #afff1 in which he speaks of them as having been brought from ,flanders to ,paris3 8,il y avait encore dans la maison des ,ostrelins1 dans la salle du ,convive1 deux tableaux dtrempe1 qu'on a ves icy depuis quelques annes1 et qu'on avait envoyez de ,flandres40#ec ,footnote #eb3 ,see ,burlington ,magazine1 ,august #aiaa1 vol4 xix4 pp4 #bhb-f4 ,footnote #ec3 ,quoted by ,woltmann1 i4 p4 #chb4 ,if ,flibien is correct1 the pictures had once more come into the possession of the ,hanseatic ,league4 ,they were1 no doubt1 purchased in ,amsterdam by that body1 and forwarded to ,paris4 ,no further record of them has been discovered1 and as they were already in a damaged state when presented to the ,prince of ,wales1 the probability is that they have perished4 ,illustration3 ,,vol4 ,,ii41 ,,plate #f ,,the ,,triumph ,,of ,,riches ,design for the wall-decoration in the ,guildhall of the ,london ,steelyard ,merchants ,pen-and-wash drawing heightened with white ,,louvre1 ,,paris ,sidenote3 ,,the ,,two 8,,triumphs0 ,holbein's original sketch for 8,the ,triumph of ,riches10 a masterly pen drawing washed with ,indian-ink1 and touched with white in the high lights1 is in the ,louvre 7,pl4 #f74ed ,a similar drawing in the ,british ,museum1 purchased in #ahed1 which at one time was attributed to ,holbein himself1 is said by ,woltmann to be a tracing of the ,louvre example2 but it has no appearance of being traced1 and is certainly a copy1 perhaps by an ,italian4#ee ,the heads and attributes are given a ,raphaelesque air1 strikingly different from the ,flemish style of a second drawing in the ,museum1 of the second composition1 8,the ,triumph of ,poverty40#ef ,this latter is in black and red chalks and pen1 washed with ,indian-ink1 and heightened with white1 on a blue background1 and was acquired in #ahid from the ,eastlake collection4 ,lady ,eastlake possessed a similar drawing of the 8,riches40 ,both are in all probability by ,lucas ,vorsterman the younger1 and were purchased by ,sir ,charles ,eastlake from the ,walpole sale in #ahdb for sixteen guineas4 ,they appear to be copies1 as ,vertue suggested1 made for engraving purposes by ,lucas ,vorsterman from the drawings done by ,zuccaro in #aegd2 or possibly from the original paintings when in ,amsterdam4 ,vorsterman certainly engraved one1 if not both subjects1 though only his engraving of the 8,poverty0 is known4 ,these drawings1#eg at one time in the ,lely collection1 were in ,buckingham ,house1 before it was purchased for a royal palace1 and were sold as allegorical works by ,van ,dyck1 and bought by ,horace ,walpole1 who regarded the 8,riches0 as by ,vorsterman1 and the 8,poverty0 as by ,zuccaro2 but the latter1 like the former1 is decidedly ,flemish in style4#eh ,sandrart possessed copies1 in all probability those made by ,zuccaro1 which were afterwards in the ,crozat collection1 and when that collection was sold passed into that of ,privy ,councillor ,fleischmann1 of ,strasburg1 and while in his possession were engraved for ,von ,mechel's 8uvres de ,jean ,holbein10 and inscribed 8,zuccari delin4 #aegd40 ,all further traces of these ,zuccaro drawings have now been lost4 ,footnote #ed3 ,woltmann1 #bcc4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ca2 ,woltmann1 i4 p4 #chd4 ,footnote #ee3 ,british ,museum ,catalogue of ,drawings1 c41 ,binyon1 ii4 p4 #cdb4 ,footnote #ef3 ,ibid41 p4 #cdb4 ,footnote #eg3 ,the ,vorsterman copies are reproduced in outline in ,waagen's edition of ,kugler's ,german1 c41 ,schools of ,painting1 from drawings made by ,sir ,george ,scharf when they were in the ,eastlake collection4 ,footnote #eh3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 i4 p4 #hi4 ,dr4 ,ganz1 however1 regards the 8,poverty0 as ,zuccaro's copy4 ,see ,holbein1 p4 #bdh4 ,the ,british ,museum possesses a very rare and interesting engraving1 dated #aefa1ei and inscribed 8,faicte par ,maistre ,hans ,holbeyn tres excellent pointre4 ,et imprime par ,johan ,borgni ,floreto en ,anuers lan ,m,d,,lxi40 ,it is evidently taken from ,holbein's original design1 which must have been in ,antwerp at that date4 ,larger copies of both paintings are also in the ,british ,museum2 they are by ,jan de ,bisschop1 a ,dutch artist who died in #afhf1 and were probably made from the original large compositions when they were in ,amsterdam4 ,they are pen drawings washed with bistre1 and are executed with great detail 7,pl4 #g74fj ,the 8,riches0 shows several minor differences and some additions when compared with the ,louvre drawing4 ,two new characters are introduced1 ,phileas and ,leo ,pisanus1 their heads appearing before and behind the charioteer1 as well as ,heliogabalus and some unnamed persons2 there is a parrot on the tree in the background 7as in the ,vorsterman drawing71 while the tree itself is much larger and more finished4 ,all goes to prove1 in short1 that the ,louvre drawing and the copy of it in the ,british ,museum represent ,holbein's study for the painting1 while the ,bisschop drawings were made from the paintings themselves1 and the ,vorsterman drawings either from the finished works or from ,zuccaro's copies of them1 and represent the final designs4#fa ,the ,british ,museum possesses a third copy of the 8,triumph of ,poverty10 made by ,matthus ,merian the ,younger in #afdj1 when the picture was still in ,london4#fb ,footnote #ei3 ,reproduced by ,ganz1 ,holbein1 p4 #age4 ,footnote #fj3 ,both reproduced by ,ganz1 ,holbein1 pp4 #agf-g4 ,footnote #fa3 ,see the ,british ,museum ,catalogue1 i4 p4 #cdc4 ,footnote #fb3 ,a small version of the 8,riches0 until recently belonged to ,mr4 ,edwin ,seward1 ,f4,r4,i4,b4,a41 of ,cardiff4 ,it has been noted in an earlier chapter that ,holbein1 in his wall-paintings1 was influenced by the example of ,andrea ,mantegna1 whose 8,triumph of ,csar0 had a ,european reputation4 ,the ,steelyard allegories were compositions of a similar nature1 though in no sense copies of any earlier ,italian work4 ,the 8,triumph of ,riches0 represents a crowded procession moving towards the spectator's left4 ,the magnificent chariot of ,plutus1 drawn by four white horses1 is followed and surrounded by the most famous men of wealth of antiquity4 ,the god of riches himself1 old1 bent1 and bald1 is seated on a high seat at the back of the car1 with his feet on a sack of gold4 ,in front of him sits ,fortune on a globe1 blindfolded1#fc her veil blown out like a sail1 and stooping down to scatter gold among the crowd2 and in front of her sits the ,charioteer1 named ,ratio1 holding the reins1 which are labelled ,notitia and ,voluntas4 ,the two near horses1 ,impostura and ,contractus1 are led by ,bona ,fides and ,justitia1 two finely designed figures of women1 while two other women1 ,liberalitas and qualitas1 are mounted on the off horses1 ,avaritia and ,usura1 which they urge along with short whips4 ,on either side of the chariot walk ,simonides1 ,sichaeus1 ,leo ,byzantius1 ,bassa1 ,themistocles1 ,pythius1 ,crispinus1 ,ventidius1 who holds up his toga to catch the coins ,fortune is scattering1 ,gadareus and others1 some of them bent down with the weight of gold they are carrying in sacks or large purses4 ,behind the car rides ,crsus1 a majestic1 crowned figure1 his horse led by ,narcissus1 with ,cleopatra1 ,midas1 ,tantalus1 and other riders bringing up the rear4 ,on the extreme right of the composition ,nemesis hovers over them in the clouds4 ,to each figure a label with the name is attached1 all of which are not given on the ,louvre drawing1 but are found in the ,vorsterman and ,bisschop copies4 ,on the extreme left1 in the sky1 is a large cartellino1#fd with a ,latin inscription of two lines in ,roman characters3-- 8,avrvm blanditi pater est natvsq4 doloris ,qvi caret hoc moeret qvi tenet hic metvit40 ,this sentence was also written up over the central door of the ,steelyard ,guildhall1 and has been ascribed1 according to ,walpole1 to ,sir ,thomas ,more1 but this appears to be a legend without any real foundation in fact4 ,footnote #fc3 ,in the original drawing4 ,in the ,bisschop copy her head is raised1 and she is not blindfolded4 ,footnote #fd3 ,not shown in the ,louvre drawing4 ,illustration3 ,,vol4 ,,ii41 ,,plate #g ,,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 ,sidenote3 ,,the 8,,triumph ,,of ,,poverty0 ,both compositions were of the same height1 but the 8,triumph of ,riches0 was much the longer of the two1 so that they must have been painted to fill particular and prescribed wall-spaces in the ,hall4 ,probably the 8,riches0 occupied the place of honour on one of the long walls1 opposite the windows1 with the 8,poverty0 at one of the ends of the room4 ,the latter1 according to ,dr4 ,ganz1 came first1 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 them4 ,in the 8,triumph of ,poverty10 in which the procession moves in the same direction1 from right to left1 the central figure is ,poverty1 an old woman1 lean1 and bare to the waist1 seated in a rough waggon with upright poles bearing a canopy of straw4 ,over her head is a label with the ,greek title 840 ,behind her sits ,infortunium1 striking with a rod at the heads of the crowd of poverty-stricken1 half-naked figures following the cart1 among whom are an old man1 ,mendicitas1 and an old woman1 ,miseria4 ,in front of ,poverty sits ,industria1 distributing instruments of labour1 hammers1 chisels1 flails1 squares1 and other tools to the poor workmen walking below1 and she is supported by ,usus and ,memoria4 ,the cart is driven by ,spes1 who looks up towards heaven1 and is drawn by two oxen1 ,negligentia and ,pigritia1 in the shafts1 and two asses1 ,stupiditas and ,ignavia1 as leaders4 ,these steeds are led by four finely designed female figures1 ,moderatio1 with a whip1 ,diligentia1 ,solicitudo1 and ,labor1 the last carrying a heavy spade4 ,behind ,labor walks a young man with a basket of carpenter's tools1 and a flail over his shoulder4 ,on a tree in the left background hangs a large wooden tablet with a long ,latin inscription1 also attributed to ,sir ,thomas ,more1 beginning3 8,mortalivm jvcvnditas volvcris et pendvla ,movetvr instar tvrbinis quam nix agit sedvla10 c4#fe ,footnote #fe3 ,the lines are quoted in full by ,wornum1 p4 #bfe1 and ,woltmann1 i4 p4 #che4 ,from the ,louvre sketch in particular1 but also from the numerous more or less faithful copies1 sufficient evidence of the fine decorative character of the originals1 their sense of rhythmic movement1 their creative power and imagination1 and the nobility of their design1 can be obtained4 ,the allegories they set forth were plain enough to read4 ,they pointed out the instability of fortune and glory1 and the virtue to be found in honest poverty1 and warned the merchants who daily looked upon them1 and whose avocations were the making of money1 against undue arrogance in prosperity or needless despondency in adversity4 8,both pieces10 says ,van ,mander1 who describes them with some care1 8were excellently arranged1 freely drawn1 and well delineated40 ,the colour-scheme appears to have matched the fine decorative qualities of the design4 ,the compositions were not carried out in natural colours as in a picture4 ,they were painted in greyish monochrome1 with colour sparingly used4 ,the background was blue1 green was used in the trees1 and the horses which drew the chariot of ,plutus were white4 ,the flesh tints of the numerous figures were rendered naturally1 but the garments they wore were in monochrome1 ornamented at the borders with gold1 which was also used in other parts of the canvas with excellent effect1 so that the paintings1 when in position on the walls1 must have added to the rich and brilliant appearance of the room1 with its sideboards covered with silver plate and pewter ware4 ,we have one other record of a commission given to ,holbein by the ,steelyard4 ,this was the design for the triumphal arch which they erected on ,saturday1 ,may #cast1 #aecc1 when ,anne ,boleyn rode in procession from the ,tower through the ,city to ,westminster for her coronation4 ,from a letter written by ,chapuys1 the ,imperial ,ambassador in ,london1 to ,charles ,v1 dated ,may #ahth in that year1 it is evident that the ,germans were not anxious to incur the cost of this decoration2 but the ,londoners1 who had contributed #ejjj ducats towards the festivities1 of which #cjjj were for a present to the new ,queen1 were determined to make all the inhabitants1 irrespective of nationality1 pay their due share4 8,the ,easterlings10 says ,chapuys1 8as being subjects of your ,majesty1 would like to be excused1 but the great privileges they enjoy here prevent them from objecting40#ff ,footnote #ff3 ,c4,l4,p41 vol4 vi4 #ejh4 ,sidenote3 8,,apollo ,,and ,,the ,,muses0 ,having determined to do it1 however1 they did it well1 as contemporary records bear witness4 ,stow tells us that ,anne1 after being greeted at ,fenchurch ,street by the children of the ,city ,schools1 was still more splendidly welcomed at the corner of ,gracechurch ,street1 8where was a costly and marvellous cunning pageant made by the merchants of the ,stilyard3 therein was the ,mount ,parnassus1 with the ,fountaine of ,helicon1 which was of white marble1 and four streames without pipe did rise an ell high1 and mette together in a little cup above the fountaine1 which fountaine ranne abundantly with ,reynish wine till night4 ,on the mountaine sat ,apollo1 and at his feete sate ,caliope2 and on every side of the mountaine sate four ,muses1 playing on severell sweet instruments1 and all their jestes1 epigrams1 and poesies were wrytten in golden letters1 in the which every ,muse1 according to her property1 praysed the ,queene40 ,camusat1 in his narrative1 says3 8,in all open places were scaffolds1 on which mysteries were played2 and fountains poured forth wine4 ,along the streets all the merchants were stationed40 ,this triumphal arch was designed by ,holbein4 ,his original sketch for it1 formerly in the ,crozat collection1 and more recently in that of the late ,herr ,rudolph ,weigel1 of ,leipzig1 is now in the ,berlin ,print ,room 7,pl4 #h74fg ,in its details it corresponds almost exactly with ,stow's description4 ,in the centre ,apollo is seated on a rock1 beneath a slight bower or baldachin consisting of thin pillars supporting slender arches wreathed with leaves1 across which hangs a scroll-shaped tablet for an inscription1 the whole surmounted by a two-headed ,imperial eagle4 ,apollo holds a small harp on his left knee1 and with his right hand directs the music of the attendant ,muses1 who are grouped beneath him1 five on the left hand and four on the right1 on either side of a fountain of fine ,renaissance design1 in which the wine is falling from the smaller upper basin into the larger one beneath4 ,the two front figures1 ,calliope and ,polyhymnia1 are seated1 with lute and viol4 ,four of the others are singing1 and the remainder playing various musical instruments1 one with both a trumpet and a small drum4 ,apollo1 crowned with a wreath1 is clad in classical costume1 but the ladies are wearing dresses of ,holbein's day4 ,on either side of the group rise two tall candelabra1 with blank shields for coats of arms1 surmounted with royal crowns4 ,in the background rocky mountains are indicated4 ,the whole composition is supported by a central arch1 of rich ,renaissance design1 shown in perspective1 with a large blank tablet1 to contain words of welcome1 at its crown1 and there are indications of smaller arches on either side4 ,thus it is evident that the decoration was not a painted one1 but was a solid structure built across the street1 under which the royal carriage would pass1 and that ,apollo and the ,muses were represented by living persons1 who played their instruments as the procession went by1 while the white marble fountain splashed its ,rhenish wine4 ,footnote #fg3 ,woltmann1 #age4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #cj1 and in ,holbein1 p4 #agh2 ,davies1 p4 #adf2 ,his1 ,pl4 #ea4 ,the sketch is a very hasty one1 but would be quite sufficient to indicate to the ,steelyard the artist's intentions4 ,holbein himself1 no doubt1 superintended the erection of the archway4 ,slight as it is1 it is masterly in draughtsmanship1 displaying ,holbein's delicacy and certainty of touch in every stroke4 ,the two seated figures1 more particularly the one on the right1 are rapidly drawn with the greatest grace and charm4 ,according to ,woltmann the ,imperial eagle on the summit has only one head2 the drawing is rubbed at the top1 but there seem to be indications that the split or two-headed bird1 which was then customary1 was intended4 ,mr4 ,w4 ,f4 ,dickes denies that this drawing was intended for the ,steelyard arch2 he considers it to be a sketch for one of the ,apollo musical festivals of ,holbein's ,guild 8zum ,himmel0 at ,basel1 and uses it as a proof that the painter had returned to his adopted city in #aecc4fh ,he bases this on an entry in the ,banner ,book of the ,guild1 dated ,november #bcrd1 #aecc1 which he reads as a payment to ,holbein for banners painted for some festivity4#fi ,the symbol of the ,basel ,painters' ,guild was a pigeon with outstretched wings1 within a wreath or bower1 and ,mr4 ,dickes sees in the eagle of the ,berlin drawing1 which is not within a bower1 the pigeon of the ,guild4 ,he states1 too1 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 bird4 ,this statement is1 however1 incorrect4 ,no doubt exists as to the use of the eagle on this particular occasion4 ,it was1 indeed1 viewed with extreme distaste by the new ,queen4 ,eustace ,chapuys1 writing to ,charles ,v on ,july #aath1 less than six weeks after the event1 says3 8,i understand the lady 7i4e41 ,anne7 complains daily of the ,easterlings1 who on the day of her entry had set the ,imperial eagle predominant over the ,king's arms and hers4444 ,this may serve as an indication of her perverse and malicious nature40#gj ,and again1 on the #cjth of the same month1 he returns to the same subject3 8444 the ,lady who1 as ,i am told1 was not at all pleased with the ,easterlings and other ,germans for bringing me to see their fleet1 which is greater than any that has been seen here for a long time2 or that1 at a solemn banquet which they made1 the ships did march with their artillery4 ,she is in a still worse humour because this was done near ,greenwich park2 and this has renewed the regret she felt for the eagle which the ,easterlings carried in triumph the day of her entry here40#ga ,these letters afford additional evidence that ,holbein made this drawing for the occasion of ,anne's coronation1 and that it has nothing to do with ,basel or the ,zunft zum ,himmel4 ,footnote #fh3 ,dickes1 ,holbein's 8,ambassadors0 ,unriddled1 p4 #c4 ,footnote #fi3 ,this point is dealt with in a later chapter4 ,see pp4 #aeg-aeh4 ,footnote #gj3 ,c4,l4,p41 vol4 vi4 #hje4 ,footnote #ga3 ,c4,l4,p41 vol4 vi4 #iah4 ,illustration3 ,,vol4 ,,ii41 ,,plate #h ,,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 ,,room1 ,,berlin ,sidenote3 8,,apollo ,,and ,,the ,,muses0 ,the ,imperial two-headed eagle was also carved in stone over the principal entrance to the ,steelyard4 ,the old device had disappeared in the course of time1 but in #afgj a new one was placed in position4 ,the following item occurs in a series of accounts still extant in connection with the ,steelyard buildings of that period3 8,december #cast1 #afgj4 ,to ,gabriel ,cibbert1 stone-cutter1--for the eagle put on over the gate from ,thames ,street1 fixed on ,john ,balls buildings1 #e40 ,caius ,gabriel ,cibber1 a native of ,holstein1 and father of ,colley ,cibber1 was a sculptor of some merit who practised in ,london4 ,this sculptured shield-shaped stone1 bearing an eagle displayed with a crowned collar and two heads1 surrounded by an inscription1 was also removed in course of time1 and was recently found by ,mr4 ,lawrence ,weaver in the garden of ,bickley ,hall1 ,kent4#gb ,footnote #gb3 ,see ,dr4 ,philip ,norman's paper1 already quoted1 in ,archologia1 vol4 lxi4 pt4 #b1 p4 #djf1 in which the shield is reproduced4 ---------------------------------------- -------------------------------- ,,chapter ,,xvii 8,,the ,,two ,,ambassadors10 #aecc ,holbein receives the offer of a yearly pension from the ,basel ,town ,council--8,the ,two ,ambassadors0--,the identity of the sitters--,history and description of the picture--,other portraits of ,dinteville and the members of his family--,flix ,chrtien--,mr4 ,dickes' theory that the picture represents the ,princes ,palatine ,otto ,henry and ,philipp--,the 8,portrait of a ,musician0 at ,bulstrode ,park4 ,,throughout the earlier years of ,holbein's second sojourn in ,england1 though he was busily occupied on work for the ,german merchants of the ,steelyard1 his time was by no means completely taken up with the commissions they gave him both individually and as a corporate body4 ,during the same period he painted the portraits of more than one ,englishman and several foreigners of distinction4 ,sidenote3 ,,letter ,,of ,,recall ,,from ,,basel ,as already pointed out1 he probably returned to ,england during the first months of #aecb4 ,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 recall1 dated #bnd ,september #aecb1 which was sent to him in ,england by the ,burgomaster of ,basel1 ,jakob ,meyer--not his old patron1 ,meyer zum ,hasen1 but ,jakob ,meyer zum ,hirschen--on behalf of the ,council4 ,such a letter would hardly have been written if he had been absent from ,basel for only a month or two4 ,it is probable that the best part of a year would be allowed to elapse before a recall was sent to him4 ,it runs as follows3 8,master ,hans ,holbein1 the painter1 now in ,england4 8,we1 ,jacob ,meiger1 ,burgomaster1 and the ,council of the ,city of ,basel1 send greeting to our dear citizen1 ,hans ,holbein1 and let you herewith know that it would please us if you would repair home as soon as possible4 ,in that case1 in order that you may the better stay at home and support your wife and children1 we will furnish you yearly with thirty pieces of money1 until we are able to take care of you better4 ,we have wished to inform you of this1 in order that you may conform to our desire4 ,dated ,monday1 #bnd ,september #aecb40gc ,footnote #gc3 ,woltmann1 ,english translation1 p4 #ccf4 ,original text in ,woltmann1 i4 #cfc1 and ,wornum1 p4 #bfe4 ,the offer contained in this letter1 which1 though its terms were not lavish1 was a proof that his fellow-citizens appreciated his art and were anxious to induce him to reside permanently in ,basel1 was not tempting enough to induce ,holbein to leave ,england4 ,whatever his answer may have been--for it is to be presumed that he received the letter1 though there is no actual evidence to show that he did so--the ,council's request proved ineffectual4 ,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 ,switzerland1 more particularly as he had so recently formed a new and lucrative connection with the ,steelyard1 while memories of the bad times lately encountered in ,basel were still vivid4 ,as already pointed out1 the only three portraits by him bearing the date #aecb are of ,german merchants4 ,in the following year1 however1 more than one fine work affords proof that the ,steelyard was by no means his only source of income4 ,his most important undertaking in #aecc was the large double portrait generally known as 8,the ,two ,ambassadors10 now in the ,national ,gallery1 for which it was purchased1 in #ahij1 with two other pictures1 from the fifth ,earl of ,radnor1 for #ee1jjj1 of which #be1jjj was contributed by the ,state1 and #cj1jjj by ,messrs4 ,nathaniel ,rothschild ,sons1 ,lord ,iveagh1 and ,mr4 ,charles ,cotes4 ,the addition of this great painting to the national collections1 in which1 until then1 ,holbein had been unrepresented1 aroused much curiosity as to the personality of the two sitters4 ,many attempts were made to identify them1 and numerous solutions of the riddle were suggested in letters to the ,times and other papers and reviews4 ,magazine articles were written about it1 and1 lastly1 two volumes of considerable size were published with this picture as their sole subject4 ,probably no other painting in the world has produced so great a mass of literature4 ,the two men represented are ,frenchmen3 ,jean de ,dinteville1 ,lord of ,polisy1 and ,bailly of ,troyes1 and1 at the time the picture was painted1 resident ,french ambassador in ,london1 and his close friend ,george de ,selve1 afterwards ,bishop of ,lavaur1 who came over to ,england in the spring of #aecc on a short visit to the ,bailly4 ,the painting 7,pl4 #i71gd which is on ten vertical panels of oak1 is #f ft4 #aj in4 high by #f ft4 #aj in4 wide1 and is thus described in the ,national ,gallery catalogue3 ,footnote #gd3 ,woltmann1 #bae4 ,reproduced by ,davies1 p4 #aeb2 ,miss ,hervey1 ,holbein's ,ambassadors1 frontispiece2 ,dickes1 frontispiece2 ,ganz1 ,holbein1 p4 #ajc2 and elsewhere4 ,illustration3 ,,vol4 ,,ii41 ,,plate #i ,,the ,,two ,,ambassadors ,jean de ,dinteville and ,george de ,selve #aecc ,,national ,,gallery1 ,,london 8,the scene is a chamber paved with inlaid marbles1 and hung with green damask1 which in the upper left-hand corner partly reveals a silver crucifix attached to the wall behind4 ,in the centre of the composition is a wooden stand1 having an upper and a lower shelf4 ,to the left of this1 leaning his arm upon it1 stands ,jean de ,dinteville1 a young man with dark-brown eyes and beard1 in a rich costume of the period of ,henry ,,viii1 wearing a heavy gold chain with the badge of the ,french order of ,saint-,michel1 and1 on his right side1 depending from his girdle1 a dagger with wrought gold hilt and sheath3 on the sheath the inscription--,t4 ,,sv #bi4 in relief4 ,in his black bonnet is a jewel formed of a silver skull set in gold4 ,to the right1 ,george de ,selve1 dark-eyed1 with a close beard1 also leans upon the stand1 or1 more immediately1 on a clasped book1 the edges of which are inscribed3 ,,tatis ,,sv #be4 ,he wears a four-cornered black cap1 and a loose1 long-sleeved gown of mulberry and black brocade1 lined with sable1 and reaching to the ground4 ,both these persons regard the spectator4 ,the upper shelf of the stand is covered with a ,turkish rug1 on which are several mathematical and astronomical instruments1 and1 close to the principal personage1 a celestial globe4 ,the lower shelf bears a case of flutes1 a lute1 an open music-book containing part of the score and words of the ,lutheran hymn1 #8,komm1 heiliger ,geist1' a smaller book1 on arithmetic1 kept partly open by a small square1 a pair of compasses1 and a terrestrial hand-globe1 which is in a direct line below the other globe4 ,under the stand lies the lute-case4 ,conspicuous in the foreground is the anamorphosis1 or perspectively distorted image1 of a human skull1 which1 touching the floor on the left1 stretches obliquely upwards towards the right4 ,in the shadow cast on the floor by the chief personage is the inscription--#8,,joannes ,,holbein ,,pingebat #aecc' in sloping ,roman letters40 ,to this it should be added that ,dinteville's dress consists of a slashed doublet of rose-coloured satin1 and a black surcoat4 ,the latter is lined with ermine1 with which the shoulder-puffs1 further adorned with gold tags1 are piped4 ,a large gold and green silk tassel1 of very fine execution1 hangs1 with the dagger1 from his girdle1 and he also wears a sword1 only the hilt and sheathed point of which are seen4 ,sidenote3 ,,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 ,brun1 the ,parisian picture-dealer1 and husband of the well-known portrait-painter1 ,madame ,vige ,le ,brun4 ,le ,brun issued a very indifferent engraving of it by ,j4 ,a4 ,pierron in ,part ,,xii 7dated #agij7 of his 8,galerie des ,peintres ,flamands1 ,hollandais et ,allemands40 ,in the index it was described as representing 8,,mm4 de ,selve et d',avaux2 l'un1 ,ambassadeur ,venise1 l'autre1 dans les pays du ,nord1 avec les attributs des ,arts qu'ils cultivaient2 on voit terre une ,tte de ,mort en perspective1 prendre de l'angle gauche1 qui de face ressemble un poisson40 ,when the publication was issued in volume form in #agib1 with text1 ,le ,brun slightly amplified this note1 and added 8,j'ai depuis vendu ce tableau pour l',angleterre1 o il est maintenant2 les figures sont de grandeur naturelle40 ,he gives no information as to the source from which he obtained the picture4 ,it is stated in the ,national ,gallery catalogue that it is probable that it came into the hands of the dealer ,vandergucht1 and that from him it was purchased by the second ,earl of ,radnor1 about #agij or #agie2 but from the account books of ,longford ,castle it would appear that it was sold to the ,earl by the dealer ,buchanan1 who received one thousand guineas for it1 the payments being made in #ahjh and #ahji4 ,during the years the picture remained in ,longford ,castle many guesses were made as to the identity of the personages4 ,le ,brun's title1 which1 after all1 contained half the truth1 was not accepted by the leading critics1 largely owing1 no doubt1 to the fact that the title of ,avaux did not exist until more than a hundred years after the picture was painted1 so that1 the one name being impossible1 the other was included in the same category4 ,in the end1 a suggestion that the man on the left of the picture was ,sir ,thomas ,wyat was regarded as a very possible solution4 ,mr4 ,wornum1 in his book published in #ahfg1 gave this attribution a qualified acceptance--8the subject is doubtful1 but it is supposed to represent ,sir ,thomas ,wyatt1 the poet and diplomatist1 and some learned friend0#ge--;and ,dr4 ,woltmann followed suit1 but went a step further1 suggesting ,john ,leland1 the antiquary1 as the second figure4#gf ,both identifications1 however1 were shown to be inaccurate by ,mr4 ,j4 ,gough ,nichols in a paper contributed to ,archologia in #ahgc2gg but he could offer no name in substitution1 and so the matter stood until the purchase of the picture for the nation4 ,footnote #ge3 ,wornum1 p4 #bge4 ,footnote #gf3 ,woltmann1 i4 #cgd4 ,footnote #gg3 ,archologia1 vol4 xliv4 pt4 ii4 pp4 #dej-ee4 ,sidenote3 ,,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 newspaper4 ,sir ,j4 ,c4 ,robinson upheld ,dr4 ,woltmann's belief that the two men were ,wyat and ,leland1 but ,sir ,sidney ,colvin1#gh by means of convincing proofs1 showed that this attribution was untenable1 as also that of ,le ,brun4 ,he gave1 at the same time1 four reasons for supposing that the personage on the left was really a ,frenchman and an ambassador--7#a7 the traditional title2 7#b7 its having been sold into this country from ,france2 7#c7 the wearing of the ,french order of ,saint-,michel2 and 7#d7 the close resemblance in dress and fashion of the personage in question and the portrait of another ,french ,ambassador1 the 8,morette0 at ,dresden4 ,he proposed1 as a probable solution1 the name of ,jean de ,dinteville--a suggestion which afterwards proved to be the correct one4 ,when1 in ,august #ahia1 the picture was cleaned1 and the name of ,polisy1 ,dinteville's birthplace1 an obscure village in ,burgundy1 was discovered on the terrestrial globe1 the only other ,french towns upon it being ,paris1 ,lyon and ,bayonne1 the identity of the left-hand figure was placed almost beyond doubt4 ,sir ,sidney also suggested that the second person might be ,nicolas ,bourbon1 the ,french poet4 ,footnote #gh3 ,the ,times1 ,september #ahij4 ,other attempted identifications included such divers personages as ,lord ,rochford1 brother of ,anne ,boleyn2 ,count ,balthazar ,castiglione1 who came to ,england to receive the ,order of the ,garter for the ,duke of ,urbino2 and ,guillaume and ,jean du ,bellay4 ,the last-named solution was published in a pamphlet in #ahij by ,mr4 ,elias ,dexter1 under the title of ,holbein's ,ambassadors ,identified4 ,the writer sought to prove that the ,national ,gallery picture and the one engraved for ,le ,brun were not the same1 and that there must be two versions of the subject in existence4 ,this contention he based on a number of slight differences between the accessories in the picture and in ,pierron's print1 but such differences may be easily explained by the inferiority of the engraver's work and the unusual complexity of the many details4 ,to prove the identity of the two sitters with the brothers ,du ,bellay1 who in #aecc were about #db and #da years of age respectively1 he was obliged to declare the inscriptions on the dagger and the book to be forgeries4 ,it is true that ,jean du ,bellay was in ,england in that year for a short time1 and this is ,mr4 ,dexter's sole evidence1 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 ,gallery4 ,a much more elaborate theory was advanced by ,mr4 ,w4 ,f4 ,dickes in three articles in the ,magazine of ,art1 and in several letters to the ,times in answer to critics unfriendly to his attempted solution of the riddle4 ,his contention is that the picture was painted as a memorial of the ,treaty of ,nuremberg between the ,catholics and ,protestants in #aecb1 and that the two persons represented are the brothers ,otto ,henry and ,philipp of ,neuburg1 ,counts ,palatine of the ,rhine4 ,this theory he still further elaborated in a book published in #aijc under the title of ,holbein's ,ambassadors ,unriddled4 ,his arguments1 however1 are singularly unconvincing1 and have failed to obtain the support of any serious student of ,holbein4 ,before dealing with them1 however1 it will be better to give a brief account of the discoveries of ,miss ,mary ,f4 ,s4 ,hervey1 by means of which the identity of ,holbein's two sitters was finally set at rest4 ,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 ,times1#gi and this1 together with further corroborative evidence1 was embodied in a book1 ,holbein's ,ambassadors3 the ,picture and the ,men1 published in #aijj4 ,footnote #gi3 ,the ,times1 ,december #g1 #ahie4 ,in #ahie ,miss ,hervey happened to come across a copy of the ,revue de ,champagne et de ,brie for #ahhh1 which gave a short notice of a picture formerly preserved at ,polisy1 containing the portraits of ,jean de ,dinteville and ,george de ,selve4 ,this paragraph was based on a catalogue published in ,march #ahhh by ,m4 ,saffroy1 an antiquarian bookseller of ,pr-,saint-,gervais1 in which a seventeenth-century parchment1 describing the picture1 was offered for sale4 ,miss ,hervey hastened to communicate with ,m4 ,saffroy1 and by one of those happy chances which seldom occur1 the document was still in his possession1 and proved to contain exactly the information which had so long been sought in vain4 ,the following is a translation of its complete text as given by ,miss ,hervey3-- 8,remarks on the subject of an excellent picture of the ,sieurs d',inteville ,polizy1 and ,george de ,selve ,bishop of ,lavour1 showing the offices they held1 and the time of their decease4 8,in this picture is represented1 life-size1 ,messire ,jean de ,d,intevile chevalier ,sieur de ,polizy1 near ,bar-sur-,seyne1 ,bailly of ,troyes1 who was ,ambassador in ,england for ,king ,francis ,i in the years #aecb ,o4,s4 and #aecc and since ,gouverneur of ,monsieur ,charles de ,france1 second son 7sic7 of the said ,king2 the said ,charles died at ,forest ,monstier in the year #aede1 and the said ,sr4 de ,d,intvile in the year #aeee4 ,interred in the ,church of the said ,polizy4 ,there is also represented in the said picture ,messire ,george de ,selve1 ,bishop of ,lavaur1 a personage of great learning and virtue1 who was ,ambassador with the ,emperor ,charles ,v2 the said ,bishop was the son of ,messire ,jean de ,selve1 ,premier ,president of the ,parliament of ,paris2 the said ,bishop died in #aeda1 having in the above-mentioned year #aecb1 or #aecc1 gone to ,england by permission of the ,king1 to visit the said ,sieur de ,d,intevile1 his intimate friend1 and also of all his family2 and they two having met in ,england an excellent ,dutch painter1 employed him to make this picture1 which has been carefully preserved at the same place1 ,polizy1 up to the year #afec40 ,the manuscript consists of an oblong piece of parchment which may have been cut from an inventory1 but it is more probable that it was written as a descriptive label to be attached to the picture-frame1 after the picture's removal from ,polisy in #afec4 ,the latter supposition would account for the fact that no mention is made of the place where the picture then was1 which would1 of course1 be unnecessary4 ,the authenticity of this document has been pronounced by the ,british ,museum authorities to be indisputable4 ,the body of it was written just after the middle of the seventeenth century1 while the heading was added at a slightly later date1 at a time1 no doubt1 when the label had become separated from the picture4 ,sidenote3 ,,the ,,picture ,,at ,,polisy ,in her book ,miss ,hervey gives a long and interesting account of the lives of the two men4 ,it is sufficient to state here that ,jean de ,dinteville was born in ,september #aejd1 and was therefore in his twenty-ninth year when he came to ,england as resident ,french ambassador in ,february #aecc2 and that the name 8,polisy0 is given a prominent place on the terrestrial globe placed near him in the picture4 ,the second sitter1 ,george de ,selve1 was appointed to the see of ,lavaur in #aebf1 when he was in his eighteenth year1 but was only consecrated in #aecd1 when he was in his twenty-sixth year1 which exactly agrees with the inscription on the picture1 which states that he was then in his twenty-fifth year4#hj ,further evidence exists in the shape of a grant from the ,pope to ,de ,selve1 dated ,may #aebf1 permitting him to hold several benefices 8although only seventeen years old40 ,the fact that he was not consecrated until the year after the picture was painted1 although appointed to the see of ,lavaur in #aebf1 explains why ,holbein has not represented him in episcopal robes4 ,footnote #hj3 ,see ,gallia ,christiana 7,luteti1 #agae71 vol4 xiii4 7#agbb71 p4 #cdd4 ,ecclesia ,vaurensis1 ,no4 xxi41 ,georgius de ,selve4 7,quoted by ,miss ,hervey1 p4 #ac47 ,this document is confirmed by a further discovery by ,miss ,hervey of a ,mmoire preserved in the ,bibliothque de l',institut at ,paris1 which gives a summary of three letters concerning the picture4 ,the letters themselves1 which so far1 with possibly one exception1 have not yet been discovered1 were addressed by ,nicolas ,camusat1 the antiquary1 canon of ,troyes1 and an intimate friend of the ,dinteville family for many years1 to his friends the ,godefroy brothers1 to whom and to others he constantly supplied antiquarian and genealogical information4 ,his letters relating to ,polisy extended from #afjg to #afee4 ,the following is a translation of the memorandum3 8,memoir in explanation of three letters sent by ,monsr4 ,camusat1 ,canon of ,st4 ,pierre at ,troyes1 touching a picture made in ,england of ,george de ,selve1 ,bp4 of ,lavaur1 who had gone thither to visit the ,bailly of ,troies1 ,sr4 de ,polizi1 ,jean d',inteville1 at that time the ,king's ambassador4 8,there are two relating to the ,bishop of ,lavaur1 ,george de ,selve1 son of ,mr4 le ,premier ,president de ,selve1 which ,bishop had been invited by ,mr4 de ,polizy1 bailly of ,troyes1 ambassador in ,england in the years #aecb ,o4,s4 and #aecc1 to visit him in ,england1 which he did1 having first taken leave of the ,king4 ,and being in ,england1 they had made the excellent picture by a ,dutch painter1 ,holben1 which picture was preserved in the ,house of ,polizy1 distant but one league from ,bar-sur-,seine1 a hundred and forty sic years and more1 as belonging to the ,seigneur of the place1 ,sr4 de ,sessac1 until the year #afec1 when he had it removed to ,paris1 to his house near the parish of ,st4 ,sulpice2 the said picture representing the said ,sr4 de ,polizy1 ,jean de d',inteville1 and the said ,sr4 ,bishop of ,lavaur1 who was afterwards ambassador with ,charles ,v2 and the said ,bishop died in #aeda4 ,the said picture is considered the finest piece of painting in ,france in the opinion of the best painters4 ,m4 le ,mareschal du ,plessis-,praslain not long since bought the estate of ,polisy for three hundred thousand livres from the said ,sr4 de ,sessac4 8,mr4 de ,vic1 garde des sceaux1 formerly said that it was the most beautiful piece of painting in ,france4 8,mr4 ,george de ,selve1 and his brothers1 worthily served ,france in various embassies and legations40 ,in this document the name of the painter1 8,holben10 is given2 it is inserted between the lines1 but is in the same hand and of the same date as the writing which surrounds it4 ,the portion at the head of the memorandum between brackets is by another hand4 ,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 considered1 both by painters and amateurs1 to be the finest picture then in ,france4 ,there is in the ,godefroy collection a second paper1 a copy1 dated #afed1 of a memorandum drawn up by ,camusat1 in which there is further reference to the picture4 ,it need not be quoted here1 but it speaks of the figures as life-size1 and concludes by saying that 8the piece is esteemed the richest and best wrought that is to be found in ,france40#ha ,footnote #ha3 ,see ,miss ,hervey1 ,holbein's ,ambassadors1 p4 #ah et seq41 where both documents are reproduced in facsimile4 ,thus the identity of ,holbein's sitters is irrefutably established1 and the picture's history can now be traced almost without a break4 ,dinteville1 who had already been in ,england on a short mission in #aeca1 reached ,london at the beginning of ,february #aecc1 and was lodged in the royal palace of ,bridewell1 by the ,thames4 ,the exact date of ,george de ,selve's visit to him is not known1 but it was between ,february and ,easter in that year2 he was back in ,france before the end of ,may4 ,there appears to have been some secrecy in connection with the latter's journey to ,england1 for though he had the permission of ,francis ,i1 for some reason ,montmorency1 the ,grand ,master1 was1 if possible1 to be kept in ignorance of it4 ,in a letter1 dated #bcrd ,may1 to his brother1 the ,bishop of ,auxerre1 ,dinteville says3 8,monsr4 de ,lavor m'a fait cest honneur que de me venir veoir1 qui ne m'a est petit plaisir4 ,il n'est point de besoing que ,mr4 le grant maistre en entende rien40#hb ,footnote #hb3 ,from a letter in the ,dupuy ,collection1 ,paris1 ,bibl4 ,nat41 vol4 #gbf1 f4 #df1 quoted by ,miss ,hervey1 p4 #hj4 ,sidenote3 ,,jean ,,de ,,dinteville ,,and ,,holbein ,it is impossible to say in what way ,dinteville became acquainted with ,holbein1 or to whose offices the introduction between ambassador and painter was due4 ,dinteville counted among his friends more than one of ,holbein's sitters1 while he was1 no doubt1 well acquainted with ,niklaus ,kratzer through his keen interest in mechanics and the various astronomical and mathematical sciences4 ,he had thus more than one opportunity of seeing examples of ,holbein's skill in portraiture1 and it is to be gathered that he conceived a great admiration for it1 for otherwise he would not have ordered so large and important a portrait group of himself and his friend4 ,with the exception of the 8,duchess of ,milan10 the ,more family group1 and the now lost 8,fitzwilliam1 ,earl of ,southampton10 of which there is a good copy in the ,fitzwilliam ,museum1 ,cambridge1 the 8,ambassadors0 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-length4 ,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 ,london1 the suggestion may be hazarded that he came for the express purpose of having his portrait painted1 ,dinteville urging him to do so on account of the excellent painter he had discovered4 ,the picture1 crowded as it is with intricate accessories1 must have taken a considerable time to complete4 ,it was1 no doubt1 painted in the ,ambassador's own room in ,bridewell ,palace1 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 panel1 some of which may have been lent by or purchased from ,kratzer4 ,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 hands4 ,no doubt ,holbein followed his usual practice and made preliminary studies of the two heads1 but these drawings have not been traced1 although there is a very fine unnamed study in the ,windsor collection 7,pl4 #cf 7#a77hc which is supposed to represent ,jean de ,dinteville1 the features showing sufficient resemblance to those of the ,bailly of ,troyes to induce the suggestion that it represents him at a later date4 ,both ,sir ,sidney ,colvin and ,miss ,hervey hold this opinion1 as did the late ,sir ,frederick ,burton2 but it must be confessed that the resemblance is not very striking4#hd ,the ,windsor drawing is of a man considerably older than the ,dinteville of the picture2 but the ,bailly1 after his residence in this country throughout the greater part of #aecc1 paid only three short visits to ,london between the years #aece and #aecg4 ,even if the drawing had been made by ,holbein in the last-named year he would only have been in his thirty-third year4 ,a miniature or portrait1 painted by ,holbein from this drawing1 was in the ,arundel ,collection1 and was engraved by ,hollar4 ,it is highly improbable1 too1 that after he had been so elaborately painted ,dinteville would have sat again for his portrait a few years later1 so that1 all things considered1 this attribution can only be accepted with caution4 ,there is1 however1 an undoubted portrait of ,dinteville at ,chantilly1 forming part of the collection of drawings of the ladies and gentlemen of the ,court of ,francis ,i1 by ,jean ,clouet and his school1 which was formerly at ,castle ,howard4 ,this portrait was identified by ,miss ,hervey in #aijd4he ,the likeness is very marked1 though the drawing lacks the strength and fine draughtsmanship to be found in similar portrait-studies by ,holbein1 and it appears to have been done within a few years of the picture itself4 ,footnote #hc3 ,woltmann1 #cde2 ,wornum1 i4 #ab2 ,holmes1 i4 #eb2 engraved by ,hollar1 #afdi 7,parthey1 #aedg74 ,reproduced by ,miss ,hervey1 p4 #aaj2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,no4 #cc2 ,mantz1 p4 #agg4 ,hollar's engraving reproduced by ,ganz1 ,holbein1 p4 #aii 7i474 ,footnote #hd3 ,the drawing was conjectured at one time to represent ,charles ,brandon1 ,duke of ,suffolk1 and it has also been suggested that it is a likeness of ,edward ,stafford1 ,duke of ,buckingham4 ,it is described on p4 #beg4 ,footnote #he3 ,burlington ,magazine1 vol4 v4 ,no4 xvi4 7,july #aijd71 where the drawing is reproduced4 ,sidenote3 8,,the ,,court ,,of ,,francis ,,ii0 ,the picture was taken back to ,france by ,dinteville1 and remained at ,polisy until the middle of the seventeenth century4 ,by the marriage1 in #aefb1 of ,dinteville's niece1 ,claude1 with ,franois de ,cazillac1 ,baron de ,cessac1 the family estates1 and with them the picture1 passed into the possession of the latter house1 a distinguished family in the south of ,france4 ,in #afed a later ,franois de ,cazillac sold ,polisy1 and permanently removed to the ,chteau of ,milhars in ,languedoc1 his chief residence4 ,from the second document quoted above we learn that ,de ,cessac removed the picture to his town house in ,paris in #afec4 ,this house was in the ,rue du ,four1 ,st4 ,germain des ,prez1 behind the house known as ,chapeaufort1 in the parish of ,st4 ,sulpice4#hf ,from #afec 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 #aghg4 ,during his researches into its past history ,mr4 ,w4 ,f4 ,dickes discovered this sale-catalogue in the ,cabinet des ,estampes in ,paris4#hg ,nicolas ,beaujon1 a rich financier and collector of pictures and objects of art1 died without heirs in #aghf1 leaving all his money to charities4 ,his pictures were sold in the following spring1 and among them were two attributed to ,holbein4 ,these two works were not1 apparently1 part of ,beaujon's collection1 but were put into the sale by some other person4#hh ,the first1 which1 according to the sale-catalogue1 represented the ,court of ,francis ,,ii1 has recently come to light again2#hi the second was the 8,ambassadors0 picture4 ,the two were sold together in one lot for the insignificant sum of #fjb francs1 and the purchaser was evidently ,le ,brun4 ,the description of the picture in the sale-catalogue tallies almost exactly with ,le ,brun's description which accompanied ,pierron's engraving4 ,from the sale-catalogue he obtained the supposed names of the sitters1 8,,mm4 de ,selve et d',avaux10 and he evidently endorsed1 without troubling to make a careful examination of his own1 the further statement of the catalogue that there was no date upon it4 ,probably the picture was in need of cleaning1 so that both signature and date were obscured4 ,mr4 ,wornum discovered them in #ahfe1 and they had been noted by others before that date4 ,when the picture was acquired for the ,national ,gallery1 however1 the signature had again become obscured by dirt1 after the passage of some thirty years1 and was only deciphered after re-cleaning4 ,footnote #hf3 ,see ,miss ,hervey1 ,holbein's ,ambassadors1 pt4 i4 chap4 ii4 p4 #ba4 ,footnote #hg3 ,dickes1 p4 #i4 ,footnote #hh3 ,see below1 p4 #df4 ,footnote #hi3 ,this picture1 which is the subject of a very interesting article by ,miss ,mary ,f4 ,s4 ,hervey and ,mr4 ,r4 ,martin-,holland in the ,burlington ,magazine for ,april #aiaa 7vol4 xviii4 ,no4 xcvii4 pp4 #dh-ee71 where it is reproduced1 together with other works of its author1 a forgotten ,french painter named ,flix ,chrtien1 was described in the ,beaujon catalogue as 8,the ,court of ,francis ,,ii and the principal nobles of that time1 with the attributes of ,moses and ,aaron1 who present themselves before the ,king of ,egypt1 who is ,francis ,,ii himself2 their names are written on the different contours of their robes10 c4 ,it further stated that it was 8by the famous ,holbein1 towards #aeeb40 ,from the time of the ,beaujon sale in #aghg all traces of this large panel painting--#e ft4 #i in4 high by #f ft4 #b in4 wide--were lost1 until it suddenly reappeared in ,messrs4 ,christie's saleroom on ,february #bf1 #aiaj1 in company with the big group of ,sir ,thomas ,more and ,family4 ,in the catalogue it was given to ,holbein1 and was described as 8,moses and ,aaron before ,pharaoh0 78a group of figures1 said to represent ,king ,henry ,,viii as ,pharaoh10 c471 and as formerly in the collection of the ,prince de ,cerny4 ,the mystery of the picture's meaning was cleared up1 and the name of its painter discovered1 by ,miss ,hervey and ,mr4 ,martin-,holland1 and will be found in their paper4 ,it contains portraits of a number of the members of the ,dinteville family1 including the ,bailly of ,troyes1 who appears as ,moses1 and his brother1 ,franois ,,ii1 ,bishop of ,auxerre1 as ,aaron4 ,the ,pharaoh is evidently ,francis ,i1 though the likeness is by no means a good one4 ,the names of most of the figures are given on the hems of their robes4 ,the picture affords valuable additional proof of the identity of the personage on the spectator's left in the 8,ambassadors0 with ,jean de ,dinteville1 for the likeness is striking4 ,the picture was painted in #aecg1 and remained in the possession of the ,dinteville family1 together with the greater work by ,holbein1 for exactly two hundred and fifty years4 ,the identity of the picture with the one in the ,beaujon sale was first pointed out by ,mr4 ,p4 ,g4 ,konody 7,burlington ,magazine1 vol4 xix4 ,no4 xcviii41 ,may #aiaa1 p4 #ajf74 ,flix ,chrtien1 the painter of it1 was a chorister1 and afterwards a canon of ,auxerre1 of which town he was probably a native4 ,he was a protg of the ,bishop's1 and no doubt owed his training in art to him4 ,several of his pictures1 considerably damaged1 remain in the immediate district of ,auxerre4 ,although no actual proofs can be produced as to the whereabouts of the picture between #afec and #aghg1 ,miss ,hervey1 in the course of her researches into the history of the ,de ,cessac family1 discovered sufficient evidence to point to the probability that ,m4 de ,cessac took it with him to ,milhars when he finally settled there a few years later1 and that it remained there until shortly before the ,beaujon sale4 ,the ,milhars estate descended from heir to heir of the house of ,dinteville until #agfe1 when it was sold by the ,marquis de ,basville1 who then represented the family4 ,he was the intimate friend of ,beaujon1 who made him his executor1 in which capacity he drew up the inventory of all the banker's pictures and art objects4 ,in this inventory1 however1 there is no trace of ,holbein's 8,ambassadors0 to be found1 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 himself4 ,it seems certain1 therefore1 that from the time when the picture was taken from ,england by ,dinteville in #aecc until it was sent back again by ,le ,brun more than two hundred and fifty years later it never once left ,france1 but remained as a treasured possession in the family for whose ancestor it was painted4#ij ,footnote #ij3 ,see ,miss ,hervey1 pt4 i4 chap4 ii4 ,sidenote3 ,,the ,,theories ,,of ,,mr4 ,,dickes ,in spite of the conclusive proof brought forward by ,miss ,hervey1 ,mr4 ,w4 ,f4 ,dickes1 in his book devoted to the unriddling of the 8,ambassadors10 refused to abandon his theory of the ,nuremberg ,treaty1 and still pinned his faith to his ,princes ,palatine ,otto ,henry and ,philipp4 ,it is essential to his theory that ,holbein should be proved to have been absent from ,england in #aecc1 and he1 therefore1 gives it as his opinion that the ,steelyard portraits of that year1 and the ,cheseman portrait1#ia were most probably painted abroad4 ,he cites1 as actual proof that ,holbein was in ,basel in #aecc1 in addition to the extract from the 8,banner ,book0 referred to in the preceding chapter1#ib the 8,wheel of ,fortune0 picture in distemper at ,chatsworth1 which is dated #aecc1 with the arms of ,basel on the post supporting the wheel4 8,no one can doubt10 he says1 8that it was painted by ,holbein at ,basel in #aecc20ic but1 as a matter of fact1 it is not by ,holbein at all1 being far too poor a work to be from his hand1 but by ,hans ,schaeufelin1 and the initials 8,h4 ,h40 on it are of later date4 ,the monogram and the well-known mark1 in the form of a shovel1 of the latter painter1 which have been tampered with1 are still clearly discernible beneath the letters4#id ,footnote #ia3 ,see pp4 #ed-ef4 ,footnote #ib3 ,page #cb4 ,see also pp4 #aeg-agh4 ,footnote #ic3 ,dickes1 p4 #f4 ,footnote #id3 ,as pointed out by ,mr4 ,s4 ,arthur ,strong in his preface to ,the ,masterpieces of the ,duke of ,devonshire's ,collection of ,pictures1 #aija1 and republished in ,critical ,studies and ,fragments1 #aije1 p4 #ib1 and ,pl4 viii4 #a4 ,in his book ,mr4 ,dickes abandons1 or at least does not reprint1 some of the more fantastic theories he advanced in his magazine articles2 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 theory4 ,thus1 he does not hesitate to declare the first document discovered by ,miss ,hervey to be an eighteenth-century forgery1 and the two confirmatory papers amongst the ,godefroy correspondence he places in the same category4 ,with regard to the date and ,holbein's signature1 he accepts as a fact the 8staggering statement0 of the ,beaujon sale-catalogue that in #aghg the picture was unsigned and undated2 and he infers that the inscription was added by ,le ,brun1 and that the three documents discovered by ,miss ,hervey were all forgeries due to the same unscrupulous dealer4 ,why such an elaborate falsification should be thought necessary1 and what purpose it served1 unless merely to display the genealogical learning of the forger1 ,mr4 ,dickes fails to explain4 ,when ,le ,brun issued his engraving in #agib1 with a descriptive note lifted bodily from the ,beaujon catalogue1 and retaining the same title1 8,,mm4 de ,selve et d',avaux10 he had already sold the picture into ,england1 so that to elaborate a series of forgeries in connection with it1 and then scatter them about ,france and get them inserted among the papers of learned antiquaries1 after the picture had left the country1 would seem to be a very futile proceeding2 and if he had added the date #aecc 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 8la manire dont il a marqu ses ouvrages ,,hb4 ,,bh4 #aeae40 ,the whole theory1 in fact1 is absurd1 as is ,mr4 ,dickes' further declaration that the name 8,policy0 on the globe is also a forgery due to ,le ,brun4 ,the inscription on the book giving the age of ,george de ,selve1 8tatis su #be10 is also a forgery according to the same authority1 or rather1 he holds that the last figure was originally an #h1 but that it became damaged1 and that when repaired it was altered to a #e through the ignorance of the restorer4 ,the alteration of the age from #be to #bh1 it should be noted1 is vital to ,mr4 ,dickes' argument1 for otherwise the second figure cannot represent ,count ,philipp4 ,even this change1 however1 is not sufficient to put matters right1 and so he assumes arbitrarily that although the picture was painted in #aecc 7in spite of its forged date67 the ages of the sitters inscribed on the dagger and the book were purposely calculated from the previous year1 in order to indicate that the painting was a memorial of the ,nuremberg ,treaty of #aecb4 ,mr4 ,dickes professes to find further proofs of the ages of the sitters from the numerous accessories on the table4 ,the cylindrical sundial is so arranged that it informs us that the sitter against whom it is placed was born on ,april #ajth1 about #aj4cj ,p4 ,m41 in the latitude of ,neuburg1 which exactly agrees with the birth of ,otto ,henry1 and this information is confirmed by the decagonal sundial further along the table4 ,with respect to the second figure1 the instruments are still more explicit1 for the date1 ,november #abth1 is repeated no less than four times on ,apian's ,torquetum1 the astrolabe1 and the quadrant1 with the additional information that the hour of birth was between five and six1 which exactly agrees with the day of the month and the hour of the birth of ,philipp4#ie ,footnote #ie3 ,the present writer1 although he has made a careful study of ,mr4 ,dickes' readings of the instruments1 has not sufficient scientific knowledge to speak with authority as to the correctness or otherwise of the results he obtains1 which1 if true1 provide by far the most ingenious and1 indeed1 the only plausible evidence he has brought forward in favour of his theory4 ,this evidence1 however1 is not always as convincing as he would have us to believe4 ,thus1 the decagonal sundial1 which on two of its sides gives the time as #aj4cj 7the hour of ,otto ,henry's birth71 very clearly indicates #i4cj on its third and most prominent side1 while it almost touches the elbow of the second figure1 and so should refer1 if to any one1 to ,philipp4 ,mr4 ,dickes gets over this difficulty by the statement that the sundial1 8presenting three circles to be read1 naturally devotes the two chief dials to the principal person4 ,these are--the dial with the wire stile1 in front1 and the dial beneath the magnet on the top20 but he offers no suggestion as to whose birth the third and most prominent dial refers4 ,sidenote3 ,,the ,,accessories ,,of ,,the ,,picture ,space does not permit even a brief reference to further erroneous inferences which ,mr4 ,dickes draws from other parts of the picture1 all of which were fully and finally dealt with by ,sir ,sidney ,colvin in a review of the book4#if ,mr4 ,dickes by no means strengthens his case by reproducing a number of portraits1 selected from various ,european galleries1 in which he sees likenesses to his two heroes1 though they bear but the faintest resemblance either to genuine portraits of the ,counts ,palatine or to the sitters in the 8,ambassadors0 picture4#ig ,footnote #if3 ,burlington ,magazine1 ,august #aijc1 pp4 #cfg-fi4 ,footnote #ig3 ,the two most glaring examples of this1 which show to what lengths a fixed idea can carry one1 are the splendid portrait by ,holbein of the ,sieur de ,morette1 which he declares to be painted by ,amberger1 and to represent ,otto ,henry at some date after #aeef1 when he was ,elector ,palatine2 and the beautiful little portrait of ,hermann ,wedigh1 of the ,steelyard1 dated #aecc1 which1 as already noted1 he holds to be an unmistakable portrait of ,philipp4 ,the book1 in spite of the false theory on which it is based1 displays much careful if misplaced research1 and as1 for this reason1 it is apt to mislead those who have made no serious study of ,holbein's work1 its arguments have been briefly dealt with here4 ,mr4 ,dickes1 however1 is not alone in refusing to accept ,jean de ,dinteville and ,george de ,selve as the two ambassadors4 ,mrs4 ,g4 ,fortescue1 in her book on the painter1#ih holds that both ,miss ,hervey and ,mr4 ,dickes are wrong2 but she brings forward no names to take the place of those she condemns1 and merely suggests1 somewhat mysteriously1 that later on she will produce facts which will provide the correct solution4 ,footnote #ih3 ,holbein 78,little ,books on ,art071 #aijd1 p4 #adi4 ,turning again to the picture itself1 it is evident that the accessories1 with which the table is crowded1 both from their unusual number and character1 were not collected at haphazard merely to afford an opportunity for displaying ,holbein's skill in depicting minuti1 but that they represent the tastes and learned pursuits of the two sitters1 and were selected and arranged by ,dinteville himself4 ,the prevailing love of allegory and symbolism1 of the emblem or 8devise10 which was a marked characteristic of that age1 is apparent in many of the picture's details1 in some of them to be read plainly1 in others so obscurely that it is now impossible to explain them satisfactorily4 ,miss ,hervey has described them with care1 and has elucidated much of their meaning and purpose4 ,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 devise4 ,the picture1 indeed1 in its general arrangement bears considerable likeness to the woodcut in the 8,dance of ,death0 series known as 8,the ,arms of ,death0 78,die ,wappen des ,todes071 as was first pointed out by ,mr4 ,wornum4#ii ,this suggests the possibility that ,dinteville had been shown1 perhaps by ,holbein himself1 a proof set of the 8,dance of ,death0 woodcuts1 and that he had been greatly impressed by them4 ,he suffered much from ill-health while in ,england1 which may have had something to do with his choice of a device of so gloomy a nature4 ,footnote #ii3 ,wornum1 p4 #aha4 ,certain of the instruments depicted are apparently set to indicate various dates1 such as the birthdays of the sitters or important events in their lives1 as pointed out by ,mr4 ,dickes4 ,the same instruments1 together with the other objects1 also represent certain of the ,seven ,liberal ,arts--,music1 ,arithmetic1 ,geometry and ,astronomy4 ,the terrestrial globe is copied from ,johann ,schner's globe of #aebc1 to which about twenty names of towns have been added by ,holbein1 chiefly in ,france and ,spain1 selected by ,dinteville as an epitome of the foreign relations of ,france in shaping which he had taken some share1 the most important of these additions1 as elucidating the identity of the chief sitter1 being1 of course1 ,polisy4 ,the ,lutheran hymn-book and the crucifix may be taken as symbolical of ,france's religious diplomacy and the opinions of the two friends4 ,the hope of religious union between the ,roman ,catholic and the ,reformed ,churches played a large part in the life of the ,bishop of ,lavaur4 8,to find means to promote that end was the object of his most earnest thought2 to see it accomplished1 the dearest wish of his heart40#ajj ,dinteville1 too1 belonged to the liberal ,catholic party in ,france1 and shared the ,bishop's views4 ,mr4 ,barclay ,squire first pointed out that the hymn-book in the picture was painted from a copy of ,johann ,walther's ,geystliche ,gesangbchlein1 published at ,wittemberg in #aebd4 ,the ,german arithmetic book was copied from a manual1 ,the ,merchant's ,arithmetic ,book1 by ,peter ,apian1 published at ,ingoldstadt in #aebg4 ,the badge of the order of ,st4 ,michael is worn by ,dinteville without the collar of scallop-shells1 and merely suspended from his neck by a gold chain4 ,this was in accordance with the rules of the ,order1 which permitted it to be so worn when under arms1 or when travelling1 hunting1 or when at home in private1 or in other places where there was no company4 ,other details of the picture are equally interesting1 more particularly the elaborate mosaic pavement1 which ,miss ,hervey discovered to be an accurate copy of the well-known paved floor in the ,sanctuary of ,westminster ,abbey1 for the construction of which marbles and workmen were brought from ,italy by ,abbot ,richard ,ware in the reign of ,henry ,,iii4 ,this interesting discovery affords additional proof that the 8,ambassadors0 was painted in ,england4 ,footnote #ajj3 ,miss ,hervey1 p4 #bba4 ,sidenote3 ,,the ,,accessories ,,of ,,the ,,picture ,the picture1 which in point of size and in the elaboration of its many details is the most important work by ,holbein remaining in ,england1 is a brilliant example of the painter's technical abilities1 though as a composition it is less successful than certain other less ambitious portraits from his brush4 ,the accessories1 on account of their number1 variety1 and brilliance of execution1 and the central position given to them--so that the two figures have something of the appearance of the supporters to a coat of arms1 as in some of ,holbein's designs for glass--to some extent distract the attention from the ambassadors themselves4 ,dinteville appears to have selected them with great care1 and evidently attached great importance to them and the meanings they were intended to convey2 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 painted4 ,the distorted skull1 in particular1 which at once catches the eye1 however entertaining or clever a rebus or emblematic puzzle the ,bailly may have thought it1 holds far too prominent a position in the composition for the painting to be regarded as a picture in the highest sense of the word4 ,it is1 nevertheless1 a work possessing very great qualities1 and1 in many respects1 must be placed in the forefront of ,holbein's achievement4 ,the faces of the two men are finely and delicately modelled1 though their character is not quite so subtly expressed as in such a portrait as that of the 8,duchess of ,milan40 ,the dark1 penetrating eyes and well-chiselled mouth of ,dinteville give vitality to his intellectual face1 in which can be traced some indications of the delicate constitution which was so ill suited to the climate of ,england4 ,de ,selve is grave in contrast1 with dark eyebrows and a more pallid complexion1 and his countenance has less expression and vitality than is to be found in that of his companion4 ,it has been suggested that this contrast between the two figures is so great that it indicates the fact proved by ,dinteville's letter1 that the future ,bishop's stay in this country was of limited duration1 and that his portrait was probably not completed from life4 ,illustration3 ,,vol4 ,,ii41 ,,plate #aj ,,portrait ,,of ,a ,,musician ,,sir ,,john ,,ramsden1 ,,bulstrode ,,park ,sidenote3 8,,portrait ,,of ,a ,,musician0 ,in concluding this account of ,dinteville's connection with ,holbein reference must be made to a portrait in the possession of ,sir ,john ,ramsden1 ,bt41 of ,bulstrode ,park1 ,buckingham1 recently published and described for the first time by ,dr4 ,ganz in the ,burlington ,magazine1#aja which represents a man with a book of music and a lute 7,pl4 #aj74 ,this 8,portrait of a ,musician0 he regards as an undoubted likeness of the ,bailly of ,troyes from ,holbein's brush4 ,he describes it as follows3 8,the man is sitting behind a table1 and holds in his right hand a roll of paper1 in the left a guitar4 ,two books in red bindings with green ribbons are placed1 one open1 one closed1 on the red tablecloth1 and this group of colours forms the contrast to the green curtain of the background4 ,the cap and the black coat with large facings and white shirt-ruffles hanging down are decorated with golden buttags of a longish form1 after the ,french fashion of the time4 ,the blue eyes1 looking with a sharp and cold glance1 give the impression of a man of great reflection and prudence2 and the beautiful1 carefully tended hands belong to a gentleman of the ,court4444 ,round the neck he wears a small golden chain and a black silk ribbon1 to which is attached an object of a very singular form1 executed in gold and embellished with precious stones4 ,this cannot be a simple jewel1 intended merely to hang on the gold chain1 but it seems to be a kind of whistle used in place of a tuning-fork40#ajb ,this portrait is said to represent ,lord ,vaux of ,harrowden1 from its supposed resemblance to the two drawings by ,holbein of that personage at ,windsor1 but ,dr4 ,ganz holds that it bears a much closer resemblance to ,dinteville as he is shown in the 8,ambassadors10 and still more so to the drawing found by ,miss ,hervey at ,chantilly4 ,he considers that the longer beard indicates that it was painted two years later than the ,national ,gallery picture4 8,the technical execution10 he says1 8confirms a later date of origin2 the blending of the colours and the brilliancy are in the well-preserved parts like the finest enamel4 ,the right hand1 which has a smooth appearance1 is retouched2 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 hand4 ,his attention was not limited to creating a portrait with the exactness of a looking-glass2 he tried to give the man in his intimacy by obtaining a spacious effect4 ,he placed the figure between two objects and painted the shadows in their real values40 ,while admitting that the likeness between this ,musician and ,dinteville is a strong one1 the present writer is of opinion that the picture at ,bulstrode ,park does not represent the ,french ambassador4 ,as already pointed out1#ajc ,dinteville's subsequent visits to ,england were all short ones1 of only a few weeks' duration1 during which time there would be little opportunity for sitting for his portrait1 nor is it very probable that he would want a second likeness of himself so shortly after the big work was finished4 ,little is known of the history of ,sir ,john ,ramsden's picture1 but it is probably the ritratto d'un ,musico of the ,arundel inventory4 ,it is said to have been purchased in #ahfj from a sale in ,scotland4 ,either this picture1 or a replica of it1 was in the ,ralph ,bernal sale1 #ahee1 when it was sold to ,mr4 ,morant for one hundred guineas4 ,it was described in the sale catalogue as3 8,portrait of ,nicholas1 ,lord ,vaux1 the poet and musician1 in a black dress and cap1 seated at a table1 an open book before him1 he holds a viol de gambe in his left hand1 green drapery behind1 #ag #ag1 a most beautiful portrait of the highest interest40 ,footnote #aja3 ,vol4 xx41 ,october #aiaa1 pp4 #ca-b4 ,also reproduced in ,holbein1 p4 #acg4 ,footnote #ajb3 ,this object is in reality 8a penknife containing also tooth-picks and ear-spoons or other little instruments such as tweezers or awls40 ,see letter from ,mr4 ,sydney ,j4 ,a4 ,churchill in ,burlington ,magazine1 vol4 xx41 ,january #aiab1 p4 #bci1 who calls attention to a similar penknife in the ,figdor ,collection1 and to an engraving by ,aldegrever of a like object dated #aeci4 ,footnote #ajc3 ,see above1 p4 #dd4 ---------------------------------------- -------------------------------- ,,chapter ,,xviii ,,portraits ,,of #aecc-aecf ,portraits of ,robert ,cheseman--,thomas ,cromwell--,lord ,abergavenny--,charles de ,solier1 ,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 ,wyat1 ,lady ,lee--,sir ,richard ,southwell--,sir ,thomas le ,strange--,lady ,vaux--,sir ,nicholas ,carew4 ,,there is only one portrait by ,holbein bearing the date #aecc which can be said with any certainty to represent an ,englishman4 ,this is the very beautiful one of ,robert ,cheseman1 now in the ,hague ,gallery1 which has been known for so long under the erroneous title of 8,henry ,,viii's ,falconer0 7,pl4 #aa74ajd ,it represents a man holding a much higher social position than that of a mere keeper of hawks4 ,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 painted4 ,their wages1 in fact1 ranged between fifty and twenty shillings a month4 ,cheseman1 in common with other gentlemen of that period1 chose to be painted with his favourite hawk upon his wrist1 for the same reason that the country squires of the eighteenth century were so often depicted with their favourite dogs4 ,another example of this habit is to be seen in the equally fine portrait by ,holbein of an unknown man1 also in the ,hague ,gallery1 dated #aedb1 who is evidently a gentleman1 and not a professional falconer4#aje ,footnote #ajd3 ,woltmann1 #aei4 ,reproduced by ,davies1 p4 #aeh2 ,knackfuss1 fig4 #abb2 ,ganz1 ,holbein1 p4 #ajb2 and elsewhere4 ,footnote #aje3 ,see p4 #bjc4 ,illustration3 ,,vol4 ,,ii41 ,,plate #aa ,,robert ,,cheseman #aecc ,,royal ,,picture ,,gallery1 ,,mauritshuis1 ,,the ,,hague ,sidenote3 ,,portrait ,,of ,,robert ,,cheseman ,robert ,cheseman1 of ,dormanswell1 near ,norwood1 in ,middlesex1 and ,northcote1 in ,essex1 was a man of wealth1 and one of the leading commoners of the first-named county4 ,he was born in #adhe1 son and heir of ,edward ,cheseman1 ,cofferer and ,keeper of the ,wardrobe to ,henry ,,vii1 and succeeded to the family estates in #aeag4 ,his father is mentioned in a pardon granted on ,march #bnd1 #adhf1ajf 8to ,edward ,cheseman of ,london1 gentleman1 of all fines1 forfeitures1 etc41 due to the ,king or to ,richard ,,iii1 late1 in deed and not of right1 ,king of ,england10 which was granted him as one of the executors of the will of ,thomas ,windesore1 ,constable of ,windsor ,castle4 ,there was also a ,william ,cheseman1 probably an uncle of ,robert1 who in #adhe and #adhf received grants of the offices of bailiff of the rapes of ,lewes and of ,braneburgh1 and of ,clerk of the ,market of the town of ,lewes1 8in consideracion of the true and feithfulle service that our welbeloved servaunt and true liegeman ,william ,cheseman hathe doone unto us1 as well in the parties of beyonde the see1 as at oure late victorious felde within this oure royaume40#ajg ,footnote #ajf3 ,rev4 ,william ,campbell1 ,materials for a ,history of the ,reign of ,henry ,,vii1 ,rolls ,publications1 #ahgc1 p4 #ccf4 ,footnote #ajg3 ,ibid41 p4 #cde4 ,on ,august #cjth1 #aebc1 ,robert ,cheseman was appointed ,commissioner for ,essex to collect the subsidy1#ajh and in ,december #aebh was placed upon the commission of the peace for ,middlesex4 ,in #aecj he represented the same county on a commission 8to make inquisition in different counties concerning the possessions held by ,thomas ,cardinal ,archbishop of ,york 7,wolsey7 on #b ,dec4 #ae ,hen4 ,,viii1 when the ,cardinal committed certain offences against the ,crown for which he was attainted40#aji ,during his life he served on a number of commissions for collecting tithes1 subsidies1 and the like1 including one in #aecc1 the year in which he sat to ,holbein4 ,in #aecf his name appears among a list of people from whom money is due to the ,king by obligations1#aaj while in the same year he supplied thirty men for the army against the ,northern rebels1 which proves him to have been a man of considerable substance4#aaa ,he served on the ,grand ,jury at the trials of ,sir ,geoffrey ,pole1 ,sir ,edward ,neville1 and others1 in #aech1aab and of ,thomas ,culpeper and ,francis ,dereham for treason in connection with the trial of ,queen ,catherine ,howard in #aeda4aac ,he was among the 8squires0 selected to welcome ,anne of ,cleves when she first landed in ,england1 and was1 in fact1 one of some half-dozen men of position who represented ,middlesex on all such public occasions4 ,in #aedc he supplied ten footmen for the army going into ,flanders 8for the defence of the ,emperor's ,low ,countries1#aad and in the following year he himself appears to have gone with the ,english army into ,france1 and it is noted against his name in the muster book that he had 8#aj footmen already beyond the seas40 ,he married ,alice1 daughter of ,henry ,dacres1 of ,mayfield1 ,staffordshire1 a merchant-tailor and alderman of ,fleet ,street1 ,london4 ,she died on ,july #cast1 #aedg1 and was buried at ,norwood4 ,his daughter and heir1 ,anne ,cheseman1 married ,francis ,chamberlayne4 ,footnote #ajh3 ,c4,l4,p41 vol4 iii4 pt4 ii4 #cbhb4 ,footnote #aji3 ,c4,l4,p41 vol4 iv4 pt4 iii4 #feaf1 #feih4 ,footnote #aaj3 ,c4,l4,p41 vol4 x4 #abeg4 ,footnote #aaa3 ,c4,l4,p41 vol4 xi4 #ehj4 ,footnote #aab3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #ihf4 ,footnote #aac3 ,c4,l4,p41 vol4 xvi4 #acie 7p4 #fde74 ,footnote #aad3 ,c4,l4,p41 vol4 xviii4 pt4 i4 #hcb 7p4 #dfg74 ,the portrait of ,cheseman is a half-length1 facing the spectator1 the head and eyes turned to the left4 ,he wears a purplish red silk doublet1 and a black cloak trimmed with fur1 and the customary black cap4 ,on his left hand1 which is gloved1 he carries a hooded hawk1 with a bell on its claw1 and with the other hand strokes its feathers4 ,he is clean-shaven1 and his long hair1 which is beginning to turn grey1 covers his ears4 ,across the plain blue background1 which has turned green through the discoloration of the varnish1 on either side of the sitter's head1 runs the inscription in ,roman lettering3 8,,robertvs ,,cheseman4 ,,etates ,,sv ,,xlviii ,,anno ,,dm4 ,m ,d ,,xxxiii40 ,the painting of the beautiful plumage of the bird is a most masterly piece of work1 and the keen1 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 portraits4 ,sidenote3 ,,portrait ,,of ,,robert ,,cheseman ,this picture was seen by ,sir ,joshua ,reynolds during his tour through ,flanders and ,holland in #agha1 and in his diary he describes it as3--8,a portrait by ,holbein2 admirable for its truth and precision and extremely well coloured4 ,the blue flat ground which is behind the head gives a general effect of dryness to the picture3 had the ground been varied1 and made to harmonize more with the figure1 this portrait might have stood in competition with the works of the best portrait painters40#aae ,this accusation of a slight 8dryness0 is to some extent true of certain1 though by no means all1 of the portraits painted by ,holbein in ,england1 when compared with some of his earlier work done in ,basel4 ,it has been suggested that this may have been due to a growing habit1 caused by the increasing demands made upon his time1 of placing greater reliance on his preliminary chalk studies in painting a portrait1 and thereby reducing the number of sittings given him by the actual model4#aaf ,footnote #aae3 ,a ,journey to ,flanders and ,holland in the year #agha4 ,works1 vol4 ii4 ,footnote #aaf3 ,wornum1 p4 #bea-b4 ,an old copy of this portrait was lent to the ,tudor ,exhibition1 #ahij 7,no4 #agc;,a71 by the ,rev4 ,charles ,shepherd4 ,the original picture was once in the royal collections of ,england4 ,it was ,no4 #h 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 house4 ,her claim was unsuccessful1 and the picture remained in ,holland4 ,on the back of the panel are the letters ,w4,e4,h4,p4,l4,c4 and the seal of ,johan ,willem ,friso1 ,prince of ,orange-,nassau1 in whose collection it was1 and afterwards in that of ,william ,v4 ,the second fine portrait of a man with a hawk in the ,hague ,gallery1#aag dated #aedb1 was another of the pictures claimed by ,anne1 and was ,no4 #ba in her list4 ,a third picture in the ,hague1 the beautiful portrait of a young woman#aah 7,no4 #bge71 now considered to represent ,holbein's wife1 has been already described4 ,the ,cheseman and the #aedb portrait were evidently taken over to ,holland1 with other paintings1 by ,william ,,iii during one of his visits to the ,hague4 ,footnote #aag3 ,see p4 #bjc4 ,footnote #aah3 ,see ,vol4 i4 p4 #ajf4 ,a small round portrait on wood1 in the collection of ,frau ,l4 ,goldschmidt-,przibram in ,brussels1#aai is dated #aecc4 ,according to both ,woltmann and ,zahn it is in a very damaged condition1 but is a genuine work of ,holbein4 ,it represents a young man at half-length1 facing the spectator1 but with the head slightly turned to the left4 ,he is clean-shaven1 with bushy hair half hiding his ears1 and wears the small flat black cap and costume of the ,german merchants of the ,steelyard1 and he was probably a member of that body4 ,the right hand only is shown1 holding a carnation4 ,across the plain background1 on either side of the head1 is inscribed 8,,anno #aecc40 ,the face is a very attractive one1 and the portrait has for years been regarded as representing the painter himself4 ,dr4 ,woltmann so included it in his book1 but it bears little resemblance to the genuine portraits of ,holbein4 ,it was previously in the ,jger1 ,gsell1 and ,frulein ,gabriele ,przibram collections in ,vienna4 ,footnote #aai3 ,woltmann1 #bfa4 ,reproduced by ,ganz1 ,holbein1 p4 #ajd4 ,exhibition of ,miniatures at ,brussels1 #aiab1 ,no4 #hee;a4 ,sidenote3 ,,portrait ,,of ,,thomas ,,cromwell ,during #aecc1 or in the first months of #aecd1 ,holbein painted ,thomas ,cromwell4 ,the future ,earl of ,essex and 8viceregent of the ,king in all his ecclesiastical jurisdiction within the realm0 was then only at the beginning of his political career1 and filled the minor post of ,master of the ,jewel ,house4 ,the portrait of him in the possession of the ,earl of ,caledon1#abj at ,tyttenhanger ,park1 ,st4 ,albans1 which is evidently the original of several versions still in existence1 although it has suffered greatly in the course of time1 must be regarded as a genuine work of ,holbein's brush4 ,the face has undergone severe repainting1 but in many of the details his hand can be clearly traced4 ,on one of the papers on the table in front of the sitter is the following address3 8,to our trusty and right wellbiloved ,counsailler ,thomas ,cromwell1 ,maister of or ,jewelhouse10 which proves that it cannot have been painted later than the first months of #aecd1 for early in that year ,cromwell was promoted to be ,first ,secretary of ,state and ,master of the ,rolls4 ,he must1 therefore1 have sat to ,holbein at some date between the latter half of #aecb and the spring of #aecd1 having been appointed to the ,jewel ,house on the #abth ,april #aecb in place of ,robert ,amadas1 the jeweller4 ,if done after his advancement1 his higher titles would have been noted in the inscription4 ,footnote #abj3 ,woltmann1 #bdi4 ,reproduced by ,davies1 p4 #aei2 ,pollard1 ,henry ,,viii1 p4 #ahj2 ,cust1 ,burlington ,magazine1 vol4 xx4 p4 #g2 ,ganz1 ,holbein1 p4 #ajf4 ,it is very possible that ,cromwell first made the acquaintance of ,holbein through their common friends1 the merchants of the ,steelyard1 with whom the future ,lord ,privy ,seal was closely allied in more than one business transaction1 more particularly in connection with the wool trade1 of which the ,hanse merchants then had a monopoly4 ,he also made constant use of their services later on in his career for the collection of continental news1 the forwarding of diets to various ,english ambassadors abroad1 the translating of foreign letters1 and so on4 ,eustace ,chapuys1 the ,spanish ,ambassador in ,london1 in reply to a query from his ,imperial master as to the character of ,henry's new minister1 sent1 in ,november #aece1 a short and amusing biographical sketch of his career1 interesting as showing how ,cromwell appeared in the eyes of a foreigner4 8,the ,secretary1 ,cromwell10 he wrote1 8is the son of a poor farrier1 who lived in a little village a league and a half from here 7,london71 and is buried in the parish graveyard4 ,his uncle1 father of the cousin whom he has already made rich1 was cook 7cousinier7 of the late archbishop of ,canterbury4 ,cromwell was ill-behaved when young1 and after an imprisonment was forced to leave the country4 ,he went to ,flanders1 ,rome1 and elsewhere in ,italy4 ,when he returned he married the daughter of a shearman1 and served in his house2 he then became a solicitor4 ,the cardinal of ,york1 seeing his vigilance and diligence1 his ability and promptitude1 both in evil and good1 took him into his service1 and employed him principally in demolishing five or six good monasteries4 ,at the ,cardinal's fall no one behaved better to him than ,cromwell4 ,after the ,cardinal's death ,wallop attacked him with insults and threats1 and for protection he procured an audience of the ,king1 and promised to make him the richest king that ever was in ,england4 ,the ,king immediately retained him on his ,council1 but told no one for four months4 ,now he stands above everyone but the ,lady 7,anne ,boleyn71 and everyone considers he has more credit with his master than ,wolsey had--in whose time there were others who shared his credit1 as ,maistre ,conton 7,compton71 the duke of ,suffolk1 and others1 but now there is no one else who does anything4 ,the ,chancellor is only his minister4 ,cromwell would not accept the office hitherto1 but it is thought that soon he will allow himself to be persuaded to take it4 ,he speaks well in his own language1 and tolerably in ,latin1 ,french and ,italian2 is hospitable1 liberal both with his property and with gracious words1 magnificent in his household and in building40#aba ,footnote #aba3 ,c4,l4,p41 vol4 ix4 #hfb4 ,this is the man whom ,holbein painted when he was merely ,master of the ,jewel ,house and ,clerk of the ,hanaper of ,chancery4 ,he is shown1 in ,lord ,caledon's picture1 at half-length1 seated in a high-backed wooden seat1 his head and body turned to the left1 looking towards a window1 only a small part of which is seen1 with a small table beneath it covered with a ,turkish cloth1 on which papers are placed4 ,he is dressed in a black surcoat with a deep fur collar1 and a black cap4 ,he rests his left elbow on another table in front of him1 and holds a paper in his left hand1 on the first finger of which is a heavy signet ring4 ,the right hand is not shown4 ,he is clean-shaven1 and his bushy hair almost covers his ears and falls on the back of his neck4 ,on the table are pen and ink1 a richly-bound book with jewelled clasps1 and several papers1 on one of which is the inscription already quoted4 ,on a second paper the word 8,counseilor0 can be deciphered at the head4 ,the face1 with its small eyes set closely together1 its thin1 compressed lips and double chin1 and its sinister expression of cold determination1 is a far from attractive one1 and lays bare that side of ,cromwell's character for which he was so heartily hated by the ,catholic party4 ,in it is to be seen little of that other side of him1 of which1 after his downfall1 ,cranmer spoke1 when writing to ,henry on behalf of his old minister4 8,cromwell10 he said1 8was such a servant in my judgment1 in wisdom1 diligence1 faithfulness1 and experience1 as no prince in this realm ever had40 ,a large scroll stretching across the top of the picture1 evidently added after ,cromwell's death1 contains a ,latin inscription in his praise4 ,the portrait is on panel1 #cj in4 #bd in4 ,sidenote3 ,,portraits ,,of ,,thomas ,,cromwell ,a smaller portrait of ,cromwell1 a circular painting with a green background1 and enclosed in a painted square stone frame1 showing the head only1 is described by ,wornum and ,woltmann4#abb ,it was at that time in the possession of ,captain ,ridgway1 of ,waterloo ,place1 ,london4#abc ,it is #ab in4 square1 and differs in some details from the ,tyttenhanger portrait4 ,both writers appear to regard it as a genuine work by ,holbein4 ,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 works3--8the old ,lord ,crauwl1 about a foot and a half high1 taken unusually artistically by ,holbein40 ,although the dimensions do not quite agree1 ,woltmann suggests that ,captain ,ridgway's little picture was the one thus described4 ,according to ,mr4 ,lionel ,cust1#abd the few portraits of ,cromwell which have any claim to authenticity are all traceable to ,holbein1 and fall into two groups1 or at most three1 each group deriving from an original portrait by him4 ,in the first class are the ,tyttenhanger picture and others based directly upon it4 ,this portrait1 he says1 descends direct from ,sir ,thomas ,pope1 one of ,cromwell's instruments in the suppression of the monasteries4 ,the second group includes such pictures as the one in the ,national ,portrait ,gallery 7,no4 #afhc1 #af in4 #ac in471#abe purchased in #ahig1 of which there are several versions in existence1 though there is no portrait of this type so far traced which can be attributed to ,holbein himself4 ,the pictures in this group show the head and shoulders only1 and differ in minor details from the ,tyttenhanger type4 ,the look of craftiness is accentuated1 and he is shown with a slight grey whisker1 and the pointed arch of the eyebrows is more strongly marked4 ,the third group1 which is closely allied to the second1 includes the recently-discovered miniature in the late ,mr4 ,j4 ,pierpont ,morgan's collection1#abf and the medal in the ,british ,museum1 of the date #aech1 which1 according to ,mr4 ,cust1 is evidently based on a drawing by ,holbein4#abg ,there was a portrait of ,cromwell in the ,arundel collection1 which is entered in the inventory as 8ritratto de ,cromwell40 ,this was evidently the one in the possession of ,de ,loo1 which afterwards passed1 with other works by ,holbein1 from that dealer's collection into that of the ,earl4 ,hollar's engraving1#abh which is not signed or dated1 does not appear to have been taken from the portrait at ,tyttenhanger1 but was most probably based upon the ,arundel picture2 but whether that picture was an original by ,holbein1 now lost1 or one of the numerous versions now in existence1 it is impossible to say4 ,one of these versions is in the collection of ,m4 ,ch4 ,lon ,cardon1 ,brussels4 ,footnote #abb3 ,woltmann1 #bab1 and i4 #cgf2 ,wornum1 p4 #bhg4 ,footnote #abc3 ,now1 according to ,dr4 ,ganz 7,holbein1 p4 #bda7 in that of ,m4 ,kleinberger1 ,paris4 ,footnote #abd3 ,in an interesting paper on 8,a newly-discovered miniature of ,thomas ,cromwell10 ,burlington ,magazine1 vol4 xx41 ,october #aiaa1 pp4 #e-g4 ,footnote #abe3 ,reproduced in ,mr4 ,cust's illustrated catalogue of the ,national ,portrait ,gallery1 vol4 i4 p4 #ai1 and in the ,burlington ,magazine1 vol4 xx4 p4 #g4 ,footnote #abf3 ,described in chapter xxv4 ,see p4 #bca and ,pl4 #ca 7#f74 ,footnote #abg3 ,reproduced in ,burlington ,magazine1 vol4 xx4 p4 #g4 ,footnote #abh3 ,parthey1 #achf4 ,several portraits of ,cromwell were included in the ,tudor ,exhibition1 #ahij1 wrongly attributed to ,holbein4 ,among them was a bust portrait1 to the right1 with a jewel in the cap1 and the ,garter ,george suspended from a black ribbon1 lent by the ,duke of ,sutherland 7,no4 #ci1 #bj in4 #ag in472 a small half-length1 to the left1 wearing both collar and ,george of the ,garter1 from ,corpus ,christi ,college1 ,cambridge 7,no4 #afj1 #bb in4 #ag in472 and versions of the ,tyttenhanger picture lent by ,mr4 ,charles ,penruddocke 7,no4 #afb1 #ah in4 #af in471 and the ,duke of ,manchester 7,no4 #afc1 #ad in4 #aa in474#abi ,in addition to the ,hollar print1 engravings were made1 from one or other of the copies of the original picture1 by ,houbraken for his ,heads of ,illustrious ,persons1 #agde1 from a picture in the possession of ,mr4 ,edward ,southwell1 and by ,freeman for ,lodge's ,portraits1 #ahce1 the latter from a picture in the possession of ,sir ,thomas ,constable1 ,bt41 at ,tixall4 ,probably both engravings were done from the same painting4 ,footnote #abi3 ,a portrait of ,cromwell1 attributed to ,holbein1 the property of the late ,mr4 ,j4 ,p4 ,hardy1 was sold at ,christie's on #acth ,december #aiab4 ,there is a magnificent drawing1 one of the most powerful studies ,holbein ever accomplished1 in the collection of the ,earl of ,pembroke and ,montgomery at ,wilton ,house1#acj 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 8,lord ,cromwell0 and 8,holbein0 have been inscribed in the bottom corners by a later hand than the painter's4 ,it is in black and red chalk on paper tinted pink1 with slight touches of colour on the fur of the gown and the jewel in the cap4 ,the outlines of the features have been reinforced in ink1 but this1 in contradistinction to some of the drawings in the ,windsor collection1 where such retouching is evidently from a later hand1 has been carried out with such power combined with delicacy that it seems certain that it was done by ,holbein himself4 ,the drawing evidently at one time formed part of the ,windsor series1 at the date when the latter was given by ,charles ,i to an earlier ,earl of ,pembroke in exchange for the little 8,st4 ,george0 by ,raphael1 which is now in the ,hermitage4 ,this book of drawings was afterwards given by ,pembroke to the ,earl of ,arundel1 and it is most probable that the so-called 8,cromwell0 drawing remained behind1 perhaps by accident4 ,quite recently it has been definitely identified as the portrait of ,george ,nevill1 third ,lord ,abergavenny1 by means of a miniature in the possession of the ,duke of ,buccleuch1 in water-colours1 on a playing card1 which is based on ,holbein's drawing1 and is inscribed 8,g4 ,abergaveny40#aca ,it bears a very strong likeness to the drawing1 and is attributed to ,holbein himself4 ,further proof of identity is obtained from a picture1 which agrees with the miniature but does not show the hands1 in the collection of the ,marquis of ,abergavenny at ,edridge ,castle1 ,kent4 ,both the ,wilton drawing and the miniature were included in the ,burlington ,fine ,arts ,club ,exhibition1 #aiji 7,no4 #gj and ,case ,c4 ,no4 #bb71 and the former was in the ,tudor ,exhibition1 #ahij 7,no4 #adad74 ,footnote #acj3 ,woltmann1 #bfc4 ,reproduced by ,davies1 p4 #afb2 ,vasari ,society1 pt4 v4 ,no4 #bh2 ,catalogue of ,burlington ,fine ,arts ,club ,exhibition1 #aiji1 ,pl4 xxviii4 ,footnote #aca3 ,reproduced in ,the ,connoisseur1 vol4 xviii4 ,no4 #ga1 ,july #aijg1 frontispiece 7in colour72 and in the ,illustrated ,catalogue of the ,burlington ,fine ,arts ,exhibition1 ,pl4 xxxiii4 ,sidenote3 ,,portrait ,,of ,,morette ,singularly few examples remain of work executed by ,holbein in #aecd and #aece4 ,there are no dated portraits from his brush of the former year1 with the exception of the two small roundels in ,vienna1 and none of the latter year1 for the date on the beautiful miniature of little ,henry ,brandon at ,windsor1 usually given as #aece1 has been misread4#acb ,there are one or two portraits which must have been done during this period1 among them the ,morette1 the drawing of ,nicolas ,bourbon1 and a portrait of ,nicholas ,poyns the younger2 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 ,england4 ,throughout his too short career the painter seems never to have severed his connection with ,basel1 nor to have broken the friendly relationships which existed between him and its ,council4 ,he remained a citizen of his adopted city1 and apparently retained his membership of the ,painters' ,guild1 until his death4 ,to do so he must have paid some heed to the somewhat strict laws as to the duties of citizenship then in force4 ,the customary leave of absence was about two years1 and ,holbein may well have returned to ,basel more often than is generally supposed4 ,he did not accede to the ,council's request contained in their letter of ,september #bnd1 #aecb1 but at the end of two years1 in the summer of #aecd1 he may possibly have paid a visit of some duration to ,switzerland1 returning to ,england in the summer or autumn of #aece4 ,this is only conjecture1 for there is no evidence of his presence in ,basel during that period1 but it would account for the lack of ,english portraits of that date1 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 #aecf4 ,against this assumption it must be noted that when he paid his well-known visit to ,basel in ,september #aech he was feasted and fted by his fellow-citizens in a way which seems to indicate that he had been absent for a longer period than three years4 ,still1 it is not impossible that he was there in #aecd-e1 and that he even paid a final visit home1 about the winter of #aedj-da1 before his death in #aedc1 in this way retaining until the end his citizenship and the pension paid by the ,basel authorities to his wife4 ,footnote #acb3 ,see p4 #bbe4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ab ,,charles ,,de ,,solier1 ,,sieur ,,de ,,morette ,,royal ,,picture ,,gallery1 ,,dresden ,the wonderful portrait of ,morette in the ,dresden ,gallery 7,pl4 #ab7acc must certainly have been painted during the period under discussion4 ,charles de ,solier1 ,sieur de ,morette1 a well-known ,french diplomatist and fighting man of his day1 who had paid more than one earlier visit to ,england1 in each case of short duration1 arrived in ,london as ,french resident ambassador in place of ,castillon1 on ,good ,friday1 ,april #crd1 #aecd1 and returned to ,france on ,july #bfth1 #aece4 ,this was his last and longest sojourn in this country1 and ,holbein must have painted him between these two dates4 ,even though the painter may have paid a visit to ,basel as suggested1 it would still leave ample time for the portrait to have been taken in the summer of either year4 ,probably ,holbein's introduction to ,morette was brought about through the good offices of ,jean de ,dinteville4 ,though the ,bailly of ,troyes had left ,england in the previous ,november1 ,morette may have seen the 8,ambassadors0 picture in ,france in the interval1 or have heard of it from ,castillon1 who succeeded ,dinteville in ,london4 ,in any case1 ,morette1 who was one of the special ambassadors who came over for the signing of the treaty in the spring of #aebh1 was acquainted with at least one work of ,holbein1 the 8,battle of ,spurs10 in the temporary banqueting-hall at ,greenwich1 to which the ,king had drawn the particular notice of the envoys4 ,footnote #acc3 ,woltmann1 #ade4 ,reproduced by ,davies1 p4 #aef2 ,knackfuss1 fig4 #abh2 ,ganz1 ,holbein1 p4 #aaf4 ,sidenote3 ,,the ,,arundel ,,collection ,the first known reference to the portrait of ,morette occurs in the correspondence of ,thomas ,howard1 ,earl of ,arundel and ,surrey1 the great collector of ,holbein's work1 who employed friends and agents on the ,continent to hunt up and buy everything from his brush that they could discover4 ,he got together a remarkably fine series of pictures and drawings by ,holbein1 which1 on his death at ,padua1 #afdf1 came into the possession of his widow1 then residing in ,holland4 ,upon her decease in #afed1 at ,amsterdam1 her youngest son1 ,lord ,stafford1 who was living with her1 propounded a nuncupative will in his own favour1 and began as quickly as he could to sell the pictures1 which it had been the intention of the ,earl should become heirlooms1 but the deed had never been executed4 ,the sale1 however1 was stopped by other representatives of the ,arundel family1 and a lawsuit resulted4 ,among the documents in connection with these proceedings was one of very great interest1 an inventory of the pictures and objects of art in the possession of the ,countess at the time of her death4 ,the original list1 which was in ,italian1 and probably drawn up for the ,earl in ,padua1 has disappeared1 but a copy of it has been recently discovered by ,miss ,mary ,l4 ,cox in the ,record ,office4 ,this valuable document was evidently copied from the original by some clerk in ,amsterdam ignorant of the ,italian language1 for it is full of mistakes4 ,the complete inventory was published by ,miss ,cox1 with an introduction by ,mr4 ,lionel ,cust1 in the ,burlington ,magazine4#acd ,from it we learn that ,lord ,arundel possessed no less than forty-one works by or attributed to ,holbein1 in addition to the drawings1 which are not included in the inventory4 ,among the portraits1 some of which have been already noted1 were those of the ,duchess of ,milan1 ,jane ,seymour1 ,anne of ,cleves1 ,edward ,,vi1 the ,duke of ,norfolk and his son the ,earl of ,surrey1 ,sir ,thomas ,wyat1 ,cromwell1 ,erasmus1 the ,earl of ,southampton1 ,thomas and ,john ,godsalve1 ,sir ,edward ,gage1 ,sir ,henry and ,lady ,guldeford1 ,archbishop ,warham1 ,dr4 ,john ,chamber1 ,derich ,born1 and ,sir ,thomas ,more and his family1 as well as several unnamed portraits1 to all of which reference will be found in these pages4 ,very possibly some few of these pictures1 such as the full-length of the ,earl of ,surrey1 were not by ,holbein1 though given to him in the list4 ,lord ,arundel also possessed several works which so far have not been traced1 though the titles may help towards their future rediscovery4 ,among them is a portrait said to be of ,holbein's wife1 which is most probably the picture at the ,hague2#ace one of a lady 8con gli mani giunti e un agato atacato al beretino02 another of a lady1 aged #dj1 with the inscription1 8,in all things1 ,lord1 thy wilbe fulfilled02 the portrait of a musician2#acf one of an armed man1 which may possibly be the portrait of ,sir ,nicholas ,carew2 the portrait of the goldsmith ,hans of ,zrich2 the ,death's-head and bones already referred to in speaking of ,ambrosius ,holbein2 a picture of gamblers or people playing games 78un quadretto con divers figure ,jocatori1 c4072 another with the title 8,legge ,vecchio ,nove0 7ancient and modern law72 and the ,arms of ,england in water-colours4 ,before his relations could interfere ,lord ,stafford had sold a number of pictures to the ,spanish ,ambassador in ,london1 to ,eberhard ,jabach1 of ,cologne1 and to the agent of the ,archduke ,leopold1 and this may account for the fact that certain of them remained abroad1 such as the ,jane ,seymour and ,dr4 ,chamber in ,vienna1 and the ,thomas and ,john ,godsalve in ,dresden4 ,footnote #acd3 ,vol4 xix41 ,august and ,september #aiaa1 and vol4 xx41 ,january #aiab1 from which the above facts are taken4 ,footnote #ace3 ,see ,vol4 i4 p4 #ajf4 ,footnote #acf3 ,see above1 p4 #eb4 ,in a letter from ,turin1 dated ,november #bfth1 #afbh1 from ,sir ,isaac ,wake to ,william ,boswell1 the former states3 8,the picture after which you do seem to inquire was made by ,hans ,holbein in the time of ,henry ,,viii1 and is of a ,count of ,moretta4 ,my ,lord of ,arundel doth desire it1 and if ,i can get it at any reasonable price he must and shall have it40#acg ,the picture was evidently then in the market1 under the true names of both sitter and painter1 but apparently the price was too high1 and so ,arundel1 who possessed the original drawing for it1 was not able to secure it4 ,it was eventually bought by the ,marquis ,massimiliano ,montecucculi1 ambassador of the house of ,este at ,parma and ,rome1 and presented by him to the ,duke ,francesco d',este1 and so passed into the ,modena gallery4 ,according to ,venturi1 the portrait was at that time attributed by the ,marquis ,montecucculi to 8,gio4 ,olben40 ,some thirty years after the date of ,wake's letter1 ,scannelli1 in his ,microcosmo1#ach describes1 under the name of 8,olbeno10 a picture in the ,modena collection which can be no other than the 8,morette40 ,he says3 8,there was also lately among ultramontane painters a certain ,olbeno1 a highly qualified master1 and in painting individual portraits verily stupendous4 ,it is true in his execution there is something of that native hardness which belongs to his country in other respects2 yet through his extreme diligence and truthful fidelity to nature it shows a high degree of perfection4 ,as we see1 for example1 in the already noticed gallery of ,h4,s4,h4 the ,duke of ,modena1 where there is a half-length portrait by him which in its exact imitation of nature is quite wonderful40 ,footnote #acg3 ,for this and other letters see ,sainsbury1 ,original ,unpublished ,papers1 c41 #ahei1 ,appendix1 ,nos4 #dd1 #ec1 #ee1 #eg4 ,see also ,appendix 7,k74 ,footnote #ach3 ,ed4 #afeg1 ,vol4 ii4 p4 #bfe4 ,see also ,vol4 i4 p4 #cjf4 ,sidenote3 ,,portrait ,,of ,,morette ,at a later date the true name of the sitter appears to have become lost4 ,it has been suggested#aci that1 owing to the similarity of the sound1 the name ,morette was first changed to ,morus1 as the name of ,sir ,thomas ,more would naturally suggest itself in connection with ,holbein4 ,in ,italy1 ,morus1 again naturally1 would become ,moro1 and so in course of time the picture was said to represent ,lodovico ,sforza1 familiarly known as ,il ,moro4 ,there is no need1 however1 to bring in the name of ,sir ,thomas ,more at all4 ,the change must have been directly from ,morette to ,maurus1 which was ,sforza's second name1 from which his popular nickname 8,il ,moro0 was taken4#adj ,holbein's name in connection with the picture having been by this time forgotten1 the title 8,maurus10 combined with the beauty of the work1 gave rise to the supposition that it could only be from the hand of ,sforza's great countryman1 ,leonardo da ,vinci2 and it was as a portrait of ,il ,moro by ,leonardo that it was purchased by ,augustus ,,iii1 ,king of ,poland and ,elector of ,saxony1 from the ,duke ,francesco of ,este-,modena in #agdf4 ,it formed part of a collection of about one hundred pictures1 known as the 8,modena ,gallery10 some of which are now among the chief masterpieces of the ,dresden ,gallery1 which1 after long and secret negotiations1 the ,elector procured for his own collection at the cost of one hundred thousand sequins and very liberal largesse to various agents and go-betweens4 ,for the next hundred years it remained at ,dresden as a portrait of ,lodovico and a masterpiece by ,da ,vinci4 ,then ,rumohr1 the critic1 pointed out that the style and quality of the painting proved it to be an undoubted work by ,holbein1 while at the same time ,von ,quandt produced evidence to show that it did not represent ,il ,moro1 but a certain jeweller employed by ,henry ,,viii named ,hubert ,morett4 ,the paper he contributed to the ,kunstblatt in #ahdf was accompanied by a reproduction of ,hollar's engraving of the original drawing of the picture1 upon which his case was based4 ,this engraving is inscribed 8,mr4 ,morett0 and 8,w4 ,hollar fecit1 ex ,collectione ,arundeliana4 ,ao #afdg4 #ca ,dec40 ,in spite of ,rumohr's criticism1 however1 the picture continued to be described in the official catalogues as by ,leonardo1 the authorities1 it is said1 objecting to the change of name1 as in so doing the collection would be robbed of its sole work by ,da ,vinci2 and it was not until the death of ,king ,frederick ,augustus that ,holbein was allowed to come into his own again4 ,there was considerable opposition1 too1 to the change from ,il ,moro to ,mr4 ,morett1 the goldsmith1 ,hollar's engraving being a poor one1 and not very much like the picture4 ,the title was not changed1 nor was the final restitution made to ,holbein until #ahfj1 in which year ,holbein's original drawing for the portrait made its appearance in ,london1 in the sale of ,samuel ,woodburne1 the art dealer1 when it fetched #dc1 and was purchased immediately afterwards for the ,saxon ,government by ,herr ,l4 ,gruner1 the director of the ,dresden ,gallery4#ada ,for the next twenty-five years the picture was known as 8,mr4 ,hubert ,morett1 goldsmith to ,henry ,,viii10 who was considered by all writers to be an ,englishman1 his sumptuous apparel1 quite unlike the sober garments worn by jewellers in those days1 being explained away by a reference to the tradition that in the sixteenth century all ,englishmen1 of whatever class of society1 had a passion for finery in dress4 ,footnote #aci3 ,wornum1 p4 #cja1 and ,dresden ,catalogue1 #ahhd4 ,footnote #adj3 ,see ,milan under the ,sforza1 by ,c4 ,m4 ,ady1 p4 #abd4 ,footnote #ada3 ,woltmann1 #adf4 ,reproduced by ,wornum 7photograph71 p4 #cjj4 ,as a matter of fact ,hubert ,morett was not an ,englishman at all1 nor could he be rightly described as 8goldsmith0 to ,henry ,,viii4 ,he was a ,frenchman1 one of several jewellers of ,paris1 who paid periodical visits to ,london for the purpose of selling their wares to the ,king and ,court4 ,thus1 in ,august #aecf1 in ,gostwick's accounts1 is the entry3 8,hubbert ,morret1 jeweller of ,paris1 for jewels bought by the ,king #bhb1 #fs4 #h;d410#adb while in ,january #aecb he received #bdb crowns1 or #ef1 #is4 #d;d41 for similar goods4#adc ,granger's statement that ,morett 8did many curious works after ,holbein's designs0 has no foundation in fact4 ,hollar's engraving#add simply calls the subject 8,mr4 ,morett10 though ,parthey1 in a second edition of his book1 cites a second state of the engraving1 sold in #ahdd1 with the added words1 8,jeweller to ,henry ,,viii02 no one1 however1 has so far succeeded in discovering a proof of this state1 and1 in all probability1 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 ,,viii1 published by ,nicolas in #ahbg4 ,this1 no doubt1 was the source of the legend1 adopted at ,dresden1 that the picture represented a court jeweller4 ,footnote #adb3 ,c4,l4,p41 vol4 xi4 #cha4 ,footnote #adc3 ,c4,l4,p41 vol4 v41 ,privy ,purse ,expenses of ,henry ,,viii1 under ,january #aecb4 ,footnote #add3 ,parthey1 ,no4 #adgj4 ,sidenote3 ,,portrait ,,of ,,morette ,it remained for a ,swedish critic1 ,m4 ,s4 ,larpent1 finally to re-establish the identity of the sitter as that ,count of ,moretta mentioned in ,wake's letter in the seventeenth century4 ,in a pamphlet published in ,christiania in #ahha1 ,sur le ,portrait de ,morett1 he proved conclusively that the ,dresden picture represents ,charles de ,solier1 ,sieur de ,morette4 ,m4 ,larpent drew attention to the fact that the drawing for the head was once in the possession of ,richardson1 the painter1 and that at his sale in #agdf it was included in his catalogue as 8,one ,holbein1 sieur de ,moret1 one of the ,french hostages in ,england10 this1 no doubt1 being the traditional title which had remained with the drawing since it was in the ,arundel collection4 ,it has been suggested that ,hollar's engraving was done neither from the ,dresden picture nor from the drawing1 as it shows considerable differences in the dress and details1 and is circular in shape1 while the inscription is 8,holbein pinxit0 not 8delineavit10 indicating that it was done from a painting and not a drawing1 and thus proving that the ,earl of ,arundel possessed another portrait of ,morette1 which has disappeared4 ,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 collection1 which he thinks represents ,jean de ,dinteville4#ade 8,now1 this print of ,hollar's10 he says1 8is an exact companion to his other print from the #8,mr4 ,morett' in the ,arundel collection4 ,both are small rounds1 apparently taken from paintings of almost miniature size1 such as ,holbein is in several instances known to have made of persons who had also sat to him for full-sized portraits4 ,i conclude that he had painted two such companion miniatures1 besides his larger pictures1 of the two successive ,french envoys1 ,dinteville and ,morette1 and that both came into the possession of the ,earl of ,arundel40#adf ,footnote #ade3 ,this is the print1 already mentioned 7see p4 #dd71 in connection with the fine ,windsor drawing to which ,miss ,hervey first drew attention as a possible likeness of ,dinteville4 ,footnote #adf3 ,in a letter to ,the ,times1 #aath ,september #ahij4 ,the identity of the sitter was established beyond all possibility of doubt in #aijc by the late ,mr4 ,max ,rosenheim's discovery of a fine contemporary medallion portrait of the same personage1 carved in boxwood1 with his name and titles in full1 and on the back his device of a seaport1 a horse1 and a dolphin4#adg ,charles de ,solier was born in #adhj1 and was fifty-four years old when resident ambassador in ,england in #aecd1 the year in which ,holbein painted him4 ,he represented him life-size and half-length1 standing facing the spectator1 dressed in a doublet of black satin1 the sleeves of which1 from the elbow downwards1 are slashed with white silk4 ,his surcoat is of the same black material1 with a heavy collar and lining of fur4 ,both dress and black cap are decorated with gold tags1 and in the latter he wears a circular gold enseigne with a figure of ,fortune4 ,round his neck hangs a gold chain to which is suspended a medallion or watch-case of open-work4 ,in his right hand he holds a glove1 and his left1 which is gloved1 grasps the gilt and elaborately chased sheath of a dagger1 suspended from his girdle by a chain with a large tassel1 such as the one worn by ,dinteville4 ,his long beard of a reddish colour is touched here and there with grey4 ,the background consists of a curtain of green damask4 ,it is about #c ft4 #a in4 high by #b ft4 #f in4 wide4 ,footnote #adg3 ,see ,burlington ,magazine1 vol4 ii41 ,august #aijc1 p4 #cfi4 ,the medallion is in the ,salting ,collection1 and the costume is the same as in the picture4 ,the inscription runs3 8,,carolvs ,,de ,,solario ,,dns ,,morety ,,anno ,,agens ,l40 ,holbein's art1 both in the subtle insight it displays into character and in its technical achievement1 is seen in its highest manifestation in this superb and nobly-dignified portrait1 which bears the stamp of truth in every touch4 ,the handling is both brilliant and delicate in all the accessories1 in the fine modelling of the flesh1 and in the wonderful draughtsmanship of the right hand grasping the glove4 ,as a likeness of a living man and as an expression of the most intimate traits of his character1 it holds its own with any piece of portraiture in the world1 and is1 indeed1 complete in every respect1 displaying the finest taste in conception combined with consummate skill and unerring accuracy in execution1 and most harmonious colour4 ,the original study for it1 which1 no doubt1 once formed a part of the ,windsor collection1 and now hangs by the side of the picture in ,dresden1 is unsurpassed for its truth and force1 and the subtlety with which the likeness is expressed by the simplest means1 eye and hand acting in perfect accord and allowing nothing essential to escape them4 ,sidenote3 ,,roundels ,,of ,,englishman ,,and ,,wife ,the two small roundels1 about six inches in diameter1 portraits of a man1 probably an ,englishman1 and his wife1 in the ,vienna ,gallery#adh 7,nos4 #adhb1 #adhd71 formerly in the ,schloss ,ambras collection1 are dated #aecd4 ,they are fine works1 almost in miniature1 though they do not show ,holbein at his highest point of achievement4 ,the man1 who has a dark-brown beard1 wears a black cap and a scarlet surcoat on which the letters ,h4 ,r4 are embroidered in black and gold1 indicating that he was in the service of ,henry ,,viii4 ,across the background is inscribed3 8,,etatis ,,sv #cj4 ,,anno #aecd40 ,the woman1 of a very homely type of face1 is wearing a dark-brown and black dress1 and a white head-dress1 which hides her hair and falls on her shoulders in the form of a cape4 ,this head-dress is identical with the one worn by the unknown lady in the ,windsor collection 7,holmes ,no4 #aj71 which ,sir ,richard ,holmes thought might be a portrait of 8,mother ,jack10 nurse to ,edward ,,vi4 ,it is inscribed3 8,,etatis ,,sv #bh4 ,,anno #aecd40 ,both portraits have now a very dark blue-green background with a small circular ring of gold round the outer edge4 ,the two are evidently husband and wife1 and the latter has more the appearance of a ,german than an ,englishwoman4 ,it may be suggested1 therefore1 though with diffidence1 that it is not impossible that these two small portraits represent ,susanna ,hornebolt and her husband1 ,john ,parker1 the ,king's bowman and a yeoman of the robes4 ,drer speaks of ,susanna as being 8about eighteen0 in #aeba1 which does not quite tally with the age of the sitter in the ,vienna roundel1 who was twenty-eight in #ahcd1 but it is again not impossible that ,drer imagined the young lady to be two or three years older than she was in reality4 ,dr4 ,ganz draws attention to the close likeness between this portrait and the one of an unknown man1 also a small roundel1 in the possession of ,herr ,f4 ,engel-,gros1 at ,chteau de ,ripaille near ,thonon1#adi which he reproduces for the first time4 ,the sitter is clean-shaven1 facing three-quarters to the right1 with a small flat red cap1 elaborate black and white ,spanish work on his shirt collar1 and a red livery coat1 lined with blue1 with black bands and the initials 8,h4 ,r40 embroidered on it4 ,he considers him to be either a ,netherlander or a ,german1 and suggests that he was possibly a painter in ,henry ,,viii's service4 ,it may be permitted to go a step further and to suggest that we have here a portrait of ,susanna's brother1 ,lucas ,hornebolt4 ,it was first exhibited in ,basel in #ahia1 and nothing of its earlier history is known4 ,it bears no signature or date1 but is evidently of the same period as the two ,vienna roundels4 ,there is an excellent old copy on copper of this roundel in the ,fitzwilliam ,museum1 ,cambridge 7,no4 #ecg71aej in which1 however1 the cap and coat are black1 while no trace of the royal initials on the latter can be discerned4 ,footnote #adh3 ,woltmann1 #bef1 #beg4 ,reproduced in ,magazine of ,art1 ,march #ahig1 p4 #bgi2 ,masterpieces of ,holbein 7,gowan's ,art ,books1 ,no4 #ac71 pp4 #df1 #dg2 ,ganz1 ,holbein1 p4 #aje4 ,footnote #adi3 ,reproduced by ,ganz1 ,holbein1 p4 #aae4 ,purchased by the present owner in ,paris4 ,footnote #aej3 ,reproduced in ,f4 ,r4 ,earp's ,descriptive ,catalogue of the ,pictures in the ,fitzwilliam ,museum1 #aijb1 and in ,the ,principal ,pictures in the ,fitzwilliam ,museum1 ,gowans ,gray1 ,ltd41 #aiac1 p4 #hf4 ,among the ,windsor drawings there are three1 two of them very fine1 which represent members of the ,poyns or ,poyntz family--,john ,poyns1#aea of ,north ,wokendon1 ,essex1 a member of the royal household and one of ,wyat's most intimate friends1 in which the face is almost in profile to the right1 with the eyes turned upwards1 and a small round black cap which only covers the hair in part2 and two of ,nicholas ,poyntz1 of the ,gloucestershire branch of the family4#aeb ,both are inscribed 8,n4 ,poines ,knight10 and they are generally regarded as portraits of a father and son1 and are described as ,sir ,nicholas ,poyntz the ,elder1 and ,sir ,nicholas ,poyntz the ,younger4 ,in the one he is represented almost full-face1 with beard and bare head1 a free drawing without the black lines1 and somewhat rubbed4 ,the other is a small head in profile to the left1 with a short beard and moustache1 wearing a round cap with white feather1 and a gold chain on his shoulders4 ,there seems to be no great difference between the ages of the two1 and as ,nicholas ,poyntz's father was named ,anthony1 probably the inscription on the first-named drawing is incorrect1 and the sitter is not a member of this family4 ,there are various portraits based upon the second drawing1 all apparently contemporary copies of a lost original4#aec ,one of them was lent by the ,marquis of ,bristol to the ,tudor ,exhibition1 #ahij 7,no4 #gi74 ,it is a life-size portrait1 half-length1 in a black dress1 on panel1 #bd #ag in4 ,another is described by ,woltmann1 who saw it in the possession of the ,marquis de la ,rosire in ,paris4#aed ,it was photographed by ,braun1 but since then has disappeared4 ,it agrees with the drawing and ,lord ,bristol's picture4 ,both are inscribed on the right-hand side of the blue background3--8,,etatis ,,sv #be4 ,,anno #aece10 and above1 a three-lined ,french motto--8,,ie ,,obais ,a ,,qvi ,,ie ,,dois4 ,,ie ,,sers ,a ,,qvi ,,me ,,plaist4 ,,et ,,svis ,a ,,qvi ,,me ,,merite40 ,woltmann regarded the ,paris example as a fine and genuine work by ,holbein1#aee but it is only an old copy4 ,there is another in the possession of ,lord ,spencer at ,althorp4 ,wornum notes a miniature on vellum1 with a plain blue background1 then in the possession of ,mr4 ,r4 ,s4 ,holford1 of ,dorchester ,house1 which corresponds with the ,windsor drawing4#aef ,sir ,nicholas ,poyntz was the eldest son of ,anthony ,poyntz1 of ,iron ,acton1 ,gloucestershire1 and ,elizabeth1 daughter and heir of ,william ,hudson1 of ,devonshire4 ,he does not appear to have held any office in connection with the ,court4 ,he married ,joan1 daughter of ,thomas1 ,lord ,berkeley1 and died in #aeeg4 ,footnote #aea3 ,woltmann1 #cja2 ,wornum1 i4 #i2 ,holmes1 i4 #dg4 ,reproduced by ,davies1 p4 #bbj2 and in ,drawings of ,hans ,holbein 7,newnes71 ,pl4 xx4 ,a fine head of 8,john ,poines10 on a reddish ground1 was in the recently dispersed collection of ,mr4 ,j4 ,p4 ,heseltine4 ,footnote #aeb3 ,woltmann1 #bii1 #cjj2 ,wornum1 i4 #ai1 #cf2 ,holmes1 i4 #cg1 ii4 #bf2 reproduced in ,drawings of ,hans ,holbein1 ,pl4 xxii4 xxv4 ,footnote #aec3 ,this original is in ,lord ,harrowby's collection4 ,see ,appendix 7,k74 ,footnote #aed3 ,woltmann1 #bci4 ,reproduced by ,ganz1 ,holbein1 p4 #bag4 ,there was a portrait of the 8,cavaglier ,points0 in the ,arundel ,collection4 ,footnote #aee3 ,woltmann1 i4 pp4 #djh-i4 ,footnote #aef3 ,wornum1 p4 #djd4 ,it was included in the ,exhibition of ,miniatures held at ,south ,kensington in #ahfe1 ,no4 #gfc4 ,sidenote3 ,,portrait ,,of ,,nicolas ,,bourbon ,another portrait painted by ,holbein in #aece was that of the ,french poet1 ,nicolas ,bourbon de ,vanduvre1 who was in ,england during that year4 ,bourbon was court-poet to ,francis ,i1 but eventually fell into disgrace owing to certain passages in his poems4 ,in #aecd he was thrown into prison1 from which he was finally released through the intervention of ,henry ,,viii1 whose interest in him had been aroused both by ,anne ,boleyn1 who had made his acquaintance during her residence at the ,french ,court in her younger days1 and also by ,henry's physician1 ,dr4 ,butts4 ,to show his gratitude he came over to ,england in #aece1 and found plenty of employment in court circles as an instructor of youth4 ,he returned to ,france in #aecf1 leaving many friends behind him4 ,while in ,london he appears to have lodged with ,cornelis ,hayes1 one of the chief goldsmiths employed by the ,king4 ,among his more intimate friends were ,kratzer and ,holbein1 as may be gathered from a letter which he wrote after his return to ,france to ,thomas ,solimar1 the ,king's secretary1 in which he says3--8,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 friendship3 ,mr4 ,thomas ,cranmer1 the ,archbishop of ,canterbury 444 ,mr4 ,cornelius ,heyss1 my host1 the ,king's goldsmith2 ,mr4 ,nicolaus ,kratzer1 the ,king's astronomer1 a man who is brimful of wit1 jest1 and humorous fancies2 and ,mr4 ,hans1 the royal painter1 the ,apelles of our time4 ,i wish them from my heart all joy and happiness60#aeg ,footnote #aeg3 ,quoted by ,woltmann1 i4 p4 #djd4 ,bourbon held ,holbein's art in the greatest admiration1 and more than one reference to it1 couched in terms of high praise1 appears in his printed works4 ,the original study for the portrait ,holbein painted of him is among the ,windsor drawings1#aeh but the picture itself has disappeared4 ,in the sketch he is represented turned to the left1 with a pen in his hand1 as though in the act of composing4 ,he has a small beard1 and wears a black cap over his long hair1 and looks thoughtfully in front of him1 the right arm and hand being only roughly indicated4 ,it is inscribed 8,nicholas ,borbonius ,poeta10 and is a fine drawing1 in excellent condition1 but some doubts have been expressed as to whether it really represents the poet4 ,bourbon was delighted with the portrait ,holbein painted of him1 and sings its praises in an epigram on the 8incomparable painter0 ,hans ,holbein1 which he published in his ,nugae4 ,it runs3 ,footnote #aeh3 ,woltmann1 #caa2 ,wornum1 i4 #cj2 ,holmes1 i4 #ed4 ,reproduced by ,knackfuss1 fig4 #abc2 ,drawings of ,hans ,holbein1 ,pl4 xxxv4 8,dum divina meos vultus mens exprimit ,hansi1 ,per tabulam docta prcipitante manu1 ,ipsum et ego interea sic uno carmine pinxi3 ,hansus me pingens major ,apelle fuit40 78,while the divine genius of ,hans immortalises my features1 tracing them on the panel with skilful hand1 ,i also have painted him thus in verse2 ,hans1 thus painting me1 was greater than ,apelles407 ,holbein made a smaller drawing of the portrait1 which was produced as a woodcut for the #aech edition of ,bourbon's poems1 the ,nugae4 ,in this also the poet is engaged in writing1 but the position is reversed4 ,it is inscribed 8,nic4 ,borbonius ,vandop4 ,anno ,aetatis xxxii4 #aece40 ,the portrait is circular1 within a square1 the corners being filled in with ,renaissance ornament1 and below two naked boys supporting a shield with ,bourbon's coat of arms1 a swan surmounted by a cross4 ,on the last page is printed the following3 8,,in ,,imaginem ,,svi4 ,corporis effigiem pictor saepe exprimit arte3 ,forma animi nulla pingier arte potest4 ,corpora corporeo mortalia lumine cernis1 ,o homo3 noto ,deus pectora solus habet40 ,both his friendship for ,holbein and his admiration for his art find expression in a further poem or epigram printed in the ,nugae1 headed 8,in picturam ,hansi regii apud ,britannos pictoris et amici40 ,the verses describe a miniature painting by ,holbein3 8,sopitum in tabula puerum meus ,hansus eburna ,pinxerat1 et specie qua requiescit ,amor3 ,ut vidi1 obstupui1 ,chaerintumque esse putavi1 ,quo mihi res non est pectore chara magis ,accessi propius1 mox saevis ignibus arsi2 ,osculaque ut coepi figere1 nemo fuit40 7,my ,hans has painted on an ivory panel a slumbering boy1 looking like a reposing ,cupid2 ,i see him1 ,i am astonished1 ,i regard him as ,charintus1 whom my heart loves most warmly2 ,i approach burning with passion1 yet as ,i kiss him1 it is only a semblance47 ,all traces of this miniature1 which ,bourbon extols so highly1 have disappeared4 ,two other laudatory references to ,holbein occur in the ,nugae4 ,in the #aech edition1 which was published in ,lyon in the same year as the 8,dance of ,death0 cuts and the ,old ,testament illustrations1 the following lines have reference to the former designs3 8,de morte picta a ,hanso pictore nobili4 ,dum mortis ,hansus pictor imaginem exprimit1 ,tanta arte mortem retulit1 ut mors vivere ,videatur ipsa3 et ipse se immortalibus ,parem ,diis fecerit operis huius gloria40 7,on the picture of ,death by the noble painter ,hans4 ,painter ,hans has expressed the image of ,death with so much art1 that ,death himself now seems a living being1 and he by the glory of his work has made himself the compeer of the immortal gods47 ,sidenote3 ,,nicolas ,,bourbon ,,and ,,holbein ,these verses read as though they were written to accompany the first edition of the 8,dance of ,death0 woodcuts1 but for some reason were never used4 ,they are interesting1 too1 as containing the only contemporary reference to ,holbein as the actual designer of the series4 ,in the same edition occur the following lines3 8,videre qui vult ,parrhasium cum ,zeuxide1 ,accersat a ,britannia ,hansum ,ulbium et ,georgium ,reperdium ,lugduno ab urbe ,galliae40 which may be paraphrased as--8,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 ,lyon40 ,reperdius was the ,italian engraver ,reverdino1 about whom little is known1 except that much of his engraved work was after ,primaticcio4 ,the latter was working at ,fontainebleau at this period1 and1 if ,bourbon is to be believed1 ,reperdius was settled in ,lyon1 where the poet probably met him when visiting that town for the purpose of making arrangements for the republishing of his ,nugae4 ,for the second edition of the 8,old ,testament0 illustrations1 published in #aeci1 ,bourbon furnished1 as already noted1#aei a ,latin poem in which ,holbein1 as the designer of the woodcuts1 is compared with and placed above the greatest painters of antiquity4 ,it describes a scene in ,elysium1 in which the three great ,greek painters1 ,apelles1 ,zeuxis and ,parrhasius appear3 ,footnote #aei3 ,see ,vol4 i4 p4 #bbg4 8,nuper in ,elysio cum forte erraret ,apelles ,una aderat ,zeuxis1 ,parrhasiusque comes40 ,apelles breaks forth into a lament over the eclipse of their fame brought about by ,holbein1 and exclaims3 8,holbius est homini nomen1 qui nomina nostra ,obscura ex claris ac prope nulla facit40 ,the verses are too long for quotation4 ,bourbon has added to them a ,greek distich1 with its translation into ,latin3 8,cernere vis1 hospes1 simulacra simillima vivis8 ,hoc opus ,holbinae nobile cerne manus40 ,illustration3 ,,vol4 ,,ii41 ,,plate #ac ,,title-,,page ,,of ,,coverdale',s ,,bible #aece ,from a copy in the ,british ,museum ,no other portrait by ,holbein can be definitely attributed to the year #aece4 ,it was in this year that he lost two of his first ,english patrons1 and both on the scaffold--,sir ,thomas ,more and ,bishop ,fisher1 and his distress must have been keen1 more particularly over the death of the former1 who had done so much for him when he first arrived in ,london1 a practically unknown foreign painter1 with no knowledge of the ,english language4 ,one other work of his1 however1 the design for the title-page of ,coverdale's ,bible1 in the publication of which ,thomas ,cromwell was greatly interested1 was issued in this year1 and possibly it was he who placed the commission in ,holbein's hands4 ,it is interesting to note that ,holbein1 who illustrated the first translations of the ,bible into ,german in ,switzerland1 also supplied a design for its first complete rendering into ,english1 which was published under the title of 8,biblia4 ,the ,bible1 that is1 the holy ,scripture of the ,olde and ,new ,testament1 faithfully and truly translated out of ,douche and ,latyn in to ,englishe1 ,m4,d4,,xxv40 ,this fine folio was printed in ,zrich by ,froschover1 and no doubt ,holbein's title-page#afj 7,pl4 #ac7 was also cut abroad1 for there was no one in ,england at that time capable of producing so excellent an engraving4 ,the design is divided into six little pictures which surround the title4 ,the one across the top contains the ,fall and the ,redemption2 on the left ,adam and ,eve stand under the ,tree1 and on the right ,christ rises from the tomb1 triumphant over ,death and ,hell4 ,on the left-hand side of the page ,moses is shown on ,mount ,sinai receiving the ,tables of the ,law1 and beneath him is a representation of ,ezra reading the ,old ,law to the ,jews on their return from the ,captivity4 ,on the opposite side1 in the upper picture1 ,christ is sending forth ,his disciples into the world to preach the gospel1 and in the lower ,paul is seen preaching4 ,in the panel across the bottom of the page ,henry ,,viii is seated on his throne under a canopy1 with a sword of state in one hand and a ,bible in the other1 which he presents to the high dignitaries of the ,church and the nobles of his ,court1 who kneel below him4 ,on either side within arched niches are the figures of ,king ,david playing the harp1 and the ,apostle ,paul4 ,the ,king is represented with a beard1 which became the fashion in the year ,coverdale's ,bible was published1 but in facial likeness there is little resemblance to ,henry1 due1 possibly1 to the fact that the block was cut in ,switzerland4 ,the design1 as a whole1 is a particularly fine and effective one1 and has not suffered to any great extent from the cutting1 which is good1 though not the handiwork of a ,ltzelburger4 ,certain of the figures are of great beauty1 in particular those of the risen ,christ1 the ,adam and ,eve1 and the ,paul4 ,the resemblance1 in facial type and movements1 between the figure of the ,saviour sending forth ,his disciples to preach and the ,christ in the 8,noli me ,tangere0 picture at ,hampton ,court1 has been already noted4#afa ,footnote #afj3 ,woltmann1 #bcg4 ,reproduced by ,woltmann1 i4 dedication2 ,davies1 p4 #aib4 ,footnote #afa3 ,see ,vol4 i4 p4 #ig4 ,the few designs which ,holbein made for woodcuts while in ,england appear to have been all done at about this time1 when the abuses of the ,church were being attacked most severely and the monasteries were being swept away2 though some of them were not actually published until some years later4 ,in them ,holbein1 just as he had done in his woodcuts produced in ,basel1 in no way attempts to disguise his adherence to the reformed religion4 ,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 book1 now unfortunately lost4 ,at one time it was in the possession of the ,earl of ,arundel1 and was shown by him to ,sandrart as a work of ,holbein's4 ,the latter mentions it in his ,teutsche ,akademie1 stating that each sheet was full of little figures of every kind1 that of the ,redeemer always appearing under the form of a monk attired in black4 ,sixteen of these designs were engraved in the seventeenth century1 no doubt while in the ,arundel collection1 and most probably by ,hollar1 though they are unsigned and have not the customary 8,ex ,collec4 ,arundell30 beneath them4 ,in them 8the enemies of ,christ are represented in the dress of monks and friars1 and instead of weapons they bear croziers1 large candlesticks1 and other church ornaments2 ,judas appears as a capucin1 ,annas as a cardinal1 and ,caiaphas as a bishop4 ,in the subject of ,christ's ,descent to ,hades the gates are hung with papal bulls and dispensations2 above them are the ,pope's arms1 and the devil as keeper of the gate wears a triple crown40#afb ,footnote #afb3 ,chatto1 ,treatise on ,wood ,engraving1 p4 #cgh1 note4 ,described more fully by ,woltmann1 i4 #cie-g4 ,see also ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #ih4 ,woltmann describes a second title-page1 very finely cut1 which he considers to have been produced during ,holbein's sojourn in ,england4 ,so far it has not been discovered in any published book1 but there is a fine proof of it in the ,munich ,print ,room4 ,on either side stand ,st4 ,peter and ,st4 ,paul1 the latter pointing upwards1 two tall slender figures4 ,they appear as pillars of the church1 and are represented as supporting the blank title itself1 which is in the form of a paper scroll4 ,in an arch above is ,christ risen from the ,tomb1 trampling upon ,death and ,satan1 and below are the arms of ,henry ,,viii supported by two heraldic beasts4#afc ,footnote #afc3 ,woltmann1 #bch4 ,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 period1 which1 from the inferiority of the cutting1 were very probably produced in ,england4 ,two of them appeared among the twenty-six little cuts in ,cranmer's ,catechism1 a small octavo volume published in #aedh1 the full title being1 8,catechismus1 that is to say1 a shorte instruction into ,christian religion for the singular commoditie and profyte of childr and yong people4 ,set forth by the mooste reverende father in ,god1 ,thomas ,archbyshop of ,canterbury1 primate of all ,englande and ,metropolitane4--,gualterus ,lynne excudebat1 #aedh40 ,the first of ,holbein's two small pictures 7folio ,,cl7 represents the parable of the ,pharisee and the ,publican1#afd the scene taking place in a church1 with the ,pharisee as a monk1 kneeling at an altar1 whom ,christ points out to ,his disciples1 while the ,publican stands with head bent in front of them4 ,on the edge of a book on the altar steps are the initials 8,h4 ,h40 ,the subject of the second cut 7folio ,,cci7 is ,christ casting out the ,devil from the possessed man1#afe which1 in spite of the unsatisfactory cutting1 is very dramatic and retains much of the beauty and individuality of ,holbein's design4 ,the ,pharisees and others who stand behind are represented as bishops1 monks and priests4 ,it is signed in full 8,,hans ,,holben40 ,a third woodcut1 very similar to these1 but still more feeble in execution1 represents ,christ as the ,good ,shepherd1#aff surrounded by ,his disciples1 and pointing to the 8hired servant10 here again dressed as a monk1 who is flying before the wolf which scatters his frightened flock4 ,this also is signed in full 8,,hans ,,holbein40 ,it appears in a small ,english pamphlet1 8,a lytle treatise after the manner of an ,epystle1 wryten by the famous clerk ,doctor ,vrbanus ,regius10 which was also published by ,walter ,lynne1 in the same year1 #aedh1 as the ,catechism4 ,footnote #afd3 ,woltmann1 #aih4 ,reproduced by ,chatto1 p4 #chj2 and in ,hans ,holbein 7,great ,engravers ,series71 ed4 ,a4 ,m4 ,hind4 ,footnote #afe3 ,woltmann1 #aii4 ,reproduced by ,woltmann1 i4 p4 #cia2 ,chatto1 p4 #cha2 ,wornum1 p4 #aia2 and in ,hans ,holbein 7,great ,engravers ,series71 ed4 ,a4 ,m4 ,hind4 ,footnote #aff3 ,woltmann1 #bjj4 ,reproduced by ,woltmann1 i4 p4 #cii4 ,a third1 and more important1 publication of #aedh1 ,hall's ,chronicle1 contains a large folio woodcut representing ,king ,henry ,,viii in ,council1#afg which ,woltmann regarded as undoubtedly of ,holbein's design4 ,the scene takes place in a magnificent chamber hung with tapestries1 with the ,king1 his legs apart in his characteristic attitude1 seated on a throne beneath a baldachin bearing his arms4 ,he is surrounded by his councillors1 twenty-seven in number1 some listening1 others lost in thought1 and others again whispering among themselves4 ,the cutting is excellent1 and was probably done in ,switzerland4 ,the socle with the framework enclosing the inscription 8,king ,henry the eyght10 and the two supporting sirens1 are almost identical with the socle and supports in the beautiful woodcut of ,erasmus with the figure of ,terminus already described4 ,these1 with the small portraits of ,wyat and ,bourbon1 and the 8,charitas0 device for ,reinhold ,wolfe1 constitute almost the whole of ,holbein's work as a book-illustrator while in ,england4 ,footnote #afg3 ,woltmann1 #baj4 ,reproduced by ,dibdin1 ,typographical ,antiquities1 vol4 iii4 ,it bears the engraver's initials1 8,i4 ,f410 possibly ,faber4 ,sidenote3 ,,portrait ,,of ,,sir ,,thomas ,,wyat ,there are several undated portraits and studies for portraits which must have been produced between the years #aece and #aecg1 among them the likeness of ,sir ,thomas ,wyat1 the famous poet and courtier1 whose father1 ,sir ,henry ,wyat1 had been painted by ,holbein during his first ,english visit4 ,wyat was about the ,court during the period under discussion2 a few years later he was often absent from ,england on foreign embassies4 ,there is a study for his portrait among the ,windsor drawings 7,pl4 #ad7afh which is one of the finest in the collection1 though considerably rubbed and stained1 and also a good1 possibly contemporary1 copy4#afi ,he is represented nearly full-face1 wearing a cap1 and with a long flowing beard1 both hair and beard being modelled with the brush4 ,the portrait which must have been painted from this singularly attractive study is not now known to exist2 a small painting in oils corresponding to the drawing1 but not by ,holbein1 was exhibited by ,mr4 ,bruce at the ,national ,portrait ,exhibition in #ahff4 ,a second portrait of ,sir ,thomas was drawn by ,holbein at a somewhat later date1 which was reproduced as a woodcut1 shortly after the poet's death1 in the little book entitled ,nni in ,mortem ,thom ,viati ,equitis ,incomparabilis1 written by ,john ,leland1 the antiquary1 in honour of his memory1 and published in #aedb4 ,the portrait1#agj which is a small roundel in the style of the circular portraits in wax or boxwood which were at that time much in vogue1 may have been drawn by ,holbein himself on the block4 ,the engraving itself is somewhat crudely done1 but was1 no doubt1 the best that could be procured at that time in ,london2 yet in spite of its roughness the little portrait is a true likeness1 full of character1 such as no one in ,england but ,holbein could have produced4 ,wyat is represented almost in profile to the right1 with a long beard and a high bare forehead1 bearing out ,leland's description in his panegyric that 8nature had given the youth dark auburn hair1 but this gradually disappeared and left him bald1 but the thick forest of his flowing beard increased more and more40 ,the neck is bare1 and bounded by a slight drapery in the classical manner1 giving it the appearance of a medallion4 ,underneath the woodcut1 which is printed on the reverse of the title1 are the following lines in praise of both painter and poet3 ,footnote #afh3 ,woltmann1 #bhi2 ,wornum1 i4 #ah2 ,holmes1 i4 #cb4 ,reproduced by ,knackfuss fig4 #aci1 and elsewhere4 ,footnote #afi3 ,woltmann1 #bij2 ,wornum1 i4 #dj2 ,holmes1 not numbered4 ,footnote #agj3 ,woltmann1 #bji2 reproduced by him1 i4 #cfd4 8,in ,effigiem ,thom ,viati4 8,holbenus nitida pingendi ,maximus arte ,effigiem expressit graphice2 sed nullus ,apelles ,exprimet ingenium felix animumque ,viati40 7,holbein1 the greatest in the magnificent art of painting1 has sketched this portrait1 yet no ,apelles can express in painting ,wyat's mind and happy genius47 ,illustration3 ,,vol4 ,,ii41 ,,plate #ad ,,sir ,,thomas ,,wyat ,drawing in black and coloured chalks ,,windsor ,,castle ,sidenote3 ,,portrait ,,of ,,sir ,,thomas ,,wyat ,the drawing1 no doubt1 was made by ,holbein on purpose for the book1 but whether it was an original study from memory1 or was based on a portrait of ,wyat he had painted some little time previously1 is uncertain4 ,several circular oil paintings exist which are either founded upon the ,nni woodcut1 or are contemporary copies of a portrait by ,holbein which cannot now be traced4 ,the latter is the more probable supposition1 as in all the paintings the head is turned to the left1 whereas in the woodcut it faces to the right1 not having been reversed when drawn on the block4 ,one of these versions1 formerly in the collection of the ,marquis of ,hastings1 who lent it to the ,national ,portrait ,exhibition1 #ahff1 is now in the ,national ,portrait ,gallery 7,no4 #ajce72aga a second1 apparently a copy from the former1 is in the ,bodleian ,library at ,oxford4 ,this latter was in the ,tudor ,exhibition1 #ahij 7,no4 #afi71 the ,oxford ,exhibition of ,historical ,portraits1 #aijd 7,no4 #bd71 and the ,burlington ,fine ,arts ,club ,exhibition1 #aiji 7,no4 #ej74 ,it is a bust1 three-quarters to left1 with dark hair1 beard1 and moustache1 and bald forehead1 red drapery round the shoulders1 and a plain brown background2 and is inscribed 8,,syr,,thomas,,wyat40 ,a smaller circular portrait1 also on an oak panel1 belonging to the ,countess of ,romney1 showing ,wyat in the same position1 but dressed in the costume of his day1 with a black coat lined with white fur1 is attributed to ,lucas ,cornelisz4#agb ,it is inscribed1 8,sir ,thomas ,wiat4 ,b4#aejc4 ,d4#aeda4 ,lucas ,cornelii10 but this is of a later period than the painting1 and the date of ,wyat's death is given wrongly4 ,the head is in the same position as in the ,nni woodcut4 ,on the back of this portrait was at one time another panel1 which now hangs by it in ,lady ,romney's collection1 representing ,wyat's 8,maze10 and painted as a record of an amusing incident in his diplomatic mission to ,italy in #aebg4 ,in the centre of the maze is shown a falling centaur with the ,pope's triple crown on his head4 ,there was a portrait of a ,wyat in the ,arundel collection 7il ritratto del ,cavaglier ,wyat71 but whether this was one of ,sir ,thomas1 or the one of his father1 now in the ,louvre1 is uncertain4 ,footnote #aga3 ,reproduced in ,mr4 ,cust's illustrated catalogue of ,national ,portrait ,gallery1 vol4 i4 p4 #bj4 ,footnote #agb3 ,reproduced in ,burlington ,magazine1 vol4 xvi41 ,december #aiji1 p4 #aee4 ,there are two very similar circular portraits in existence of ,wyat's son1 ,sir ,thomas ,wyat1 the younger1 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 original4 ,one of them was lent to the ,burlington ,fine ,arts ,club1 #aiji 7,no4 #dh71 by the ,rt4 ,hon4 ,lewis ,fry1 and the other belongs to ,lady ,romney4#agc ,he is shown in profile1 to the left1 looking upwards1 the neck cut off at the beginning of the shoulders1 as in the portraits of his father1 and wearing a slight1 light brown moustache1 pointed beard1 and short hair4 ,lady ,romney's version is of the same size as the ,cornelisz portrait1 while ,mr4 ,fry's more nearly approaches that of the ,national ,portrait ,gallery and ,oxford portraits of his father4 ,mr4 ,fry's panel was once in the collection of ,charles ,i1 having his brand on the back1 and it is possibly the portrait which was in the possession of ,john1 ,lord ,lumley1 in #aeij4 ,the 8classical0 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 #aeed for rebellion against ,queen ,mary4 ,it is possible that these portraits of the younger ,wyat are based on a lost original by ,holbein4 ,he was born in #aeba1 so that he would have been twenty-two at the time of ,holbein's death4 ,mr4 ,roger ,e4 ,fry sees in ,mr4 ,lewis ,fry's version a predominant ,flemish influence4 8,it remains10 he says1 8one of the most inscrutable riddles of the exhibition4 ,it is a work of such great technical excellence that its authorship ought to be discoverable4 ,it seems probable that it was painted in ,england and from life40#agd ,footnote #agc3 ,both reproduced in ,burlington ,magazine1 vol4 xvi41 ,december #aiji1 p4 #aeh2 and the former in the illustrated edition of the ,exhibition ,catalogue1 ,pl4 xvi4 ,footnote #agd3 ,burlington ,magazine1 vol4 xv41 ,may #aiji1 p4 #ge4 ,the very interesting and beautiful portrait of a lady lent by ,major ,charles ,palmer to the ,royal ,academy ,winter ,exhibition1 #aijg 7,no4 #ac71 and to the ,burlington ,fine ,arts ,club1 #aiji 7,no4 #fd7 7,pl4 #ae71age is now identified1 with some degree of certainty1 as a portrait of ,sir ,thomas ,wyat the elder's sister1 ,margaret ,wyat1 ,lady ,lee4 ,this identification is based upon an enlarged version of the portrait in the possession of ,viscount ,dillon at ,ditchley1 ,oxfordshire1 which1 according to family tradition1 is said to represent that lady1 who was the wife of ,sir ,anthony ,lee1 and the mother of ,sir ,henry ,lee1 ,k4,g4 ,she is shown at three-quarters length1 three-quarters to the left4 ,her hair1 of reddish gold1 is almost hidden by her black and white ,french hood decorated with a band of pearls arranged in groups of four1 alternating with small panels of gold filigree work4 ,her dress is of dark-brown damask1 puffed at the shoulders1 and ornamented with numerous gold tags or points1 and a rose-coloured petticoat4 ,her hands are clasped in front of her1 and she holds by a short ribbon a circular gold medallion on which is a figure of ,lucrece above a dark oblong stone4 ,on her right hand are two signet rings1 one with a red and one with a dark stone4 ,the dress1 open at the neck1 shows a white collar or lining1 and white ruffles cover her wrists4 ,a rose in red enamel is at her breast1 and a gold chain round her neck4 ,across the plain dark green background is inscribed1 8,,etatis,,sv#cd40 ,it is on panel1 #af in4 #ab in4 ,her long1 very sharp nose resembles that of her brother1 and her complexion is of a somewhat unpleasant reddish tone4 ,the drawing of the face1 and particularly of the hands1 is very delicate4 ,it is now in the ,collection of ,mr4 ,benjamin ,altman1 ,new ,york4 ,footnote #age3 ,reproduced in ,burlington ,magazine1 vol4 xv41 ,june #aiji1 frontispiece2 illustrated catalogue of ,burlington ,fine ,arts ,club ,exhibition1 ,pl4 xxii42 and ,ganz1 ,holbein1 p4 #adc4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ae ,,portrait ,,of ,a ,,lady 7,probably ,margaret ,wyat1 ,lady ,lee7 ,,until ,,recently ,,in ,,the ,,collection ,,of ,,major ,,charles ,,palmer1 ,,now ,,in ,,that ,,of ,,mr4 ,,benjamin ,,altman1 ,,new ,,york ,sidenote3 ,,portrait ,,of ,,margaret ,,wyat1 ,,lady ,,lee ,opinion1 so far1 is divided as to whether this fine work is by ,holbein or not4 ,the first impression received is that it is certainly not by him1 from the flatness of the modelling of the face1 a certain hardness in the execution1 and the rather unpleasant red tone of the complexion2 but further examination considerably modifies this opinion4 ,it is difficult1 if the attribution to ,holbein is rejected1 to suggest the name of any other artist then practising in ,england1 who possessed the ability to produce a portrait as fine and as remarkable as this one is4 ,to ,sir ,martin ,conway 8it appears to be obviously and all over ,holbein40#agf ,mr4 ,roger ,e4 ,fry says that 8opinion is so divided that it would be rash to dogmatize4 ,the picture is in wonderful condition and is entirely in ,holbein's manner4 ,indeed1 it must in any case be derived directly from a drawing by ,holbein4 ,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 expression2 whether he could have ever so far lost his sense of relief1 treated line so entirely as a matter of edge with so little sense of the mass it should define4 ,such questions can only be decided by a gradual consensus of opinion4 ,my own belief is that it will be decided ultimately against ,holbein's having actually executed the painting1 though ,i am bound to admit no other known imitator comes as near to ,holbein himself as does the author of this40#agg ,dr4 ,ganz regards it as a genuine work by ,holbein1 and dates it #aedj1 drawing attention to the similarity of the enamelled rose fastened to her dress to the one worn by ,lady ,butts1 who was painted by ,holbein at about that date4#agh ,it will be seen that the critics are divided2 and it is certainly by no means easy to arrive at a definite conclusion4 ,it is interesting to note1 as a minor point1 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 portrait1 and are arranged in much the same manner4 ,footnote #agf3 ,burlington ,magazine1 vol4 xvi41 ,december #aiji1 p4 #aei4 ,footnote #agg3 ,ibid41 vol4 xv41 ,may #aiji1 pp4 #gd-e4 ,footnote #agh3 ,see ,ganz1 ,holbein1 p4 #bde4 ,the dated portraits of the year #aecf are only three1 one of which1 the ,steelyard merchant1 ,derich ,berck1 has been already described4#agi ,the second is the portrait of ,sir ,richard ,southwell in the ,uffizi ,gallery1 ,florence 7,pl4 #af71ahj of which there is an excellent replica in the ,louvre4 ,it was finished on the #ajth ,july #aecf1 when ,southwell was thirty-three years old4 ,it is a small half-length figure1 the face three-quarters to the right1 wearing a black dress1 open at the neck1 with black satin sleeves1 and a black cap with a circular gold medallion with a negro's head carved in cornelian4 ,his hands are folded1 and he is wearing a gold ring with a green stone1 and a gold chain round his neck4 ,he is closely shaven1 and his black hair1 which partly covers his ears1 is cut straight across the forehead4 ,across the plain dark green background is inscribed on either side of the head in gold lettering3 ,footnote #agi3 ,see pp4 #bb-bc4 ,footnote #ahj3 ,woltmann1 #adi4 ,reproduced by ,ganz1 ,holbein1 p4 #ajh4 8 ,x,o ,,ivlii ,,anno ,,etatis ,,sv ,h ,,viii ,,xxviii ,,anno ,,xxxiii40 ,it is on an oak panel about #ai in4 high #ad in4 wide4 ,this is one of ,holbein's finest portraits of his second ,english period1 and displays a very subtle insight into what must have been an unattractive and in many ways despicable nature4 ,the small brown eyes have a look of cunning1 and the face with its smooth fat cheeks has few pretensions to comeliness4 ,southwell was heir to great wealth1 and was brought up with ,henry ,howard1 ,earl of ,surrey1 and was intimate with the family of the ,duke of ,norfolk4 ,in #aeca he was obliged to pay a fine of #ajjj before he could obtain pardon for being concerned in a murder1 yet three years later he was ,sheriff of ,norfolk4 ,from #aece onwards he took an active share in the dissolution of the monasteries1 and was in all ways a willing and able tool of his royal master4 ,his treachery helped to bring ,sir ,thomas ,more to the scaffold1 and1 later on1 he played an even more treacherous part at the trial of his early companion1 the ,earl of ,surrey4 ,he was knighted in #aedb1 and appointed one of the ,king's executors1 and under ,queen ,elizabeth he became ,master of ,ordnance4 ,something of his unsavoury character is suggested by ,holbein in his portrait1 which is distinguished by its remarkable individuality and its fine technical qualities both in the flesh painting1 more particularly in the hands and the eyes1 and in all the details of the costume4 ,nothing is known of the history of the picture except that it belonged to the ,earl of ,arundel1 who presented it to ,cosimo ,,ii1 ,grand ,duke of ,tuscany1 in #afbj1aha as one of the best ,holbeins in his collection4 ,it is still in its seventeenth-century frame1 with a silver tablet engraved with the arms of ,england and the ,medici1 and an inscription1 8,effigies domini ,ricardi ,southwelli ,equitis aurati1 consiliarii privati ,henrici ,,viii1 ,regis ,angliae4--,opus celeberrimi artificis ,johannis ,holbieni pictoris ,regis ,henrici ,,viii40 ,footnote #aha3 ,see ,rivista d',arte1 vi4 #e1 #f1 #aiji4 ,illustration3 ,,vol4 ,,ii41 ,,plate #af ,,sir ,,richard ,,southwell #aecf ,,uffizi ,,gallery1 ,,florence ,sidenote3 ,,portrait ,,of ,,sir ,,richard ,,southwell ,the replica in the ,louvre 7,no4 #bgai7ahb corresponds in all its details with the ,florence picture1 and appears to be only a good old copy4 ,it has on the back the seal of the ,newton family1 and was brought by ,napoleon from ,germany in #ahjf4 ,another copy was lent to the ,national ,portrait ,exhibition at ,south ,kensington1 #ahff1 by ,mr4 ,h4 ,e4 ,chetwynd ,stapylton4 ,a portrait of ,southwell1 apparently based on ,holbein's picture1 was lent to the ,tudor ,exhibition1 #ahij 7,no4 #bag71 by ,mr4 ,w4 ,h4 ,romaine ,walker4 ,in this version ,southwell's coat of arms and the inscription 8,copley ,stili0 are on the right-hand side of the background1 and on the left 8,richd4 ,southwell of ,horsham ,st4 ,faith's in ,norfolk ,t4#ie40 ,the age in this inscription is altogether wrong1 for ,southwell was fifty-seven at his death in #aefa4 ,footnote #ahb3 ,reproduced by ,ganz1 ,holbein1 p4 #bah4 ,holbein's study for the portrait is one of the most remarkable among the ,windsor drawings4#ahc ,the head and shoulders only are shown1 but otherwise it is almost identical with the ,uffizi panel2 even the four black buttons which stand out against the white shirt are indicated in the same position as in the finished work4 ,it is inscribed 8,a,,nno ,,ettatis ,,sv #cc10 and bears the note in ,holbein's own handwriting1 8die augen ein wenig gelbass0 7the eyes a little yellowish74 ,this study1 which is about #af in4 #aa in41 is in excellent condition4 ,footnote #ahc3 ,woltmann1 #cjd2 ,wornum1 i4 #bj2 ,holmes1 i4 #cd4 ,reproduced by ,davies1 p4 #ahj2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #cg2 ,drawings of ,hans ,holbein1 ,pl4 xlvi2 and elsewhere4 ,the third portrait of #aecf represents ,sir ,thomas le ,strange4 ,it is on panel1 #ae #aj in41 and was exhibited at the ,tudor ,exhibition1 #ahij 7,no4 #aac71 and at the ,burlington ,fine ,arts ,club ,exhibition1 #aiji 7,no4 #da71 lent by ,mr4 ,hamon le ,strange4#ahd ,it is a bust portrait1 three-quarters to the left4 ,the sitter has greyish hair cut straight across the forehead1 and a short brown beard and moustache4 ,his black cap has a number of gold tags and a medallion1 and he wears a gown with a brown fur collar over a black dress1 a pleated white collar from which long tags hang down1 and a long gold chain over his shoulders4 ,across the top1 on the green-blue background1 is the repainted inscription 8,,anno ,d,e #aecf ,,tatis ,,sv #dc40 ,it has suffered considerable repainting about the face1 but it is a picture of much interest1 and since it was last exhibited has been acknowledged by most of the leading critics to be a genuine work by ,holbein4 ,the original drawing for this picture1 which shows some slight differences1 is in the ,windsor collection4#ahe ,sir ,thomas ,strange or le ,strange1 of ,hunstanton1 ,norfolk1 was born in #adic1 and entered the service of ,henry ,,viii as esquire of the body1 was knighted1 and accompanied the king to the ,field of the ,cloth of ,gold4 ,he was ,high ,sheriff of ,norfolk in #aecb1 and died in #aede4 ,footnote #ahd3 ,reproduced by ,ganz1 ,holbein1 p4 #aji1 and in the illustrated catalogue of the ,burlington ,fine ,arts ,club ,exhibition1 ,pl4 xii4 ,footnote #ahe3 ,woltmann1 #bid2 ,wornum1 i4 #cb2 ,holmes1 ii4 #f4 ,a small1 undated bust portrait of ,lady ,vaux1 wife of ,thomas1 second ,lord ,vaux1 of ,harrowden1 the poet1 has every appearance of belonging to this period4 ,there are two versions of it1 one in the ,prague ,gallery 7,no4 #fjh71ahf and one at ,hampton ,court 7,no4 #eia 7#ccg774ahg ,dr4 ,ganz regards both as old copies1 but ,sir ,claude ,phillips considers the former to be the original work by ,holbein1 and ,a4 von ,zahn says that it is indubitably original1 but has suffered so severely and has been so heavily over-painted that little of ,holbein's handiwork is left4 ,the ,hampton ,court version is the better of the two1 and is apparently an excellent copy1 though in technique of a somewhat later date4#ahh ,it has been held1 nevertheless1 by most ,english writers to be a genuine but badly-damaged work of ,holbein4 ,the head has been repainted1 which gives it that faded appearance noted by ,mr4 ,wornum#ahi and ,dr4 ,waagen1#aij though the latter attributed it to 8the attempt to give the refinements of the modelling in grey half-tones10 in doing which ,holbein 8sacrificed the warm local colours observable in his earlier pictures40 ,on the other hand1 many of the accessories1 such as the gold-and-enamel medallion1 the chain round her neck1 the ring1 and the cuffs1 display a delicacy of execution not easily attributable to anyone but ,holbein4 ,she is represented to the waist1 almost full-face1 the body turned slightly to the spectator's left1 and is dressed in black1 with ermine upon the sleeves1 and the customary diamond-shaped hood1 edged with pearls1 and with a black fall4 ,she wears a thin black chain round her neck1 and at her breast a circular brooch with a figure of the ,virgin enthroned4 ,her hands rest in her lap1 and in her right she holds a pink4 ,it is on panel1 #a ft4 #c in4 high by #aa in4 wide4 ,mr4 ,law suggests that it is identical with 8,the picture of ,madame de ,vaux1 by ,holbein10 which was among the ,duke of ,buckingham's pictures sent to be sold at ,antwerp1 whence it presumably returned with the 8,dutch ,gift10 and may1 perhaps1 be identified with ,no4 #daj in ,james ,i's catalogue1 described as 8,one of ,king ,henry ,,viii's ,queens1 holding a gillyflower40#aia ,there is a study for the head among the ,windsor drawings1#aib in which the strengthening lines are exceptionally hard and pronounced1 and mar an otherwise fine drawing4 ,holbein also painted her husband1 though the picture has been lost1 but the very beautiful drawing for it1 described in a later chapter1#aic remains at ,windsor4 ,there is a second study of ,lord ,vaux by ,holbein in the same collection4 ,footnote #ahf3 ,woltmann1 #bdc4 ,reproduced by ,ganz1 ,holbein1 p4 #bbj4 ,footnote #ahg3 ,woltmann1 #afc4 ,reproduced by ,law1 ,royal ,gallery of ,hampton ,court1 p4 #bab2 ,ganz1 ,holbein1 p4 #bba4 ,footnote #ahh3 ,see ,ganz1 ,holbein1 p4 #beb4 ,footnote #ahi3 ,wornum1 p4 #daa4 ,footnote #aij3 ,treasures of ,art in ,great ,britain1 vol4 ii4 p4 #cfa4 ,footnote #aia3 ,law1 ,royal ,gallery of ,hampton ,court1 p4 #bac4 ,footnote #aib3 ,woltmann1 #cba2 ,wornum1 ii4 #cj2 ,holmes1 i4 #bd4 ,reproduced by ,davies1 p4 #bah2 ,ganz1 ,holbein1 p4 xxxvii42 and elsewhere4 ,footnote #aic3 ,see p4 #beg4 ,see also pp4 #eb-ec with reference to the 8,portrait of a ,musician0 at one time considered to represent ,lord ,vaux4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ag ,,sir ,,nicholas ,,carew ,drawing in black and coloured chalks ,,basel ,,gallery ,sidenote3 ,,portrait ,,of ,,sir ,,nicholas ,,carew ,the portrait of ,sir ,nicholas ,carew1 ,henry's ,master of the ,horse1 was probably painted during the earlier years of ,holbein's second residence in ,london4 ,it could not have been done later than #aecg1 for in #aech ,carew was thrown into prison for supposed connection with the conspiracy of ,cardinal ,pole and the ,marquis of ,exeter1 and was beheaded on ,march #crd1 #aeci4 ,there is a brilliant study for this portrait in the ,basel ,gallery 7,pl4 #ag71 a drawing in black and coloured chalks4#aid ,he is wearing body armour1 and has a short beard and moustache2 his hair is concealed by a close-fitting coif1 and there are an octagonal medallion and a white feather in his black cap4 ,it is one of the most masterly drawings ,holbein ever made1 searching in its truth1 and of exact and delicate draughtsmanship4#aie ,as it was included among the collection of works by ,holbein formed by his friend and admirer1 ,bonifacius ,amerbach1 it may have been presented to the latter by the artist himself when he was in ,basel in #aech4 ,footnote #aid3 ,woltmann1 #ca4 ,reproduced by ,davies1 p4 #bab2 ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #dj1 and ,holbein1 p4 xxxiii4 ,dr4 ,ganz is of the opinion that this drawing is of ,holbein's first ,english period1 and that the finished portrait was painted in #aebg or #aebh4 ,see ,holbein1 p4 #bch4 ,footnote #aie3 ,it has been suggested that the fine drawing of an ,english lady in the same collection is a portrait of ,lady ,carew1 but it more probably represents ,lady ,guldeford4 ,see ,vol4 i4 p4 #cba4 ,the oil painting done from this study is in the collection of the ,duke of ,buccleuch and ,queensberry1 ,k4,g41#aif and was last publicly exhibited at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #de74 ,it is a three-quarters length1 turned to the left as in the drawing4 ,the beard is brown1 and the coif below the black hat is of cloth of gold4 ,the octagonal gold badge represents a tree stem raguly and a banderole inscribed 8,,sola40 ,he is wearing full plate-armour1 and brown trunks slashed with cloth of gold4 ,with his right hand he holds a white truncheon against his hip1 and with the other grasps his sword by the scabbard4 ,the background is a green damask curtain1 and on a small cartellino in the left-hand bottom corner is inscribed in a cursive hand 8,,sr ,,nicholas ,,carewe1 ,,master ,,of ,,the ,,horse ,,to ,,king ,,henry ,,ye #h40 ,it is on a panel of unusual shape1 being #cf in4 high by #dj in4 wide4 ,this picture1 as a whole1 is a fine and interesting example of ,tudor portraiture1 but parts of it are certainly not by ,holbein4 ,the head is good1 but the armour and many of the details are by some other1 and possibly a later1 hand4 ,the probabilities are that it was begun by ,holbein and finished by someone else2 perhaps the arrest of ,carew may have brought the completion of the work to an abrupt conclusion as far as ,holbein was concerned4 ,the fact that his name is given on the cartellino suggests that the portrait may be a posthumous one4 ,it was not the usual custom at that time to place more than the date and the age of the person depicted upon the panel4 ,except in the form of a superscription to a letter held by the sitter1 as in the ,kratzer1 ,cromwell1 and some of the ,steelyard portraits1 ,holbein was not in the habit of adding the name to the pictures he painted in ,england4 ,the 8,duchess of ,milan0 is an exception1#aig but even here there is every probability that the cartellino was painted in at a later date4 ,it is difficult to decide whether the ,carew portrait was begun by ,holbein and finished by some other hand1 or whether it is an almost contemporary copy from some lost original4 ,the head follows the ,basel drawing closely1 but as the latter was owned by ,amerbach it is improbable that a copyist could have made use of it2 so that1 taking all things into consideration1 it is safer to assume that ,holbein himself had a share in its painting4#aih ,this portrait was in the possession of ,john1 ,lord ,lumley1 in #aeij1 and was sold from ,lumley ,castle in #aghe for ten guineas4 ,in the inventory of #aeij it is described as 8,of ,sr ,nichls ,carewe ,mr of the horse to ,k3,h3#h02 and it is interesting to note that the words 8drawne by ,haunce ,holbyn0 are not added1 as they are after several other works by the master which ,lord ,lumley possessed4 ,it has been suggested that this portrait is the 8,ritratto d'homo armato0 of the ,arundel inventory of #afee1 but if the picture remained in the possession of the ,lumley family until #aghe this supposition cannot be correct4 ,symonds1 in his ,note-,books1 has an entry of 8,a ,ritratto of an ,english knight by ,holbein who sits in a chayre and a table by him10 in the collection of the ,earl of ,northumberland in ,suffolk ,house1 which seems to refer to this picture4#aii ,footnote #aif3 ,woltmann1 #adb4 ,reproduced in illustrated catalogue of ,burlington ,fine ,arts ,club ,exhibition1 #aiji1 ,pl4 xv42 ,ganz1 ,holbein1 p4 #gg4 ,footnote #aig3 ,also the ,cheseman portrait4 ,footnote #aih3 ,dr4 ,ganz1 as already noted1 considers it to be a genuine work of #aebg-h4 ,footnote #aii3 ,quoted by ,mr4 ,c4 ,h4 ,collins ,baker in ,lely and the ,stuart ,portrait ,painters1 ,vol4 ii4 p4 #ahd4 ---------------------------------------- -------------------------------- ,,chapter ,,xix 8,,servant ,,of ,,the ,,king',s ,,majesty0 ,holbein's entry into ,henry ,,viii's service--,painting of 8,adam and ,eve0--,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 ,castle1 ,petworth1 ,st4 ,bartholomew's ,hospital1 ,chatsworth1 ,warwick ,castle1 ,hampton ,court1 ,windsor1 ,rome1 and elsewhere--,the portrait at ,althorp--,portraits and miniatures of ,jane ,seymour4 ,,the exact date of ,holbein's entry into the royal service is unknown4 ,three records of the household expenditure of the ,king are in existence3 the ,accounts of ,bryan ,tuke1 ,treasurer of the ,chamber1 which extend from #ast ,october1 #bjth ,hen4 ,,viii 7#aebh7 to ,may1 #bcrd ,hen4 ,,viii 7#aeca71 during which period ,holbein was out of ,england2 the ,privy ,purse ,expenses of the ,king1 from ,november #aebi to ,december #aecb2 and further ,accounts of ,tuke1 as ,treasurer1 from ,lady ,day1 #bith ,hen4 ,,viii 7#aech7 to ,midsummer1 #ccrd ,hen4 ,,viii 7#aeda74 ,although ,holbein was in ,england during the latter half of #aecb1 his name does not occur in the ,privy ,purse expenses1 as it certainly would have done had he then been in the ,king's employment4 ,unfortunately1 no accounts have been preserved for the period between #aecc and #aecg1 and so it is not until #aech that we have definite proof that the painter was in receipt of a regular salary from the royal purse4 ,the first entry referring to him is at ,lady ,day1 #aech1 when the following occurs3 8,item1 for ,hans ,holben1 paynter1 viili4 xs40 ,as his salary of #cj a year1 paid quarterly1 was not as a rule paid in advance1 he must have already been in the royal service at least three months earlier1 that is in ,december #aecg4 ,sidenote3 ,,holbein',s ,,entry ,,into ,,royal ,,service ,the first actual reference to him as painter to the ,king is contained in the letter of ,nicolas ,bourbon1 already quoted1 written early in #aecf1 in which he speaks of him as the 8royal painter10 and it is to be inferred from it that ,holbein already held that position in #aece1 when the poet was in ,england and made his acquaintance4 ,the circular miniature of ,jane ,seymour by ,hilliard in the ,windsor ,collection1 apparently copied from an original by ,holbein1 is inscribed 8,,an ,,dn #aecf ,,tatis ,,sv #bg02 and the great painting of ,henry ,,vii1 ,henry ,,viii1 ,elizabeth of ,york1 and ,jane ,seymour1 with which ,holbein covered one of the walls of the ,privy ,chamber at ,whitehall1 was done in #aecg4 ,none of the earlier portraits of ,henry or of his two first queens1 usually ascribed to ,holbein1 are authentic works of his1 which affords some proof that he did not enter the royal service until after ,jane ,seymour had been crowned ,queen in #aecf1 or1 if ,bourbon is to be believed1 that at least he did not do so until towards the end of ,anne ,boleyn's life4 ,the small portrait of ,henry ,,viii on the frontispiece of ,coverdale's ,bible1 printed in #aece1 bears little real likeness to the ,king1 and may well have been designed by ,holbein without any sitting from him2 though1 on the other hand1 it may also be taken as some indication that he was already the ,king's servant in that year4 ,it is safer1 however1 to assume1 as the evidence for an earlier year is so scant1 that he received his first pay from the royal purse in the autumn of #aecf4 ,it is extraordinary1 and indeed almost inexplicable1 that ,holbein was at work for so long a time in ,england before he received royal recognition4 ,that this did not happen during his first sojourn in ,london is surprising enough1 but that on his return he should remain for three or four years busily employed in painting portraits of people about ,henry's court1 some of which the ,king must have seen1 is still more difficult of explanation4 ,henry entered into keen but friendly rivalry with ,francis ,i in his patronage of art1 and was anxious at all times to induce good foreign artists to settle in ,england2 and yet here was a painter of gifts which placed him high above his fellows1 who1 apparently1 went quite unrecognised4 ,this is the more remarkable when it is remembered that the ,king was well acquainted with1 and had expressed his delight in1 at least one work of ,holbein done during his first ,english visit--8,the ,battle of ,spurs10 which decorated the back of the arch of the temporary ,banquet ,hall at ,greenwich4 ,it is hardly possible that it was owing to any disinclination on ,holbein's own part1 however anxious he may have been to retain his rights as a citizen of ,basel4 ,he could have entered ,henry's service for a year or two without renouncing his burghership1 or becoming a naturalised ,english subject1 and that he did obtain the post in the end seems to indicate that the obstacle1 whatever it may have been1 was not one of his own making4 ,it was1 on the other hand1 an honour to which he would aspire1 and the possibility of holding some such position must have been one of the reasons which induced him to visit this country1 as it was with all the foreign artists and craftsmen who made ,london their temporary home4 ,a satisfactory explanation of this mystery is hard to find1 and unless further evidence is discovered1 it must remain unsolved4 ,that there is some possibility that ,holbein was indirectly employed by the ,crown even earlier than #aece is suggested by an interesting memorandum dealing with goldsmiths' work published in the ,calendars of ,letters and ,papers4 ,the paper is undated1 but is placed by the editor under the year #aecd4 ,it is an account rendered to the ,king's ,secretary1 ,thomas ,cromwell1 by the ,dutchman ,cornelis ,hayes1 one of the leading foreign goldsmiths in ,london during ,henry's reign1 who was constantly employed by the ,king and the court4 ,the articles supplied were apparently for the royal service1 the chief among them being an elaborately decorated silver cradle1 which may possibly have been for the use of the ,princess ,elizabeth1 who was born on the #gth ,september #aecc4 ,the document runs as follows3 8,parcels delivered to ,mr4 ,secretary by me1 ,cornelys ,hayes1 goldsmith4 ,a silver cradle1 price #afli4 ,for making a silver plate1 altering the images1 making the roses underneath the cradle1 the roses about the pillars1 and new burnishing1 #acs4 #d;d4 ,for the stones that were set in gold in the cradle1 #aes42 for fringes1 the gold about the cushions1 tassels1 white satin1 cloth of gold1 lining1 sypars1 and swadyl-bands1 #acs4 #f;d4 ,total1 #ahli4 #as4 #aj;d4 ,the silver that went to the dressing of the ,adam and ,eve1 the making of all the apples1 the gilding of the foot and setting of the currall 7coral71 #ccs4 #d;d4 ,to ,hance1 painter1 for painting the same ,adam and ,eve1 #bjs40#bjj ,other items are included in the account which need not be quoted4 ,footnote #bjj3 ,c4,l4,p41 vol4 vii4 #affh4 ,the 8,hance1 painter10 who supplied this picture of 8,adam and ,eve10 was undoubtedly ,holbein1 who was acquainted with ,hayes1 as we learn from ,bourbon's letter1 and for whom he almost certainly provided designs for jewellery4#bja ,the document is not very clear1 and on a first reading it would appear that the 8,adam and ,eve0 formed part of the decoration of the cradle2 but it is more probable that it had nothing to do with it1 but was a separate piece of work1 either a picture or a carving in wood1 honestone1 or alabaster1 which ,holbein was employed to colour2 possibly the latter1 as the fee paid1 twenty shillings1 was a small one for an original painting from his brush4 ,whether picture or carving1 it was evidently set in a very elaborate silver frame1 decorated with silver apples in relief1 as appropriate to the subject it contained1 and with coral inset4 ,no trace of this work remains1 but the possibility that ,holbein's share in it was a small picture recalls that earlier 8,adam and ,eve0 of the first ,basel years1 which1 as already noted1#bjb bears a considerable resemblance to the heads in the picture of the same subject by ,mabuse in ,hampton ,court4 ,footnote #bja3 ,the same paper contains an item for 8the garnishing of two books with silver-gilt1 #ff oz4 at #fs410 which recalls ,holbein's designs in the ,british ,museum for work of a similar kind4 ,the velvet for covering them was supplied by ,william ,lock1 the leading ,london mercer1 at a cost of #dcs4 #i;d4 ,footnote #bjb3 ,see ,vol4 i4 p4 #ef4 ,sidenote3 ,,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 museums1 which1 in almost all cases1 are attributed by their owners to ,holbein1 only three#bjc can be ascribed to him with any certainty4 ,these are the large cartoon for the left-hand half of the ,whitehall wall-painting1 belonging to the ,duke of ,devonshire2 the beautiful little panel portrait in ,earl ,spencer's collection at ,althorp2 and the crayon study in the ,munich ,gallery4 ,the greater number of the remaining portraits of him1 most of them based on the ,whitehall likeness1 are merely inferior copies1 and copies of copies1 8shop0 pieces supplied to order by ,henry's painters for presentation to foreign potentates and ambassadors1 and to his own statesmen and courtiers as a reward for faithful service4 ,less frequently one is met with which is a good and original work by some painter of lower rank than ,holbein1 and such portraits1 in their turn1 have been multiplied by assistants in order to meet the constant demand for the ,king's likeness4 ,footnote #bjc3 ,a fourth work1 the portrait in the ,national ,gallery1 ,rome1 is1 however1 considered by ,dr4 ,ganz and other critics to be an original work by ,holbein4 ,the great ,whitehall fresco was painted in #aecg1 and was the first work of importance which ,holbein undertook for the ,crown4 ,it achieved immense popularity1 and for one hundred and fifty years or so every foreign visitor of distinction was taken to see it1 while all artists who had an opportunity of examining it spoke loudly in its praises4 ,it covered one of the walls in the ,privy ,chamber at ,whitehall1 and was painted on either side and over the top of a window1 or1 more probably1 the fireplace1 and consisted of four great figures1 ,henry ,,viii and his father1 ,henry ,,vii1 on one side1 and his mother1 ,elizabeth of ,york1 and his third wife1 ,jane ,seymour1 on the other1 arranged within an elaborately designed architectural setting4 ,this great work1 which added so much to ,holbein's fame among his contemporaries1 was destroyed in the fire at ,whitehall in ,january #afih2 but happily1 owing to the foresight of ,charles ,,ii1 we still possess1 in the small copy of it by the ,flemish artist ,remigius van ,leemput1 in ,hampton ,court#bjd 7,no4 #fja 7#cjh771 a very valuable record of the composition of the work4 ,the copy is evidently a very faithful one1 and though1 of course1 it lacks all the greatness of style1 the vividness of character1 and the beauty of colour of the original--for ,reme was a poor artist--it reproduces the composition with some exactitude1 and so is invaluable to students of the master4 ,this copy was made by ,van ,leemput in #affg1 the probable reason being that the fresco was then beginning to show signs of decay1 and that ,charles was anxious to retain an accurate record of it before it was ruined4 ,patin1 who visited ,england about #afgj1 and saw both the painting and the copy1 said that the latter was ordered by the ,king 8pour en estendre la posterit s'il faut ainsi dire1 et n'abandonner pas une si belle chose la fortune des temps40#bje ,walpole says that ,reme1 as he was familiarly called here1 received #aej for his work1#bjf which was a very large fee for those days1 and shows how highly the ,king valued the original4 ,footnote #bjd3 ,reproduced by ,ganz1 ,holbein1 p4 #agi1 from ,vertue's engraving4 ,footnote #bje3 ,patin1 ,relations historiques1 ,basel1 #afgc1 p4 #baa et seq4 ,footnote #bjf3 ,walpole1 ,anecdotes1 ed4 ,wornum1 #ahhh1 i4 p4 #hb4 ,footnote #bjg3 8,zo wel getroffen1 dat het den beschouwer met verbaastheid aandoet40 ,sidenote3 ,,the ,,whitehall ,,wall-,,painting ,the wall-painting itself was still in perfect condition when ,van ,mander saw it in #afjd4 ,he was deeply impressed by this 8over-heerlijk ,portret0 of ,henry1 which1 he wrote1 was so true to life that it filled the spectator with dismay4#bjg 8,the ,king1 as he stood there1 majestic in his splendour1 was so life-like1 that the spectator felt abashed1 annihilated1 in his presence40 ,earlier travellers who saw it and praised it were ,johann ,fischart1 in #aegf1bjh and ,hentzner1 who visited ,england in #aeih2 while ,duke ,johann ,ernst of ,saxony1 who was here in #afac1 was also taken to see it2 it is noted in the records of his journey1 8upon this his ,royal ,highness was conducted into the ,king's apartment2 it was small but hung with beautiful tapestries on all sides4 ,in this room were the full-length portraits of ,henrici ,,viii1 and his father1 ,henrici ,,vii4 ,they were regarded as special works of art1 and similar works are said not to be seen throughout ,england40 ,both ,pepys and ,evelyn mention it in their diaries4 ,the latter1 under the date #aath ,february #afef1 says he was glad to find1 on revisiting ,whitehall for the first time for many years1 that 8they had not much defac'd that rare piece of ,hen4 ,,vii1 c41 don on the walles of the ,king's privy chamber40 ,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 decay4 ,it narrowly escaped destruction in the earlier fire at ,whitehall in #afia1 but the conflagration of #afih was a much more serious one4 ,it burnt down the entire ,palace1 with the exception of the ,banqueting ,house and a few buildings adjoining it4 ,more than a thousand apartments perished in the flames1 and a number of pictures in the ,matted ,gallery and elsewhere1 mentioned by ,evelyn1 were destroyed4 8,this terrible conflagration1 which broke out about four in the afternoon and lasted upwards of seventeen hours1 originated through the neglect and carelessness of a laundress1 a ,dutch woman1 who had left some linen to dry in front of a fire1 in the lodging of a certain ,colonel ,stanley4 ,she and twelve other persons1 so it is reported1 perished in the flames40#bji ,footnote #bjh3 ,quoted by ,ganz1 ,holbein1 p4 xxxviii4 ,footnote #bji3 ,dr4 ,sheppard1 ,the ,old ,royal ,palace of ,whitehall1 #aija1 pp4 #che-f4 ,according to ,scharf1 ,old ,london1 p4 #cbb1 the fresco was destroyed in the fire of #afia4 ,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 obtained4 ,it is divided into two stages4 ,on the spectator's left hand stands ,henry ,,viii1 turned fully to the front1 with arms akimbo1 and legs stretched widely apart1 and opposite him1 on the other side of the picture1 is ,jane ,seymour4 ,behind and above the ,king1 and to the right of him1 on a raised step or low platform1 stands his father1 ,henry ,,vii1 and in a corresponding position on the other side1 his mother1 ,elizabeth of ,york4 ,henry was very proud of his legs1 and ,holbein has depicted him in his favourite attitude4 ,he holds a glove in his right hand1 and with the left the cord of his dagger1 gold hilted1 with a gold and blue velvet sheath4 ,his gold-brown doublet is richly jewelled1 and his red surcoat is trimmed with fur and elaborately brocaded with gold thread2 a heavy jewelled chain crosses his shoulders1 and from another hangs a pendant4 ,his flat black bonnet is ornamented with pearls1 devices in gold1 and white feathers4 ,the figure is rather larger than life-size1 but looks colossal4 ,his shoulders appear enormous1 partly owing to the dress1 and partly1 no doubt1 through some exaggeration on the artist's part to flatter the vanity of his royal sitter4 ,henry ,,vii is shown in simpler costume2 with his right hand he holds together the folds of his long ermine-trimmed gown1 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 itself4 ,he holds his gloves in his left hand1 and has the ,garter collar across his breast4 ,unlike his son1 he is beardless1 and his long hair falls to his shoulders4 ,jane ,seymour is wearing a dress of tawny gold1 full ermine sleeves1 and several necklaces of pearls4 ,her hands are clasped in front of her1 and a small white dog is lying on the long skirt of her gown4 ,behind her1 ,elizabeth of ,york stands with her arms crossed1 and holding up her dress with her right hand4 ,the floor is covered with a ,turkey carpet1 and the background consists of richly-decorated pilasters and capitals1 niches1 and a frieze1 in various coloured marbles1 in the ,renaissance style of which ,holbein made such brilliant use4 ,in the frieze on either side are figures supporting a shield4 ,the shield shown in the cartoon bears the initials ,h and ,j2 the other1 no doubt1 gave the date4 ,in ,van ,leemput's copy the initials have been changed to 8,,ano4 ,d40 with 8#aecg0 in the corresponding panel1 while the centre of the picture is filled with a high marble pedestal1 with two cushions on the top1 and on the front of it a long ,latin inscription in praise of the two monarchs4 ,below this is inscribed3 8,prototypvm ,magnitvdinis ,ipso ,opere ,tectorio ,fecit ,holbenivs ,ivbente ,henrico ,,viii10 and a little below1 on a plinth3 8,ectypvm ,a ,remigio ,van ,leempvt ,breviora ,tabella ,describi ,volvit ,carolus ,,ii4 ,m4,b4,f4,e4,h4,r4 ,a4 ,,dni4 ,m4,,dclxvii40 ,illustration3 ,,vol4 ,,ii41 ,,plate #ah ,,henry ,,vii ,,and ,,henry ,,viii ,cartoon ,duke of ,devonshire's collection ,,until ,,recently ,,at ,,hardwick ,,hall1 ,,now ,,at ,,chatsworth ,sidenote3 ,,cartoon ,,of ,,henry ,,vii ,,henry ,,viii ,van ,leemput's inferiority as an artist is shown most clearly in his rendering of the faces4 ,in that of ,henry ,,viii1 in particular1 the drawing is weak and lacking in character1 and as a likeness it bears no close resemblance to the many portraits still existing which were copied or adapted from the fresco4 ,it must be regarded1 therefore1 as a not very reliable record of the facial appearance of the four sitters as ,holbein painted them4 ,the pedestal was1 no doubt1 ,van ,leemput's own invention1 and the ,latin verses must have been specially written for the purpose of his copy4 ,as already pointed out1 the wall on which the fresco was painted contained either a window or a fireplace4 ,charles ,patin describes it as 8sur le pignon de la croise02 but it has been suggested that 8croise0 is a typographical error for 8chemine40 ,patin1 however1 was not a very careful observer1 for he speaks of the subject as 8de la main d',holbein1 le portrait d',henry huit et des ,princes ses enfants40#baj ,in this1 nevertheless1 he may not be so completely wrong as at first sight appears4 ,in #ahig ,mr4 ,ernest ,law1 the historian of ,hampton ,court ,palace1 discovered another copy of the great wall-painting1 also by ,van ,leemput1 and of the same size and scale as the ,hampton ,court example1 but with one important difference4 ,in the middle foreground the copyist has placed a standing figure of ,edward ,,vi4 ,this interesting little picture belongs to ,lord ,leconfield1 and is in one of the private bedrooms at ,petworth1 ,sussex4 ,patin may have seen this copy1 and afterwards may have confused it with the wall-painting2 or again1 he may have confused the fresco with the picture of ,henry ,,viii and his family1 by an unknown artist of the school of ,holbein1 now in ,hampton ,court1 ,no4 #cdj 7#eaj71 but probably in ,patin's day hanging in ,whitehall4#baa ,footnote #baj3 ,patin1 ,relations historiques1 ,basel1 #afgc1 p4 #baa et seq4 ,footnote #baa3 ,it is hardly possible that the figure of ,edward ,,vi was added to the wall-painting itself after the death of ,holbein1 or otherwise it would appear in both ,van ,leemput's copies4 ,it was1 no doubt1 taken from some independent portrait of the young king then hanging in ,whitehall4 ,the life-size cartoon of ,henry ,,viii and his father1 belonging to the ,duke of ,devonshire1 until recently at ,hardwick ,hall 7,pl4 #ah71bab is1 though only a working drawing1 a superb example of ,holbein's mastery of composition on a monumental scale4 ,it is the original design for the left-hand part of the ,whitehall fresco1 and along its outlines the prickings are still visible by means of which the design was pounced on the wall4 ,it provides evidence that ,van ,leemput's copy was a faithful one1 for1 with one important exception1 the two agree in all points4 ,the exception is in the position of the ,king's head4 ,in the cartoon it is about three-quarters to the right1 but in the copy it has been turned so that the monarch is looking directly at the spectator4 ,woltmann is1 no doubt1 right when he suggests that the change was made by the express wish of ,henry himself while the wall-painting was in progress4#bac ,he desired to be shown full-fronted to the world1 for he was proud of his appearance1 more particularly of his calves1 as more than one contemporary anecdote shows4 ,in his younger days1 at the beginning of his reign1 he was the most commanding figure at the ,english court1 praised by all for his good looks1 and celebrated for his great bodily strength and for his proficiency in all manly sports and exercises4 ,he is thus described by the ,venetian ambassador ,pasqualigo in #aeae2 8,his ,majesty is the handsomest potentate ,i ever set eyes on2 above the usual height1 with an extremely fine calf to his leg2 his complexion very fair and bright1 with auburn hair combed straight and short in the ,french fashion2 and a round face so very beautiful1 that it would become a pretty woman1 his throat being rather long and thick40#bad ,footnote #bab3 ,now 7#aiac7 at ,chatsworth4 ,woltmann1 #afg4 ,reproduced by ,davies1 p4 #afh2 ,ganz ,holbein1 p4 #ahj2 ,burlington ,fine ,arts ,club ,exhibition1 #aiji1 ,catalogue1 ,pl4 i4 ,footnote #bac3 ,woltmann1 i4 #dba4 ,footnote #bad3 ,c4,l4,p41 vol4 ii4 pt4 i4 #daa4 ,when ,holbein painted him he was forty-six years old1 and his face had coarsened and had lost all its youthful freshness and good looks1 but his figure was still erect and kingly1 and retained much of its earlier vigour4 ,in the cartoon he stands boldly and firmly on his legs1 active and alert1 though massive in build1 and made still broader in appearance by his rich apparel1 heavily padded about the shoulders4 ,it is in the face that his age and the habits of his life are beginning to leave ugly indications1 though this is not to be gathered from the cartoon1 in which his features1 badly rubbed1 are now barely discernible4 ,this1 however1 may not be entirely due to the accidents of time1 for as the cartoon was made for the purpose of transferring the leading lines of the composition to the wall1 ,holbein possibly only indicated the main outlines1 leaving the more careful modelling to be done on the wall itself4 ,sadly damaged as the cartoon is1 a mere fragment of the first conception of a great masterpiece1 it nevertheless remains a remarkable and precious work of art1 doubly valuable in that it not only shows us ,holbein's methods of work1 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 ,england4 ,the whole composition is drawn in with the point of the brush1 in the manner1 as ,mr4 ,s4 ,arthur ,strong points out1 at once broad and minute1 of which ,holbein seems to have been the solitary master4 ,in this crowd of particulars almost everyone else would have lost sight of the whole1 and given us a map instead of a view4#bae ,mr4 ,roger ,e4 ,fry speaks of it as one of ,holbein's greatest creations4 8,it has all the grandeur of style1 the lucidity and ease of arrangement of the greatest monumental design of ,italy1 together with a particularity and minuteness which would seem incompatible with those greater qualities of style had they not been thus wonderfully united4 ,in all the decorative details1 too1 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 centuries40#baf ,footnote #bae3 ,s4 ,arthur ,strong1 ,reproductions of ,drawings by the ,old ,masters at ,chatsworth1 #aijb2 republished in ,critical ,studies and ,fragments1 #aije1 p4 #acb4 ,footnote #baf3 ,burlington ,magazine1 vol4 xv41 ,may #aiji1 p4 #gd4 ,sidenote3 ,,drawing ,,of ,,the ,,king ,,at ,,munich ,this cartoon was in #aeij in the possession of ,john1 ,lord ,lumley1 at ,lumley ,castle1 and is entered in the inventory of the pictures as 8,the ,statuary of ,king ,henry the ,eight and his father ,kinge ,henry the ,seventh ,joyned together1 doone in white and black by ,haunce ,holbyn40 ,it passed subsequently into the collection of the ,duke of ,devonshire1 and has been preserved ever since at ,hardwick ,hall4#bag ,footnote #bag3 ,see p4 #ig1 note #c4 ,when it was decided to change the position of the face1 it became necessary for the ,king to give the painter another sitting1 and the full-face drawing now in the ,munich ,gallery#bah is1 no doubt1 the very study ,holbein made for the purpose4 ,this is not only evident from its agreement with ,van ,leemput's copy1 but also from its dimensions4 ,it is life-size1 and thus considerably bigger than any other preliminary portrait-study by ,holbein which has survived4 ,it is in black and red chalks1 on paper prepared with body-colour in the manner practised by the painter at that period4 ,the study is of the face alone1 part of the hat1 the collar1 and a small portion of fur on the shoulders being roughly indicated4 ,the short1 scanty beard and the still scantier whiskers do not conceal the shape of the massive1 almost square face1 with its thin eyebrows1 fat1 heavy cheeks1 which from their size make the mouth look small4 ,he gazes in front of him1 his eyes unconscious of the spectator1 as though the thoughts of the sitter were entirely given to himself4 ,the modelling is masterly1 and is obtained by the simplest means2 but the sketch1 simple as it appears to be1 produces a wonderful effect of perfect truth to life4 ,here is the ,king exactly as he was1 as none other but ,holbein could have drawn him4 ,he has given not only an absolutely faithful rendering of the face itself1 but has laid bare much of the complex character which lurked behind it1 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 ,england4 ,how this drawing came to be in ,munich is not known4 ,it was discovered among a number of other drawings1 put aside as of no particular value1 by ,herr ,j4 ,h4 von ,hefner-,alteneck when he was keeper of the ,print ,room4 ,it does not appear to have ever formed a part of the ,windsor series of drawings4 ,footnote #bah3 ,woltmann1 #bba4 ,reproduced by ,davies1 p4 #aff2 ,knackfuss1 fig4 #abe2 ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #bbj4 ,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 afterwards4 ,with one possible exception1 these works are not from ,holbein's own hand2 they were all the work of the less important artists attached to the ,english court4 ,these1 again1 are of very varying degrees of skill1 some being but coarse and common productions1 while others have considerable artistic merits4 ,there is great probability that some of the best of them were from the workshop of ,gerard and ,lucas ,hornebolt1 more particularly those half-lengths of which the portrait in ,warwick ,castle is perhaps the finest example4 ,all1 however1 had their real origin in the ,whitehall painting2 in every one of them the ,king is shown full-face1 and in the same characteristic attitude4 ,sidenote3 ,,other ,,portraits ,,of ,,the ,,king ,interesting as the subject is1 the scope of this book does not permit any attempt to describe1 or even to compile a list of1 all the portraits of ,henry ,,viii still remaining in ,england4 ,a few of the principal ones may be mentioned briefly4 ,several of them are full-lengths4 ,among these one of the most interesting is in ,belvoir ,castle4#bai ,it was purchased by the fourth ,duke of ,rutland at ,lord ,torrington's sale in #aghg for #baa4 ,except in some minor details of the dress1 it follows the ,whitehall painting very closely4 ,the ,king is wearing 8white hose1 with the ,garter on his left leg2 a gold chain round his neck with the letter ,h1 with a pendant circular gold case without any device2 another gold chain or collar across the shoulder over the surcoat is mounted in jewels set in gold-and-enamel4 ,the whole of the dress and ornaments is most elaborately painted and gilded1 and in excellent effect of light and colour1 being in an absolutely perfect state of preservation40#bbj ,the copyist has made the face younger and more handsome1 and much more lacking in expression than the ,munich sketch4 ,the background is a curtain with an elaborate design in panels1 each one surmounted by a crown4 ,dr4 ,waagen thought it to be a genuine work by ,holbein4 8,although painted on canvas10 he says1 8the picture is of such truth1 delicacy1 and transparency1 that ,i consider it an original40 ,a similar whole-length on wood1 belonging to the ,seymour family1 is described by ,dr4 ,woltmann1 who regarded it as an excellently painted contemporary copy1 which very possibly came into the possession of that family through their connection with ,jane ,seymour4#bba ,there is a far finer example at ,petworth1 much more transparent and delicate in its tones1 which ,wornum describes as 8really magnificent40#bbb ,this work is by no means an exact copy2 it differs in various details1 more particularly in the dress1 which is of silver brocade with a blue mantle lined with ermine4 ,it is possibly the work of a ,fleming4 ,the background is architectural4 ,there is another full-length version at ,st4 ,bartholomew's ,hospital1 with a further variation of the background and the floor4 ,other repetitions are at ,chatsworth1#bbc ,trinity ,college1 ,cambridge1 and in the possession of ,viscount ,dillon at ,ditchley1 ,enstone4#bbd ,footnote #bai3 ,reproduced in ,the ,connoisseur1 vol4 vi4 ,no4 #bb1 ,june #aijc1 frontispiece4 ,footnote #bbj3 ,the ,connoisseur1 vol4 vi4 ,no4 #bb1 ,june #aijc1 p4 #fh 7quotation from ,radford's catalogue of the collection74 ,footnote #bba3 ,woltmann1 ii4 #bj4 ,footnote #bbb3 ,wornum1 p4 #cjh4 ,footnote #bbc3 ,described by ,mr4 ,s4 ,arthur ,strong as 8one of the best of the royal effigies that are all probably based in common upon the ,hardwick cartoon4 ,the artist1 whoever he was1 had a manner of his own1 and was more than a mere copyist4 ,the cold grey scheme of colour is a contrast to the depth and richness at which ,holbein aimed1 and is more akin to what we afterwards appreciate as characteristic in ,honthorst and ,mytens40--,critical ,studies and ,fragments1 p4 #ia4 ,the figure is evidently copied directly from the wall-painting4 ,the position and the details of the dress agree exactly with the ,hardwick cartoon4 ,it is reproduced by ,dr4 ,ganz1 ,holbein1 p4 #aha4 ,footnote #bbd3 ,reproduced by ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #aej4 ,the half-length and three-quarter-length versions1 of which the portraits at ,rome and in ,warwick ,castle are1 perhaps1 the most important1 are still more numerous4 ,in these the ,king is shown in the same position1 and apparently several years older1 the cheeks fatter and more shapeless1 and with greyer beard1 while in a number of them1 instead of holding his dagger1 he has a stick in his left hand4 ,the ,warwick picture1 which is life-size1 to the knees1 and full-front1 was considered by ,dr4 ,waagen to be a genuine work by ,holbein of about the date #aecj1 but more recent criticism has shown him to be wrong in both these assertions4 8,the square face is so fat10 he says1 8that the several parts are quite indistinct4 ,there is in these features a brutal egotism1 an obstinacy1 and a harshness of feeling1 such as ,i have never yet seen in any human countenance4 ,in the eyes1 too1 there is the suspicious watchfulness of a wild beast1 so that ,i became quite uncomfortable from looking at it a long time2 for the picture1 a masterpiece of ,holbein1 is as true in the smallest details as if the king himself stood before you4 ,in the very splendid dress much gold is employed4 ,the under-sleeves are of gold1 with brown shadows2 the hands most strikingly true to nature2 in the left he has a cane1 and in the right a pair of gloves2 on his head a small cap4 ,the background is bright green4 ,the want of simplicity of the forms1 the little rounding of the whole1 notwithstanding the wonderful modelling of all the details1 the brownish red local tone of the flesh1 the grey of the shadows1 and the very light general effect1 show this picture to be a transition from the second to the third manner of ,holbein1 and that it may have been painted about #aecj40bbe ,footnote #bbe3 ,waagen1 ,treasures of ,art in ,great ,britain1 iii4 p4 #bae4 ,it is1 however1 impossible that the portrait can have been painted in that year1 when ,henry was not forty4 ,he appears to be at least fifteen years older than this4 ,the head and hands are good1 but the style of painting has little in common with that of ,holbein1 while the details of the dress lack the beauty1 delicacy1 and truth of draughtsmanship which are to be found in his work4 ,there is a portrait in the collection of the ,marquis of ,bute1 which1 according to ,dr4 ,waagen1 is 8exactly like the picture by ,holbein at ,warwick ,castle1 only less finished40#bbf ,when he saw it1 as far back as #ahed1 it was ascribed to 8,gerard ,horebout10 and there is every probability that this attribution is the correct one1 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 ,holbein1 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 it4 ,for this reason the ,warwick portrait1 and others like it1 are now tentatively attributed by most modern writers to the workshop of ,gerard and ,luke ,hornebolt4 ,footnote #bbf3 ,ibid41 vol4 iii4 p4 #dhb4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ai ,,henry ,,viii ,,national ,,gallery1 ,,rome ,sidenote3 ,,portrait ,,of ,,henry ,,viii ,,at ,,rome ,the portrait in the ,national ,gallery1 ,rome 7,pl4 #ai71bbg which was formerly in the ,corsini ,collection1 is a three-quarter length1 and is inscribed across the plain background1 on either side of the head1 8,,anno ,,tatis ,,sv ,,xlix10 and was1 therefore1 painted in #aeci or #aedj4 ,in dress and position it closely follows ,van ,leemput's copy1 and the ,windsor and other versions1 in which the left hand holds the dagger-cord4 ,with the exception of the substitution of brown fur for ermine1 and different embroidery on the upper sleeves1 the ,rome and the ,windsor portraits are in exact agreement as to the costume4 ,the face in the ,rome portrait is decidedly younger than in the ,warwick and ,windsor versions1 as the date would indicate1 so that it is possibly one of the earliest of the contemporary copies1 taken directly from the wall-painting under ,holbein's own supervision4 ,it is undoubtedly the best of the later portraits of the ,king1 the face being full of character finely rendered1 and it is regarded by a number of modern critics1 including ,dr4 ,ganz1 as a work from ,holbein's own brush4 ,footnote #bbg3 ,reproduced by ,ganz1 ,holbein1 p4 #abe4 ,an important example of this type of the portraits of ,henry ,,viii is the three-quarter length belonging to ,st4 ,bartholomew's ,hospital1 ,london1 which was last exhibited at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #bc74 ,the dress is very similar to the ,warwick portrait4 ,the ,king is grasping in his left hand a black staff mounted in gold4 ,the background is dark1 and on it is inscribed3 8,,anno ,d,n,i #aedd4 ,,tatis ,,sv #ee10 which is incorrect1 as ,henry did not enter his fifty-fifth year until #aede4bbh ,the portrait in ,windsor ,castle1#bbi which1 as ,mr4 ,ernest ,law points out1 is the only contemporary likeness of ,henry in the whole of the royal collections which has anything of an ,holbeinesque character1 was evidently copied from the ,whitehall fresco4 ,in the attitude and in the details of the dress it follows the original with considerable closeness1 though slight differences are to be noted1 as in the position of the right hand1 which is here placed over the sword-belt1 instead of below it as in ,van ,leemput's copy4 ,its agreement with the ,rome portrait has been already pointed out4 ,the face1 however1 more closely resembles the ,warwick portrait4 ,mr4 ,ernest ,law suggests that it was executed several years later than the ,holbein prototype1 by some pupil or imitator1 such as ,guillim ,stretes1 after the master's death1#bcj the general attitude1 pose1 dress1 and accessories of the original being carefully adhered to1 but the features modified1 and the beard shown as thinner and turning grey1 to suit his added years1 though in outline they still closely resemble ,holbein's drawing at ,munich4 ,the size of the panel is #c ft4 #c in4 high #b ft4 #e in4 wide4 ,it may be the picture which was ,no4 #hff in ,james ,,ii's catalogue3 8,king ,henry ,,viii at half-length1 with gloves in his right hand02 though this description suits equally well the smaller portrait 7#ah in4 #af in47 at ,hampton ,court1 ,no4 #fjf4 ,footnote #bbh3 ,there is another version of this portrait with the black staff in the left hand at ,chatsworth1 in which1 ,mr4 ,s4 ,arthur ,strong says1 8the drawing of the features is masterly1 and the detail is minute and searching without being petty2 but here again the effect is flat1 and we feel that ,holbein himself would have better conveyed the sense of roundness and depth4444 ,on the whole1 there is a ,french rather than a ,german look about this picture1 which suggests the possibility that it may have been painted at the time of the ,field of the ,cloth of ,gold40--,critical ,studies and ,fragments1 p4 #ia1 and ,pl4 ix4 i4 ,footnote #bbi3 ,reproduced by ,law1 ,holbein's ,pictures1 c41 ,pl4 v42 ,davies1 p4 #afe2 ,knackfuss1 fig4 #abf2 ,pollard1 ,henry ,,viii1 frontispiece 7in colour72 ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 ,pl4 #di2 ,ganz1 ,holbein1 p4 #bbb4 ,footnote #bcj3 ,holbein's ,pictures1 c41 p4 #ac4 ,another good version of this portrait1 with the left hand on the dagger-cord1 is the half-length belonging to the ,earl of ,yarborough1 while an excellent example of the ,warwick ,castle type1 with a cane substituted for the dagger1 was lent by ,lord ,sackville to the ,burlington ,fine ,arts ,club in #aiji 7,no4 #ba74 ,there is also an excellent portrait of the ,warwick type in the collection of the ,duke of ,manchester at ,kimbolton ,castle4#bca ,it is on panel1 #ce in4 #be in41 and closely resembles the picture in the ,national ,portrait ,gallery 7,no4 #dif7 7#ce in4 #bf in471 which is attributed to ,luke ,hornebolt4#bcb ,the latter had at one time a coat of arms on the frame indicating that it belonged at some period to the ,nassau family4 ,it may have been taken over to ,holland at the time of the marriage of ,princess ,mary1 daughter of ,charles ,i1 to ,william of ,orange1 in #afda4 ,there are three other portraits of the ,king in the ,national ,portrait ,gallery1 while other versions or old copies exist at ,castle ,howard1 and at ,serlby1 the seat of ,viscount ,galway4 ,the latter 7#ce in4 #bg in47 has an inscription on the background giving the ,king's titles and the date #aedg1 the year of his death4 ,another 7#cf in4 #cj in471 at one time in the collection of ,mr4 ,henry ,willett1 and now in the ,brighton ,art ,gallery1 is said to have been taken from a wainscot in ,king's ,walden ,house1 ,herts1 formerly the residence of ,anne ,boleyn4 ,footnote #bca3 ,tudor ,exhibition1 #ahij1 ,no4 #ig1 and reproduced in the ,catalogue1 p4 #dh4 ,footnote #bcb3 ,reproduced in ,mr4 ,cust's illustrated ,catalogue of ,national ,portrait ,gallery1 vol4 i4 p4 #bc4 ,sidenote3 8,,henry ,,viii ,,with ,a ,,scroll0 ,all these portraits1 whether by the ,hornebolts or less important copyists attached to ,henry's court1 are based on ,holbein's ,whitehall painting4 ,there is1 however1 one other representation of ,henry ,,viii1 of about the date of ,holbein's first entry into the royal service1 which is of a very different character1 and was not painted under the influence of the great ,german4 ,this is the fine picture at ,hampton ,court 7,no4 #efc 7#cac771 generally known as 8,king ,henry ,,viii with a ,scroll40#bcc ,he is seen at half-length1 with head turned slightly to the right1 but eyes to the front4 ,he has reddish hair1 and a small thin beard and moustache1 and his eyes are dark grey4 ,he wears a doublet of cloth of gold1 cut square across the chest1 covered with strings of pearls1 and slashed with rows of white puffs1 above which his white frilled shirt is seen4 ,over this is a sable-furred cloak4 ,his black cap has a medallion1 with figures of the ,virgin and ,infant ,christ in enamel1 and a white jewelled feather4 ,in front of him is a table or ledge with a crimson cushion1 on which his right hand is placed1 and a scroll of white paper1 one end of which he holds between the thumb and forefinger of his left4 ,on it is inscribed a sentence from the ,gospel of ,st4 ,mark in ,roman lettering3 8,marci--#af4 ,ite in ,mdvm ,vnivers et predicate ,evangelivm omni creatvr40 ,the background is a rich green4 ,it is on panel1 #b ft4 #d in4 high #a ft4 #aj in4 wide4 ,footnote #bcc3 ,reproduced by ,law1 ,royal ,gallery at ,hampton ,court1 p4 #bjd4 ,the probable authorship of this painting has given rise to much discussion and difference of opinion4 ,it has been attributed at different times to ,holbein1 ,janet1 ,joos van ,cleve1 and ,girolamo da ,treviso1 and even to ,toto or ,penni4 ,dr4 ,woltmann considered it to be the work of a ,frenchman1 whereas ,mr4 ,wornum was inclined to attribute it to an ,italian hand1 possibly ,da ,treviso4 ,the one thing certain about it is that it is not by ,holbein4 ,there is an equal difference of opinion as to the date4 ,the ,king has so youthful a look1 as compared with the ,hardwick cartoon and the ,munich drawing1 that some writers hold that he cannot have been more than thirty-eight--certainly not more than forty--when it was painted4 ,this would make the date about #aebi1 in which year ,holbein was in ,switzerland4 ,on the other hand1 there are two facts which point to a later date--the arrangement of the hair and beard1 and the text on the scroll1 which1 taken together1 make it highly probable that the portrait was painted in #aecf4 ,it was on the #hth of ,may #aece that ,henry1 in imitation of ,francis ,i1 ordered all about his court to cut their hair short and to grow their beards--8the ,king commanded all about his court to poll their heads2 and to give them example he caused his own head to be polled1 and from thenceforth his beard to be knotted and no more shaven40#bcd ,in the picture both hair and beard are treated in the new fashion4 ,again1 on ,october #dth of the same year the printing of ,coverdale's ,english version of the whole ,bible1 for which ,holbein designed the title-page1 was finished1 and in #aecf ,henry ordered a copy of it to be laid in the choir of every church1 8for every man that will to look and read therein2 and shall discourage no man from reading any part of the ,bible1 but rather comfort1 exhort1 and admonish every man to read the same40 ,to this the text on the scroll which ,henry holds in the portrait clearly refers2 and further evidence is supplied by the ,bible frontispiece1 in which the ,king is shown under a canopy1 with a sword in his right hand1 and a clasped ,bible in his left1 which he is handing to his kneeling bishops4 ,one of the little pictures which form the border of the title-page1 in which our ,saviour is exhorting ,his disciples to preach the ,word throughout the world1 has the same text 7,mark xvi4 #ae7 inscribed below it4 ,the evidence1 therefore1 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 ,bible4 ,against these two arguments in favour of the date #aecf1 the compilers of the catalogue of the ,burlington ,fine ,arts ,club ,exhibition point out that the ,king does not look more than thirty1 which would place the portrait at about the date of the meeting with ,francis ,i at the ,field of the ,cloth of ,gold in #aebj4 8,the portrait of ,eleonora of ,spain1 wife of ,francis ,i1 also at ,hampton ,court10 they say1 8is evidently by the same hand2 and the smaller portrait of ,francis ,i1 also at ,hampton ,court1 is either by1 or a copy after1 the same painter4 ,these circumstances would point to a possible ,french origin1 and lend some colour to the ascription of the portrait either to 8,sotto0 ,cleef1 who worked in ,france before coming to ,england1 or to ,jean ,clouet--more probably the latter1 who may very well have been in attendance on ,francis ,i at the ,field of the ,cloth of ,gold40#bce ,it is difficult1 however1 to follow these writers in their conclusion that the portrait of ,eleonora1 almost certainly by the elder ,clouet1 and the portrait of ,henry ,,viii are by the same hand1 while the fact that in all the earlier portraits of the ,king he is shown with long hair1 cut straight across the forehead1 and no beard1 makes it still more difficult to accept the date as that of the meeting of the two monarchs in ,france1 unless much stronger evidence as to its ,french origin be forthcoming4 ,it is not safe to go farther than to ascribe it to a ,franco-,flemish origin4 ,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 cartellino1 a feature not often met with in ,french or ,english portraits of that time4 ,footnote #bcd3 ,stow's ,annales4 ,footnote #bce3 ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 p4bv #ha4 ,sidenote3 8,,henry ,,viii ,,with ,a ,,scroll0 ,on the back of the panel is branded ,charles ,i's cypher1 and there is also a slip of paper on which is inscribed in contemporary handwriting1 8,changed with my ,lord ,arundel1 #afbd40 ,in ,charles' catalogue1 compiled in #afci1 it is entered as 8,king ,henry ,,viii when he was young1 with a white scroll of parchment in his hand2 the picture being to the shoulders2 half a figure so big as the life1 in a carved gilded frame4 ,length #d ft4 #j4 ,a ,whitehall piece1 said to be done by ,jennet or ,sotto ,cleve40 ,it is possibly the picture in the ,commonwealth inventory--8,king ,henry ye #hth by ,gennett10 which was 8sold to ,mr4 ,baggeley ye #bcrd ,oct4 #afea for #be40 ,it may also be the 8,table with the picture of ,king ,henry ,,viii1 then being young10 in ,edward ,,vi's catalogue4 ,an early and interesting copy of this picture1 on canvas1 #bh in4 #bb in41 is in the possession of the ,merchant ,taylors' ,company1 which was in the ,tudor ,exhibition1 #ahij 7,no4 #abj71 and the ,burlington ,club ,exhibition1 #aiji 7,no4 #bd74 ,in the catalogue of the former exhibition it was attributed to ,paris ,bordone4 ,it was presented to the ,company in #afaf by ,mr4 ,john ,vernon4 ,there is a third version of the picture in the ,marquis of ,exeter's collection at ,burleigh ,house1 in which the same ,latin verse is inscribed on the scroll4 ,dr4 ,waagen says that 8it is very carefully painted in a brownish tone40#bcf ,footnote #bcf3 ,waagen1 ,treasures of ,art1 c41 iii4 p4 #djg4 ,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 hand4 ,this is the beautiful little panel in ,lord ,spencer's collection at ,althorp 7frontispiece71#bcg which measures only #aj in4 #g in4 ,it is a half-length1 three-quarters to the right4 ,no hair is visible under the cap or beside the ears2 the hairs of the close-cropped fair beard and moustache are drawn with minute care4 ,the eyes are clear blue-grey4 ,he wears a black cap trimmed with jewels and loops of pearls and a white feather falling to the left4 ,his gown of cloth of gold is lined with brown fur1 over a light grey doublet cut low at the neck1 embroidered with an elaborate pattern in black1 trimmed with jewels and slashed and puffed with white4 ,the white shirt has a high collar fitting close round the neck1 embroidered with a rich design in gold1 and with a very small frill4 ,on his breast is a round jewel suspended by a chain of spiral black and gold beads and ,h's4 ,the hands are shown in part1 the left at his side1 and the right holding a glove4 ,the background is a plain bright blue4 ,footnote #bcg3 ,woltmann1 #a4 ,reproduced 7in colour7 by the ,medici ,society2 ,masterpieces of ,holbein 7,gowan's ,art ,books1 ,no4 #ac71 p4 #g2 ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 x42 ,ganz1 ,holbein1 p4 #abj4 ,sidenote3 ,,portrait ,,of ,,henry ,,viii ,,at ,,althorp ,it is a miniature painting of unusual size1 and is drawn with extraordinary delicacy and truth1 and there is an exquisite finish in all the details of the dress and ornaments1 and a harmony in the colour1 which no other painter then practising at the ,english court but ,holbein was capable of producing4 ,the first impression it gives is that1 in spite of its beauty and brilliance1 it yet displays certain differences from ,holbein's usual style which renders its attribution to him not absolutely certain2 but repeated examination modifies this first impression1 and it becomes impossible not to agree with such critics as ,dr4 ,woltmann1 ,mr4 ,lionel ,cust1 and ,dr4 ,ganz1 who are emphatically of opinion that ,holbein was the author of it4 ,it is impossible1 again1 to find any other painter who could have produced so vivid and striking a portrait of the ,king1 and so accomplished a work of art4 ,mr4 ,roger ,e4 ,fry describes it as one of ,holbein's most miraculous pieces of craftsmanship4 8,it is little more in scale than a large miniature1 and ,holbein has treated it with all the skill in minute delineation which he alone possessed1 and that without losing for a moment unity of tone and breadth of feeling2 but1 wonderful as it is1 it gives one scarcely any idea of an actual character4 ,holbein seems never to have read anything behind the expansive mask of his royal patron2 whether he abstained out of discretion or failed from want of interest one can but guess40#bch ,after examining the ,munich head1 however1 it is difficult to agree with ,mr4 ,fry's opinion that ,holbein saw nothing of ,henry's real character4 ,the ,althorp panel is almost identical in position and dress with the original cartoon for the ,whitehall wall-painting1 and it is probable that ,holbein intended to use it as his model for the latter4 ,it must have been painted in #aecg1 before the wall-painting itself was begun1 or at least before the change in the position of the ,king's head was decided upon4 ,it may be the portrait which in the inventory of ,henry ,,viii's pictures1 made at his death1 was joined to that of ,queen ,jane ,seymour in a diptych--8,item1 a table like a booke1 with the picture of ,kynge ,henry theight and ,quene ,jane02 though1 if so1 the corresponding portrait of ,jane ,seymour is lost1 for the one of that queen in the ,vienna ,gallery is much larger than ,lord ,spencer's portrait4 ,the latter was at ,south ,kensington in #ahfb 7,no4 #bfea71 and again in #ahfe 7,no4 #bjbh71 and at the ,burlington ,fine ,arts ,club1 #aiji 7,no4 #ch74 ,footnote #bch3 ,burlington ,magazine1 vol4 xv41 ,may #aiji1 p4 #gd4 ,there is an excellent contemporary copy of it in the ,national ,portrait ,gallery 7,no4 #aeg71bci #aj in4 #g in41 on copper1 which was purchased in #ahfc1 and was formerly in the collection of ,mr4 ,barrett1 of ,lee ,priory1 ,kent4 ,when in his possession it was engraved in line for ,singer's edition of ,cavendish's ,life of ,wolsey1 #ahbe4 ,the background is now very dark1 but in the engraving it is shown to be a curtain4 ,this is the chief point of difference between it and ,lord ,spencer's panel4 ,there is also a somewhat weak copy of it among the miniatures in the ,duke of ,buccleuch's collection1 which1 like the original1 has no inscription4 ,it has suffered extensive repairs at some time or other1 and the eyes are now a bright chestnut colour1 evidently due to the ignorance of the restorer4 ,other miniatures of ,henry ,,viii1 attributed to ,holbein1 are dealt with in a succeeding chapter4#bdj ,footnote #bci3 ,reproduced in the illustrated ,catalogue1 ,national ,portrait ,gallery1 vol4 i4 p4 #bc4 ,footnote #bdj3 ,see pp4 #bcc-bcf4 ,sidenote3 ,,portrait ,,of ,,queen ,,jane ,,seymour ,jane ,seymour was the first of ,henry's queens to be painted by ,holbein4 ,the various portraits of ,katherine of ,aragon and ,anne ,boleyn still existing are not by him1 and it is evident that the artist did not enter the royal service until after ,anne's execution on #aith ,may #aecf1 and ,henry's very precipitate marriage with ,jane ,seymour on the following day4 ,portraits of both these ladies are usually ascribed to ,holbein by their owners1 according to the prevailing fashion of earlier days1 when everything dating from ,tudor times was unhesitatingly given to him4 ,shortly before ,holbein's return to ,england in #aecb1 ,katherine of ,aragon had permanently retired from court1 and in the seclusion of ,the ,moor1 deserted by the ,king1 her thoughts fully occupied with her impending divorce1 it is not likely that she would have any desire to sit for her portrait1 or to command ,holbein to visit her for that purpose4 ,there is more probability that ,anne ,boleyn may have been painted by him1 but as no such portrait has been discovered1 it must be taken for granted that he did not4 ,the head among the ,windsor drawings1 inscribed 8,anna ,bollein ,queen10#bda has been wrongly named1 and bears no likeness to the few portraits which may be said with some degree of certainty to represent her4 ,much information respecting the portraits of these two queens will be found in the papers read by ,mr4 ,john ,gough ,nichols and ,sir ,george ,scharf before the ,society of ,antiquaries in #ahfc and published in ,archologia4#bdb ,footnote #bda3 ,woltmann1 #cbc2 ,wornum1 ii4 #ah2 ,holmes1 i4 #be4 ,reproduced by ,davies1 p4 #bad1 and elsewhere4 ,footnote #bdb3 ,vol4 xl4 pt4 i4 pp4 #ga-hh4 ,there is no evidence to show that ,holbein painted either ,katherine's daughter1 ,mary1 or ,anne's daughter1 ,elizabeth1 though here again portraits of them exist which in less critical days were said to be by him4 ,the drawing in the ,windsor ,collection inscribed 8,the ,lady ,mary after ,queen10#bdc has no claim to represent ,queen ,mary1 nor is there any known portrait of her which bears any likeness to ,holbein's style of painting4 ,the ,princess ,elizabeth was ten years old at the time of the painter's death1 whereas the youngest portrait of her extant is the very interesting one at the age of about fifteen or sixteen in the ,royal ,collection1#bdd which was included in ,charles ,i's catalogue as 8,a ,whitehall piece of ,holben10 and said to represent 8,queen ,elizabeth when she was young1 to the waist40 ,this is probably a work of ,franco-,flemish origin1 and has nothing to do with ,holbein1 who1 if he had painted her1 must have shown her as a little girl4 ,mr4 ,nichols1 in his paper mentioned above1 states that 8there can be little doubt that ,holbein drew the ,king's natural son1 ,henry ,fitz,roy1 ,duke of ,richmond and ,suffolk1 who lived until the #bbnd ,july #aecf10 but no such portrait or drawing of him can be discovered4 ,there is1 however1 among the ,windsor heads1 a drawing of his wife1 ,mary1#bde daughter of ,thomas1 third ,duke of ,norfolk1 and sister of ,henry1 ,earl of ,surrey1 both of whom sat to ,holbein4 ,it is a fine drawing1 but very badly rubbed4 ,she is represented full-face1 with the eyes cast down1 and wearing a close-fitting white cap or hood1 and a large flat black hat with a big ostrich feather4 ,the dress is powdered with the letter ,r1 which in some cases seems to be formed of pearls1 while the letter ,m also occurs twice4 ,this fashion of wearing an initial letter1 usually as a pendant ornament1 was by no means unusual at that period1 and occurs in more than one of ,holbein's portraits4 ,the drawing of the ,duchess is inscribed 8,the ,lady of ,richmond40 ,footnote #bdc3 ,woltmann1 #cca2 ,wornum1 ii4 #ci2 ,holmes1 ii4 #ae4 ,reproduced by ,davies1 p4 #baf4 ,footnote #bdd3 ,reproduced by ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 ,pl4 #dh4 ,footnote #bde3 ,woltmann1 #cbd2 ,wornum1 ii4 #ag2 ,holmes1 ii4 #bc4 ,it is not until we come to the portrait of ,queen ,jane ,seymour in the ,imperial ,gallery1 ,vienna 7,no4 #adha7 7,pl4 #bj71bdf that we are on certain ground4 ,this is a genuine work of ,holbein of very fine quality4 ,she is shown almost to the knees1 the body and head turned slightly to the left1 and her hands clasped in front of her4 ,she is dressed in red velvet1 with hanging sleeves covered with gold embroidery1 and under-sleeves of lilac-grey watered silk with an elaborate pattern1 worked with seed pearls1 and slashed and puffed with white4 ,the cuffs have a deep border of wonderfully painted black ,spanish work4 ,she wears two heavy necklaces1 of jewels and pearls1 and a band of similar ornament along the edge of her square-cut bodice1 and an ornament at the breast composed of the initials ,i4,h4,s4 and three pendant pearls4 ,her head-dress is of the angular ,english pattern4 ,the inner cap1 which completely hides her hair1 is of brown silk with a black stripe1 and the jewelled band or framework is of the same pattern as the border of the dress4 ,the body of the head-dress is cloth of gold1 with the customary black fall4 ,the background is of dark grey-blue without inscription4 ,the colour scheme is rich and harmonious1 but delicate and pearly in tone1 and a considerable amount of gold has been used in the painting of the jewels1 and the gold tissue and embroidery of the cap4 ,once again the extraordinarily fine painting of the hands has to be recorded2 they are full of expression and character4 ,there is less expression in the face4 ,she has no great pretensions to beauty1 and her complexion is pale1 thus agreeing with all contemporary accounts of her appearance4 ,in a singularly frank letter from ,chapuys to ,antoine ,perrenot1 dated ,london1 #ahth ,may #aecf1 which was intended for the ,emperor's ears1 the ,spanish ambassador says3 8,she is sister to one ,edward ,semel1 of middle stature1 and no great beauty1 so fair that one would call her rather pale than otherwise4444 ,the said ,semel is not a woman of great wit1 but she may have good understanding4 ,it is said she inclines to be proud and haughty4 ,she bears great love and reverence to the ,princess 7i4e4 ,mary74 ,i know not if honors will make her change hereafter40#bdg ,he then proceeds to throw doubts upon the lady's virtue1 and to speak in coarse innuendo of ,henry's matrimonial ventures4 ,the panel1 which is probably the one which was in the ,arundel ,collection1 measures #fe cm4 by #dh cm41 and is of the same size as the portrait of ,dr4 ,john ,chamber2 they are the largest of ,holbein's works in the ,vienna ,gallery4 ,this portrait was evidently the one seen by ,van ,mander in ,amsterdam in #afjd4 ,he says3 8,there was1 at ,amsterdam1 in the ,warmoesstraat1 a portrait of a ,queen of ,england1 admirably executed1 and very pretty and nice2 she was attired in silver brocade1 which appears to be genuine silver with some admixture1 and it was depicted so transparently1 curiously1 and exquisitely1 that a white foil seemed to lie beneath40#bdh ,footnote #bdf3 ,woltmann1 #beb4 ,reproduced by ,davies1 p4 #agj2 ,knackfuss1 fig4 #abg2 ,vienna ,catalogue1 p4 #cde2 ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #bcb2 ,ganz1 ,holbein1 p4 #aai4 ,footnote #bdg3 ,c4,l4,p41 vol4 x4 #ija4 ,footnote #bdh3 ,quoted by ,woltmann1 ,eng4 trans41 p4 #cih4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bj ,,queen ,,jane ,,seymour ,,imperial ,,gallery1 ,,vienna ,sidenote3 ,,portraits ,,of ,,queen ,,jane ,,seymour ,the original study for this portrait is in the ,windsor ,collection4#bdi ,it is a fine drawing of very delicate draughtsmanship1 and shows more of the figure than most of the sketches in the series1 the folded hands being included4 ,several replicas of the picture still remain in ,england1 the two best of which1 excellent contemporary copies1 are in the ,duke of ,bedford's collection at ,woburn ,abbey1 and in that of ,lord ,sackville at ,knole4 ,the latter was in the ,tudor ,exhibition1 #ahij 7,no4 #dd71 and the ,burlington ,fine ,arts ,club1 #aiji 7,no4 #df74 ,another version is in the possession of the ,duke of ,northumberland4 ,hollar made an admirable engraving from the ,arundel version1 a small circle dated #afdh 7,parthey #adbg72 and there is at ,windsor1 as already noted1 a miniature painted from it by ,nicholas ,hilliard1 which is inscribed 8,,an ,,dn #aecf ,,tatis ,,sv #bg40bej ,hilliard1 no doubt1 found this inscription on the original from which he worked1 but nothing of the kind is now discernible either on the picture in ,vienna or ,lord ,sackville's version4 ,it may1 however1 have been taken from one of the numerous miniatures of this ,queen1 dealt with in a later chapter4#bea ,this inscription is valuable as giving the probable date at which ,holbein painted the ,queen1 and proves that he was in the royal service as early as in the summer of #aecf4 ,very probably the portrait was afterwards used by him as the basis for the head and position of ,jane in the ,whitehall wall-painting4 ,there is an excellent old copy of the portrait in the ,hague ,gallery 7,no4 #bgh7 which shows slight differences4#beb ,footnote #bdi3 ,woltmann1 #cbe2 ,wornum1 ii4 #bb2 ,holmes1 i4 #a4 ,reproduced by ,davies1 p4 #agj1 and elsewhere4 ,footnote #bej3 ,see p4 #ia4 ,reproduced in ,burlington ,magazine1 vol4 viii41 ,jan4 #aijf1 ,pl4 ii4 7#i71 in an article on 8,nicholas ,hilliard0 by ,sir ,richard ,holmes4 ,footnote #bea3 ,see pp4 #bcg-bch4 ,footnote #beb3 ,reproduced by ,ganz1 ,holbein1 p4 #aie4 ,in addition to this portrait1 ,holbein prepared a design for a large gold cup1 bearing the initials of ,henry and ,jane1 and the latter's motto1 evidently intended as a present from the ,king to his consort4 ,the finished drawing is in the ,bodleian ,library1 ,oxford1 and there is another version of it in the ,british ,museum4 ,it is the most important of ,holbein's designs for goldsmith's work which has been preserved1 and is described in a later chapter4#bec ,henry ,,viii appears to have been genuinely devoted to his third wife1 but his happiness was short-lived1 for she died on ,october #bd1 #aecg1 twelve days after the birth of her son1 ,edward ,,vi1 her death being due to carelessness on the part of her attendants4 ,footnote #bec3 ,see pp4 #bgd-bge4 ,not a single dated portrait of the year #aecg remains1 nor is there one which can be ascribed with any certainty to this year4 ,possibly the great ,whitehall wall-painting and other works for the ,king occupied much of ,holbein's time4 ---------------------------------------- -------------------------------- ,,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 #gb1jjj--,portrait of the ,duchess as a child by ,mabuse4 ,,on the very day of ,jane ,seymour's death1 the ,king and his ,council began1 with almost indecent haste1 their search throughout the ,courts of ,europe for a new queen to fill her place4 ,henry's ambassadors and agents were instructed to make discreet inquiries as to suitable candidates1 and before the close of the year a number of names had been submitted to him for his consideration4 ,in spite of this unseemly expedition1 however1 nearly two years were to elapse before the final choice was made1 for it was not until the very end of #aeci that ,anne of ,cleves came to ,england as ,henry's fourth queen4 ,throughout the whole of #aech marriage negotiations1 which in the end proved fruitless1 were carried on simultaneously with ,francis ,i and the ,emperor ,charles ,v4 ,though ,henry was anxious to marry again1 in order that the succession1 which rested on the precarious life of one infant ,prince1 might be made more assured1 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 reasons4 ,it was his main object at that time to prevent any close understanding between his two rivals4 ,with ,charles and ,francis united1 and ,europe at peace1 there was nothing to prevent a coalition against ,england and an enforcement of the papal excommunication of ,henry by force of arms4 ,by playing off one monarch against the other with the bait of a proffered matrimonial alliance he hoped to keep the two apart1 and by such means ensure the security of his throne1 and be at liberty to continue the severe methods by which he sought to maintain his supremacy as self-appointed head of the ,english ,church4 ,sidenote3 ,,search ,,for ,a ,,fourth ,,queen ,in the course of these negotiations quite a number of ladies were suggested1 and in most1 if not in all1 cases1 portraits of them were procured for ,henry's inspection4 ,in some instances he sent his own painter for the purpose2 in others1 what may be termed 8official0 portraits1 painted by foreigners1 were forwarded to ,england by his ambassadors abroad4 ,of these portraits1 two--those of the ,duchess of ,milan and of the ,princess ,anne of ,cleves--were painted by ,holbein1 who was despatched to ,brussels and to ,dren in order to take their likenesses2 but the authorship of the others is less certain1 and as the portraits themselves cannot now be traced1 it is difficult1 if not impossible1 to arrive at any final conclusion respecting them4 ,there is much probability1 however1 amounting in two instances almost to certainty1 that ,holbein made other special journeys1 in addition to the two just mentioned1 for the purpose of painting ladies who had been reported to the ,king as beautiful or desirable4 ,these journeys were to ,france1 and solve1 in the writer's opinion1 the mysterious journey to ,upper ,burgundy2 but as the negotiations for a ,french marriage were running concurrently with those for the hand of the ,duchess of ,milan1 it will be better1 in order to avoid confusion1 to deal separately with each of these proposed alliances1 and the various portraits to which they gave rise4 ,for this reason the present chapter is concerned with ,holbein's painting of the ,duchess1 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 ,france4 ,shortly after the imposing funeral ceremonies of ,queen ,jane ,seymour1 ,cromwell wrote to ,john ,hutton1 the ,english agent in ,brussels at the court of the ,regent of the ,netherlands1 ,queen ,mary of ,hungary1 the ,emperor's sister1 to ask him to make secret inquiries as to suitable brides for the ,king1 and in ,hutton's reply1 dated ,december #d1 #aecg1 occurs the first mention of the ,duchess of ,milan as a possible ,queen of ,england4 ,hutton wrote3 8,uppon the recept of your letters addressid unto me by this berrar1 ,i have made as myche secret sherche as the tyme wold permyt4 ,the which1 albeit had byn of lengar contenewance1 ,i cold not perceve that anny sherche cold have found wone soo notable a personage as were meit to be lykynd to that noble ,raynge4 ,in the ,court ther is wayttyng uppon the ,queyn a lady of thage of #ad yerres1 daughtar unto the ,lord of ,breidrood1 of a goodly statwre4 ,she is noted varteos1 sadde1 and womanly2 hir beautie is competent1 hir mother is departid this world1 who was daughter to the ,cardynall of ,luikes sister4 ,it is thought that the said ,cardinall wold give a good dote to have hir bestoid after his mynd4 ,ther is a widdowe1 the wiche also repayrithe offten to the ,court1 beyng of goodly personage4 ,she was the wyffe of the late ,yerle of ,egmond1 and1 as ,i ame inffarmyd1 she parsithe fortie yeres of age1 the wich dothe not apeire in my judgement by hir face4 ,ther is the ,duches of ,myllayn1 whom ,i have not seyn1 but as it is reportid to be a goodly personage and of excellent beawtie4 ,the ,dewke of ,clevis hathe a daughter1 but ,i here no great preas neyther of hir personage nor beawtie4 ,i have not myche exsperiens emonges ladies1 and therfore this commission is to me very hard2 soo that1 yf in anny thyng ,i offend1 ,i beseche your ,lordshipe to be my mean for pardon4 ,i have wryttyn the treuthe1 as nighe as ,i canne possible lerne1 levyng the further judgment to other1 that are better skillid in such matters40#bed ,footnote #bed3 ,c4,l4,p41 vol4 xii4 pt4 ii4 #aagb4 ,st4 ,p41 viii4 #e4 99 99 99 99 99 ,the ,duchess reached ,brussels shortly after this letter was despatched1 and ,hutton wrote again to ,cromwell on the #ith of ,december1 after a personal inspection of the lady1 whom he thought to be very like ,mrs4 ,shelton1 one of ,anne ,boleyn's ladies1 as follows3 ,sidenote3 ,,hutton',s ,,letters ,,about ,,the ,,duchess 8,the ,duches of ,myllan 444 arived here as ystarday1 very honorably acompenyd as well of hyr owen treyn as withe suche that departed from hence to meit hyr4 ,i ame inffurmyd she is of the age of #af yeres1 very high of stature for that age4 ,she is highar then the ,regent1 a goodly personage of boddy1 and compytent off beawtie1 of favor excellent1 sofft of speche1 and very gentill in countenance4 ,she werythe moornyng aparell aftre the maner of ,ytalie4444 ,she resemblythe myche wone ,mystris ,shelton1 that somtyme watid in ,court uppon ,queyn ,anne4 ,she ussithe most to spek ,frenche1 albeit that as it is reportid she can speak ,ytalian and ,highe ,almeyn4 ,i knowlige my self of judgment herein very yngnorant1 albeit ,i have inployd my wittes to sartiffie your ,lordshipe off the trewthe40#bee ,footnote #bee3 ,c4,l4,p41 vol4 xii4 pt4 ii4 #aahg4 ,st4 ,p41 viii4 #f4 ,in a transcript of the same letter1 addressed to ,thomas ,wriothesley1 one of ,cromwell's secretaries1 and despatched to ,england on the same date1 ,hutton added3 8,ther is non in theis parties off parsonage1 beawtie1 and byrthe1 lyke unto the ,duches off ,myllayn4 ,she is not soo pewre whyt1 as was the late ,qweyn1 whois soal ,god pardon2 but she hathe a syngular good countenaunce1 and when she chancesithe to smyl1 ther aperithe two pittes in hir cheikes1 and wone in hyr chyne1 the wiche becommythe hyr right excellently well40#bef ,footnote #bef3 ,c4,l4,p41 vol4 xii4 pt4 ii4 #aahh4 ,st4 ,p41 viii4 #g4 99 99 99 99 99 ,he wrote still further in her praise in a third letter to ,cromwell1 dated ,december #ba3 8,synns my letter of the #dth sent unto your ,lordshipe by ,fraunces the corror1 ,i wrot your ,lordshipe wone other of the #ith1 wherin ,i sartified the arivall of the ,duches of ,myllan1 withe my judgement of hir personage and beawtie4 ,synns wiche tyme ,i have dayly notid hir gestur and countenance1 the wiche presentithe a great majestie with myche sobrenes1 soo that in the furtherance of that matter ,i thynke your ,lordshipe shuld doo highe sarvis to the ,kynges ,highness1 and to the whole commune welthe of his ,realme like proffit40#beg ,footnote #beg3 ,c4,l4,p41 vol4 xii4 pt4 ii4 #abdc4 ,st4 ,p41 viii4 #h4 99 99 99 99 99 ,these descriptions were considered to be so satisfactory that ,hutton's other suggestions were discarded1 and the young ,duchess selected as a possible wife for ,henry1 if good terms could be arranged4 ,christina of ,denmark1 youngest daughter of ,king ,christian ,,ii of ,denmark and ,isabella of ,hungary1 sister of ,charles ,v1 was born in #aebc1 and had been married1 in #aecd1 when only eleven years of age1 to ,francesco ,maria ,sforza1 the last ,duke of ,milan1 who died in the following year1 ,october #bd1 #aece4 ,she was now in her sixteenth year1 and as the niece of the ,emperor1 a marriage with her1 so ,henry and his ,council considered1 would be of great political advantage1 as it would give the world a proof that his quarrel with ,charles over the divorce of ,katherine of ,aragon was at an end4 ,henry1 therefore1 wrote on ,january #bb1 #aech1 to ,sir ,thomas ,wyat1 his ambassador in ,spain1 ordering him to suggest the marriage to the ,emperor1 who in his reply1 sent through his representative in ,london1 ,eustace ,chapuys1 declared that he would be glad to treat of it4 ,henry1 who naturally wished to see the lady1 if possible1 before committing himself too far1 began to throw out suggestions that she should be brought to ,calais1 in order that he might make her acquaintance1 but this proposal was displeasing to the other parties concerned2 and so1 as the next best thing1 it was determined to obtain her portrait4 ,hutton was instructed to procure one if he possibly could1 and he wrote to ,cromwell on ,february #ba1 describing a dinner-party he had attended given by the 8,ladie ,marqueis of ,barrough10 at which she promised to show him1 when finished1 a portrait for which the ,duchess of ,milan was sitting1 and for the purpose of which she had put off her mourning dress4 ,this picture1 apparently1 was to be given to the ,lady ,marquis4 ,he told ,cromwell3 8,the ,lady ,marqueis demaundid of me1 yff the letters1 wiche ,i had delyverid the ,queyn1 cam from the ,kynges ,highnes my master4 ,unto wiche ,i made answar that the cam frome the ,empror4 ,then she said that when she sawe me delyver them1 hir hart rejoissid1 thynkyng ther had byne some good newis consarnyng the ,duches of ,myllain1 of whom she made great preis1 as well for hir beawtie1 favor1 wisdom1 as for hir myche gentilnes4 ,all wiche saynges ,i affirmyd4 ,withe that she said1 yf ,i had seyn hir owt of hir mornyng aparell1 so gorgeosly as she had seyn hir the day beffore1 ,i wold have marveillid1 for she said1 to tell me in secret1 she cawssid hir pikture to be made1 wiche beyng fenisshed1 the ,duches had promissid to give it unto hir1 soo that she of hir owen motion said1 assone as it cam to hir handes ,i shuld have a sight therof40#beh ,footnote #beh3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #cbf4 ,st4 ,p41 viii4 #ad4 ,he goes on to describe an interview with the ,duchess on the following day1 in which she complained of the rain1 telling ,hutton1 8,this wether likythe not the ,queyn1 for ,she is therby pynnyd upp1 that ,she cannot ride abrode to hunt4 ,then ,i demandid if ,hir ,grace did not love huntyng4 ,she answered1 #8,non better1' and soo pawssid4 8,she spekithe ,french1 and semythe to be of fewe wordes4 ,in hir spekyng she lispithe1 wiche dothe nothyng mysbecom hir4 ,i canot in anny thyng perceve1 but she shuldbe off myche sobreness1 and very wisse and no les gentill4 ,it may pleis your ,lordship to consedar that my poore knowlege is not to give anny judgement in suche matters1 but only to showe my openyon4 ,and for that it wilbe yet theis #hth dais1 beffore ,i can com by hir pikture1 ,i thought it my duetie to sartiffie your ,lordshipe the premissis2 and incontinent the said pikture shall com to my handes1 it shalbe sent your ,lordshipe with spedy deligence4 ,advertissyng the ,lady ,marques that ,i did send it unto ,barough1 for that my wiffe had myche dessire to se the ,duches40#bei ,footnote #bei3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #cbf4 ,st4 ,p41 viii4 #ad4 ,sidenote3 ,,hoby ,,and ,,holbein ,,go ,,to ,,brussels ,matters seemed now to be progressing so favourably that it was decided to send over ,philip ,hoby to ,brussels1 with some show of secrecy1 for the purpose of a personal interview with the young lady1 and1 as ,henry was very anxious to obtain an accurate likeness of her1 it was also arranged that ,holbein should go with him1 without waiting for the portrait which ,hutton hoped to secure4 ,philip ,hoby1 who was born in #aeje1 was the son of ,william ,hoby1 of ,leominster4 ,his zeal for the ,reformation commended him to ,henry ,,viii and ,cromwell1 by whom he was constantly employed from #aech onwards in diplomatic services at the courts of ,spain and ,portugal1 and on special missions elsewhere4 ,he was one of the gentlemen ushers of the ,king's ,privy ,chamber1 and took part in the siege of ,boulogne1 being rewarded with knighthood immediately after the conquest of that town in the autumn of #aedd4 ,he was made ,master of the ,ordnance and admitted to the ,privy ,council in #aeeb1 and died in #aeeh4 ,from his correspondence he appears to have been a man of culture and refinement4 ,holbein made two1 if not three1 journeys abroad in his company1 and painted his portrait1 though its whereabouts is not now known1 but the drawing for it1 in which he is shown with a scanty beard and long thin moustache1 is in the ,windsor ,collection4#bfj ,footnote #bfj3 ,woltmann1 #cjb2 ,wornum1 ii4 #g2 ,holmes1 i4 #dj4 ,cromwell's instructions to ,hoby were as follows3 8,instructions given by the ,l4 ,cromwell to ,philip ,hoby sent over by him to the duchess of ,lorraine then to the duchess of ,milan4 8,to repair to ,mr4 ,hutton and tarry secretly at his lodging until he shall have been with the ,regent4 ,then upon ,hutton's advertisement to go to the ,duchess1 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 there1 the cause of his coming and ,cromwell's inclination to the advancement of the same as is declared #8in the letter4' ,he shall then beg her to take the pain to sit that a servant of the ,king1 who is come thither for that purpose1 may take her physiognomy2 and shall ask when ,mr4 ,hanns shall come to her to do so4 ,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 them1 it might please the ,king1 being now without a wife1 to advance her to the honour of a queen of ,england4 #8,and he shall well note her answers1 her gesture and countenance with her inclination1 that he may at his return declare the same to the ,king's ,majesty4' ,her picture taken1 he and ,hanns shall return immediately40#bfa ,hoby was also supplied with a second document1 in which all that he was to say to the ,duchess was carefully drawn up for his guidance4 ,footnote #bfa3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #chj7b74 ,in the heading to these instructions1 which is written in a later hand than the body of the document1 the words 8to the0 in square brackets have been inserted by the editor of the ,calendars of ,letters and ,papers1 c4 ,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 year1 which is dealt with in the next chapter4 ,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 ,milan1 and that the one set of instructions was to serve for the two visits4 ,the inserted words1 8to the10 however1 are not needed4 ,christina1 a few years after ,holbein painted her1 married1 in #aedj1 ,franois1 ,duke of ,bar and ,lorraine1 and the writer who added the heading to the copy of ,hoby's instructions quite correctly describes her as the ,duchess of ,lorraine1 8then 7or 8at that time10 i4e4 at the time of ,hoby's journey to ,brussels7 ,duchess of ,milan40 ,this is a small point1 but it is necessary to draw attention to it1 as it has to do with ,holbein's subsequent journey to ,upper ,burgundy4 ,sidenote3 ,,hoby ,,and ,,holbein ,,in ,,brussels ,the two travellers left ,london on the #bnd or #crd of ,march1 and reached ,brussels on the evening of the #ajth4 ,the next day was spent in preliminary interviews1 ,hutton having audience with the ,lady ,regent and the ,duchess in the morning1 and ,hoby delivering his message to the latter in the afternoon4 ,all going smoothly1 ,holbein was fetched to the court at one o'clock on the #abth1 and accomplished all that he had to do within three hours1 to the great admiration of ,hutton1 who considered that he showed himself to be a master1 and that the likeness was very perfect4 ,the ,english agent1 the day before their arrival1 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 drawing1 he sent a messenger post haste to stop the bearer of the first picture1 which he now regarded as but 8slobbered0 in comparison with the other4 ,hoby and ,holbein1 who started upon their homeward journey on the evening of the #abth1 appear to have taken this inferior picture with them1 so that ,cromwell might compare the two4 ,there is no evidence to indicate by whom it was painted1 but as the lady was represented in gay apparel1 it must have been in marked contrast to ,holbein's study and the full-length portrait he afterwards painted1 representing her in her ,italian widow's weeds4 ,it is possible that this picture is still in existence in ,england1 and its discovery would be most interesting4 ,hutton's letter to ,cromwell1 describing all that took place on the occasion1 is a long one1 but as it is one of the few important documents still existing in which ,holbein is mentioned by name1 it cannot well be omitted here4 ,it is dated ,march #ad1 #aech1 and runs as follows3 8,my moste bounden duetie remembered unto ,your good ,lordshipe4 ,pleasithe the same to be advertissid1 that the #ajth of this present monethe in the evenyng arivid here your ,lordshipis sarvand ,phillip ,hobbie1 acompenied with a sarvand of the ,kynges ,majesties namyd ,mr ,haunce1 by wiche ,phillip ,i recevyd your ,lordshippis letter1 beryng date at ,saynct ,jamys the second day of this present4 ,theffect wherof apercevyd1 havyng the day beffore sent wone of my sarvandes towardes youre ,lordshipe withe a picture of the ,duches of ,myllain1 ,i thought it very nessisarie to stey the same1 for that in my openion it was not soo perffight as the cawsse requyrid1 neyther as the said ,mr ,haunce coold make it4 ,uppon wiche determination ,i dispached another of my sarvandes1 in post1 to returne the same1 wiche your ,lordshipe shall receve by this berrar4 ,the next mornyng aftre the arivall of your ,lordshippis said sarvand1 ,i did adresse my selff unto the ,lady ,regent1 declaryng unto ,hir that the night past ther arivid at my lodgyng a sarvand of your ,lordshippis1 withe wone other of the ,kynges ,majesties2 by wiche your ,lordshippis sarvand ,i had recevyd commiscion to sartiffie ,hir ,grace that th,emprors ,ambassadors1 resident with the ,kynges ,majestie my master1 had made ernyst overture unto your ,lordshipe for a marriage to be treatid betwixt the ,majestie of my said master1 and the ,duches ,grace of ,millain4 ,to the wiche albeit your ,lordshipe was of no les good inclination for the furtherance of the same1 then the said ,ambassadors were1 yet your ,lordshipe thought it not exspedient to be broken unto the ,kynges ,highnes1 withowt havyng some further occation mynistrid for the openyng of the same4 ,and for as myche as your ,lordshipe had hard great commendation of the furme1 beawtie1 wisdom1 and other verteos qualiteis1 the wiche ,god had indewid the said ,duches with1 you cold perceve no mean more meit for the advauncement of the same1 than to procure her perffight pictur2 for wiche your ,lordshipe had sent1 in compeny of your said sarvand1 a man very excellent in makyng off phisanymies2 soo that your ,lordshippis desire was that your said sarvand myght in moste humbleist wisse salute the ,duches ,grace1 requyryng that hir pleisur might be to apoynt the tyme and place1 wher the said paynter might acomplische his charge4 ,the ,regent1 when ,i began to declare this forsaid purpos1 stud uppon hir feit2 but1 aftre ,she had a littill ynclyng to what effect the same wold com1 ,she did sit dowen1 not movyng1 till ,i had fenisshid all that ,i had to say1 and then answered as foloythe3 #8,i thanke yow for your good newis4 ,this is not the first report that ,i have had of the good inclination that the ,lord ,crumwell hathe to th,emprores afferris1 for recompence wheroff ,i trust he shall not fynd ,us ingrat4 ,and as to his desire in this behalff1 it shall gladly be accomplisshid4' ,then ,i said1 #8,madam1 ,i have yet further commiscion1 wiche is to sartiffie the same unto the ,duches ,grace4' ,hir answar was1 that ,she wold goo to ,councell1 and when the ,duches cam to hir oratorie1 ,i myght have very good oportunitie to talke withe hir4 ,withe that the ,regent departid towardes the ,councell ,chamber1 and ,i taried the ,duches commyng2 who beying com to hir oratorie1 wher as remenyd no moo but two of hir ladeis1 ,i sartiffied ,hir ,grace the woll effect of your ,lordshippis commission consarnyng ,phelipe ,hobbie1 whom1 when ,hir ,grace wold give awdiens1 wold more ample sartiffie your ,lordshippis pleisur4 ,she made answar that1 if ever it shuld ly in hir powar1 the good will of your ,lordshipe shoid towardes hir1 wiche she in no part had desarvid1 shuld not remeyn unrecompencesid2 and that as to your said request it was not to be denyed1 albeit that she1 beying ther withe the ,queyn hir awnt1 thought it not meit to make anny graunt therunto withowt hir consent1 wiche she wold move to obteyn at the first convenient leisar1 that she myght have with the ,queyn consarnyng the same4 ,commandyng to be called unto hir wone1 naymd the ,lord ,benedike ,court1 who next unto ,monsur de ,correra is cheiff about hir2 whoo beyng com1 she said unto hym1 #8,goo withe th,ambassadour and entarteyn a gentilman that is at his lodgyng1 and knowe wher you shall fynd hym at suche tyme as ,i shall send yow for hym4' ,this done1 wee tooke ower leve of ,hir ,grace1 and cam to my lodgyng1 wher the said ,lord salutid ,phillip ,hobbie1 communyng together in the ,italian tunge a sarten space1 and then tooke his leve to repaire agayn to the ,court2 wiche ,i percevyng1 requyrid hym to take the portion withe us at dynnar1 wiche he promissid to doo2 but aftre beyng otherweis myndid1 he sent us woord that he cold not com1 but wold see us aftre dynnar2 wiche apoyntment he kept4 ,for at two of the cloke in the aftrenoon he cam for ,phillipe to com speke withe the ,duches his mystres3 who can make relation to your ,lordshipe more at large what passid at the tyme4 ,the next day foloyng1 at wone of the cloke in the aftrenoon1 the said ,lord ,benedike cam for ,mr4 ,haunce2 who havyng but thre owers space hathe shoid hym self to be master of that siens1 for it is very perffight2 the other is but sloberid in comparison to it1 as by the sight of bothe your ,lordshipe shall well aperceve4 ,the same night ,phillipe tooke his leve of the ,duches4 ,i inffurmyd the ,lady ,regent that the said ,phillipe wold gladly1 accordyng to your ,lordshippis commandment1 have com to have done his duetie unto ,hir1 to have knowen what further sarvis ,hir ,grace wold commaund hym2 but dowttyng he should be notid1 wherby myght be discoverid that wiche till then was kept secret as coldbe4 ,she answarid that it shuld not neid1 reqwiring me1 that ,i wold make hir most effectios commendations1 by my letters1 unto your ,lordshipe1 and that yow shuld here frome ,hir more at large by th,emprors ,ambassadour resident with the ,kynges ,majestie4 ,to sartiffie your ,lordship of hir sobreness1 wisdom1 and other varteos qualities shulde be but superfluitie1 for this berrar can sartiffie your ,lordshipe therof at length40#bfb ,footnote #bfb3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #ejg4 ,st4 ,p41 viii4 #ag4 ,sidenote3 ,,hutton',s ,,account ,,of ,,holbein',s ,,visit ,the ,queen ,regent wrote to ,eustace ,chapuys in ,london1 directly after ,hoby's departure1 saying that3 8,i deem it opportune to acquaint you with a fact1 of which you are not perhaps aware1 namely1 that ,sieur ,cromwell has sent here expressly a man1 besides a message by ambassador ,hauton1 to the effect that the ,emperor had proposed to the ,king1 his master1 the marriage of my niece1 the dowager duchess of ,milan1 with honourable and advantageous conditions2 that he 7the ,emperor7 offers to help efficiently towards it1 and wishes it to take place before ,king ,francis becomes aware of it4 ,cromwell asks that the man be allowed to see and talk with my said niece1 and take her portrait in order to show it to the ,king and give him greater desire to see her4 ,this ,i have allowed1 and the man has actually returned to ,england with the portrait1 well satisfied with the personal appearance and manners of my said niece1 who has not failed on the occasion to thank ,cromwell for his offers and show of affection40#bfc ,footnote #bfc3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #dai4 ,spanish ,calendar1 vol4 v4 pt4 ii4 #bag4 ,from ,chapuys' reply to her1 dated ,march #bc1 we learn that ,hoby and ,holbein reached ,london on ,march #ah1 and that the ,king was delighted with the latter's handiwork4 ,he tells her3 8,on the very same day1 the #ahth1 the painter sent by this ,king to ,flanders came back with the ,duchess' likeness1 which1 ,i am told1 has singularly pleased the ,king1 so much so1 that since he saw it he has been in much better humor than he ever was1 making musicians play on their instruments all day long4 ,two days after he went to dine at a splendid house of his1 where he had collected all his musicians1 and1 after giving orders for the erection of certain sumptuous buildings therein1 returned home by water1 surrounded by musicians1 and went straight to visit the duchess of ,suffocq1 the mother-in-law of the duke of ,norfolk1 and the wife of his brother1 and ever since cannot be one single moment without masks1 which is a sign he purposes to marry again1 unless he does all that by way of dissimulation whilst the bishop of ,tarbes is here still40#bfd ,footnote #bfd3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #ehc4 ,spanish ,calendar1 vol4 v4 pt4 ii4 #bbj4 99 99 99 99 99 ,for the cost of this journey ,hoby received #bc1 #fs4 #h;d4 from the royal purse1 which is noted in the book of the ,king's household expenses for ,march #aech4 8,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 ,see4 xxiij li4 vjs4 viijd40#bfe ,footnote #bfe3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #abhj 7f4 #f74 ,sidenote3 ,,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 colour1 such as the 8,john ,godsalve0 among the ,windsor drawings1 from which ,holbein afterwards painted the magnificent full-length now in the ,national ,gallery4 ,he could not have done much more than this in the three hours which was the whole time allowed him for the sitting4 ,sir ,claude ,phillips1 however1 is of opinion that it must have been something more than a drawing1 however consummate--perhaps a finished sketch of the head only in oils4 8,it is difficult to believe10 he says1 8that a layman would express so enthusiastic an approval of a drawing of modest dimensions1 and 7if it followed the usual ,windsor type7 of modest aspect4 ,neither sketch1 however1 nor drawing is known to exist40#bff ,footnote #bff3 ,daily ,telegraph1 ,may #h1 #aiji4 ,it was suggested by the late ,sir ,george ,scharf1 ,f4,s4,a41 that the small oil panel1 showing the ,duchess to the waist1 which is practically a replica of the upper half of the ,national ,gallery picture1 is the original study made by ,holbein in ,brussels4 ,this portrait1 then unnamed1 he discovered in #ahfc1 in a small apartment in ,windsor ,castle1 and it was described by him in a paper read before the ,society of ,antiquaries1 and published in ,archologia1 with a good lithograph of the picture by ,t4 ,h4 ,maguire4#bfg ,it is on wood1 #ag in4 high by #ac in4 wide4 ,footnote #bfg3 8,remarks on a ,portrait of the ,duchess of ,milan1 recently discovered at ,windsor ,castle1 probably painted by ,holbein at ,brussels in the year #aech10 ,archologia1 #ahff1 vol4 xl4 p4 #ajf4 8,the picture by ,holbein10 says ,sir ,george1 8could only have been a drawing or a painting on rather a small scale1 inasmuch as it had at once to be conveyed by a messenger to ,england1 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 picture4 ,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 circumstances4 ,all essential points are observed with scrupulous fidelity1 and1 certainly1 as far as internal evidence extends1 without flattery4 ,it is not to be supposed that ,holbein did nothing to the picture beyond the term of the three hours' sitting afforded by the ,duchess4 ,having secured all the essential points of likeness1 and given the general colouring1 he doubtless spent some time in further finishings from memory4 ,but time must have been given for the picture to dry40 ,wornum1 however1 refuses to accept ,sir ,george's ascription4 8,the head is vigorously painted10 he says1 8and very natural2 it shows1 however1 no complete finish1 which1 if the picture referred to1 is exactly what one would expect2 but it lacks also the mastery one would expect to find in a free sketch by ,holbein4 ,the hands are inferior1 but they appear to have been partly repainted2 the background has also been entirely repainted4444 ,in its present state1 it looks much more like a clever study from the ,arundel picture1 than its pattern2 anyhow the distance between them is immense1 but this does not prove much1 for a very inferior master to ,holbein could elaborate a magical effect from a mere rough sketch1 provided this possessed the real germs of truth in it40#bfh ,footnote #bfh3 ,wornum1 p4 #cac4 ,sidenote3 ,,portrait ,,of ,,the ,,duchess ,,at ,,windsor ,woltmann1 too1 was of opinion that this small panel was not an original work by ,holbein4 8,we cannot find in the picture at ,windsor10 he says 8that freedom and bold masterly style which absolutely belong to a sketch from life1 and which alone could have excited such lively admiration in ,john ,hutton4 ,the picture at ,windsor is very pretty and graceful1 but has something almost sober in its treatment4 ,it can indeed be just as little a copy from the large painting4 ,it exhibits some differences in the costume1 for instance1 a somewhat larger fur collar1 and another position of the fingers1 although the characteristic attitude of the hands is essentially the same4 ,christina also wears three rings instead of a single one2 namely1 a black widow's ring on the little finger of the right hand1 and on the next finger a gold hoop with a square black stone4 ,we might1 therefore1 believe that this is a copy by another hand of the sketch ,holbein painted from life4 ,in favour of this opinion1 we find the head1 which the sketch naturally gave most distinctly1 by far the best part of the painting1 while the rest1 which was only indicated in the sketch1 appears far weaker40#bfi ,footnote #bfi3 ,woltmann1 #ast ed41 ,english translation1 pp4 #dbf-g4 ,sir ,george ,scharf describes with care the many small differences between the two works4 ,in addition to the three rings instead of one1 mentioned by ,woltmann1 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 dress4 ,in the larger portrait the fur is much narrower1 and evidently forms the lining and collar of the outer robe1 a narrow edging of it being shown down the front4 ,in the ,national ,gallery picture1 too1 this outer robe is open several inches in front1 showing the under-dress of black and the knotted ribbon at the waist1 all of which are missing in the ,windsor panel4 ,again1 though the hands holding the gloves have the same general position in both1 the position of the fingers shows considerable variation4 ,in the smaller portrait the two last fingers of the right hand and the two middle ones of the left are bent inwards2 in the larger1 the only bent fingers are the two last of the left hand4 ,there are some other minor differences which need not be specified4 ,both pictures at one time belonged to ,henry ,,viii1 and are included in the inventory of that ,king's 8money1 jewels1 plate1 utensils1 apparel1 wardrobe stuffs1 goods and chattels1 consigned to the care of ,sir ,anthony ,denny at ,westminster40 ,the volume1 now in the ,record ,office1 is dated ,april #bd1 #aedb4 ,they appear again in a similar inventory1 made after ,henry's death1 taken 8by vertue of a ,commission under the greate seale of ,england1 bearing date at ,westminster the viij day of ,september1 in the first year of our ,sovereyne ,lord ,edwarde the ,sixte0 7#aedg74 ,in these1 the smaller panel is described as 8,item1 a ,table with a ,picture of the ,duchesse of ,myllayne40 ,woltmann's conjecture that it is a contemporary copy made from ,holbein's original sketch appears to be the true one1 though for whom made it is now impossible to say4 ,there seems to be no reason why ,henry1 having the full-length panel in his possession1 should have commissioned this smaller and inferior one4 ,if ordered by ,thomas ,cromwell1 which is not very likely1 it may have reached the ,king in the form of plunder after the former's execution2 if done in order to be sent to the ,duchess herself1 it is strange that it should have remained in ,england4 ,in any case1 it cannot have been the 8slobbered0 work which ,hutton1 in his eagerness to serve his royal master1 had hurriedly despatched on its way to ,london on the eve of ,holbein's arrival in ,brussels4 ,all the evidence points to the latter as being the portrait of the ,duchess 8out of her mourning apparel0 which was to be given to the ,lady ,marquess1 who had promised to show it to ,hutton when finished1 as his letter tells us4 ,hutton1 pleading urgency1 and knowing that the latter lady was in favour of the match1 in all probability borrowed it1 or begged it as a gift4 ,this portrait of the ,duchess of ,milan1#bgj #gj in4 by #cb in4 7,pl4 #ba71 is incomparably the greatest work from ,holbein's brush now remaining in ,england2 it is1 indeed1 in many respects his masterpiece4 ,it is of additional interest and value1 too1 as being the only full-length1 life-size portrait of a lady painted by him4 ,she is represented standing1 facing and looking towards the spectator1 her hands in front of her holding her gloves4 ,she is dressed in mourning apparel as the widow of ,sforza1 a gown of plain black satin tied round the waist with a black cord1 and a long black cloak reaching to her feet1 lined with yellow sable1 with a collar of the same fur1 open in the front sufficiently to allow a part of her dress to be seen4 ,at her neck and wrists are white frills with a narrow black edging1 and on her head a closely-fitting black cap1 which covers all her hair1 and a part of her forehead4 ,the gloves are pale buff1 and her only ornament is a gold ring with a red stone1 probably a cornelian1 on the third finger of her left hand4 ,the floor on which she stands is of pale yellow-brown colour1 though no floor-boards are indicated1 and the background is a plain one of deep blue1 now almost black1 only broken by the white cartellino over the sitter's left shoulder1 which is affixed to the wall with four dabs of red sealing-wax4 ,footnote #bgj3 ,woltmann1 #b4 ,reproduced by ,pollard1 ,henry ,,viii1 p4 #bej2 ,davies1 p4 #agb2 ,ganz1 ,holbein1 p4 #aba2 and elsewhere4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ba ,,the ,,duchess ,,of ,,milan #aech ,,national ,,gallery1 ,,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 assume4 ,the effect of fine rich colour produced by this wonderful rendering of a plain black costume is masterly1 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 face1 as more elaborate accessories might have done4 ,the whole panel is painted with the utmost simplicity and directness1 and yet is stamped with real grandeur of style in every delicate stroke of the brush4 ,the modelling of the flesh is rendered with extraordinary delicacy1 while the tints are unusually transparent1 and a faint rosy glow of health just flushes her cheeks4 ,her dark-brown eyes1 from under fair eyebrows1 look out upon the world with an intensity of expression which is surpassed in few1 if any1 portraits by the greatest masters2 the red lips are full of character1 but not more so than the hands1 which are exquisitely painted4 ,in the painting of hands ,holbein was always a master1 but he never accomplished anything finer in this direction than those of the young ,duchess4 ,the portrait1 indeed1 bears the stamp of truth in every line4 ,the painter1 who never exaggerated1 has made no attempt to add to the lady's beauty2 such as she was he painted her4 ,the draperies are admirably arranged1 and the painting of fur and satin as good as anything ,holbein ever did1 even in such portraits as that of ,gisze4 ,the restrained but stately attitude of the young girl1 still only on the threshold of womanhood1 the refined1 reserved1 and dignified character in the fresh young face1 which1 though gentle1 is in no way lacking in strength1 and the sense of humour lurking in the lips1 combine to produce an effect which is fascinating in the highest degree2 indeed1 in the simplicity of its methods1 the strength1 refinement1 and elegance of its conception1 and in its extraordinary vitality1 it must always remain not only ,holbein's masterpiece in the portraiture of women1 but one of the greatest portraits in the world4 ,sidenote3 ,,national ,,gallery ,,portrait ,there is no doubt that ,holbein painted the portrait immediately after his return from ,brussels1 although some writers have suggested that it is a year or so later in date than #aech4 ,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 ,duchess2 but this is an error1 as will be shown in the next chapter4 ,the portrait was painted for ,henry1 and would naturally be done at once1 before the negotiations for the marriage were broken off1 and it remained in his collection throughout his life4 ,holbein was out of ,england more often and for a longer period in #aech than has been generally supposed4 ,in addition to at least one other continental journey on the ,king's service1 he was absent from about the middle of ,august until nearly ,christmas1 and thus everything indicates that this important panel was painted in ,april or ,may4 ,another argument1 advanced by ,sir ,george ,scharf in favour of the contention that it was painted some time after #aech1 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 shoulder1 by four dabs of sealing-wax1 designate her 8,duchess of ,lorraine40 ,this inscription ,sir ,george reads as3 8,christine1 ,daughter to ,christierne ,k4 of ,dearke1 and ,dutchess of ,lotragne and heretofore 787 ,dutches of ,milan40 ,the writing1 however1 is much rubbed1 and is by no means easy to decipher2 thus the word which ,sir ,george read as 8heretofore10 ,mr4 ,wornum considered to be 8hered0 7hereditary74 8,this10 ,sir ,george goes on to say1 8would1 if the writing be contemporary with the picture1 bring the date to #aeda1 the year of her second marriage to ,francis1 ,duke of ,lorraine and ,barr4 ,the style of writing on the paper may perhaps raise some question1 and may possibly be found to belong to the period of ,james ,i1 when through his ,queen and the occasional presence of ,christian ,,iv in ,england1 a considerable interest was felt in matters connected with ,denmark40#bga ,footnote #bga3 ,archologia1 xl4 p4 #aji4 ,the date of her marriage to ,lorraine appears to have been #aedj4 ,the inscription as it now is was probably painted over an earlier one from ,holbein's brush1 for it is too badly done to be original2 but there is no need to place it as late as ,sir ,george suggests1 for the ,lumley inventory speaks of her as the ,duchess of ,lorraine1 so that the alteration may have been due to ,lord ,lumley or his father-in-law4 ,it is even possible that ,holbein may have placed no title of any kind on the picture1 but that the whole label was added by some other painter employed for the purpose by the owner of ,nonsuch4 ,in spite of ,henry's admiration for the picture1 the proposed match came to nothing1 though for some time ,hutton continued to write letters in her praises4 ,thus1 on the #ast ,april #aech1 he wrote to the ,king3 ,sidenote3 ,,failure ,,of ,,marriage ,,negotiations 8,pleasithe ,your ,majestie to be advertissid that synns the departyng frome hence of ,phillipe ,hobbie1 ,i have for the most part byne dayly in the ,queyns chambre1 by cawse ,i myght withe the more commoditie aperceve1 whether the great modestiosnes1 that is in the ,duches of ,myllayn1 proceid of a symple yngnorance1 or of a naturall inclination acompenid withe wisdom2 to that intent ,i myght the better sartiffie ,your ,highnes of the same4 ,wherunto ,i have inployid my selff withe all celeritie1 havyng bothe seyn and hard hir1 aswell in matters off weight1 as playing at the cardes and other pastymys1 not apercevyng in hir anny liklihod that ther is want off wit1 but rather to be estemyd1 emonge the nombre of wise1 the wissist4 ,hir sobre and gentill demenewre is myche lawdid by all them that knowe hir4 ,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 contrary1 but ,i noot that in all hir acttes she uttrithe such a myldnes1 the wiche maniffestithe to be wroght in hir by nature1 and presarvid withe grace and wisdom40#bgb ,footnote #bgb3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #fef4 ,st4 ,p41 viii4 #ba4 ,in the following month 7,may #ag7 he informed ,wriothesley that 8the ,lady ,regent1 acompenyd with the ,duches ,grace of ,myllayn have byne dayly a huntyng1 wiche is the exarsis1 that the bothe moste desyre1 and have greatest delit in2 and by cawsse ,i have thought it my bounden duetie to repayre wher the ,duches ,grace was1 procuryng occation many tymis to talke withe ,hyr ,grace1 whom ,i fynd of myche wisdom1 and of as great modestiosnes1 as ever ,i knewe anny woman4 ,sithe the tyme that ,phelip ,hobbie departid frome theis parteis1 ,hir ,grace hathe1 bothe by woordes and countenance1 ussid towardes me myche benyngnitie40#bgc ,footnote #bgc3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #ajah4 ,st4 ,p41 viii4 #bi4 ,he added that he had presented the ,regent with four couple of young hounds and an ambling gelding1 and had promised the same to the ,duchess1 8wiche offre she gently acceptyd40 ,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-board1 and that there was no real intention of giving her to ,henry4 ,this obstacle was the fact that the ,duchess was a near kinswoman of the late ,queen ,katherine1 ,henry's first wife1 and that the ,pope's dispensation was therefore necessary4 ,the negotiations dragged on throughout the year1 ,hutton suddenly dying in the middle of them1 on ,september #e1 just when the ,king his master was sending over two commissioners1 ,thomas ,wriothesley1 one of his secretaries1 and ,stephen ,vaughan1 to treat personally with the ,regent4 ,there is no need to record their adventures1 or the manner in which that lady continually put them off with plausible excuses4 ,they followed her about the country on her journey to ,compigne to meet the ,king and ,queen of ,france4 ,on neither side was there any real sincerity1 but the ,englishmen1 although ,dr4 ,edward ,carne#bgd was sent over to help them1 could not score a point in the game4 ,they had several personal interviews with the ,duchess1 after one of which they reported that 8she is a godly personage1 of stature hiegher thenne eyther of us1 a very good womans face1 and competently faire1 but very wel favored1 a lytle browne40#bge ,footnote #bgd3 ,knighted by the ,emperor some years later4 ,footnote #bge3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #eej4 ,st4 ,p41 viii4 p4 #ei4 ,after another interview ,wriothesley wrote to the ,king1 on ,february #a1 #aeci3 8,a blinde man shuld judge no colours1 but surely1 ,sir1 after my poure entendement1 for that lyttel experyence that ,i have1 she is mervelous wise1 very gentel1 and as shamfast as ever ,i sawe soo wittye a woman4 ,i thinke her wisdome no lesse thenne the ,quenes1 which in my pouer opinion is notable for a woman4 ,her gentlenes excedeth4 ,asferre as ,i canne judge or here for this lytel tyme that ,i have been here1 ,i am deceyved1 if she prove not a good wief1 if ,god send her a wise husbande2 and sumwhat the better ,i lyke her1 for that ,i have been enformed that of all the hole stock of them1 her mother 7,isabella1 sister of ,charles ,v7 was of best opinion in religion1 and shewed it soo farre1 that bothe th,emperour and al the pack of them were sore greved with ,her1 and seamed in thende to have ,her in contempte4 ,i wolde hope no lesse of the doughter1 if she might be so happye as to nestle in ,englande4 ,very pure1 faire of colour she is not1 but a mervelous good brownishe face she bathe1 with faire redd lippes1 and ruddy chekes2 and oneles ,i be deceyved in my judgement1 which in all thinges1 but specially in this kynde of judgement1 is very basse1 she was yet never soo wel paynted1 but her lyvely visage dothe muche excel her poincture40 99 99 99 99 99 ,later on in the same interview ,wriothesley pressed her as to her own desire in the matter1 and sang his master's praises3 8,at this she blusshed excedingly1 and said3 #8,asfor myn inclination1' quod she1 #8what shuld ,i saye8 ,you knowe that ,i am at th,emperrurs commaundement1' and again1 #8,you knowe ,i am th,emperours poore servaunt1 and must followe his pleasour4' ,your ,majesties wisedom shall easly judge uppon this1 of what inclination the women be1 and specially the ,duchesse1 whose honest countenaunce1 with the fewe woordes that she wisely spake1 together with that which ,i knowe by the meane of her most secrete chamberers and servauntes1 maketh me to thinke there canne be no doubt in her40#bgf ,footnote #bgf3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #aid4 ,st4 ,p41 viii4 #acg4 ,sidenote3 ,,history ,,of ,,the ,,picture ,this letter seems to indicate that there is no truth in the well-known story told by ,sandrart1 and repeated by ,walpole1 that the ,duchess herself was not anxious to become ,queen of ,england1 telling ,henry's ambassadors that 8she had but one head2 if she had two1 one of them should be at his ,majesty's service40 ,on the contrary1 ,carne and his fellow-commissioners frequently mentioned that she seemed bent on the alliance1 and could not bear to hear of any other marriage proposals4 ,among the frequenters of the ,english court it was common gossip that she was very likely to be the next queen4 ,thus1 ,robert ,warner1 of the ,earl of ,sussex's household1 writing to ,lord ,fitzwater on ,november #ba1 #aech1 tells him that 8there is small speaking of any queen2 merely a report that it should be the duchess of ,milan4 ,in any case it will be an outlandish woman and will not happen till the spring40#bgg ,there was also a report that the ,king had sent her a diamond worth #af1jjj ducats4 ,footnote #bgg3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #hhd4 ,ellis1 #ast series1 ii4 #if4 ,early in #aeci ,francis and ,charles ,v were in full accord1 and ,henry was making every possible preparation for war4 ,the ,regent and the ,emperor no longer attempted to keep up the farce of a possible matrimonial alliance with ,england1 though even then ,wriothesley was writing for ,henry's 8phisnamy10 which he thought would make the ,duchess leave ,emperor and all rather than be frustrated of so great a match4 ,in the end the three ambassadors departed for home on ,march #ai1 though not without some trouble1 as war appeared imminent2 and thus ,holbein's famous portrait remained as the only record in ,henry's possession of these long and futile negotiations4 ,the picture has never left ,england since the day it was painted4 ,it was in the possession of ,henry ,,viii at the time of his death1 and is described in the inventory already mentioned1 in which it is the twelfth entry1 as--8,item1 a greate table with the picture of the ,duchyes of ,myllayne1 beinge her whole stature40 ,according to ,mr4 ,lionel ,cust1#bgh it passed from ,king ,henry's collection to that of the ,king's cousin1 ,henry ,fitz-,alan1 ,earl of ,arundel1 after whose death it belonged to his son-in-law1 ,john1 ,lord ,lumley1 husband of the ,earl's eldest daughter and co-heiress1 ,lady ,joan ,fitz-,alan4 ,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 once4 ,this inventory is entitled 8,a ,certyficate from ,mr4 ,john ,lampton1 ,stewarde of ,howseholde to ,john1 ,lord ,lumley1 of all his ,lo3 ,monumentes of ,marbles1 ,pictures and tables in ,paynture1 with other his ,lordshippes ,howseholde stuffe1 and ,regester of ,bookes4 ,anno #aeij40 ,the picture is described as 8,the statuary of the ,duchess of ,myllayne1 afterwards ,duches of ,lorreyn daughter to ,christierne ,king of ,denmarke doone by ,haunce ,holbyn10 the word 8statuary0 being used for a standing whole-length figure4 ,footnote #bgh3 ,letter to ,the ,times1 ,may #e1 #aiji4 ,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 #aegd ,zuccaro saw it in the ,earl of ,pembroke's house in ,london4 8,the said ,zucchero10 he says1 8was also delighted with the portrait of a certain ,countess1 dressed in black satin1 life-size1 a full-length figure1 unusually pretty and well painted by ,holbein1 and kept in ,lord ,pembroke's house1 where he saw it in company with some painters and lovers of art1 and took such great delight in it1 that he declared he had not seen its like in art and delicacy even in ,rome2 therefore went away filled with admiration40#bgi ,footnote #bgi3 ,see ,woltmann1 ,english translation1 p4 #dbf4 ,van ,mander's book was not published until #afjd1 thirty years later than this incident1 and it is1 of course1 quite possible that either he or ,zuccaro made a mistake as to the ownership of the picture and the place where it had been seen2 but the statement is very definite1 and must be taken into consideration in tracing the portrait's history4 ,in any case1 there is no doubt that ,lord ,lumley owned it in #aeij1 and that he was a lover of ,holbein's works1 of which he possessed a considerable number1 most of which have been referred to individually in preceding pages1 among them the great cartoon of ,henry ,,vii and ,henry ,,viii belonging to the ,duke of ,devonshire1 and portraits of ,erasmus1 ,sir ,thomas ,more1 and ,sir ,henry and ,lady ,guideford1 and the book of the ,windsor drawings1 all of which are entered in the inventory as 8drawne0 or 8doone0 by 8,haunce ,holbyn40 ,in ,lord ,lumley's collection were also portraits of ,sir ,nicholas ,carew1 ,sir ,thomas ,lovell1 the elder and the younger ,sir ,thomas ,wyat1 and ,sir ,thomas ,hennege1 some of which also may well have been by ,holbein1 though no artist's name is placed against them in the list4 ,sidenote3 ,,history ,,of ,,the ,,picture ,for many years ,lord ,lumley resided at ,nonsuch4 ,the erection of this palace was begun by ,henry ,,viii in the year in which the ,duchess was painted4 ,the house1 of which ,toto was probably the chief architect or decorator1#bhj was unfinished at the ,king's death1 and remained so during the reign of ,edward ,,vi2 but in that of ,mary it was completed by the ,earl of ,arundel1 who had become possessed of it1 8after the first intent and meaning of the said ,king his old maister40 ,here ,lord ,lumley resided with his wife and father-in-law until the ,earl's death in #aehj1 when he became its owner4 ,he added the front quadrangle1 and entertained ,queen ,elizabeth there on more than one occasion4 ,from his hands it reverted to the ,crown in #aeia in exchange for other property4 ,no doubt ,lord ,lumley's collection of pictures remained at ,nonsuch until that year1 and very possibly the inventory1 dated #aeij1 was drawn up in preparation for the removal of the works of art when this transfer of estates took place4#bha ,footnote #bhj3 ,see ,vol4 i4 pp4 #bgf-g4 ,footnote #bha3 ,see ,cust1 ,burlington ,magazine1 vol4 xiv41 ,march #aiji1 pp4 #cff-h1 and ,the ,times1 ,may #e1 #aiji2 ,a4 ,w4 ,franks1 ,archologia1 vol4 xxxix4 p4 #ce4 ,upon the death of ,lord ,lumley without issue1 it is evident that the picture passed1 with other portraits of the ,fitz-,alan family1 into the possession of ,philip ,howard1 ,earl of ,arundel1 son of ,thomas1 fourth ,duke of ,norfolk1 and ,lady ,mary ,fitz-,alan1 younger daughter and co-heiress of ,henry1 ,earl of ,arundel4 ,philip ,howard was father of ,thomas ,howard1 ,earl of ,arundel1 probably the greatest art-collector the world has ever known4 ,when in the latter's possession it was seen by ,sandrart1 in #afbg1 who mentions it as the portrait of the ,king's 8incomparable beloved one1 a princess of ,lorraine0 7unvergleichlicher ,liebstin1 einer ,prinzessin von ,lothringen74 ,it was entered in the ,arundel inventory of #afee as 8,duchessa de ,lorena grande del naturale40 ,from that time until #aiji it remained in the possession of the ,howard family4 ,walpole adds to his ,anecdotes a note to the effect that 8,vertue saw a whole length of this princess at ,mr4 ,howard's1 in ,soho ,square40#bhb ,it was afterwards at ,worksop ,manor1 then belonging to the ,duke of ,norfolk1 and later on was removed to ,arundel ,castle1 where it was described in the catalogue as 8a very curious portrait of a ,duchess of ,milan40 ,it was included in the exhibition of ,old ,masters at ,burlington ,house in #ahhj1 and the ,duke of ,norfolk then lent it to the ,national ,gallery1 where it remained on loan for nearly thirty years4 ,about #aijh the ,duke informed the ,trustees that he was receiving large offers for the picture1 which he felt bound to consider1 but that he was most anxious that1 if possible1 it should be secured for the nation2 and he1 therefore1 gave an undertaking that before closing with any purchaser he would first offer it to the ,gallery at the same price4 ,footnote #bhb3 ,walpole1 ,anecdotes1 ed4 ,wornum1 p4 #gb4 ,on ,april #bb1 #aiji1 his ,grace told the authorities that he had been offered a sum of #fa1jjj1 which he had accepted1 subject to the option granted to the ,national ,gallery of purchasing at the same price1 and that the purchasers had consented to wait until ,may #a for the completion of the transaction4 ,as the ,trustees were unable to find so great a sum in so short a time1 the ,duke sold the picture to ,messrs4 ,p4 ,d4 ,colnaghi ,co4 for #fa1jjj on the latter date4 ,the purchasers then in turn offered it first of all to the nation1 at the enhanced price of #gb1jjj1 giving the ,trustees a month in which to raise the necessary fund4 ,a determined effort to secure the picture was then made by the chairman1 ,lord ,balcarres1 and committee of the ,national ,art-,collections ,fund1 but in spite of strenuous endeavours1 the amount subscribed up to within a few days of the expiration of the time-limit fell far short of the great sum required4 ,most happily1 however1 at the last moment a munificent anonymous donor came forward with a gift of #dj1jjj1 which1 with #aj1jjj from the ,government1 and other subscriptions1 including one from the vendors1 enabled the ,fund to complete the purchase1 and thus this great picture1 undoubtedly the finest portrait ,holbein ever painted1 for which more than one millionaire collector was prepared to give an even greater price for its possession1 was saved for the ,english nation1 and has at last found a permanent home in the ,national ,gallery4 ,sidenote3 ,,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 ,mabuse1 in the ,english ,royal ,collection1 now in ,hampton ,court4 ,this picture was engraved by ,vertue in #agdh1 and was removed at that date from ,kensington ,palace to ,windsor4 ,it was thought at that time--possibly the mistake was ,vertue's--to represent the three children of ,henry ,,vii1 ,prince ,arthur1 ,prince ,henry1 and ,princess ,margaret1 though in ,henry ,,viii's catalogue they were correctly named as the 8three children of the ,kynge of ,denmarke40 ,the whole matter was cleared up by ,sir ,george ,scharf in a paper read before the ,society of ,antiquaries in #ahfj1 and printed in ,archologia4#bhc ,the original picture appears to have been painted in the spring of #aebf at ,malines1 where ,mabuse was then engaged1 amid other work1 in restoring pictures for the ,lady ,regent4 ,from a letter from ,sir ,robert ,wingfield to ,wolsey1 written from that city on the #adth ,march #aebf1 we learn that the young ,prince of ,denmark and his two sisters were then on a visit to their aunt1 8which be right goodly and fair children1 specially the daughters40#bhd ,a letter from the ,emperor to the ,archduke ,ferdinand1 of about the same date1 also mentions this visit4 8,i am sorry to hear of the death of the ,queen of ,denmark4 ,her children are with my aunt in ,flanders40#bhe ,footnote #bhc3 ,vol4 xxxix4 p4 #bde4 ,footnote #bhd3 ,c4,l4,p41 vol4 iv4 pt4 i4 #bjbe4 ,footnote #bhe3 ,c4,l4,p41 vol4 iv4 pt4 i4 ,no4 #bjea4 ,in ,charles ,i's catalogue this picture was attributed to ,janet 78a ,whitehall piece thought to be of ,jennet072 and the earliest instance of its rightful ascription to ,mabuse is in the ,commonwealth inventory1 among the pictures at ,st4 ,james's1 where it is entered as3 8,three children in one piece by ,mabuse1 sold to ,mr4 ,grinder for #aj1 #bcrd ,oct4 #afea40 ,sir ,george ,scharf1 comparing this juvenile likeness with the one painted by ,holbein some thirteen years later1 says3 8,the same features and expression of countenance1 notwithstanding the difference of years1 may be traced in both4 ,the look of the eyes is quite the same1 and ,i would also invite attention to the form of the upper eyelids which1 especially in the ,arundel picture1 become remarkably broad on the side away from the nose40#bhf ,there are five or six replicas of the ,mabuse picture in this country1 at ,wilton1 ,sudeley ,castle1 ,longford ,castle1 ,corsham ,house1 and elsewhere4 ,other likenesses of the ,duchess are to be found on existing medals both of ,sforza and ,lorraine1 and in the fine engraving or etching of her by ,agostino ,carracci1 published in ,campo's ,history of ,cremona4 ,footnote #bhf3 ,archologia1 vol4 xl4 p4 #adj4 ---------------------------------------- -------------------------------- ,,chapter ,,xxi ,,the ,,visit ,,to 8,,high ,,burgony0#bhg ,negotiations for a ,french wife for the ,king--,marie of ,lorraine1 ,duchess of ,longueville1 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--,rene of ,guise--,expedition of ,hoby and ,holbein to ,joinville and ,nancy to obtain portraits of ,rene and her cousin1 ,anne of ,lorraine--,cromwell's instructions--,letter from the ,duchess of ,guise to her daughter1 the ,queen of ,scotland1 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 #aech owing to a wrong entry in the ,calendar of ,letters and ,papers--,holbein goes on to ,basel from ,nancy4 ,footnote #bhg3 ,the greater part of this chapter appeared in the ,burlington ,magazine1 vol4 xxi41 ,april #aiab1 pp4 #be-cj4 ,,as already stated in the last chapter1 during the whole of the time the negotiations for the hand of the ,duchess of ,milan were in progress1 others were being carried on concurrently for a ,french bride for ,henry4 ,the ,king's personal inclination1 indeed1 leant much more strongly towards an alliance with ,france than one with the ,emperor2 and on ,october #bdth1 the very day of ,queen ,jane ,seymour's death1 ,cromwell wrote to ,stephen ,gardiner and ,lord ,william ,howard1 then at the ,french court1 informing them of ,henry's loss1 and urging them to make secret inquiries as to a possible successor among the princesses of ,france4 8,our ,prince10 he said1 8our ,lord be thanked1 is in good health1 and suckethe like a child of his puissance1 which youe1 my ,lord ,william1 canne declare4 ,our ,mastres1 thoroughe the faulte of them that were about ,her1 whiche suffred ,her to take greate cold1 and to eate things that her fantazie in syknes called for1 is departed to ,god40#bhh ,footnote #bhh3 ,st4 ,p41 vol4 viii4 7pt4 v4 continued7 #dgh4 ,he went on to say that the ,council were unanimously of opinion that the ,king should marry again as soon as possible3 ,sidenote3 ,,the ,,duchess ,,of ,,longueville 8,soo considering what personages in ,christendom be mete for ,him1 amonges the rest there be two in ,fraunce1 that may be thought on1 thone is the ,frenche ,kinges doughter 7,margaret1 afterwards ,duchess of ,savoy71 whiche1 as it is said1 is not the metest1 the other is ,madame de ,longevile1 whom they say the ,king of ,scottes dothe desire4 ,of whose conditions and qualities in every pointe ,his ,majeste desireth you both1 with all your dexterite and good meanes1 to enquire2 and likewise in what pointe and termes the said ,king of ,scottes standeth towards either of them2 whiche ,his ,highnes is soo desirous to knowe1 ,his ,graces desire therin to be nevertheles in any wise kept secret to your selfes40 ,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 ,perreau1 ,sieur de ,castillon1 the ,french ambassador in ,london1 to ,francis ,i and his ,grand ,master1 ,anne de ,montmorency4 ,the negotiations necessitated the despatch of numerous envoys and messengers1 and the painting of four or five portraits2 and there is very good evidence for the belief that two or three of these were painted by ,holbein1 for which purpose he made at least two journeys--to ,le ,havre in ,june #aech1 and to ,joinville and ,nancy at the end of the following ,august4 ,in the first instance1 ,henry's inclinations were very strongly set upon ,marie of ,lorraine1 the eldest daughter of ,claude1 ,duke of ,guise1 and the young widow of ,charles d',orlans1 ,duke of ,longueville1 although she had been promised to ,james ,v of ,scotland before ,jane ,seymour's death4 ,henry knew quite well that this arrangement had been made1 but he would not listen to the names of other ladies which were suggested to him1 and maintained with great pertinacity to ,castillon that the match with ,scotland had not yet been settled1 and that ,madame de ,longueville had not herself agreed to it4 8,he is so amorous of ,madame de ,longueville10 wrote ,castillon to ,francis1 on ,december #cj1 #aecg1 8that he cannot refrain from coming back upon it40 8,i asked him10 he goes on1 8who caused him to be more inclined to her than to others1 and he said ,wallop was so loud in her praises that nothing could exceed them4 ,moreover1 he said that he was big in person1 and had need of a big wife--that your daughter was too young for him1 and as to ,madame de ,vendosme1 he would not take the ,king of ,scots' leavings60#bhi ,footnote #bhi3 ,c4,l4,p41 vol4 xii4 pt4 ii4 #abhe4 ,either in ,december #aecg or early in the following ,january1 ,henry sent over ,peter ,mewtas1 of the ,privy ,chamber1 to see the ,duchess secretly1 and to find out from her whether she considered herself bound to ,james2 and as a result of this mission he appears to have convinced himself that1 whatever ,francis ,i might have arranged1 the lady herself and her parents were attracted by his offer1 considering an alliance with so powerful a sovereign to be preferred to one with the 8beggarly and stupid ,king of ,scots10 as ,henry termed his nephew to ,castillon4 ,there was a political attraction1 also1 about the proposal1 from ,henry's point of view1 for if he succeeded in taking ,james's bride from him it would tend to alienate the ,scots from ,france4 ,formal articles of marriage1 however1 between the lady and ,james ,v were drawn up in ,january2 but in spite of this ,henry stuck to his point1 and about the #ast of ,february ,peter ,mewtas was again despatched by ,cromwell to find out definitely if she were still free1 and also to obtain her portrait4 ,the instructions given him need not be quoted here4 ,they concluded by saying that if he perceived any towardness in the lady1 he was1 if possible1 to get and bring with him 8her picture truly made and like unto her40#bij ,footnote #bij3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #bjc4 ,st4 ,p41 viii4 #aj4 ,sidenote3 ,,pierre ,,quesnel ,,and ,,his ,,sons ,mewtas' mission proved fruitless1 and he was back in ,london some time before the #fth ,march4 ,there is no evidence to show that he succeeded in obtaining a portrait of ,madame de ,longueville1 or that he took ,holbein or any other painter with him for that purpose4 ,the ,duchess seems to have been in ,normandy1 possibly at ,longueville or ,le ,havre1 and it may have been left to ,mewtas to obtain the services of some local ,french painter1 if such an one were to be procured4 ,it is more likely1 however1 that a painter would be taken over for the purpose1 though this was not mentioned in the instructions1 as it was in the case of ,hoby's mission to ,brussels4 ,if any one were taken1 it may have been ,holbein1 who was known personally to ,mewtas1 for among the ,windsor drawings there is one of the latter's wife4#bia ,this1 however1 is mere conjecture1 and there is no evidence1 either in writing or in the shape of a drawing1 to show that ,holbein took the portrait of this particular duchess2 indeed1 the fact of his journey to the ,netherlands seems to point to the contrary1 for ,mewtas only returned to ,england from ,france early in ,march1 so that if ,holbein had accompanied him1 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 #ajth of the same month4 ,it was1 of course1 possible for him to have made both journeys1 but the interval between the two was so short that extreme expedition would have been necessary4 ,footnote #bia3 ,woltmann1 #cci2 ,wornum1 ii4 #bj2 ,holmes1 ii4 #af4 ,see pp4 #beg-h4 ,there was1 however1 a ,french painter1 ,pierre ,quesnel1 who may possibly have been attached to ,madame de ,longueville's court at the time of ,mewtas' visit2 in any case1 he accompanied her to ,edinburgh two months later1 and entered the service of ,james ,v4 ,he came of a family of portrait painters1 and also practised historical painting4 ,his works are now unknown1 but he returned to ,france in #aeeg1 and designed a painted window for the ,augustins of ,paris4 ,he had three sons1 ,franois1 ,nicolas1 and ,jacques4 ,franois1#bib who was born in ,holyrood about #aedc and died in #afai1 was a portrait-painter of exceptional ability1 as may be seen from the fine portrait of 8,mary ,ann ,walker0 belonging to ,lord ,spencer at ,althorp ,park1 of which an excellent reproduction in colour has been issued by the ,medici ,society in their ,national ,portrait ,series4 ,it is signed 8,f4 ,q40 in monogram1 and dated #aegb4 ,this picture was brought from ,france about one hundred years ago1 and was obtained from a descendant of the lady's family4 ,in this connection it may be suggested that the double portrait of 8,james ,v and ,marie of ,lorraine10#bic in the collection of the ,duke of ,devonshire at ,hardwick1 may possibly have been1 in its original state1 the production of the elder ,quesnel's brush4#bid ,it must be noted1 in conclusion1 that there is no record in the ,english ,state ,papers of the result of ,mewtas' mission1 and so it is doubtful if ,henry ,,viii ever possessed a portrait of the lady1 whether by ,quesnel1 or ,holbein1 or any other painter1 such as ,hornebolt1 in the ,king's pay4 ,footnote #bib3 ,see ,dimier1 ,french ,painting in the ,sixteenth ,century1 pp4 #aia and #bhi4 ,footnote #bic3 ,reproduced in the ,burlington ,magazine1 ,oct4 #aijf1 p4 #da1 in an article on 8,the ,portraits of ,mary ,queen of ,scots10 by ,mr4 ,lionel ,cust and ,miss ,k4 ,martin4 ,footnote #bid3 ,this picture was exhibited at the ,golden ,fleece ,exhibition at ,bruges in #aijg 7,no4 #acj71 as the work of an unknown ,scottish painter4 ,marie was married to the ,king of ,scots on the #ith ,may1 thus putting a final end to ,henry's plans in that direction4 ,in her place1 ,francis offered him1 through ,castillon1 the choice of any other lady in his kingdom4 ,he was told that 8she had a sister as beautiful and as graceful1 clever and well-fitted to please and obey him as any other40 ,this remark bore fruit1 and the next morning the ,king sent ,sir ,john ,russell1 a member of his ,privy ,council1 to make further inquiries4 ,castillon told the latter that ,france was a warren of honourable ladies1 from which ,henry might choose1 and that ,louise of ,guise was the very counterpart of ,madame de ,longueville4 ,he had not seen her for a long time1 but had heard her esteemed above any other lady in the kingdom4 ,russell then asked ,castillon 8to find some way that ,francis 7to show it was not as a refusal that he could not have ,madame de ,longueville1 but because she was promised beforehand7 should offer him her sister1 and say something of it to ,m4 ,briant 7,sir ,francis ,brian1 ,master of the ,toils1 then ambassador to ,france71 who would then send her portrait40#bie 8,probably10 added ,castillon1 in writing to ,francis1 8he is troubled that it must be known that his great instance made for the one is so suddenly changed for the other40 ,francis sent word in reply 7,may #be7 that he would very willingly conclude a match with ,henry and ,louise of ,guise2 and on the #cast of the same month ,castillon wrote to the ,grand ,master1 ,montmorency1 urging greater expedition in the matter4 8,if he 7,henry7 is to marry in ,france10 he said1 8three or four must be put forward1 but let them be of the best and such as ,montmorency shall advise as well to ,m4 ,brian as in letters from the ,king to ,castillon1 who should also have portraits of these put forward40#bif ,footnote #bie3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #iid4 ,kaulek1 #dg4 ,footnote #bif3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #aajb4 ,kaulek1 #ed4 ,sidenote3 ,,probable ,,visit ,,to ,,havre ,the narrative may be broken off here to note that ,holbein1 who remained in ,london throughout ,april and ,may1 engaged1 among other things1 upon the full-length portrait of the ,duchess of ,milan1 received1 on the #bith of the latter month1 the grant of a royal licence to export 8#fjj tuns of beer40 ,it runs as follows3 8,hans ,holbeyn1 the ,king's servant4 ,licence to buy and export #fjj tuns of beer4 ,del4 ,westminster1 #bith ,may #cj ,hen4 ,,viii40#big ,the painter was evidently prepared1 when the opportunity arose1 to engage in small commercial speculations in order to augment his income1 as was the case with more than one of his brother artists attached to ,henry's court4 ,thus1 in ,april #aeca1 ,luke ,hornebolt received a licence to export #djj quarters of barley1#bih and ,anthony ,toto1 8the ,king's painter10 was granted one in ,april #aeda1bii exactly similar to ,holbein's1 for the exporting of #fjj tuns of beer4 ,again1 ,alard ,plumier1 8the ,king's jeweller10 in ,march #aedb1cjj obtained grants for importing #djj tuns of ,toulouse woad and ,gascon wine1 and exporting #djj tuns of beer2 while1 as already mentioned1 ,holbein's friend and compatriot1 ,niklaus ,kratzer1 the ,king's astronomer1 received a very similar licence in ,october #aebg4cja ,footnote #big3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #ajii and #aaae7fe74 ,footnote #bih3 ,c4,l4,p41 vol4 v4 #bbj7ba74 ,footnote #bii3 ,c4,l4,p41 vol4 xvi4 #ggi7ah74 ,footnote #cjj3 ,c4,l4,p41 vol4 xvii4 #bbj7c74 ,footnote #cja3 ,c4,l4,p41 vol4 iv4 pt4 ii4 #cedj7bh74 ,henry rose promptly to the bait of ,louise of ,guise as a wife in place of her elder sister1 now unattainable1 and as usual no time was wasted4 ,on the #crd of ,june he despatched ,philip ,hoby and a painter to ,havre to obtain the lady's portrait4 ,this we learn from a letter of ,castillon's to ,montmorency1 dated ,june #dth1 describing an interview between the ,duke of ,norfolk and the ambassador's 8secretaire a cachetter0 respecting the suggested marriage1 which concludes with the following passage3 8,finally he 7,norfolk7 said that yesterday he 7,henry7 despatched the gentleman1 who wanted to go to see0 78vouloit aller02 ,kaulek reads 8souloit07 8,madame de ,longueville1 to ,hvre de ,grce to see ,mademoiselle de ,guyse2 for a ,scotchman has come hither who has said he wonders at the ,king of ,scots taking a widow rather than a young girl1 her sister1 the most beautiful creature that ever he saw40#cjb ,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 possible1 as the matter is pressing4 ,in this document there is no reference to ,hoby by name1 nor mention of any painter accompanying him2 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 envoy4 ,hoby had paid a visit to ,france earlier in the year in connection with his master's matrimonial affairs4 ,he had been sent over in ,february1 at about the same time as ,mewtas1 and evidently1 like the latter1 for the purpose of urging ,madame de ,longueville to throw over ,james ,v4 ,for this expedition he received exactly the same sum1 #bc1 #fs4 #h;d41 as for his journey to ,brussels in the following ,march4 ,it is entered among the royal payments for ,february as 8,philip ,hoby1 sent into ,france about the ,king's necessaries and affairs of importance1 #bc1 #fs4 #h;d40#cjc ,footnote #cjb3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #aace4 ,kaulek1 #cg4 ,footnote #cjc3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #abhj 7f4 #b;b74 ,but although there is no record of payment for this second journey in ,june to ,havre1 or mention of him by name1 there is no doubt that ,hoby was the envoy sent1 and that ,holbein accompanied him4 ,evidence of this is contained in a letter1 quoted below1#cjd from the ,duchess of ,guise to her daughter ,marie in ,scotland1 dated ,september #a1 which speaks of the arrival of ,hoby and ,holbein at ,joinville1 and mentions their earlier visit to ,havre4 ,contributory evidence is contained in ,castillon's letter of ,june #d1 in which he describes the messenger sent as one who had already been over to see1 or to try to see1 ,madame de ,longueville1 which undoubtedly refers to ,hoby's journey in ,february4 ,according to the same letter from ,joinville1 two portraits at least were painted at ,havre1 or rather studies made1 which would only occupy the artist for an hour or two1 as in the case of the ,duchess of ,milan1 the sitters in question being ,louise of ,guise1 who was then eighteen1 and some other lady--possibly ,marie or ,margaret of ,vendme4 ,footnote #cjd3 ,see p4 #adh4 ,somewhere about the date of ,hoby's return from ,havre1 a third ,french candidate for ,henry's hand appeared upon the scene4 ,this was ,rene1 the third daughter of the ,duke of ,guise1 who afterwards became abbess of ,st4 ,pierre de ,reims4 ,castillon wrote to ,montmorency on ,june #ai3 8,if you wish to entertain this ,king urge always the marriages2 for he only waits for them to be presented1 and the pictures must be sent immediately4 ,he has heard that ,mons1 de ,guyse has a daughter still more beautiful than the second4 ,i hear she is in a religious order1 but not professed 7qu'elle est en une religion1 mais elle n'est pas religieuse74 ,you can say something of it to ,mr4 ,bryant2 for he 7,henry7 expects to be asked and to have several offered to him40#cje ,footnote #cje3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #abag4 ,kaulek1 #fd4 ,it will be seen from this letter that ,castillon1 who was probably unaware of the steps ,henry was taking to obtain likenesses by means of his own artists1 was doing his utmost1 on his own account1 to get portraits of likely ladies sent over from ,france4 ,in a later letter 7,july #c7 he harps upon the same theme4 ,after reporting that ,henry is still in the best of humours1 and is ready to meet ,francis at a house which he will have made between ,boulogne and ,calais1 where they can both stay for six or seven days without pomp or great expense1 he concludes by saying3 8,the principal point to bring him over to the interests of ,francis is that he take a wife in ,france1 and they must be more energetic than they have been1 and let his ambassador see and send portraits and write news2 for he wishes to be sought1 and in the seeking they will put him so far in that he cannot draw back40#cjf ,footnote #cjf3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #acbj4 ,kaulek1 #fe4 ,sidenote3 ,,henry',s ,,search ,,for ,a ,,bride ,in his reply1 dated ,july #aj1 ,montmorency stated that a portrait of ,louise of ,guise had been obtained for ,brian1 who must have already despatched it to ,england4 8,if the ,king does not decide upon her10 he said1 8others shall be shown to ,brian40#cjg ,castillon1 who1 on account of the plague in ,london1 was then living in ,chelsea1 in ,sir ,thomas ,more's old house1 which had been lent to him by the ,king for the summer1 announced to ,francis ,i on ,july #be that ,brian 8has sent the portrait of ,mademoiselle de ,guise1 whom this ,king does not think ugly1 as ,i know by his face40#cjh ,in spite1 however1 of ,henry's appreciation of the lady's charms1 ,castillon1 in a letter to ,montmorency of the same date1 urged that portraits of ,mademoiselle de ,vendme and the young de ,guise 7i4e4 ,rene7 should be despatched with all diligence4#cji ,footnote #cjg3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #acef4 ,footnote #cjh3 ,c4,l4,p41 vol4 xiii4 pt i4 #adea4 ,kaulek1 #gc4 ,footnote #cji3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #adeb4 ,kaulek1 #gd4 ,throughout these negotiations ,henry frequently suggested that a selection of ladies should be brought to ,calais for his personal approval1 in charge of ,francis' sister1 ,margaret of ,navarre1 or some other high personage1 such as the ,duke of ,guise4 8,the ladies he means10 wrote ,castillon to ,francis on ,august #ab1 8are ,mesdemoiselles de ,vendsme1 de ,lorraine1 and the two de ,guise4 ,he has heard something of the younger of the two last1 and ,i think he will settle on one of them4 ,he has a great opinion of their house40#caj ,this request of ,henry's gave great offence in ,france1 which was voiced in a letter from ,montmorency to ,castillon on ,july #bi3 8,to bring him thither 7i4e4 to ,calais71 as he asks1 young ladies to choose and make them promenade on show6 ,they are not hackneys to sell1 and there would be no propriety in it4 ,henry has his choice of ,mdlle4 de ,vendosme1 or ,mdlle4 de ,guise1 and can judge of their beauty by the portraits and reports made to him2 and if these be not approved1 there are many other ladies from whom to choose4 ,the selection might be left to his ambassador1 ,briant1 who could send portraits40#caa ,even this did not quell the ,king1 and in the end he was informed that ,lorraine was not under the sway of ,francis1 and that he would have to apply for the hand of the damsel 7,anne of ,lorraine7 to her father and mother1 and as for the two daughters of ,guise1 one had already professed as a nun1 while the other1 as well as the daughter of ,m4 de ,vendosme1 could not be disposed of as though they were on sale4 ,footnote #caj3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #gg4 ,kaulek1 #hj4 ,footnote #caa3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #adif4 ,this official portrait of ,louise of ,guise by some ,french painter1 which ,brian sent over--and possibly a second one of ,marie of ,vendme1 as may be inferred from the last quoted letter--must not be confused with those privately procured by ,hoby at ,havre in ,june4 ,these later ,french portraits cannot now be traced1 and it would be mere guesswork to attempt to name the artist who was employed to produce them2 but a careful search through the royal collections or in some of the older houses in ,england might possibly result in their discovery4 ,some time in ,august ,holbein and ,hoby set out together upon their journey 8into the parties of high ,burgony40 ,the purpose of their expedition was to obtain portraits of ,rene of ,guise1 the ,duke's third daughter1 and of her cousin1 ,anne of ,lorraine1 while ,hoby was to sound the latter's father as to his inclinations towards a possible marriage between his house and ,england4 ,hoby's instructions from ,cromwell1 as given in abstract in the ,state ,papers1 run as follows3 8#8,a memorial by ,cromwell to my friend ,philip ,hoby touching such matters as he hath now committed to his charge4' 8,to repair with diligence where the young duke of ,longueville lies1 where he shall find the two daughters of ,mons1 de ,guyse1 whom he shall salute1 declaring that having business in these parts he could not omit to visit the one of them #8of whom he hath by his late being there some acquaintance4' ,and therewith he shall view well the younger sister1 and shall require the ,duchess1 her mother1 or whoever has the government of them1 that he may take the physiognomy of her1 that he may join her sister and her in a fair table4 ,which obtained1 he shall go to the duke of ,lorraine1 deliver my letter of credence1 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 master2 and albeit my purpose has not taken the effect ,i desired1 yet my affection remains the same2 and learning lately that his ,grace has a daughter of excellent quality1 ,i directed the said ,philip1 who has other affairs there1 to see her and get her picture4 ,requiring him to show his inclination and devise some overture to the ,king1 upon which ,i may set forth this thing4 ,philip shall also speak in the same manner to the young lady4 ,as soon as he has gotten her physiognomy and known the ,duke's pleasure he shall return with all possible diligence40#cab ,footnote #cab3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #chj7;i74 ,sidenote3 ,,journey ,,to ,,joinville ,,and ,,nancy ,when ,marie of ,guise married ,james ,v of ,scotland she left her son ,franois1 ,duke de ,longueville1 behind her in charge of his maternal grandmother1 ,anthoinette of ,bourbon1 ,duchess of ,guise1 who throughout #aech was at ,joinville1 one of the chief residences of the family1 or at places in the immediate neighbourhood4 ,joinville is a small town in ,champagne1 situated on the ,marne between ,chaumont and ,saint-,dizier1 and was made a principality by ,henri ,,ii in #aeeb in favour of ,duke ,claude's eldest son1 ,franois ,,ii of ,guise4 ,mary ,queen of ,scots resided there for some time when a young girl1 under the care of her maternal grandmother1 the ,duchess of ,guise4 ,miss ,jane ,t4 ,stoddart1 in her recently-published book1 ,the ,girlhood of ,mary ,queen of ,scots1 describes ,joinville as follows3 8,the train from ,bar-le-,duc passes through a fertile1 well-wooded country1 with many sparkling streams and closely planted villages4 ,there are few more picturesquely situated towns in ,eastern ,france than ,joinville1 which lies on a branch of the ,marne1 in a valley overshadowed by undulating tree-clad heights1 on one of which1 until near the end of the eighteenth century1 stood the ,castle of the ,guises4444 ,the woods of ,joinville to-day are full of singing birds4 ,every variety of foliage clothes the deep ravines4 ,the high road leading towards ,wassy is fringed with innumerable small1 well-kept gardens1 and the air1 on ,may evenings1 is not only light and bracing1 but sweet with the scent of flowers4 ,the little town must have changed very much in appearance since the sixteenth century4 ,it once possessed a wall and three gates1 and an old map in the ,htel de ,ville shows more than a dozen spires4444 ,it acquired great importance under the first ,dukes of ,guise1 who used it as their habitual country residence1 and entertained royal personages in the ,castle with regal magnificence4 ,that proud ,castle was allowed to fall into ruins during the eighteenth century4444 ,the picturesque quays near the church1 where the grass-impeded ,marne runs between rows of tall1 irregularly built houses1 cannot have altered greatly since ,queen ,mary's time4 ,in unexpected corners we find whitewashed houses adorned with old and costly sculptor's work1 with carved pillars1 and scrolls of vine-leaves surrounding the porch40#cac ,footnote #cac3 ,stoddart1 ,girlhood of ,mary ,queen of ,scots1 chapter xxi4 p4 #cdf et seq4 99 99 99 99 99 ,for ,joinville1 then1 the diplomatist and the artist set out about the middle of ,august4 ,the journey was a long one1 and ,hoby received in advance for travelling expenses1 #ff1 #acs4 #d;d41 nearly three times as much as he had been paid for his earlier journeys to ,havre and ,brussels1 thus showing that the expedition was to be of considerably longer duration4 ,this payment is entered in the royal accounts under ,august1 anno #cj1 and is undated1 but as may be gathered from entries preceding and following it1 it was on some day between ,august #aa and #bb4 ,the place of destination is not mentioned2 ,hoby is said merely to be 8sent into the parts of beyond the sea with all diligence40#cad ,footnote #cad3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #abhj 7f4 #cb74 ,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 ,scotland1 dated ,september #a1 which is preserved among the ,balcarres ,,mss4 in the ,advocates' ,library in ,edinburgh4 ,from it we learn that the two travellers reached ,joinville on ,august #cj4 ,the letter begins by describing the health of the youthful ,duke of ,longueville1 who was not quite three years old1 and was growing very tall and plump1 and goes on to give an account of the illnesses of various members of the family4 ,louise was still ill of the fever1 and had not moved from her bed for eight days4 ,her brother ,claude had been ill1 even to death1 at ,autun1 but was now quite out of danger4 8,your sister ,anthoinette is also ill of a fever and of a rheum1 but ,i think she will do well4 ,your aunt 7the ,duchess of ,lorraine7 is sent for to be at ,court at the coming of the ,queen of ,hungary1 who is to be presently at ,compigne1 where the ,king and all the ,court will be in a few days40 ,the letter then continues3 ,sidenote3 ,,holbein ,,at ,,joinville ,,and ,,nancy 8,it is but two days since the gentleman of the ,king of ,england who was at ,havre and the painter were here4 ,the gentleman came to me1 pretending that he was going to the ,emperor1 and having heard that ,louise was ill1 would not go without seeing her1 that he might report news of her to the ,king his master4 ,he saw her 7it was the day of her fever71 and talked with her as he had done to me4 ,he then told me that1 being so near ,lorraine1 he wished to go to ,nency to see the country4 #8,je me doute 7doubtai7 in contynent il y allet voir la demoyselle 7i4e4 ,anne of ,lorraine7 pour la tirer comes les aultres2' for which reason ,i sent to their lodging to see who was there1 and found the said painter was there4 ,in fact they have been at ,nency1 where they spent a day1 and were well entertained1 and at every meal the matre de htel came to eat with them1 with plenty of presents4 #8,vella se que j'en ay encore seu2 au pis alle sy navyes pour voysine vostre seur se pouret estre vostre cousine4'0#cae ,footnote #cae3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #bfb4 ,balcarres ,,ms41 ii4 #bj4 ,for the original text of this letter1 see ,appendix 7,l74 99 99 99 99 99 ,this letter fully bears out ,cromwell's instructions to ,hoby4 ,it is plain from its wording that ,hoby had already obtained a portrait of ,louise at ,havre1 and at least one other1 of some unnamed lady 78pour la tirer comes les aultres072 and that the painter who had drawn them was the painter now at ,joinville4 ,their journey was1 however1 in part at least1 a failure1 for their chief purpose in visiting the ,duchess was to obtain a portrait of her daughter ,rene1 the 8religieuse40 ,hoby was ordered 8to take the physiognomy of her1 that he may join her sister and her in a fair table02 in other words1 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 completed1 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 collection4 ,unfortunately for their purpose1 ,rene was not at ,joinville1 so that nothing could be done1 and ,hoby had to be content with an interview with ,louise in her bedchamber4 ,the fourth daughter1 ,anthoinette1 was at home1 but she was then only a child of seven4 ,thanks to the curiosity of the ,duchess1 however1 we know that they succeeded in the second half of their mission4 ,they spent a day at ,nancy1 where they were well received by the ,duke of ,lorraine1 and evidently procured the drawing required1 which ,holbein would easily make in a few hours4 ,hoby attempted to conceal the real purpose of this visit to ,nancy from the ,duchess of ,guise1 but the lady was sharp enough to guess what was in the wind4 ,whether ,louise or ,anne1 however1 it was all in the family4 8,if the worst comes to the worst10 she tells the ,queen of ,scots1 8if you do not have your sister for neighbour1 it may well be your cousin40 ,the letter is far from easy to decipher1 owing to its extraordinary spelling and grammar4 ,it is difficult to gather from it which of the two places ,hoby and his companion first visited4 ,the ,duchess1 writing only two days after they had been with her1 says that the envoy told her that 8he wished to go to ,nency10 which seems to indicate a prospective journey2 but1 on the other hand1 she says 8they have been to ,nency10 and a journey from ,joinville to ,nancy and back again1 together with a whole day spent at the latter place1 could not possibly have been accomplished between ,august #cj and ,september #a1 so that it looks as though they had gone straight to the ,duke of ,lorraine in spite of ,cromwell's instructions1 and then from there on to ,joinville4 ,the point1 however1 is of little importance4 ,neither in ,cromwell's instructions nor the ,duchess's letter is ,holbein mentioned by name1 but that he was the painter who accompanied ,hoby seems certain4 ,in less than a fortnight afterwards he was in ,basel1 an easy journey from ,lorraine1 where he made a stay of at least some weeks1 returning to ,england some time before ,christmas1 when he received from the royal purse a special reward of #aj for his journey into 8high ,burgony40 ,the entry runs as follows3 8,december1 ,ao xxx3--,item payde to ,hans ,holbyn1 one of the ,kingis paynters1 by the ,kingis commaundement1 certefyed by my ,lorde pryviseales lettre1 x li4 for his costis and chargis at this tyme sent aboute certeyn his gracis affares into the parties of high ,burgony1 by way of his ,graces rewarde1 x li40#caf ,footnote #caf3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #abhj 7f4 #dh74 ,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 ,milan4 ,the former even suggests that the #aj might be a deferred payment for the visit to ,brussels in ,march4#cag ,but the title 8,high ,burgony0 was quite appropriate to the district in which ,joinville and ,nancy are situate4 ,woltmann says that ,high ,burgundy was the name given to the county of ,burgundy 7,franche ,comt71 which belonged to the ,emperor1 in distinction to the duchy of ,burgundy1 which was ,french1 and added that1 in those days1 the denomination would not have been impossible for ,switzerland4#cah ,it may be taken1 therefore1 considering the lack of accurate geographical knowledge then existing in ,england1 that the expression 8,high ,burgony0 sufficiently indicated1 in the mind of the keeper of the royal accounts1 that part of the world in which ,guise and ,lorraine had their headquarters4 ,footnote #cag3 ,wornum1 p4 #cae4 ,footnote #cah3 ,woltmann1 i4 p4 #dee4 ,sidenote3 ,,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 #ff1 #acs4 #d;d4 paid to ,hoby--was deferred until ,christmas was owing to the fact that1 finding himself so near ,switzerland when at ,joinville1 he seized the opportunity of paying a visit to his family in ,basel1 and so remained absent from ,england for about three months in all4 ,another point in favour of the contention that ,holbein was abroad on the ,king's business during #aech more often than has been generally supposed1 is to be found in the fact that at the ,midsummer quarter he received three-quarters of a year's salary in advance4 ,at ,lady ,day he had been paid his customary quarter's salary3 8,lady ,day1 ,anno xxix3--,item for ,hans ,holben1 paynter1 vii li4 xs40 ,at ,midsummer he received #cj1 a whole year's salary1 but it included the quarter from ,lady ,day then owing to him4 ,the entry reads3 8,midsummer1 ,anno xxx3--,item for ,hans ,holbyn1 paynter1 for one hole yere's annuitie advaunced to him beforehand the same yere1 to be accomptedde from or ,ladye dey last past1 the somme of xxx li40 ,on the two following quarter-days1 owing to this payment in advance1 he is entered as receiving nothing3 8,michaelmas1 ,ao xxx3--,item for ,hans ,holbyn1 paynter1 wages nihila quia solutum per warrantum40 8,christmas1 ,ao xxx3--,item for ,hans ,holbyn1 paynter1 ,nihil40 ,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 artist1 but it was more probably due to his frequent absences from ,england at that time4 ,on the one hand1 his several journeys might well entail some amount of extra expenditure not covered by his travelling allowances1 while on the other his income would be reduced through the limited time left him for painting the portraits of ,english courtiers or ,german merchants4 ,there is1 in fact1 no portrait from his brush bearing the date #aech4 ,added to this1 his great success in painting the ,duchess of ,milan must be taken into account4 ,the ,king was delighted with this portrait1 and his choice would naturally fall upon the man who had painted it when a similar journey was in contemplation4 ,there is one piece of evidence1 however1 against the assumption that ,holbein was the painter who went to ,joinville1 which must not be overlooked--a letter from ,niklaus ,kratzer1 the ,king's astronomer1 to ,cromwell4 ,it is a much-mutilated epistle1 written in somewhat halting and incorrect ,latin4 ,kratzer begins by saying that he had received1 the day before writing1 by a ship from ,antwerp1 two little books by ,georgius ,spalatinus1 which the author had sent to him in order that he might present them to ,cromwell4 8,these10 he says1 8,i gave to ,hans ,holbein 7,joanni ,holbein71 in order that he might give them to you40 ,at first sight this looks as though ,kratzer might have given ,holbein the books to deliver1 knowing that he was about to visit ,cromwell for final instructions on the eve of his departure for ,high ,burgundy4 ,the letter1#cai however1 is dated ,st4 ,bartholomew's ,day1 ,august #bd 7,datum ,lunduni1 in festo ,sancti ,bartholomei71 so that if ,kratzer had seen ,holbein on ,august #bc1 the latter could not possibly have reached ,joinville by the #cjth2 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 ,london1 whereas the ,french messengers took double that time--it would have been impossible1 even with the utmost speed then attainable1 to reach the far borders of eastern ,france within a week4 ,but although the letter is dated 8,st4 ,bartholomew's ,day10 it has no year-date4 ,it has been placed under the year #aech by the editor of the ,calendars of ,letters and ,papers from such internal evidence in it as it is possible to decipher2 but it is so badly mutilated that it is impossible to make much sense of the greater part of it4 ,it contains news from abroad1 and mentions ,burgratus1 vice-chancellor of the ,duke of ,saxony2 and ,burgratus was certainly in ,london in the summer of #aech1 with other envoys from the ,german ,protestant princes4 ,these envoys1 however1 paid more than one visit to ,england4 ,as1 therefore1 the letter contains no evidence absolutely conclusive of the date #aech1 it may1 perhaps1 be permitted to hold the opinion that it was written in some other year1 and that1 by itself1 it is not sufficient to negative the strong proofs brought forward to show that ,holbein was the painter who made this particular journey into ,france4 ,nor was this the only occasion on which ,spalatinus used ,kratzer as the medium for sending copies of his writings to ,cromwell4 ,on ,february #e1 #aeci1 ,cromwell wrote to the ,king1 enclosing 8a book brought this morning by ,nic4 ,cratzer1 astronomer1 which ,geo4 ,spalatinus1 some time schoolmaster to the duke of ,saxony1 desired him to deliver to the ,king1 on #8,the ,solace and ,consolation of ,princes4'0#cbj ,footnote #cai3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #agi4 ,footnote #cbj3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #bbg4 ,st4 ,p41 i4 #eib4 ,sidenote3 ,,the ,,date ,,of ,,hoby',s ,,instructions ,one other point in connection with this subject must be mentioned before leaving it4 ,hoby's instructions for visiting the courts of the ,duchess of ,guise and the ,duke of ,lorraine are not dated4 ,the editor of the ,calendars has entered them under ,february #aech1 together with the very similar instructions for the visit to the ,duchess of ,milan1 which are also undated1 placing both under the one heading1 8,philip ,hoby's ,missions40 ,for the latter instructions1 which he puts second1 ,february is1 of course1 the correct date1 but the former should be under ,august1 as the preceding pages prove4 ,dr4 ,gairdner was misled1 in the first place1 by the fact that in ,february ,hoby received payment from the royal purse for a journey to ,france1 and1 in the second1 through his misreading of the heading to the ,brussels instructions1 as explained in the last chapter4#cba ,by the insertion of two unnecessary words1#cbb the last-named instructions are made to read as though it was ,cromwell's intention that ,hoby1 on this particular journey1 should go first of all to the ,duchess of ,lorraine1 and then to the ,duchess of ,milan4 ,he concludes from this1 in his preface to vol4 xiii4 pt4 i4 of the ,calendars of ,letters and ,papers1 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 picture1 and immediately upon his return set out for ,brussels to get one of the ,duchess of ,milan4 ,there is no need to quote the whole of his argument1 as it is based upon a misapprehension1 for the instructions in question were undoubtedly drawn up in ,august1 as the letter of the ,duchess of ,guise1 of the #ast of ,september1 clearly proves4#cbc ,footnote #cba3 ,see above1 pp4 #aai-bj4 ,footnote #cbb3 8,instructions given by the ,l4 ,cromwell to ,philip ,hoby1 sent over by him to the ,duchess of ,lorraine then to the ,duchess of ,milan40 ,footnote #cbc3 ,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 ,lorraine1 he continues3 8,yet instructions for his proceeding on another very similar mission seem to have been drawn up at or near the same time2 and by these second instructions he was not to come home at all1 but proceed at once from the duchess of ,lorraine in ,france to the duchess of ,milan in the ,netherlands4 ,it would seem1 however1 that the heading to the second set of instructions has been supplied by a transcriber of a later date1 and it is clearly inaccurate40 ,c4,l4,p41 vol4 xiii4 pt4 i41 preface1 p4 xxxviii4 ,in spite of this anxiety to obtain portraits1 ,henry's negotiations for a ,french marriage were as unsuccessful as his advances for the hand of the ,duchess of ,milan4 ,in each case1 no doubt1 the proposed alliance was largely political1 though ,henry seems to have been genuinely anxious to marry ,madame de ,longueville1 or to prevent his nephew of ,scotland from doing so1 and was afterwards by no means unwilling to take one of her sisters4 ,throughout the whole proceedings the ,french and the ,imperial ambassadors in ,london kept each other well informed of what was going on1 though each one was of the private opinion that ,henry was more inclined towards a bride from his country than from the other's4 ,thus ,chapuys1 writing to ,charles ,v early in #aeci1 reports that 8everybody says he is much inclined to the duchess of ,milan1 whom1 as ,i was informed three days ago1 by one who knows almost all secrets1 he would willingly take1 even if she were delivered to him naked without a penny40#cbd ,on the other hand1 ,castillon told ,montmorency3 8,he1 however1 says the practice of his marriage with the duchess of ,milan still continues1 444 but ,i know he would willingly return to marry ,mademoiselle de ,guise4 ,if you think the ,king 7,francis7 and ,emperor should have the pastime of seeing him thus #8virolin virolant1' ,i can easily get it up1 provided a little good cheer is made to his ambassador1 and that ,m4 le ,cardinal or ,m4 de ,guise caress him a little40#cbe ,henry1 however1 finally turned his attentions in another direction1 while two of the ladies he had sought were soon married elsewhere1 ,louise of ,guise to ,charles de ,croi1 ,prince de ,chimaix1 in #aeda1 and ,anne of ,lorraine to ,ren1 ,prince of ,orange1 in #aedj4 ,the third1 ,marie of ,vendme1 died unmarried1 aged twenty-two1 on #bhth ,september #aech1 a week or two after ,holbein was at ,joinville4#cbf ,footnote #cbd3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #cg 7#i ,jan4 #aeci47 ,footnote #cbe3 ,c4,l4,p41 vol4 xiii4 pt4 ii4 #aabj 7#b ,dec4 #aech47 ,footnote #cbf3 ,she was betrothed to ,franois1 ,duke of ,nevers1 who married her sister ,margaret before the end of the same year4 ,sidenote3 ,,holbein',s ,,movements ,,in #aech ,whether ,holbein painted pictures of one or all of these ladies from the drawings he made in ,france it is impossible to say4 ,the drawings themselves cannot be traced1 but this does not prove that they were not taken1 for the preliminary studies of ,christina of ,milan and of ,anne of ,cleves and her sister ,amelia have so far remained undiscovered4 ,holbein and ,hoby parted company at ,nancy early in ,september1 the former to visit his wife and family in ,basel1 while the latter returned post-haste to ,london1 no doubt taking with him ,holbein's sketch of ,anne of ,lorraine in order to show it to his royal master4 ,in ,october ,hoby set out for ,spain1 in connection with the negotiations for the ,milan marriage4 ,the contents of this chapter and the preceding one may be summarised as follows3 ,february #a1 #aech4--,peter ,mewtas sent over to ,france to obtain the portrait of ,marie of ,lorraine1 ,duchess of ,longueville4 ,early in the same month ,philip ,hoby was also sent into ,france for the same purpose 7about the ,king's 8necessaries and affairs of importance071 for which he was paid #bc1 #fs4 #h;d4 ,march #b or #c1 #aech4 --,hoby and ,holbein left ,london for ,brussels to obtain the portrait of the ,duchess of ,milan1 reaching the latter place on the evening of the #ajth4 ,march #ab1 #aech4--;,holbein made his drawing of the ,duchess1 and the two men started home on the evening of the same day1 reaching ,london on ,march #ah4 ,april and ,may #aech4--;,holbein at work on the full-length portrait of the ,duchess of ,milan4 ,may #bi1 #aech4--;,holbein received a royal licence to export #fjj tuns of beer4 ,june #c1 #aech4--;,hoby and ,holbein left ,london for ,havre to obtain the portrait of ,louise of ,guise1 and of some other lady1 possibly ,marie or ,margaret of ,vendme4 ,june #cj1 #aech4--;,holbein received three-quarters of a year's salary in advance4 ,august #aa-bb1 #aech4--,on one of the days between these dates ,hoby and ,holbein left ,london for ,nancy and ,joinville to obtain portraits of ,rene of ,guise and ,anne of ,lorraine1 receiving #ff1 #acs4 #d;d4 for their travelling expenses4 ,they arrived at ,joinville on ,august #cj1 to find ,rene absent1 but were successful at ,nancy in getting a likeness of ,anne4 ,from ,joinville ,hoby returned to ,london1 and ,holbein went on to ,basel1 which he reached before ,september #aj4 ,he remained there until after ,october #af4 ,december #aech4--;,holbein1 upon his return to ,london1 received a special reward of #aj 8for his costis and chargis at this tyme sent aboute certeyn his gracis affares into the parties of high ,burgony1 by way of his ,graces rewarde40 ---------------------------------------- -------------------------------- ,,chapter ,,xxii ,,basel ,,revisited ,holbein's return to ,basel--,fted by his fellow-citizens--,his prosperous condition--,proposes to repaint his wall-decorations--,offer of a pension of fifty gulden from the ,basel ,town ,council1 with permission to remain in ,england two years longer--,death and will of ,sigmund ,holbein--,holbein returns to ,england1 probably by way of ,paris1 in order to apprentice his son ,philip to ,jacob ,david1 goldsmith--,back in ,london before ,christmas #aech--,receives a special reward for his journey to 8,high ,burgony0--,portraits of ,edward1 ,prince of ,wales--,guillim ,stretes4 ,,some nine days after ,hoby and ,holbein parted company at ,nancy the latter was home again in ,basel after an absence of six years4#cbg ,the journey across the ,vosges mountains would not be a long one4 ,on ,september #ab1 #aech1 ,rudolph ,gwalther1 then studying in ,basel1 wrote to the antistes ,heinrich ,bullinger in ,zrich3 8,hans ,holbein came recently to ,basel from ,england1 and he gives such a glowing account of the happy condition of that kingdom1 that after a few weeks' stay he means to go back again40#cbh ,he received a very hearty welcome from the citizens1 who1 now that his reputation was much more than a local one1 were naturally proud of the fact that he was one of themselves4 ,on ,september #aj his fellow-burghers gave a banquet in his honour in the ,guild-house in the ,st4 ,johanns-,vorstadt1 the quarter of the city in which ,holbein's own residence was situated4 ,matthus ,steck1 the steward of the ,dominican ,monastery1 notes in his ,book of ,accounts that he and the schoolmaster1 ,brother ,jacob1 with their wives1 were present on the occasion1 and that they spent eight shillings4 ,footnote #cbg3 ,unless1 as suggested above 7see p4 #fc71 he had paid an earlier visit to ,basel1 about #aecd-e1 of which1 however1 there is no actual evidence4 ,footnote #cbh3 8,venit nuper ,basileam ex ,anglia ,johannes ,holbein1 adeo felicem ejus regni statum praedicans1 qui aliquot septimanis exactis rursum eo migraturus est40 ,this letter1 which was first quoted by ,hegner 7,hans ,holbein der ,jngere1 p4 #bdf71 is now among the ,zrich ,state ,papers in the ,antistical ,archives4 ,sidenote3 ,,proposal ,,to ,,repaint ,,wall-,,paintings ,there is a most interesting reference to this home-coming in ,dr4 ,ludwig ,iselin's additions to the ,faesch manuscript 7discovered by ,dr4 ,his-,heusler71 in which he says3 8,when he returned to ,basel for a time from ,england1 he was attired in silk and velvet2 before this he was obliged to buy wine at the tap40#cbi ,in ,basel1 a city where wine was both cheap and plentiful1 and all men of means kept a well-stocked cellar1 to be obliged to procure it1 from day to day1 from the tavern was a sign of poverty1 and ,iselin thus contrasts ,holbein's worldly condition before leaving ,switzerland and after his entry into the service of ,henry ,,viii4 ,iselin adds1 after stating that ,holbein died soon after his return to ,england1 that 8his intention was1 had ,god lengthened his life1 to paint many of his pictures again1 at his own expense1 as well as the apartment in the ,town ,hall4 ,the house #8zum ,tanz1' he said1 was #8rather good4'0 ,the pictures which he wished to put in order were1 of course1 his wall-paintings on the exterior of several of the ,basel houses1 done in his youth1 some eighteen years earlier1 which even then were beginning to suffer from exposure to the weather1 and his frescoes in the ,town ,hall1 some of which were already damaged by damp4 ,no doubt1 too1 he felt that he could improve upon them1 though it is interesting to note that he expressed himself satisfied with the 8,house of the ,dance0 faade1 in which he had given the freest play to his imagination4 ,footnote #cbi3 ,see ,woltmann1 i4 p4 #def and ii4 p4 #dc4 ,twice during his absence in ,england1 on ,november #bc1 #aecc1 and ,january #g1 #aecg1 he had been 8laid out for the banneret0 by his ,guild 8zum ,himmel0--that is1 appointed as one of those who had to perform the military service of the ,guild1 but he had ignored the summons4#ccj ,possibly he knew nothing about it4 ,he had even disregarded the letter from the burgomaster1 sent to him in ,september #aecb1 shortly after his return to ,england1 in spite of the offer of a pension which it contained2 for ,england afforded far better opportunities than ,switzerland for the making of money4 ,footnote #ccj3 ,see ,woltmann1 i4 p4 #deg4 ,english translation1 p4 #dcj4 ,the two items1 from the ,banner ,book of the ,guild 8zum ,himmel10 are as follows3 8,item ,ao #aecc ,jar vff ,sunthag vor kattrinen ,sind dise her noch geschriben von beyden ,znfften vss gelegtt vom ,himels vnnd ,sternen4 ,erstlich zum ,fenlin vnd ,baner4 4 4 4 4 4 4 4 4 4 4 ,zum ,baner4 4 4 4 4 4 4 4 4 4 4 ,hanns ,holbein der ,moller0 7his name being at the head of a number of other guildsmen74 8,ao #aecg ,jar vf ,sunthag noch dem nuwen ,jar ,sindt dise ,hemach geschriben zum ,fenlin vnd zu dem ,baner vss geleytt erstlich ,himels vij ,mann 7here follow the seven names74 ,zum paner xiij man40 ,here follow the thirteen names1 among them being 8,hanns ,holbein der maller40#cca ,footnote #cca3 ,woltmann1 ii4 p4 #cb1 quoting from ,his1 ,die ,baseler ,archive1 c4 ,the first entry is brought forward by ,mr4 ,w4 ,f4 ,dickes as one of the strongest pieces of evidence in favour of his contention that ,holbein obeyed the request contained in the ,burgomaster's letter1 and returned to ,basel in the winter of #aecb1 and remained there throughout the following year1 so that he could not have painted 8,the ,ambassadors0 in ,england in #aecc4 ,he entirely misreads the entry1 however1 which he regards as a record 8of monies due to ,holbein for festal decorations on behalf of the two city guilds0#ccb 7,von ,himmel und von ,sternen72 and he ignores the second entry1 which1 to be logical1 should prove that ,holbein was also in ,basel in ,january #aecg4 ,no 8monies0 are entered against these items1 as one would gather from his description1 so that it is difficult to see how they record sums due to the painter4 ,they were merely lists of names1 as ,woltmann points out1#ccc of members of the ,guilds appointed to take their turn of military service on festal occasions4 ,the second entry shows this even more clearly than the first1 and from it we learn that ,holbein was one of thirteen members thus appointed as banner-bearers4 ,footnote #ccb3 ,dickes1 ,holbein's ,ambassadors ,unriddled1 p4 #c4 ,footnote #ccc3 ,woltmann1 i4 p4 #deg4 ,sidenote3 ,,offered ,,pension ,,by ,,basel ,,council ,it is probable that one of the chief reasons for ,holbein's visit to ,basel1 in addition to a natural desire to see his family1 was to make some arrangement with the ,town ,council for a further leave of absence4 ,he was now in the actual service of a foreign sovereign1 and he ran the risk of losing his rights of citizenship unless he could come to some understanding with the civic authorities4 ,he had taken1 as we have seen1 no notice of the ,council's urgent request1 sent after him to ,england in the autumn of #aecb1 and he had ignored the calls made upon him by the ,painters' ,guild during the six years of his absence1 for fulfilling his share of various official and ceremonial duties4 ,probably he was quite unaware that such calls had been made4 ,now1 however1 that he was in ,henry ,,viii's pay1 it was necessary that some definite arrangement should be made1 which would enable him to remain in ,england at least some years longer without risk of unpleasant consequences4 ,the ,council1 seeing that he had become a painter of high reputation1 known far beyond the confines of ,switzerland1 were more anxious than ever to keep him in ,basel4 ,aware1 however1 that they were not rich enough to find him employment as remunerative as that enjoyed by him at the ,english court1 they effected a compromise4 ,a document was drawn up1 after consultation with the painter1 in which a much more generous offer was made to him than the one proposed in #aecb4 ,this agreement1 which was signed on behalf of the ,council by ,jakob ,meyer1 8zum ,hirschen10 after extolling ,holbein's reputation as a painter1 offered him a pension of fifty gulden a year1 with permission to remain in ,england for two years longer1 during which time they would pay his wife a pension of forty gulden4 ,after his final return to ,basel1 he was still to be permitted to receive service money from foreign kings1 princes1 nobles1 and cities1 and1 in order to sell his pictures1 was to be allowed to visit ,france1 ,england1 ,milan1 or the ,netherlands once1 twice1 or thrice a year for that purpose4 ,the document runs as follows3 8,master ,hans ,holbein the painter's ,pension40 8,we1 ,jacob ,meyger1 ,burgomaster1 and the ,council of the city of ,basel1 do make known and acknowledge with this letter that3 8,from the special and favourable will which we bear to the honourable ,hans ,holbein1 the painter1 our dear citizen1 since he is famous beyond other painters on account of the wealth of his art2 weighing further that in matters belonging to our city respecting building affairs and other things which he understands1 he can aid us with his counsel1 and that in case we had to execute painting work on any occasion1 he should undertake the same1 for suitable reward1 we have therefore consented1 arranged1 and pledged to give and to present to the above-named ,hans ,holbein a free and right pension from our treasury of fifty gulden1 though with the following conditions1 and only during his lifetime1 whether he be well or ill1 yearly1 in equal parts at the four quarters4 8,as however the said ,hans ,holbein has now sojourned for some time with the ,king's ,majesty in ,england1 and according to his declaration it is to be feared that he can scarcely quit the ,court for the next two years1 we have allowed him under these circumstances to remain in ,england the two years following this date1 in order to merit a gracious discharge1 and to receive salary1 and have consented during these two years to pay his wife residing among us forty gulden yearly1 i4e4 ten gulden quarterly1 which are to begin from next ,christmas1 as the end of the first quarter4 ,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 here1 that we should from that moment give him his pension of fifty gulden1 and let it be paid to him in equal parts at the end of the quarter4 ,and1 as we can well imagine that the said ,holbein1 with his art and work being of so far more value than that they should be expended on old walls and houses1 cannot with us alone reap much advantage1 we have therefore allowed the said ,holbein1 that1 unimpeded by our agreement1 for the sake of his art and trade1 and for no other unlawful and crafty matters1 as we have also impressed upon him1 he may gain1 accept1 and receive service money from foreign kings1 princes1 nobles1 and cities2 that moreover he may convey and sell the works of art which he may execute here once1 twice1 or thrice a year1 each time with our special permission1 and not without our knowledge1 to foreign gentlemen in ,france1 ,england1 ,milan1 and the ,netherlands4 ,yet on such journeys1 he may not remain craftily abroad1 but on each occasion he shall do his business in the speediest manner1 and repair home without delay and be serviceable to us1 as we have before said1 and as he has promised4 8,in conclusion1 when the oft-mentioned ,holbein has paid the debt of nature according to the will of ,god1 and has departed from this valley of tears1 then shall this warrant1 pension1 and present letter be at an end1 and we and our descendants therefore are not pledged to give aught to anyone4 ,all upright1 honourable1 and with integrity4 ,this letter1 signed with our official seal1 we have given into the hand of the oft-mentioned ,holbein as a true document4 ,wednesday the sixteenth day of ,october1 anno xxxviii40#ccd ,footnote #ccd3 ,woltmann1 i4 pp4 #deh-i4 ,english translation1 pp4 #dcj-a4 99 99 99 99 99 ,sidenote3 ,,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 service1 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-front2 and his talents1 they acknowledged1 were too great to be devoted to nothing but the covering of 8old walls and houses0 with designs4 ,they1 therefore1 made many concessions1 which would enable him to pursue his art with almost the same freedom he had hitherto enjoyed4 ,in spite of the liberality of the terms1 however1 the document remained1 as far as ,holbein was concerned1 a dead letter throughout the five remaining years of his life2 at least1 no evidence has so far been discovered to show that he ever visited ,basel again1 though1 as suggested in an earlier chapter1#cce he may have done so about the year #aeda4 ,whether his wife received the pension of #dj gulden for the first two years is not known4 ,there is no mention of it in the ,council's accounts1 but ,woltmann suggests that it may have been given1 as was often the case with pensions of this kind1 out of the monastery revenues4 ,footnote #cce3 ,see p4 #fc4 ,holbein was bound to return to ,england for at least another six months1 as he had received nine months' salary in advance1 but there can be little doubt that he had1 at the time1 every intention of accepting the ,council's conditions4 ,he was1 however1 so popular in ,england1 and had so much work on hand1 that he found it increasingly difficult to leave1 so that in the end his arrangement with the ,basel ,council fell to the ground4 ,it has been suggested1 too1 that the death of his uncle ,sigmund in ,berne1 in ,november #aedj1 at about the time when ,holbein was due to return to ,basel1 may have had something to do with his determination to remain in ,england2 for ,sigmund bequeathed all his property to his 8dear brother's son ,hans10 and it was handed over to the latter's wife in his absence4 ,the will1 from which we learn that 8,sigmund ,holbeyn0 was then a citizen of ,berne1 and being old1 was about to make a journey to ,augsburg to see his relations1 continues3 8,in the first place1 ,i will and bequeath to my dear brother's son ,hans ,holbeyn1 the painter1 citizen at ,basel1 both as my blood relation and my own race and name1 as well as from the especial love ,i bear him and from the affinity in which he stands to me1 the free gift of all my goods and property which ,i have and leave in the city of ,berne1 namely1 my house1 and courtyard1 and the garden behind1 standing in the ,brunnengasse1 on the sunny side1 above by the ,trom ,wall1 near ,grg ,zimmerman1 the tailor's1 house4 ,the said property is free from taxes1 with the exception of five pounds interest1 including the commutation-capital1 which ,i owe out of it to ,herr ,bernhard ,tillman1 treasurer of the council at ,berne1 for money lent4 ,item1 my silver utensils1 household furniture1 colours1 painter's gold and silver1 implements for painting1 and other things1 nothing excepted1 that he shall appropriate the same as my appointed heir1 have it in his possession1 do with it and live as with his own possession and property1 unmolested by my sisters and by any one4 ,what ,i have here bequeathed to him1 will be found noted on a separate roll1 so that my cousin can better inquire after it40#ccf ,footnote #ccf3 ,woltmann1 ,english translation1 p4 #ajf4 ,original text in ,woltmann1 ii4 p4 #cc-e4 ,he left what property he possessed in ,augsburg to his three sisters1 ,ursula ,nepperschmid and ,anna ,elchinger in ,augsburg1 and ,margreth ,herwart in ,esslingen4 ,the will is dated ,september #f1 #aedj1 and the testator died very shortly afterwards4 ,on the #ahth of ,november the ,berne ,town ,council wrote to both ,basel and ,augsburg notifying his heirs of his decease1 and on the #ajth ,january in the following year the property was handed over to ,holbein's stepson1 as the authorised agent of his mother4 ,the confirmation of the testament1 in the name of ,hans ,franz ,ngely1 burgomaster of ,berne1 speaks of him as 8the honourable and wise ,franz ,schmid1 citizen of ,basel10 and says that he brought 8a procuracy and a letter from ,elsbeth1 the wife of ,master ,hans ,holbein1 the painter1 citizen of ,basel1 and also a letter from the burgomaster and council of the town of ,basel40 ,this legacy would serve to some extent in place of the annuity of #dj gulden paid by the ,council to ,elsbeth ,holbein1 which would cease when her husband failed to carry out his part of the agreement4 ,woltmann suggests that she probably settled in ,berne in consequence of this bequest1 in the house on the sunny side of the ,brunnengasse1 although there is no documentary proof of this4 ,on the other hand1 the inventory of her household goods and property1 drawn up after her death in #aedi1 and preserved in ,basel1 indicates that she never permanently severed her connection with that city4 ,sidenote3 ,,philip ,,holbein ,,and ,,jacob ,,david ,holbein must have set out again for ,england shortly after the drawing up of this agreement1 and there is some reason to suppose that he travelled back by way of ,paris1 taking his elder son1 ,philip1 with him1 and apprenticing him in that city for six years to ,jacob ,david1 the goldsmith1 who was a native1 and still remained a citizen1 of ,basel4 ,this information is obtained from a letter addressed to ,david from the ,burgomaster ,adelberg ,meyer and the ,council of ,basel1 dated #aith ,november #aede1ccg with reference to a dispute between the apprentice and his master1 the latter refusing to give him his discharge on the completion of his six years' service4 ,this letter speaks of ,holbein as deceased1 and refers to ,philip as a 8good1 pious youth10 still in his minority1 and under the care of his step-brother1 ,franz ,schmid4 ,footnote #ccg3 ,discovered1 and first published1 by ,dr4 ,his-,heusler4 ,david is informed that 8it has credibly reached our ears that thou wilt give no discharge to ,philipp ,holbein 7but that thou hast brought him moreover in ,paris before the ,lord-,lieutenant71 although he has served thee honestly and honourably his six years1 which were promised by his father1 the deceased ,hans ,holbein1 our citizen1 now when he1 at befitting opportunity1 desires to depart from thee1 and this not alone on account of his honest and honourable service1 as was thy duty before ,god and in all honour4 ,thus thou addest one cause of complaint to another1 and aimest at oppressing the good1 pious youth as far as thou canst and in causing his ruin4 ,this thine unfriendly conduct has caused us not a little regret2 we had in no wise foreseen it1 but had rather hoped that if any one sought to hinder another in his success and welfare1 thou would'st have taken up his cause and protected him4444 ,besides1 this ,philipp ,holbein is in his minority1 and is under the care of ,franz ,schmid1 his brother1 our citizen1 and without his help and authority is qualified for no lawsuit2 it is our pleasure1 therefore1 and we herewith request thee as our citizen1 that thou forthwith and immediately breakest off the complaint brought by thee against ,philipp ,holbein and allowest him1 kindly and friendly to depart from thee1 and because he has served thee honestly and truly1 that thou givest him a good sealed letter of discharge1 of which he may make use4 ,in all this we express our earnest will and command2 we have also written to the ,lieutenant who is judge between you both1 our citizens1 not to continue the proceedings1 and to refer you both hither40 ,the letter concludes by saying that if ,david feels he has a just claim against ,philip1 he is to cite him before the municipal court of ,basel1 when full justice shall be done4 ,a letter to the same effect1 and of the same date1 was sent to ,philip1 ordering him not to enter into any further law proceedings in ,paris1 but to take his discharge and return to ,basel1 where his case would be decided by the municipal authorities4#cch ,footnote #cch3 ,woltmann1 ,english translation1 pp4 #cbi-cj4 ,it seems clear from this letter to ,david that the dispute arose shortly after the completion of ,philip's six years of apprenticeship1 in which case the boy must have been left in ,paris in the autumn of #aeci1 and not of #aech4 ,if that was so1 then ,holbein cannot have personally apprenticed him on his return to ,england from ,basel1 and ,philip must have gone there a year later in charge of someone else4 ,it is possible1 however1 that ,holbein took his son with him to ,england1 and kept him there for twelve months or so1 sending or taking him to ,paris in #aeci4 ,it is usually supposed that the boy in the family group of #aebh represents ,philip1 the elder son1 born about #aebb4 ,in the picture he appears to be five or six years old4 ,he would thus be about fifteen or sixteen in #aech--rather a late age upon which to enter his apprenticeship--and twenty-two at the date of the letter1 which1 however1 speaks of him as still a minor4#cci ,footnote #cci3 ,it is possible that the boy in the picture is not the one who was taken to ,paris1 but that the latter was a second son1 born during ,holbein's second residence in ,basel 7#aebh-cb71 whose age would thus be in better accord with the evidence of the letter4 ,holbein was back again in ,london some time before ,christmas1 #aech1 when he received the special reward of #aj for his journey into ,upper ,burgundy4 ,his first work of importance after his return was a portrait of the infant ,prince ,edward1 then some fourteen months old4 ,this was presented to the ,king on ,january #a1 #aeci1 being entered in the roll of ,new ,year's gifts as3 8,by ,hanse ,holbyne a table of the pictour of the pince 7,prince's7 grace40 ,in return he received from his royal master a silver-gilt covered cup supplied by ,cornelis ,hayes1 one of the ,king's goldsmiths4 8,to ,hans ,holbyne1 paynter1 a gilte cruse wt a cover 7,cornelis7 weing x oz4 quarter40 ,sidenote3 ,,portraits ,,of ,,prince ,,edward ,holbein died when ,edward was just six years old1 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 ,king1 though at one time they were all attributed to him4 ,there are only three portraits of him1 and a few drawings1 which show him as a child of tender years1 of which the authorship can be given to ,holbein4 ,the picture in the ,provinzial ,museum1 ,hanover1 is generally regarded as the original work which he painted as a ,new ,year's gift for the ,king4 ,an almost identical picture is in the possession of the ,earl of ,yarborough1 which some writers regard as an unquestionable work of ,holbein1 while others consider it to be merely an excellent old copy4 ,the ,hanover picture#cdj is a life-size1 half-length figure1 facing the spectator4 ,the child is dressed in a red velvet coat trimmed with gold1 and sleeves of gold brocade4 ,a red hat1 with gold tags and a large ostrich feather1 tied under the chin1 surmounts the closely-fitting cap1 from beneath which his fair hair falls over his forehead4 ,his right hand is held out with open palm1 and in his left he grasps a gold rattle4 ,in front of him is a stone or panel on which eight lines of ,latin verse from the pen of ,sir ,richard ,morysin are inscribed1 exhorting the ,prince to imitate his wonderful father4 8,little one1 imitate your father10 the lines run1 8and be the heir of his virtue1 the world contains nothing greater--,heaven and ,nature could scarcely give a son whose glory should surpass that of such a father4 ,you only equal the acts of your parent1 the wishes of men cannot go beyond this4 ,surpass him1 and you have surpassed all the kings the world ever worshipped1 and none will ever surpass you40#cda ,the head stands out well against the sky-blue background4 ,the round1 chubby face1 and small fat hands1 are most truthfully and delightfully rendered1 while the colour scheme is very harmonious4 ,it is1 indeed1 in all ways1 a most sympathetic and delightful study of childhood4 ,footnote #cdj3 ,woltmann1 #afe4 ,reproduced by ,knackfuss1 fig4 #acj2 ,pollard1 ,henry ,,viii1 p4 #bdb2 ,ganz1 ,holbein1 p4 #abb4 ,footnote #cda3 ,wornum1 p4 #cbd1 note4 ,the almost equally charming little work in the ,earl of ,yarborough's collection 7,pl4 #bb7cdb is practically a replica of the one in the ,hanover ,museum4 ,according to ,wornum1 it was at one time in the ,arundel ,collection1 at ,stafford ,house1 and was sold in #agbj1 subsequently passing into the possession of ,sir ,richard ,worsley1 of ,appuldurcombe1 ,isle of ,wight1 and afterwards to the present owner4 ,the same writer notes some few peculiarities in its execution--8some defects in the right hand1 and a certain want of transparency1 or a mealyness in the colouring1 that are not entirely consistent with ,holbein's practice40#cdc ,it is most probably an old and careful copy after the original at ,hanover4 ,it was in the ,tudor ,exhibition1 #ahij 7,no4 #agd71 and the ,burlington ,fine ,arts ,club1 #aiji 7,no4 #fb74 ,footnote #cdb3 ,reproduced in the ,catalogue of the ,tudor ,exhibition1 #ahij1 p4 #hj2 and ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 #aiji1 ,pl4 xxi4 ,footnote #cdc3 ,wornum1 p4 #cbc4 ,charles ,i had a copy of this portrait made by ,peter ,oliver1 signed 8,p4 ,o410 and inscribed 8,edwardus ,princeps ,filius ,henrici ,octavi ,regis ,angliae40 ,in the ,king's catalogue it is described by ,van der ,doort as3 8#bb4 ,item1 the picture of ,king ,edward ,,vi in his infancy1 in a red cap with a white feather1 and a red coat laced with gold1 and golden cloth sleeves1 holding in his left hand a round golden rattle1 and with his right hand in some action2 by a green table1 whereupon is written in white and black letters4 ,being in a black shutting frame4 ,painted upon the wrong light4 #d in4 #b in40 ,a marginal note describes it as 8copied by ,peter ,oliver after ,hans ,holbein1 whereof my ,lord ,arundel has the principal limning40 ,wenceslaus ,hollar engraved the picture in #afej1cdd when it was in the ,arundel ,collection4#cde ,footnote #cdd3 ,parthey1 #acie4 ,footnote #cde3 ,there were two portraits of the ,prince in the ,arundel ,collection1 both attributed to ,holbein in the #afee inventory1 and entered as 8,eduardo ,sesto ,re d',inghilterra40 ,the ,duke of ,northumberland's version1 at ,syon ,house1#cdf is larger1 and the ,prince is shown at full-length4 ,it resembles the two others in most particulars1 and appears to be based on the same original drawing1 though the sitter looks somewhat younger4 ,he is wearing a jacket of patterned cloth of gold1 and over it a crimson frock or coat embroidered with golden stripes4 ,his head is covered with a white-edged1 striped skull-cap1 beneath which a fringe of fair hair falls on the forehead2 over this is worn a red hat with a dark feather in it4 ,thick-soled1 broad-toed shoes complete his costume4 ,he is standing on a green velvet cloth edged with gold1 which is thrown over an ornamental stone tablet containing1 as in the other versions1 ,morysin's ,latin verses4 ,the background is a dark green curtain4 ,it is painted on panel1 #d ft4 #c in4 high by #b ft4 #e in4 wide4 ,footnote #cdf3 ,woltmann1 #bdf4 ,this picture has suffered considerably from rubbing and cleaning4 ,the preliminary chalk drawing can be plainly seen through the thin painting4 ,the position of the hands--which are beautifully painted--is somewhat altered1 and the child is without his rattle4 ,in one corner of the tablet is inscribed 8,edwardus ,princeps10 and in the other 8,filius ,henrici #h10 now almost obliterated4 ,mr4 ,wornum#cdg thought it probable that this was the ,new ,year's gift picture1 as the child appears to be a little younger than in the ,hanover and ,yarborough versions1 and with a still brighter expression of face4 ,footnote #cdg3 ,wornum1 p4 #cbe4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bb ,,edward ,,vi #aech-i ,,lord ,,yarborough',s ,,collection ,sidenote3 ,,drawings ,,of ,,prince ,,edward ,all three pictures seem to have been based upon the same drawing in the ,windsor ,collection1 in which the ,prince is shown full-face1 as a young child1 with a close skull-cap1 and a black cap with a feather above it1 and a single frill round his neck4#cdh ,this drawing has been badly rubbed4 ,there is a second drawing in the same collection1 also full-face1 with hair cut closely across the forehead1 and a plain black hat 7,pl4 #bc74cdi ,this1 too1 has suffered considerable damage4 ,the strong brush-work of the outlines stands out with undue emphasis1 owing to the destruction of the more delicate modelling of the crayons4 ,in this drawing the ,prince appears to be at least a couple of years older than in the other drawing1 or in the ,hanover picture and its variants4 ,he looks quite four or five years old4 ,mr4 ,wornum thought it might represent ,henry ,brandon1 afterwards ,duke of ,suffolk1 from its likeness to the boy in ,holbein's beautiful miniature1 the proportions of the face not quite agreeing with those of the infant ,prince2#cej but it is undoubtedly a portrait of the latter4 ,footnote #cdh3 ,woltmann1 #cbf2 ,wornum1 ii4 #a2 ,holmes1 not given4 ,footnote #cdi3 ,woltmann1 #cbg2 ,wornum1 ii4 #b2 ,holmes1 i4 #b4 ,reproduced by ,davies1 p4 #agf2 ,knackfuss1 fig4 #adf2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 #ci4 ,footnote #cej3 ,wornum1 p4 #djg4 ,there is a third drawing of ,edward ,,vi at ,windsor1 in which he seems to be quite six1 if not older4 ,it is one of the least pleasing of the series1 and if by ,holbein1 must be almost the last drawing he made1 as the ,prince was but six when the painter died4 ,he is shown in profile to the left1 with hat and feather1 and almost yellow hair4#cea ,several portraits exist which are based on this drawing1 though they are not by ,holbein1 among the best of them being the versions in the ,national ,portrait ,gallery1#ceb the ,victoria and ,albert ,museum1#cec and the collection of ,lord ,sackville4 ,the last-named was at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #fj74 ,in this the ,prince has golden hair1 a black cap with a white plume1 and a purple gown lined with white fur over a pale pink doublet4 ,his right hand1 raised1 holds a rose1 and his gloves are in his left4 ,the background is a greenish blue4 ,footnote #cea3 ,woltmann1 #cbh2 ,wornum1 ii4 #c2 ,holmes1 ii4 #a4 ,reproduced in ,drawings of ,hans ,holbein 7,newnes71 ,pl4 ii4 ,footnote #ceb3 ,reproduced in the illustrated catalogue1 ,national ,portrait ,gallery1 vol4 i4 p4 #bg4 ,footnote #cec3 ,jones ,bequest4 ,there is a very interesting drawing in coloured crayons by ,holbein in the ,basel ,gallery1#ced which is described as a portrait of ,edward ,,vi1 and bears considerable likeness to the various paintings and drawings in ,england4 ,the face1 however1 is decidedly longer and more oval in shape than in the ,windsor drawings2 but much of the delicate modelling of the flesh has vanished during the passage of time1 so that it is difficult to speak with absolute certainty as to the likeness4 ,most probably the attribution is the correct one4 ,the boy1 who appears to be about five years old1 is dressed in a princely costume1 and is holding a meerkat in the bend of his right arm1 and stroking its back with his left hand4 ,there is no portrait known which follows this drawing4 ,footnote #ced3 ,woltmann1 #cj4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #cg4 ,upon one of the leaves of ,holbein's sketch-book1 preserved in the ,basel ,gallery1 there is a delightful little circular drawing of ,edward when a small child1#cee evidently of about the same date as the ,hanover portrait4 ,his costume is much the same as in the pictures described1 and he is seated on a cushion on the grass1 fondling a small dog with his left hand4 ,the background on either side of him is filled in with branches of oak with acorns4 ,it may have been the first study for a miniature1 or possibly a design for a medallion or hat-badge to be carried out in gold-and-enamel by one of ,holbein's goldsmith friends4 ,in spite of its small size the likeness is evident4 ,footnote #cee3 ,woltmann1 #aaj 7#hb74 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #df1 and woodcut in ,woltmann1 i4 p4 #ddi4 ,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 ,holbein1 in which he is represented at an age varying from about ten to sixteen1 some of them being works of very considerable merit4 ,in the days when it was believed that ,holbein lived until #aeed1 all these portraits were attributed to him1 whereas now some other authorship must be sought4 ,it is known that ,guillim ,stretes1 the ,dutch painter1 was responsible for at least two of these portraits of the young ,king4 ,according to ,strype1#cef in #aeea ,stretes was paid by the ,privy ,council 8fifty marks for recompence of three great tables1 made by the said ,guillim1 whereof two were the pictures of his ,highness sent to ,sir ,thomas ,hoby and ,sir ,john ,mason 7ambassadors abroad72 the third a picture of the late ,earl of ,surrey1 attainted1 and by the council's commandant fetched from the said ,guillim's house40 ,in #aeec 8,gillam ,strettes1 ,dutchman10 was the ,king's painter1 in receipt of the high salary of #fb1 #ajs4 a year1 and he continued in favour during the reign of ,queen ,mary4 ,footnote #cef3 ,memorials1 c41 ,vol4 ii4 p4 #did4 ,quoted by ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #ach4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bc ,,edward1 ,,prince ,,of ,,wales ,drawing in black and coloured chalks ,,windsor ,,castle ,sidenote3 ,,later ,,portraits ,,of ,,edward ,,vi ,the excellent little bust portrait of ,edward1 formerly in the possession of the ,cokayne family at ,rushton ,hall1 ,northamptonshire1 which was lent by ,lord ,aldenham to the ,burlington ,fine ,arts ,club in #aiji 7,no4 #fc71 has been attributed to this painter4 ,it is dated #aeej4 ,mr4 ,roger ,e4 ,fry1#ceg on account of the delicate and personal scheme of blonde and cool colouring which it displays1 considers this portrait to be by the same hand as the portraits of ,henry ,,viii and ,jane ,seymour1 lent to the same exhibition 7,nos4 #ba and #df7 by ,lord ,sackville1 which have been mentioned in an earlier chapter4#ceh ,others exist of the same type to which ,stretes' name has been provisionally given4 ,the ,duke of ,portland has a fine small full-length1 undated1#cei probably from the same hand as ,lord ,aldenham's panel2 another whole-length belongs to ,mr4 ,vernon ,j4 ,watney1 while a third is at ,southam ,delabere1 near ,cheltenham4 ,a very interesting portrait of a different type is at ,petworth1 an elaborately-painted likeness of the young ,king at full-length1 seated on his throne1 with a canopy over his head1 which is dated #aedg1 when he was in his tenth year4 ,this is attributed by ,mr4 ,wornum to ,stretes4#cfj ,there is another in ,christ's ,hospital which closely resembles it1 and in the same building there is a second portrait of the ,prince at the age of nine4 ,there is also a fine example in the ,royal ,collection at ,windsor ,castle1#cfa in which the head is of the same type as that in ,lord ,aldenham's picture4 ,it is apparently by the same hand as that of the ,princess ,elizabeth1 also at ,windsor1 and whether by ,stretes or not1 seems to be of ,franco-,flemish origin4 ,the large picture at ,bridewell ,hospital1 representing ,edward ,,vi transferring ,bridewell ,palace to the ,city of ,london1 was regarded in ,walpole's day as an excellent example of ,holbein's brush1 and both he and ,vertue1 who engraved it in #agej1 asserted that one of the figures in the background represented ,holbein himself4#cfb ,the occurrence which the picture commemorates1 however1 took place in #aeec1 ten years after ,holbein's death4 ,this picture1 too1 has been tentatively given to ,stretes1 but it is a work of no great mastery1 though of undoubted historical interest4 ,descriptions of other portraits of ,edward ,,vi will be found in a paper contributed by ,mr4 ,j4 ,gough ,nichols1 ,f4,s4,a41 to ,archologia4#cfc ,no less than sixteen1 of varying degrees of merit1 were lent to the ,tudor ,exhibition in #ahij4 ,in the inventory of ,king ,henry ,,viii's pictures made shortly after his death1 dated ,september #h1 #aedg1 three of the earlier portraits of the young ,prince of ,wales were included4 ,two of these were full-lengths3 8,the ,kynge's ,majestie1 the whole stature1 in a gowne like crymsen satten furred with lusernes10 which was protected by a curtain of white sarcenet2 and 8,the ,kynge's ,majesty1 the whole stature1 stayned upon clothe0 7i4e4 canvas71 with a curtain of green sarcenet4 ,the first named was not included in the earlier list of ,king ,henry's pictures drawn up in #aedb1 but the latter is in that inventory1 and so must have been painted before #aedb1 and thus represented ,edward as a little child4 ,the third portrait is merely described as 8,the ,kynge's ,majestie40 ,this may have been the curious 8perspective0 portrait of the young ,prince1 now in the ,national ,portrait ,gallery 7,no4 #acjj71cfd a head within a circle surrounded by a well-painted landscape1 done in #aedf1 which has been attributed to ,stretes4 ,according to ,walpole1#cfe who considered it to be the work of ,marc ,willems1 8,gulielmus pinxit0 was written on the frame4 ,it formed part of the ,royal collections from the time it was painted1 but was sold by the ,commonwealth in #afej for #b4 ,it was seen in ,whitehall and described by the ,german traveller1 ,paul ,hentzner1 in #aeih4 ,two miniatures of ,edward were lent to the ,burlington ,fine ,arts ,club ,exhibition 7,case ,c1 #ac and #ai7 by the ,duke of ,buccleuch1 but these are not by ,holbein4 ,footnote #ceg3 ,burlington ,magazine1 vol4 xv41 ,may #aiji1 p4 #ge4 ,reproduced by ,miss ,hervey1 8,notes on some ,portraits of ,tudor ,times10 ,burlington ,magazine1 vol4 xv41 ,june #aiji1 p4 #aee4 ,footnote #ceh3 ,see pp4 #ajd and #aab4 ,footnote #cei3 ,burlington ,fine ,arts ,club1 #aiji1 ,no4 #fh4 ,footnote #cfj3 ,wornum1 p4 #cbf4 ,footnote #cfa3 ,reproduced by ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 ,pl4 #ej2 and ,ganz1 ,holbein1 p4 #bbc4 ,footnote #cfb3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #hh4 ,footnote #cfc3 ,vol4 xxxix4 p4 #bj4 ,footnote #cfd3 ,reproduced in the ,illustrated ,catalogue1 ,national ,portrait ,gallery1 vol4 i4 p4 #bg4 ,footnote #cfe3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 i4 p4 #ace4 ---------------------------------------- -------------------------------- ,,chapter ,,xxiii ,,anne ,,of ,,cleves3 #aeci ,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 ,dren 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 ,st4 ,john's ,college1 ,oxford4 ,,with the exception of works executed for his royal master1 such as the 8,duchess of ,milan0 and the lost ,french portraits1 the likeness of the infant ,prince ,edward1 and that of ,anne of ,cleves1 there is nothing by ,holbein which can be ascribed with absolute certainty to the years #aech and #aeci4cff ,it is possible that the portraits of ,thomas ,howard1 ,duke of ,norfolk1 and his son1 ,henry1 ,earl of ,surrey1 were produced in the latter year1 but no dated likeness by him is known of any member of the court circle1 or1 indeed1 of any ,englishman or ,german1 painted during these two years4 ,it is true that more than one of his undated works may be of this period1 but there is no actual proof1 beyond that of style1 in favour of such a contention4 ,this may be accounted for to some extent by his frequent absences from ,england on the ,king's business1 which would leave him less time than usual for private practice1 while there is also the possibility that at least some of the works he produced during these two years have been lost4 ,footnote #cff3 ,the portrait of ,henry ,,viii in the ,national ,gallery1 ,rome1 now attributed to ,holbein1 was painted1 according to the ,king's age inscribed on the background1 in #aeci or #aedj4 ,see above1 p4 #ajc4 ,by the beginning of #aeci1 when alarms of war were in the air1 and the alliance between ,francis and the ,emperor was growing closer every week1 ,henry had abandoned all idea of a marriage in ,france or with the ,duchess of ,milan1 and was turning his thoughts towards ,protestant ,germany4 ,the project of this fresh matrimonial venture was not entirely a new one2 it was under consideration during the previous summer in the midst of the more active negotiations elsewhere4 ,there is a curious passage in one of ,eustace ,chapuys' letters to the ,emperor1 dated ,london1 #agth ,june #aech1 in which he infers that ,henry had grown less anxious for the ,milan match because the ,germans were making him offers4 8,indeed it is a fact10 he says1 8that about that time the ,king sent to ,germany a painter 7ung paintre7 and one gentleman of his chamber for the express purpose of pourtraying the personages #8au naturel'2 for1 although ,cromwell at first denied this1 or at least dissembled1 he afterwards owned to me 7,chapuys7 that the report was true1 that both from ,france and ,germany several marriages had been proposed40 ,these marriages1 he adds1 according to report1 were to be between the son of the ,duke of ,cleves and the ,princess ,mary1 and ,henry and one of the ,duke's kinswomen4#cfg ,footnote #cfg3 ,c4,l4,p41 vol4 xiii4 pt4 i4 #aaih4 ,spanish ,calendar1 v4 ii4 #bbe4 ,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 #aech1 but it is interesting as containing a possible reference to ,holbein and to some journey of his of which we have no further knowledge4 ,it is much more likely1 however1 that ,chapuys was misinformed1 and that no such expedition actually took place1 though it may have been suggested but afterwards abandoned4 ,sidenote3 ,,search ,,for ,a ,,bride ,,in ,,germany ,about the middle of ,january #aeci1 ,christopher ,mont1 or ,mount1 a ,german in ,henry's service1 was sent abroad with letters of credence to the ,duke of ,saxony and the ,landgrave4 ,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 year2 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 ,emperor4 ,at the same time1 ,mont1 who was accompanied by ,thomas ,paynell1 took with him private instructions from ,cromwell1 which included a secret message to ,francis ,burgartus1#cfh the ,duke of ,saxony's vice-chancellor1 with respect to a marriage between the young ,duke of ,cleves and the ,princess ,mary1 which he and ,cromwell had discussed in ,london in the previous year4 ,if1 the instructions ran1 ,burgartus desire 8the picture of her face10 ,mont is to remind him that she is a ,king's daughter1 and that it was not the custom to send the picture of persons of such degree abroad4 ,burgartus1 too1 had seen her1 and could testify of her proportion1 countenance1 and beauty4 ,but there was a matter of still greater importance about which ,mont was to sound the vice-chancellor1 whose master1 the ,duke of ,saxony1 had married the eldest daughter of the ,duke of ,cleves1 and was one of the most interested parties in any alliance proposed between ,england and ,germany4 ,mont was to inquire diligently of the beauty and qualities of the elder of the two unmarried daughters of the ,duke of ,cleves1 her shape1 stature1 and complexion1 and1 if he heard she was such 8as might be likened unto his ,majesty10 he was to throw out suggestions as to a marriage between her and the ,king4 ,the proposal1 however1 must come from the side of ,cleves1 as the overtures made to his ,grace in ,france and ,flanders had not been finally refused4 ,mont1 in short1 was not to speak as if demanding her1 8but rather to give them a prick to offer her20 but first of all1 8it is expedient that they should send her picture hither40#cfi ,in this way the ,princess ,anne of ,cleves first appears on the scene1 and the ,duchess of ,milan1 and the ladies of ,guise and other royal ,french houses finally vanish from it4 ,footnote #cfh3 ,or ,burgratus 7,burchardt74 ,footnote #cfi3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #ajc4 ,shortly afterwards other diplomatists were sent abroad for the same purpose4 ,dr4 ,barnes went over to ,frankfurt to attend the diet of the ,evangelic ,league1 while ,dr4 ,edward ,carne and ,dr4 ,nicholas ,wootton1 together with ,richard ,byrd1 ,bird1 or ,beard1 one of the gentlemen of the ,king's ,chamber1 were despatched to ,dren1 to the court of the young ,duke of ,cleves1 whose father had recently died4 ,their instructions were very similar to those given to ,mont4 ,they were to offer an offensive and defensive league and an ,english bride to the ,duke1 but were merely to throw out hints with regard to ,anne4 ,here again they were to demand a picture of the lady before the match could be considered1 for ,henry was always most anxious to see what his proposed bride was like before committing himself too far4#cgj ,if she were ill-favoured he would have none of her1 however useful for political reasons such an alliance might prove to be4 ,a portrait was always asked for1 but was by no means always considered sufficient4 ,the ,king feared that such pictures might flatter the subject1 and so it became his habit1 in order to avoid such possibilities1 to send over one of his own painters to procure an independent likeness4 ,holbein1 in particular1 he knew to be capable of bringing back a true portrait1 more valuable in all ways than the efforts of some unknown foreign painter1 or the written opinions of his ambassadors1 whose taste might not always agree with his own4 ,footnote #cgj3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #dhi1 #dij4 ,mont1 after an interview with the ,duke of ,saxony1 wrote to ,cromwell to say that he seemed favourable to the proposed marriage1 and that he promised to send a portrait as soon as possible1 but said that 8his painter ,lucas was sick at home40 8,everyone10 he added1 8praises the lady's beauty1 both of face and body4 ,one said she excelled the ,duchess 7of ,milan7 as the golden sun did the silver moon40#cga ,the ,lucas referred to in this letter was ,lucas ,cranach the elder1 and if it had not been for his illness ,holbein might not have been sent over1 for ,cranach1 no doubt1 would have painted a portrait which would have satisfied the ,king4 ,towards the end of ,april1 ,cromwell wrote to ,beard and ,wootton1 again urging them to get a portrait of the lady1 which the former was to bring to ,london as quickly as possible4#cgb ,in their reply1 dated ,may #c--the letter1 unfortunately1 is badly mutilated--they describe a recent interview with ,dr4 ,henry ,olisleger1 the vice-chancellor of ,cleves1 the young ,duke being away at the ,diet4 8,he said also he would cause the portraits of both the ,duke's younger sisters to be delivered to us in fourteen days4 ,they were made1 he said1 half a year before4 ,we said there was no occasion to declare the ,king's goodwill to the ,duke1 which was manifest4444 ,and as for the ij pictures1 we wer verye well contentyd to receyve theym1 and specyallye the imaige of my lady ,anne 444 that yf eny of bothe shulde lyke his ,grace 444 yet wolde we gladdelye receyve and sende bothe4 ,and for as muche as we hadde not seene the ij ladyes1 we shulde not be able to advertise his ,majestye whether theyr imaiges were lyke to theyr persones1 and so shulde his ,majestye be never the nerre by the syht of the pictures40 ,dr4 ,olisleger1 however1 assured them that the portraits were faithful likenesses1 but the ambassadors were not satisfied4 8,we sayde1 we hadde not seene theym1 for to see but a parte of theyr faces1 and that under such a monstruouse habyte and apparell1 was no syght1 neither of theyr faces nor of theyr persones4 ,why1 quod he1 wolde yow see theym nakydde80 ,what they said in answer to this last remark is lost through the mutilation of the letter1 but they evidently did not approve of the court costume of ,cleves4 ,they concluded by saying3 8,a ,moneday1 ,god willing1 we wylle departe to ,duisseldorpe1 and1 excepte the ,duke have enye bysynesse with us1 we wyll thence to ,coleyn1 where we ar apoyntyd to receyve the said ij pictures1 the which we wille send ynto ,england as soone as we canne convenyently40#cgc ,footnote #cga3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #eeb4 ,st4 ,p41 i4 #fjd4 ,footnote #cgb3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #hcd4 ,st4 ,p41 i4 #fac4 ,footnote #cgc3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #ibj4 ,sidenote3 ,,holbein ,,and ,,beard ,,go ,,to ,d,,ren ,in spite of these constant demands for portraits1 the ambassadors do not appear to have received them at the time promised4 ,early in ,july ,dr4 ,william ,petre1 one of the ,clerks of ,chancery1 was sent to ,cleves with further messages and instructions to ,dr4 ,wootton4 ,the new ambassador and the old were to make a further demand to see the ladies1 and if ,beard had not already started with the portraits1 they were to send them 8if they may be possible gotten10 with their opinion of them as likenesses4#cgd ,footnote #cgd3 ,c4,l4,p41 vol4 xiv4 pt4 i4 #aaic4 ,beard was back in ,london for a short time in ,july1 but whether he came empty-handed or not there is no record to show4 ,it is possible that he brought with him the two portraits promised by ,olisleger1 which were to be handed to him at ,cologne4 ,there is a portrait of ,anne in ,england1 described below1 which may be one of the two in question1 but in any case it cannot have satisfied ,henry1 for ,beard was sent back almost immediately to ,dren1 taking ,holbein with him1 in order that he might paint the two sisters4 ,they were allowed #dj for travelling expenses1 while ,holbein received a further sum of #ac1 #fs4 #h;d4 for his own personal outlay in connection with his craft4 ,the following is the entry in the ,treasurer's accounts3 8,july1 ,ao xxxi--,item1 to ,mr4 ,richard ,bearde1 one of the gromes of the ,kingis privi-chambre1 and ,hans ,holbyn1 paynter1 by like lettre sent into the parties of ,high ,almayne upon certain his gracis affaires1 for the costes and chardgis of them both1 xl4 li4 ,and to ,hans ,holben1 for the preparation of such thingis as he is appoynted to carie with him1 xiij4 li4 vi4s4 viiid4--in alle the some of liij li4 vi4s4 viiid40#cge ,footnote #cge3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #gha 7f4 #he74 ,according to ,dr4 ,woltmann1 the extra fee of #ac1 #fs4 #h;d4 paid to ,holbein for 8the preparation of such things as he is appointed to carry with him10 was1 8without doubt a portrait of the ,king1 perhaps a miniature in a costly frame1 which he had to paint and to present to the ,princess as a gift from his monarch40#cgf ,this explanation1 however1 is not at all likely to be the correct one4 ,as already pointed out1 ,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 like4 ,he was too cautious a lover to commit himself so far4 ,in all these transactions he was the one who was to be sought1 and the first offer must come from the lady's side4 ,the simplest explanation is that the money was for the provision of the necessary painting materials1 and the cost of their carriage4 ,the sum was1 no doubt1 a large one if for such a purpose alone1 but ,holbein was then high in the ,king's favour1 and well paid for all that he did1 while his absence from ,england on the royal business put an end for the time to his general practice1 and this might have been considered in fixing the amount of his allowance4 ,footnote #cgf3 ,woltmann1 i4 p4 #dfc4 ,the travellers reached the castle of ,dren1 where the ladies were living1 early in ,august1 and ,holbein at once set to work4 ,he had finished portraits of both ,anne and her sister ,amelia before the #aath of the month1 as we learn from a letter of that date from ,dr4 ,wootton to ,henry ,,viii4 ,in the course of it he says3 8,your ,grace's servant ,hanze ,albein hathe taken th'effigies of my ladye ,anne and the ladye ,amelye and hath expressyd theyr imaiges verye lyvelye40#cgg ,footnote #cgg3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #cc4 ,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 ladies2 and the fact that the portrait of ,anne of ,cleves1 now in the ,louvre1 is on parchment fastened down on a wood panel affords some proof of this4 ,the portrait would be painted on the parchment directly from the sitter1 and afterwards mounted and the finishing touches given to it4 ,owing to the haste required1 and the safer conveyance of the portrait1 the latter process was probably not carried out until the artist was back in ,london4 ,sidenote3 ,,gossip ,,about ,,the ,,king',s ,,marriage ,no time appears to have been wasted4 ,henry not only demanded but obtained speed from his servants on their numerous journeys4 ,travelling post1 the journey to and from ,dren1 which was usually made via ,antwerp1 took about eleven days4 ,holbein was in ,england again before the end of ,august1 as we learn from ,marillac1 the new ,french ambassador1 who1 on ,september #a1 writing from ,grafton1 where he had followed the ,king fifty miles from ,london1 informed ,francis ,i that he 8has learnt that an excellent painter whom this ,king sent to ,germany to bring the portrait of the sister of the ,duke of ,cleves1 recently arrived in ,court1 and1 immediately afterwards1 a courier1 bringing1 among other news which is still kept secret1 news that the said ,duke's ambassadors have started to come hither to treat and conclude the marriage of this ,king and the said lady40#cgh ,footnote #cgh3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #aag4 ,kaulek1 #abd4 ,the proposed marriage afforded opportunity for much speculation on the part of the ,king's subjects1 as more than one of his earlier matrimonial projects had done4 ,an excellent idea of the kind of gossip which prevailed can be gathered from the evidence taken in the case of a certain ,george ,constantyne1 who talked so much that he got himself charged with treason4 ,it occurs in the report of a conversation between ,constantyne and the ,dean of ,westbury during a journey they made together to ,south ,wales1 and in the course of it ,holbein's visit to ,cleves is mentioned4 8,the ,dean asked also if ,constantyne had any news of the ,king's marriage4 ,replied1 he could not tell2 he was sorry to see the ,king so long without a queen1 when he might yet have many fair children3 his own father was ninety-two years old1 and yet1 last summer1 rode thirty-two miles one day before two o'clock1 and said he was not weary2 the duchess of ,milan and that of ,cleif were both spoken of1 as the ,dean knew4 ,asked1 #8,how call ye the little doctor that is gone to ,cleif8' ,the ,dean said1 it was ,dr4 ,woten1 and that he that was with him of the ,privy ,chamber1 whom ,woten sent home lately1 was ,berde2 adding that this ,berde was sent thither again with the ,king's painter1 and that there was good hope of the marriage1 for the duke of ,cleif favoured ,god's word and was a mighty prince now1 having possession of ,gelderland against the ,emperor's will4444 ,said also that the matter of the duchess of ,milan was really broken off1 for she would have the ,king accept the bishop of ,rome's dispensation and give pledges4 #8,why pledges8' asked the ,dean4 #8,marry1' said ,constantyne1 #8she sayeth that the ,king's ,majesty was in so little space rid of the ,queens1 that she dare not trust his ,council1 though she durst trust his ,majesty2 for her ,council suspecteth that her great aunt was poisoned1 that the second was innocently put to death1 and the third lost for lack of keeping her in childbed4' ,added1 that he was not sure whether this was her answer or that of ,cleif1 but that he heard a muttering of it before ,whitsuntide40#cgi ,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 time4 ,footnote #cgi3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #djj4 ,archologia1 xxiii4 #ef4 ,the written descriptions of ,anne which ,henry received from his representatives and agents were all favourable1 but not enthusiastic4 ,wootton in the letter referring to ,holbein1 already quoted1 says of her3 8,she has been brought up with the lady ,duchess her mother 7as the lady ,sybille also was till she was married and the lady ,amelye has been and is7 and in manner never from her elbow1 the lady ,duchess being a wise lady and one that very straitly looketh to her children4 ,all report her to be of very lowly and gentle conditions1 by the which she hath so much won her mother's favour that she is very loth to suffer her to depart from her4 #8,she occupieth her time most with the needle1 wherewithall she4444 ,she canne reede and wryte her 444 ,frenche1 ,latyn1 or other langaige she hathe no ne1 nor yet she canne not synge nor playe upon enye instrument1 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 musike4' ,her wit is good and she will no doubt learn ,english soon when she puts her mind to it4 #8,i could never hear that she is inclined to the good cheer of this country and marvel it were if she should1 seeing that her brother1 to whom yet it were somewhat more tolerable1 doth so well abstain from it4'0#chj ,footnote #chj3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #cc4 ,sir ,michael ,mercator1 the ,german factor of musical instruments1 knighted by ,henry1 wrote to ,cromwell later in the year1 giving praise to ,god 8for this alliance with the most illustrious1 beautiful1 and noble lady ,anna de ,clefves1 who has a great gift from ,god1 both of sense and wit4 ,it would be difficult to describe her good manners and grace1 and how ,gueldres1 ,cleves1 and all the country of the ,duke1 rejoice at the alliance40#cha ,footnote #cha3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 #ejj4 ,sidenote3 ,,the 8,,flanders ,,mare0 ,,legend ,around ,holbein's portrait of ,anne there has been woven a legend which upon examination is found to have no foundation in fact4 ,the story is to be traced back to ,bishop ,burnet1 who1 in his ,history of the ,reformation1 says3#chb 8,hans ,holbin having taken her picture1 sent it over to the king4 ,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 original1 when he had the occasion afterwards to compare them40 ,instead of the promised beauty1 continues the bishop1 they brought him over a 8,flanders mare40 ,footnote #chb3 ,vol4 i4 pt4 i4 p4 #edc4 ,walpole1 following ,burnet1 elaborates this3 8,holbein was next despatched by ,cromwell to draw the lady ,anne of ,cleve1 and by practising the common flattery of his profession1 was the immediate cause of the destruction of that great subject1 and of the disgrace that fell on the princess herself4 ,he drew so favourable a likeness1 that ,henry was content to wed her2 but when he found her so inferior to the miniature1 the storm which really should have been directed at the painter1 burst on the minister2 and ,cromwell lost his head1 because ,anne was a ,flanders mare1 not a ,venus1 as ,holbein had represented her40#chc ,footnote #chc3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #gb4 ,there is no truth at all in this story4 ,the leading characteristic of ,holbein's portraiture is its complete truth2 he was not in the habit of flattering his sitters1 and the portrait of ,anne affords one of the most striking testimonies of this4 ,he certainly did not paint her as a ,venus1 nor was ,cromwell's fall owing to the picture4 ,he was1 indeed1 made ,earl of ,essex after the lady's marriage to the ,king4 ,letters in the ,state ,papers show very clearly that ,henry complained only of the spoken and written words of his ambassadors1 and made no mention of portraits4 ,russell1 the ,lord ,high ,admiral1 in his deposition in connection with the divorce1 quoted ,henry as saying to him3 8,how like you this woman8 do you think her so fair and of such beauty as report hath been made unto me of her8 ,i pray you tell me the truth40 ,whereupon the said ,lord ,admiral answered1 that he took her not for fair1 but to be of a brown complexion4 ,and the king's highness said1 8,alas6 whom should men trust8 ,i promise you10 said he1 8,i see no such thing in her as hath been showed me of her1 and am ashamed that men hath praised her as they have done1 and ,i like her not40 ,stow1 in quoting this1 adds without authority the words3 8either by pictures or report10 after 8,i see no such thing in her as hath been showed me of her40 ,stow1 apparently drawing upon his own imagination1 makes exaggerated references to the part portraits played in the negotiations for the marriage4 8,some went over by the king1 some by the ,lord ,cromwell1 and some went voluntary1 to view the ,lady ,anne of ,cleave1 and to negotiate her marriage with the king4 ,all which1 either by letters1 speech1 or both1 made very large and liberal reports in praise of her singular feature1 matchless beauty1 and princely perfections1 and for proof thereof presented the king with sundry of her pictures1 which the bringers ever affirmed to have been truly made1 without flattery40#chd ,footnote #chd3 ,stow1 ,annales1 ed4 ,howes1 p4 #egf4 ,henry1 however1 in his own declaration1 never refers to a portrait4 ,he entered into the marriage1 he said1 8because ,i heard so much both of her excellent beauty and virtuous conditions40 ,in addition1 he told ,sir ,anthony ,browne1 8,i see nothing in this woman as men report of her1 and ,i mervail that wise men would make such report as they have done40 ,he also told ,cromwell1 in reply to his question as to how he liked the lady1 8,nothing so well as she was spoken of2 if ,i had known as much before as ,i know now1 she should never have come into the realm4 ,but what remedy80 ,after all1 however1 the praises of her sent home by ,henry's ambassadors were not very hearty ones4 ,in ,hutton's letter from ,brussels1 already quoted1#che written shortly after ,jane ,seymour's death1 in answer to a request that he would search for a possible bride for the ,king at the ,court of the ,regent1 he reported1 among other princesses1 that 8the ,dewke of ,clevis hathe a daughter1 but ,i here no great preas neyther of hir personage nor beawtie40 ,wootton's account1 given above1 is a remarkably cautious one1 and lays most stress on ,anne's domestic virtues4 ,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 wore4 ,footnote #che3 ,see p4 #aaf4 ,had the fault been ,holbein's1 he would1 no doubt1 have fallen under the ,king's displeasure4 ,at the least his appointment would have been taken from him1 even if he had not been forced to leave ,england2 but the contrary was the case4 ,in ,september1 after his return from ,cleves1 he received1 for a second time1 a whole year's salary in advance4 ,this was1 of course1 before the ,king had seen the original of the portrait2 but1 strangely enough1 if the accounts are to be believed1 in addition to this year's advance1 ,holbein continued to receive his salary every quarter day for the next year1 so that he was paid twice over4#chf ,it is thus very evident that the painter suffered no disgrace or lack of employment or patronage1 so that the legend must be abandoned4 ,footnote #chf3 ,see p4 #aij4 ,sidenote3 ,,portrait ,,of ,,anne ,,of ,,cleves ,the fine portrait of ,anne of ,cleves now in the ,louvre 7,pl4 #bd7 is in all probability the picture which ,holbein painted in ,dren4#chg ,it is almost three-quarter length1 less than life-size4 ,she is shown standing1 facing the spectator1 her hands folded in front of her1 and dressed in a very elaborate costume4 ,her sumptuous gown of red velvet with wide hanging sleeves has heavy bands of gold embroidered with pearls4 ,the bodice is cut square1 and is edged with a band of ornament decorated with jewels1 and a similar one round the neck with a pendant jewelled cross4 ,she also wears two gold chains1 and several rings on her fingers4 ,the open front of the dress is filled in with fine white linen with bands of embroidery4 ,her hair is covered with an almost transparent head-dress worked with an elaborate pattern and the motto 8,a ,,bon ,,fine10 over which is a cap wrought all over with gold1 pearls1 and other jewels4 ,her lace cuffs are also gold-embroidered4 ,the background is blue-green1 without inscription4 ,her brown eyes look straight at the spectator4 ,more than one writer1 influenced no doubt by these stories of her lack of beauty1 has described this portrait as the likeness of a heavy1 expressionless1 ill-favoured woman2 but this is far from being the case4 ,without any pretensions to extraordinary good looks1 the face is a pleasant one1 and by no means as plain as it has been described2 indeed1 in many ways it compares favourably with that of ,queen ,jane ,seymour4 ,that it is a truthful representation is certain1 for ,holbein never failed in this respect4 ,nothing is known of the history of the picture1 or how it came to find a home in ,france1 except that it was at one time in the ,earl of ,arundel's possession1#chh and afterwards in the collection of ,louis ,,xiv4 ,footnote #chg3 ,woltmann1 #bbh4 ,reproduced by ,davies1 p4 #agd2 ,knackfuss1 fig4 #aca2 ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #bfj2 ,ganz1 ,holbein1 p4 #abd4 ,footnote #chh3 ,entered in the #afee inventory as 8ritratto d',anne de ,cleves40 ,walpole speaks of the portrait done by ,holbein in ,dren as a miniature4 ,he was inclined to believe that the beautiful miniature of ,anne1 now in the ,salting ,collection at ,south ,kensington1 which in his days belonged to the ,barretts of ,lee ,priory1 was the very miniature painted by ,holbein on this occasion4 8,this very picture10 he says1 8as is supposed1 was in the possession of ,mr4 ,barrett1 of ,kent4444 ,the print among the illustrious heads is taken from it3 and so far justifies the king1 that he certainly was not nice1 if from that picture he concluded her handsome enough4 ,it has so little beauty1 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 eyes4 ,i have seen that picture in the cabinet of the present ,mr4 ,barrett1 of ,lee1 and think it the most exquisitely perfect of all ,holbein's works as well as in the highest preservation4 ,the print gives a very inadequate idea of it1 and none of her ,flemish fairness4 ,it is preserved in the ivory box in which it came over1 and which represents a rose1 so delicately carved as to be worthy of the jewel it contains40#chi ,footnote #chi3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #gb1 note4 ,it is not known in what way this miniature1#cij together with the companion portrait of ,henry ,,viii1#cia in a similar ivory box1 in the late ,mr4 ,pierpont ,morgan's collection1 came into the possession of the ,barrett family4 ,they were offered for sale by auction in #ageg1 but bought in2 and subsequently sold by ,mr4 ,t4 ,b4 ,barrett in #ahbf to a dealer named ,tuck1 who resold them for fifty guineas to ,francis ,douce1 by whom they were bequeathed1 in #ahcd1 to ,sir ,samuel ,rush ,meyrick1 of ,goodrich ,court4 ,at a later date the miniature of ,anne of ,cleves was bequeathed by ,general ,meyrick to ,miss ,davies1 from whom it was acquired by the late ,mr4 ,george ,salting4 ,this miniature follows very closely the portrait in the ,louvre1 though there are slight differences in the details and colour of the dress4 ,the background is blue1 without inscription4 ,it is in water-colours1 and is #a in4 in diameter4 ,it was from this miniature1 which is regarded as an undoubted work by ,holbein1 that ,houbraken engraved1 in #agci1 the portrait of ,anne for his 8,illustrious ,heads40 ,footnote #cij3 ,woltmann1 #aeh4 ,reproduced by ,ganz1 ,holbein1 p4 #adh 7#b72 and in ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 xxxii4 ,footnote #cia3 ,woltmann1 #aeg4 ,see p4 #bce4 ,when the ,louvre picture was in the ,arundel ,collection it was etched by ,hollar1 but reversed4 ,this print is #i in4 by #g in41 and is dated #afdh and inscribed--8,anna ,clivensis1 ,henrici ,,viii ,regis ,angli ,uxor ,i,i,i,ita4 ,h ,holbein pinxit4 ,wenceslaus ,hollar fecit aqua forti1 ex ,collectione ,arundeliana1 ,a4 #afdh40cib ,footnote #cib3 ,parthey1 #acdc4 ,there is a second print by ,hollar1 of the same year1 taken from a picture or drawing in the ,arundel ,collection1 of a lady in profile to the right1 wearing a flat black cap1 which1 it has been suggested1 also represents ,anne of ,cleves 7,parthey1 #aede74 ,the likeness is not very apparent1 nor does the original appear to have been by ,holbein1 as ,hollar states4 ,it is reproduced by ,dr4 ,ganz1 ,holbein1 p4 #aih 7#b74 ,illustration3 ,,vol4 ,,ii41 ,,plate #bd ,,anne ,,of ,,cleves #aeci ,,louvre1 ,,paris ,sidenote3 ,,other ,,portraits ,,of ,,anne ,,of ,,cleves ,there are several other portraits in existence which are said1 with little authority1 to represent ,anne of ,cleves2 among them a drawing in the ,windsor ,collection1#cic which appears at one time to have become separated from the others4 ,it came into the possession of ,dr4 ,meade1 and at his sale in #agee was bought by ,mr4 ,chetwynd4 ,after the latter's death it was restored by his executors to the royal collection4 ,it bears little or no resemblance to the ,louvre portrait1 and is almost certainly a likeness of some ,english lady4 ,she is shown full-face1 with a close-fitting cap covering the ears1 and a hat over it4 ,the drawing has been damaged by having been cut out round the outline4 ,the face is a refined one4 ,there are notes in ,german as to the material and colours of the dress1 and the pattern of the ,spanish work on the collar is drawn in detail on the margin4 ,it has no inscription4 ,in the ,national ,portrait ,exhibition at ,south ,kensington in #ahfe1 a small head of 8,anne of ,cleves0 was exhibited by the ,earl of ,derby4 ,it was in oil on panel1 oval1 about #c in4 by #b in41 and signed 8,h4 ,h40 ,it had been injured1 and was then in a somewhat dirty condition2 the face had considerable likeness to the ,louvre picture4#cid ,footnote #cic3 ,woltmann1 #ceg2 ,wornum1 not included2 ,holmes1 ii4 #b4 ,footnote #cid3 ,wornum1 p4 #ccj1 note4 ,there is1 however1 one other portrait in addition to the ,louvre panel which is a contemporary likeness of ,anne of ,cleves1 though not by ,holbein4 ,this is the small picture in ,st4 ,john's ,college1 ,oxford1 a fine work by some unknown painter of the ,flemish ,school4 ,it is a half-length1 standing three-quarters to the left1 behind a parapet upon which lie an orange and a pair of jewelled gloves4 ,the head-dress is of cloth of gold and white gauze1 the latter worked with the motto1 8,a ,,bon ,,fine10 as in the ,louvre picture4 ,she is wearing a low-cut dress of striped gold and black1 filled in with white with embroidered bands1 gold and jewelled necklaces1 and a pendant cross1 and several rings on her fingers4 ,her left hand is placed against her waistbelt1 and in her right she holds three carnations4 ,the background is dark1 with a small canopy or curtain over her head4 ,it is on panel with arched top1 #ai in4 by #ad in4 ,the costume is of the same style and period as the ,louvre portrait1 though it differs in numerous small details1 more particularly in the colours of the materials1 the shape of the sleeves1 and the jewelled bands of the head-dress4 ,the general tone of colour is golden1 and there is excellent painting in all the details of the elaborate costume4 ,it was included in the ,oxford ,exhibition of ,historical ,portraits in #aijd 7,no4 #cj71 and was one of the most interesting pictures in the collection4#cie ,as a likeness it bears a strong resemblance to ,holbein's portrait1 and if not of ,anne may well be of her sister4 ,the suggestion may be hazarded that it is one of the two portraits1 painted six months before ,holbein and ,beard were in ,dren1 which ,olisleger had promised to procure for ,henry ,,viii's ambassadors1 portraits which ,beard1 apparently1 took with him to ,london early in ,july #aeci4 ,footnote #cie3 ,reproduced in the ,oxford ,catalogue1 p4 #bd2 ,burlington ,magazine1 vol4 v41 ,may #aijd1 p4 #bad4 ,a very similar picture was lent by ,dr4 ,wickham ,flower to the ,new ,gallery ,winter ,exhibition1 #ahii-aijj1 ,no4 #dd1 as a work of the ,early ,flemish ,school4 ,it was described in the catalogue as3 8,half-length1 turned towards left1 habited in a rich ,flemish costume of gold tissue covered with jewellery2 head-dress ornamented with pearls1 and inscribed with the motto #8,a bon fine'2 in her right hand she holds a red carnation2 flat green background4 ,painted on vellum and strained on fine canvas1 #ae in4 #ad in4 ,this portrait is supposed to have been executed by a ,flemish painter a year or two previous to ,anne's marriage in #aedj40 ,there is no need even to touch upon the concluding stages of this miserable story1 with which ,holbein had nothing to do4 ,henry married ,anne at ,greenwich on ,january #f1 #aedj1 and finally divorced her on ,july #ab in the same year4 ,she settled at ,richmond in the enjoyment of the rank of a princess and a pension of #cjjj a year1 and survived the ,king by ten years1 dying in #aeeg4 ---------------------------------------- -------------------------------- ,,chapter ,,xxiv ,,the ,,last ,,years3 #aedj-aedc ,holbein's work at ,whitehall--,his residence in the parish of ,st4 ,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 man1 aged #ed1 at ,berlin--,unknown ,english lady at ,vienna--,simon ,george--,dr4 ,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--,portraits1 now lost1 etched by ,hollar--,the ,duke of ,buckingham's ,collection4 ,though there is no actual evidence in support of the statement of the older writers that ,holbein1 after he entered the royal service1 had the use of a permanent studio in ,whitehall ,palace1 granted to him by the ,king1 there is every possibility that such was the case4 8,one of the earliest of the famous non-royal residents in ,whitehall ,palace10 says ,dr4 ,edgar ,sheppard1 8was the artist ,holbein4 ,he had been presented to ,henry ,,viii by ,sir ,thomas ,more1 and the ,king assigned him a permanent suite of apartments in ,whitehall1 and commissioned him to paint the interior of the new ,palace1 for which work he received two hundred florins per annum40#cif ,while the great wall-painting in the ,privy ,chamber was in progress1 it would be necessary for him to have a room for his own use within the building1 for the storage of the materials required for the work1 and it is not impossible that he was permitted to retain the room as his own1 perhaps one of those over the so-called 8,holbein's ,gate10 for the short remainder of his life1 more particularly as his practice was almost entirely confined to the court1 so that a studio in ,whitehall would best suit the convenience both of the painter and his sitters4#cig ,that he had a 8permanent suite of apartments0 there1 as ,dr4 ,sheppard states1 is much less probable4 ,this would indicate residence1 whereas it is known that during his last years he occupied a house in the east of ,london4 ,footnote #cif3 ,the ,old ,royal ,palace of ,whitehall1 #aija1 p4 #bff4 ,footnote #cig3 ,see ,appendix 7,m74 ,it is doubtful1 too1 whether ,holbein carried out any important decorative work in the ,palace beyond the famous wall-painting already described4#cih ,according to a curious entry in ,pepys' ,diary1 under the date ,august #bh1 #affh1 which is not easy to understand1 the room known as the ,matted ,gallery had a painted ceiling of ,holbein's handiwork4 ,the passage runs as follows3 8,with much difficulty1 by candle-light1 walked over the matted gallery1 as it is now with the mats and boards all taken up1 so that we walked over the rafters4 ,but strange to see how hard matter the plaister of ,paris is1 that is there taken up1 as hard as stone6 ,and pity to see ,holben's work in the ceiling blotted on1 and only whited over60 ,the exact sense of the concluding words is not very clear1 but ,pepys appears to mean that the ceiling had been formerly painted by ,holbein1 and that1 having become damaged in course of time1 it had recently been given a coat of whitewash4 ,the ceiling was probably decorated with coloured plaster-work in relief1 and though ,holbein may have supplied the design1 and may even have been responsible for the painting1 it is much more likely that the plaster-work itself was done by some ,italian1 such as ,nicolas ,beilin of ,modena1 who had carried out similar undertakings at ,fontainebleau4 ,footnote #cih3 ,in #aegf ,johann ,fischart1 quoted by ,ganz1 ,holbein1 p4 xxxviii41 in a description of the ,palace1 speaks of several of the galleries as decorated on both sides with fine emblematic histories1 and actions and stories in the style of ,michelangelo and ,holbein4 ,henry ,peacham1 in his ,graphic 7#afjf71 and again in ,the ,compleat ,gentleman 7#afcd71 speaks of works by ,holbein in ,whitehall4 ,he says3 8,he painted the ,chappell at ,white-,hall1 and ,s4 ,james1 ,joseph of ,arimathea1 ,lazarus rising from the dead1 c41 were his40 7,see ,the ,compleat ,gentleman1 ed4 ,g4 ,s4 ,gordon1 #aijf1 p4 #abh4 ,also ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #hb47 ,there is a drawing in the ,british ,museum representing ,henry ,,viii seated at table under a lofty canopy1 in a large chamber1 with a number of standing courtiers in attendance1 which appears to be a sixteenth-century copy of a preliminary study by ,holbein for a wall-decoration1 possibly for one of the rooms in ,whitehall4 ,it is inscribed 8,holbein ,invent40 ,reproduced by ,ganz1 ,holbein1 p4 #ahc4 ,sidenote3 8,,dance ,,of ,,death0 ,,at ,,whitehall ,the legend that ,holbein also painted a 8,dance of ,death10 composed of life-size figures1 upon the walls of one of the rooms in ,whitehall1 is probably pure fiction1 or1 at least1 there is much less to be said in its favour than for ,pepys' attribution of the ceiling in the ,matted ,gallery to the painter4 ,the writer who first gave currency to the story was ,francis ,douce1 in his 8,dance of ,death10 published in #ahcc4 ,according to his statement1 8very soon after the calamitous fire at ,whitehall in #afig1cii which consumed nearly the whole of that palace1 a person1 calling himself ,t4 ,nieuhoff ,piccard1 probably belonging to the household of ,william ,,iii1 and a man who appears to have been an amateur artist10#djj made etchings after nineteen of the cuts in the ,lyon 8,dance of ,death40 ,impressions of these etchings1 accompanied with manuscript dedications1 are said to have been presented by this ,piccard to his friends and patrons1 and among others to a ,mynheer ,heymans1 and to the 8high1 noble1 and well-born ,lord ,william ,denting1 ,lord of ,rhoon1 ,pendreght10 c4 ,in these addresses ,piccard speaks of a 8wall-painting0 of the 8,dance0 by ,holbein which he himself had seen in ,whitehall4 ,in the dedication to ,heymans he says3 ,footnote #cii3 ,should be #afih4 ,footnote #djj3 ,holbein's ,dance of ,death1 ed4 #aheh1 p4 #abd4 8,sir1--,the costly palace of ,whitehall1 erected by ,cardinal ,wolsey1 and the residence of ,king ,henry ,,viii1 contains1 among other performances of art1 a ,dance of ,death1 painted by ,holbein in its galleries1 which1 through an unfortunate conflagration1 has been reduced to ashes40 ,in the dedication to 8,lord ,william ,benting0 ,piccard is more precise3 8,sir1--,in the course of my constant love and pursuit of works of art1 it has been my good fortune to meet with that scarce little work of ,hans ,holbein neatly engraved on wood1 and which he himself had painted as large as life in fresco on the walls of ,whitehall40 99 99 99 99 99 ,as far as can be ascertained1 there is not the slightest truth in this legend4 ,nothing is known as to the identity of ,heymans1 but ,lord ,william ,benting was evidently ,william ,bentinck 7#agjd-aggd71 of ,rhoon and ,pendrecht in ,holland1 and ,terrington ,st4 ,clements1 ,norfolk1 third son of ,hans ,william ,bentinck1 first ,earl of ,portland1 and a ,count of the ,holy ,roman ,empire4 ,douce1 who gave undeserved authority to this story1 made no attempt to trace the history of the manuscript 8addresses0 which accompanied the etchings1 and though he saw them1 does not say to whom they then belonged1 or even in what language they were written4 ,they may be safely set down as forgeries1 as far as any wall-paintings of the 8,dance of ,death0 by ,holbein are concerned4 ,piccard1 whoever he may have been1 is the sole authority for the existence of these mythical works1 which are not mentioned by ,van ,mander or ,sandrart1 or by any of the foreign travellers who visited this country in their descriptions of ,whitehall1 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 praise4 ,both ,pepys and ,evelyn are equally silent on the subject1 though the latter mentions the 8,dance of ,death0 woodcuts1 and ascribes them to ,holbein by name4 8,we have seen10 he says1 8some few things cut in wood by the incomparable ,hans ,holbein the ,dane1 but they are rare and exceedingly difficult to come by2 as his ,licentiousnesse of the ,friers and ,nuns2 ,erasmus2 ,moriae ,encomium2 the ,trial and ,crucifixion of ,christ2 ,the ,daunce ,macchabree2 the ,mortis ,imago1 which he painted in great in the ,church at ,basil1 and afterwards graved with no lesse art40#dja ,what he says is by no means free from mistakes1 but as1 in speaking of a visit paid to ,whitehall in #afef1 he describes the condition of the large wall-painting of the two kings ,henry ,,vii and ,henry ,,viii1 and their consorts1 it is not probable that he would have failed to mention any other important wall-paintings in the palace had they existed4 ,douce thought he had discovered a corroboration of ,piccard's story in an entry in ,van der ,doort's catalogue of ,charles ,i's collection1 which runs3 8,a little piece1 where ,death with a green garland about his head1 stretching both his arms to apprehend a ,pilate in the habit of one of the spiritual ,prince-,electors of ,germany4 ,copied by ,isaac ,oliver from ,holbein02 but this1 no doubt1 was painted from the woodcut of the ,elector in the ,lyon 8,dance of ,death10 and not from a large wall-painting4 ,footnote #dja3 ,evelyn1 ,sculptura1 ed4 #agfi1 p4 #fi4 ,as already stated1 though ,holbein may have had a workroom within the precincts of ,whitehall1 his permanent home in ,london was elsewhere4 ,the public records show that in #aeda he was living in the parish of ,st4 ,andrew ,undershaft1 in ,aldgate ,ward4 ,how long he had been there is not known1 but possibly for the greater part of his second sojourn in ,england4 ,this information is contained in a subsidy roll for the ,city of ,london1 dated #bdth ,october1 #cc ,hen4 ,,viii 7#aeda74 ,among the 8straungers0 taxed were3 8,barnadyne xxx4 s4 ,buttessey1 xxx4 li4 ,hanns ,holbene iij4 li40 in fee1 xxx4 li4 ,why ,holbein was obliged to pay twice the amount charged to ,buttessey on an equal assessment of #cj a year is explained by the fact that in these subsidies it was usual to tax 8lands1 fees1 and annuities10 at double the rate of goods4 8,in the royal accounts10 says ,sir ,augustus ,w4 ,franks1 8the payments to ,holbein are sometimes noticed as wages1 sometimes as an annuity2 while other payments of a similar kind1 although fees or annuities1 are included under the general term 8wages10 and evidently looked upon as synonymous terms for the salaries paid by the ,king to various members of his household4 ,in any case1 the salary of ,holbein1 the painter1 rendered him liable to be rated1 as a foreigner1 at the high amount above-mentioned40#djb ,there can be no doubt that this ,holbein of the subsidy roll was the artist4 ,the amount of his fee1 #cj1 corresponds with the salary he received from the royal purse1 while ,holbein's will gives his place of residence as the parish of ,st4 ,andrew ,undershaft4 ,footnote #djb3 ,archologia1 vol4 xxxix4 p4 #ag4 ,sidenote3 ,,holbein',s ,,residence ,,in ,,london ,according to a story told by ,walpole1 ,holbein once resided in a house on ,london ,bridge4 ,he says3 8,the father of ,lord ,treasurer ,oxford passing over ,london ,bridge1 was caught in a shower1 and stepping into a goldsmith's shop for shelter1 he found there a picture of ,holbein 7who had lived in that house7 and his family4 ,he offered the goldsmith #ajjl4 for it1 who consented to let him have it1 but desired first to show it to some persons4 ,immediately after happened the fire of ,london1 and the picture was destroyed40#djc ,this story is apparently a mere legend1 and there is no evidence to support it2 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 years4 ,dallaway1 in his notes to ,walpole1 includes in a supplementary list of works by ,holbein in ,england a small picture of ,holbein1 his wife1 four boys1 and a girl1 at ,mereworth ,castle1 ,kent1 which he suggests may be either a repetition or the original picture of the ,london ,bridge story2 but in the first place1 ,holbein never had a family of four sons1 and1 secondly1 the picture bears no traces of ,holbein's manner4 ,he quotes ,gilpin's description of it3 8,as a whole1 it has no effect2 but the heads are excellent4 ,they are not painted in the common flat style of ,holbein1 but with a round1 firm1 glowing pencil1 and yet exact imitation of nature is preserved--the boys are very innocent1 beautiful characters40 ,if some such 8family0 picture existed in ,london at that time1 it is much more likely to have been a copy or a replica of the genuine family group in the ,basel ,gallery4 ,footnote #djc3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #hf1 note4 ,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 advance1 a mark of royal condescension which was most unusual4 ,thus under 8,september ,ao xxxi0 7#aeci7 is the following entry3 8,item paide by the ,kingis highnesse commaundement certefied by my lorde privyseales lettres to ,hans ,holbenne1 paynter1 in the advauncement of his hole yeres wagis beforehande1 aftre the rate of xxx li4 by yere1 which yeres advauncement is to be accompted from this present ,michaelmas1 and shall ende ultimo ,septembris next commynge1 the somme of xxx li40#djd ,notwithstanding this payment in advance1 it appears1 as already pointed out1#dje from the four following quarterly entries in the accounts having reference to ,holbein1 from ,michaelmas #aeci to ,midsummer #aedj1 that he continued to receive his salary of #g1 #ajs4 each quarter as usual4#djf ,if these entries are to be depended upon1 he clearly received his money twice over1 either by accident1 owing to carelessness in the keeping of the ,king's accounts1 or of set purpose as a further reward for his services4 ,footnote #djd3 ,c4,l4,p41 vol4 xiv4 pt4 ii4 p4 #cac1 ,the ,king's ,payments1 f4 #ij b2 and ,archologia1 vol4 xxxix4 p4 #i4 ,footnote #dje3 ,see p4 #ahj4 ,footnote #djf3 ,the first of these was due to him1 and not covered by the year's advance4 ,sidenote3 ,,his ,,work ,,about ,,the ,,court ,in ,september #aedj he received an advance of half a year3 8,september1 ,ao xxxii--,item paide to ,hans ,holbyn1 the ,kingis paynter1 in advauncement of his wagis for one half yere beforehande1 the same half yere accompted and reconned fromme ,michaelmas last paste1 the somme of xv li40 ,this time1 however1 he did not receive his salary twice over1 for in the two following entries1 at ,michaelmas and ,christmas1 #aedj1 the accounts merely state3 8,item1 for ,hans ,holbyn1 paynter1 wages1 nihil1 quia prius per warrantum40 ,in the following ,march #aeda he again obtained a half-year's advance3 8,march1 ,ao xxxii3 ,item paied to ,hans ,holben1 the ,kingis painter1 in advauncement of his half yeres wages before hande1 after the rate of xxx li4 by yere1 which half yere is accompted to beginne primo ,aprilis ,ao xxxij4 domini ,regis nunc1 and shall ende ultimo ,septembris then next ensuynge1 the somme of xv li40 ,the two remaining entries of which we have record1 at ,lady ,day and ,midsummer following1 are as follows3 8,item for ,hans ,holben1 paynter1 wages1 nil1 quia praemanibus02 and 8,item for ,hans ,holbyn1 paynter1 nihil1 quia prius40 ,the volume of accounts closes with the payments for this quarter1 and no details of the royal expenditure during the next two years and a half exist1 so that there is no record of the salary ,holbein received for the remaining years of his life4 ,in a later volume of ,tuke's accounts1 as treasurer of the household1 extending from ,october1 #ce ,hen4 ,,viii 7#aedc7 to ,november1 #cf ,hen4 ,,viii 7#aedd71 the first quarterly payments are for ,christmas #aedc1 and ,holbein's name does not occur in them1 as he had then been dead for about two months4 ,it is rather strange1 however1 that it does not appear among the ,christmas payments with 8,nihil quia mortuus0 after it1 as this was the usual procedure in case of death4 ,this omission1 however1 may have been due to the fact that he had once again received his salary beforehand4 ,the remaining years of ,holbein's life must have been busy ones1 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 museums4 ,these drawings are all undated1 and cover the whole period of his ,english career1 but there are so many of them that his time must have been always fully occupied4 ,it is strange1 therefore1 that so few of his finished portraits can be ascribed with any certainty to the year #aedj4 ,although it was by no means his invariable custom to put the date on his paintings1 yet this was his more usual practice1 and there is no known picture by him which is inscribed #aedj1 though there are a few dated #aeda and #aedb4 ,several portraits of the ,howard family can be given with some certainty to the earlier year1 but beyond this nothing has been so far discovered4 ,it may be suggested1 as some explanation of this1 that ,holbein paid another visit to ,basel during the last quarter of #aedj1 as the two years' leave of absence granted him by the ,town ,council came to an end in the middle of ,october4 ,the ,council1 who had been paying his wife the promised yearly pension of forty gulden1 expected him to make ,basel his permanent residence on the completion of this further extension of leave4 ,the terms of their agreement with him were fairly generous1 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 wish4 ,it seems possible1 therefore1 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 #aech permitted4 ,unlike many of the foreign artists and artificers then resident in this country1 he never became a naturalised ,british subject1 and this1 no doubt1 was due to the fact that he was determined to end his days as a citizen of ,basel1 and regarded his residence here as merely a temporary one1 and ,england as a profitable field which1 as time passed1 would become worked out4 ,he could not1 of course1 foresee that he was to be suddenly cut down when a comparatively young man and still in the full maturity of his powers4 ,at ,michaelmas in the year in question he received half a year's salary in advance1 so that it was impossible for him to leave ,england permanently for some time to come4 ,in the summer of #aedj ,holbein lost another of his ,english patrons4 ,henry formally divorced ,anne of ,cleves on the #abth of ,july1 and on the #bhth of the same month ,thomas ,cromwell1 then ,earl of ,essex1 who had been a good friend to the painter1 was beheaded for high treason1 after a period of eight years during which his influence with both ,king and ,parliament had been paramount4 ,during the same month ,henry privately married ,catherine1 daughter of ,lord ,edmund ,howard1 a cousin of ,anne ,boleyn1 and niece of ,thomas1 third ,duke of ,norfolk4 ,by this marriage the ,howards1 and through them the ,catholic party1 regained that ascendancy in the councils of the ,king which had received a severe check at the fall of ,anne ,boleyn2 and at least three members of this family were painted by ,holbein4 ,the new ,queen was publicly acknowledged on ,august #h at ,hampton ,court ,palace4 ,sidenote3 ,,miniatures ,,of ,,catherine ,,howard ,although it was to be supposed that ,henry would employ ,holbein to paint the portrait of his new queen1 until quite recently the only known likeness of her from his brush was the miniature portrait in the royal collection at ,windsor ,castle1 and the replica of it belonging to the ,duke of ,buccleuch4 ,in #aiji1 however1 the discovery was made by ,mr4 ,lionel ,cust of a genuine and very beautiful portrait of this ,queen4 ,in the ,windsor miniature 7,pl4 #ca 7#d771djg which shows her in a similar position to the one in the newly-discovered picture1 she is represented nearly to the waist1 turned to the left1 her hands folded in front of her1 the left over the right4 ,her hair and eyes are brown1 and she wears a circular hood of the then fashionable ,french pattern1 with a fall of black velvet4 ,her square-cut bodice is of dark cloth of gold1 with sleeves of grey-green silk embroidered with gold1 and white ruffles with black embroidery4 ,round her neck1 over the white cambric filling of the dress1 falls an elaborate necklace of pearls1 rubies1 and sapphires4 ,the background1 which is bright blue1 has no inscription4 ,it is painted on the back of a playing card1 the eight of diamonds1 and is #b inches in diameter4 ,the hands1 and the lower part of the arms1 are badly painted1 and appear to be a later addition4 ,footnote #djg3 ,woltmann1 #bga4 ,reproduced by ,law1 ,pl4 vii42 ,knackfuss1 fig4 #acb2 ,williamson1 ,history of ,portrait ,miniatures1 ,pl4 ii4 ,no4 #b2 ,pollard1 ,henry ,,viii1 p4 #bde2 ,ganz1 ,holbein1 p4 #adi 7#d71 and ,cust1 ,burlington ,magazine1 ,july #aiaj1 p4 #aie4 ,nothing is known of its history1 or as to the date of its acquisition1 but it did not belong to the ,crown in ,tudor or ,stuart days4 ,dr4 ,ganz describes it as badly over-painted1 and possibly only a copy4 ,doubts have been thrown from time to time on its right to be called a portrait of ,catherine ,howard4 ,mr4 ,ernest ,law considers the attribution to be 8very problematical indeed10 and states that it 8does not at all accord with the ,holbein drawing inscribed as #8,queen ,katherine ,howard4'0#djh ,in this he follows earlier writers4 ,nichols says that though the position and head-dress of the drawing agree with the miniature1 8the features do not appear to correspond40#dji ,it is difficult1 however1 to agree with them in this1 for a careful comparison of the two makes it quite evident that they represent the same lady4 ,the version belonging to the ,duke of ,buccleuch is almost identical with the ,windsor miniature1 but is a better work and slightly smaller1 being only two inches in diameter4 ,it was last publicly exhibited at the ,burlington ,fine ,arts ,club1 in #aiji4daj ,it was formerly in the collection of the ,earl of ,arundel1 and when there was etched by ,hollar in #afdf4 ,it was afterwards owned by ,jonathan ,richardson the younger 7#afid-agga71 and subsequently by ,horace ,walpole4 ,walpole describes it as3 8,catherine ,howard1 a miniature1 damaged1 it was ,richardson's1 who bought it out of the ,arundelian collection4 ,it is engraved among the ,illustrious ,heads of ,houbraken2 and by ,hollar1 who called it ,mary1 ,queen of ,france1 wife of ,charles ,brandon1 ,duke of ,suffolk40#daa ,in this he is wrong1 for no name is attached to it in ,hollar's etching1 and it was first identified as ,catherine ,howard by ,mr4 ,cust4 ,in his ,description of ,strawberry ,hill1 however1 ,walpole calls it merely 8a lady painted by ,holbein10 and says that it is 8probably ,mary ,tudor1 ,queen of ,france1 sister of ,henry ,,viii1 but among the ,illustrious ,heads called ,catherine ,howard40 ,according to ,granger1 it was ,vertue who first named it ,mary1 ,queen of ,france4 ,the ,duke of ,buccleuch also possesses a small oil painting on panel1 #e in4 #d in41 which was likewise at the ,burlington ,fine ,arts ,club 7,case ,c1 #bd74 ,it is inscribed1 by a hand later than that of the painter of the portrait1 8,catherine ,howard ,henry ,,viii40 ,according to ,scharf1 this is 8apparently a ,french work1 and1 indeed1 thoroughly so in personal characteristics40#dab ,it is in the style of ,clouet1 and the compilers of the ,burlington ,fine ,arts ,club catalogue suggest that it may represent ,anne de ,pisseleu1 ,duchesse d',estampes4 ,footnote #djh3 ,law1 ,holbein's ,pictures1 c41 p4 #bd4 ,this was before ,mr4 ,cust's discovery of the larger portrait4 ,footnote #dji3 ,archologia1 vol4 xl4 p4 #gh4 ,footnote #daj3 ,case ,c1 #d4 ,reproduced in ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 xxxiii42 ,ganz1 ,holbein1 p4 #adh 7#d72 and ,cust1 ,burlington ,magazine1 ,july #aiaj1 p4 #aie4 ,only a part of one hand is shown4 ,footnote #daa3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 pp4 #id-e4 ,hollar's etching 7,parthey1 #aedf7 is reproduced by ,ganz1 ,holbein1 p4 #aih 7#c72 and by ,cust1 ,burlington ,magazine1 ,july #aiaj1 p4 #aie4 ,footnote #dab3 ,archologia1 vol4 xl4 p4 #hg4 ,reproduced in ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxiv4 ,the ,windsor drawing#dac bears no inscription1 and the sitter is turned to the right1 as in ,hollar's engraving1 instead of to the left1 but otherwise it shows the same type of features1 smooth auburn hair1 and ,french cap or hood1 as in the miniature4 ,the dress1 however1 in ,holbein's usual fashion1 is merely indicated with a few lines1 showing a plain bodice cut square1 filled in with white cambric1 with a diamond-shaped opening revealing neck and bosom4 ,it agrees in the same way with the newly-discovered portrait1 of which1 though reversed1 it is evidently one of the preliminary studies4 ,the identity with ,catherine ,howard is further proved1 as ,mr4 ,lionel ,cust points out1 by the family resemblance1 plainly visible1 in certain of the features1 such as the over-accentuated lower jaw1 to the portraits of her uncle1 the ,duke of ,norfolk1 and of his son1 the ill-fated ,earl of ,surrey4 ,footnote #dac3 ,woltmann1 #cbi2 ,wornum1 ii4 #i2 ,holmes1 i4 #db4 ,reproduced in ,burlington ,magazine1 vol4 xvii41 ,july #aiaj1 p4 #aie1 together with the two miniatures and ,hollar's etching4 ,sidenote3 ,,portrait ,,of ,,catherine ,,howard ,in #ahih the ,trustees of the ,national ,portrait ,gallery acquired a portrait of ,catherine ,howard#dad at the sale of the ,cholmondeley pictures at ,condover ,hall1 ,shropshire1 which closely follows the ,windsor drawing1 although in the reverse position4 ,the excellence of the painting of the hands1 and of the details of the dress and jewels1 led at first to the supposition that it might be a genuine work by ,holbein which had undergone some damage and restoration1 but closer examination proved that it was merely a careful contemporary school copy1 or repetition of some lost original4 ,it is inscribed 8,,etatis ,,sv #ba10 which corresponds with the known facts of ,catherine ,howard's life4 ,in the summer of #aiji the original picture of which it is a copy was submitted to ,mr4 ,cust1 who recognised it at once as not only a portrait of ,catherine ,howard1 but as most possibly a genuine work of the great master1 which proved to be the case on the removal of much dirty varnish and some repaints4#dae ,it came from a private collection in the west of ,england1 where it had formed part of a series of historical portraits which had been in the possession of the same family for several generations1 and had been regarded at one time as a portrait of ,eleanor ,brandon1 ,countess of ,cumberland1 and at another as ,princess ,mary ,tudor4 ,it is now in ,canada1 in the collection of ,mr4 ,james ,h4 ,dunn4 ,footnote #dad3 ,no4 #aaai4 ,reproduced by ,pollard1 ,henry ,,viii1 p4 #bfh2 and in the ,illustrated ,catalogue1 ,national ,portrait ,gallery1 vol4 i4 p4 #be4 ,footnote #dae3 ,see ,cust1 ,burlington ,magazine1 vol4 xvii41 ,july #aiaj1 pp4 #aic-i1 reproduced1 frontispiece2 and by ,ganz1 ,holbein1 p4 #abf4 ,henry's fifth ,queen is shown seated1 at a little more than half length1 turned to the left4 ,the hands are in the same position as in the miniature1 though the fingers are more closely interlaced4 ,her hair is auburn1 parted in the middle1 and the eyes are blue-grey4 ,she wears1 too1 a costume of a similar fashion1 though of different materials4 ,the circular ,french hood1 with its heavy band of gold ornament and black fall1 appears to be the same1 but the dress is of black satin1 with a square black velvet yoke across the bosom1 open at the neck and turned back to show the white lining4 ,a band or piping of gold ornament elaborately pierced1 with pairs of gold tags at intervals1 runs along the outer seam of the sleeves from shoulder to wrist1 and the white ruffles are embroidered all over with a floral design in black4 ,the ornaments she wears are of exceptional interest1 as they afford actual evidence that ,holbein not only painted portraits of royal ladies1 but also designed their jewellery4 ,round her neck is a small necklace1 set with pearls and diamonds1 less heavy and elaborate than the one represented in the miniatures1 and of greater beauty and delicacy of design1 to which a large pendant jewel is attached4 ,at her breast is a brooch from which hangs a circular jewel or medallion of chased gold work1 with a large oblong diamond in the centre1 on which is represented the story of ,lot's wife and the flight from ,sodom4 ,this jewel was designed for ,catherine by ,holbein4 ,it corresponds exactly1 as ,mr4 ,cust points out1 with a most characteristic study1 a small roundel placed within an octagon1 among the wonderful series of ,holbein's original drawings for jewellery in the ,print ,room of the ,british ,museum1#daf and thus gives particular interest to a portrait which in all ways forms a very important addition to the master's work1 both on account of the brilliance of its execution and of its value as an historical document4 ,suspended from a chain round her waist hangs a still larger circular jewel1 only the upper part of which is seen4 ,that portion of the subject which is visible represents two angels with hands raised in adoration on either side of a crowned and bearded figure1 most possibly the ,almighty4 ,the background of the portrait is a plain one1 of ,holbein's favourite blue1 across which is inscribed1 as in the ,national ,portrait ,gallery copy1 8,,etatis ,,sv #ba10 on either side of the head4 ,it is on an oak panel #bi inches high by #bj inches wide4 ,it must have been painted between ,august #aedj1 the date of her marriage1 and ,november #aeda1 when she was deprived of her dignity as ,queen1 and forbidden to wear jewels2 most probably in the latter year1 according to ,mr4 ,cust1 which would correspond with her accepted age at the time of her marriage4 ,its importance and its genuineness have been accepted by such leading authorities as ,dr4 ,bode1 ,dr4 ,friedlnder1 ,dr4 ,paul ,ganz1 and ,sir ,sidney ,colvin4 ,footnote #daf3 ,british ,museum ,catalogue1 #ce7;,e7 ,vol4 ii4 p4 #cci4 ,reproduced in ,burlington ,magazine1 vol4 xvii41 ,july #aiaj1 p4 #aie4 ,see p4 #bhc and ,pl4 #ej 7#b74 ,catherine ,howard's reign as ,queen of ,england was a short one4 ,there is no need to describe her tragic fate in detail4 ,before the close of the year #aeda it was discovered that not only had she had two lovers1 one of them her cousin ,francis ,dereham1 before her marriage1 but that she had also been unfaithful to the ,king almost from the beginning of her married life1 her paramour being one of her gentlemen1 ,thomas ,culpeper4 ,the ,queen and her accomplice1 ,lady ,rochford1 were confined in ,syon ,house1 pending a parliamentary inquiry4 ,dereham and ,culpeper were tried at ,guildhall in ,december1 pleaded guilty1 and were hanged at ,tyburn twelve days afterwards2 and in ,february #aedb1 ,catherine and ,lady ,rochford were condemned to death1 and were beheaded on the #acth of the month1 on the same spot on which the ,queen's cousin1 ,anne ,boleyn1 had suffered the same penalty for the same crime4 ,this fresh tragedy in his life greatly aged the ,king1 as can be seen in the portraits of him painted about this period1 usually attributed to ,lucas ,hornebolt4 ,a month after the execution1 ,marillac wrote to ,francis ,i1 on ,march #ag1 #aedb1 that ,henry was 8already very stout and daily growing heavier1 much resembling his maternal grandfather1 ,king ,edward1 being about his age1 in loving rest and fleeing trouble4 ,he seems very old and grey since the mishap 7malheur7 of this last queen1 and will not yet hear of taking another1 although he is ordinarily in company of ladies1 and his ministers beg and urge him to marry again40#dag ,footnote #dag3 ,c4,l4,p41 vol4 xvii4 #agh4 ,sidenote3 ,,portrait ,,of ,,thomas ,,howard ,the portrait of ,thomas ,howard1 third ,duke of ,norfolk1 uncle by marriage to ,henry ,,viii1 was painted at about the same time as that of ,catherine ,howard4 ,the inscriptions on the fine original version by ,holbein in ,windsor ,castle 7,pl4 #be71dah and the excellent contemporary copy in ,arundel ,castle1 both state that it was taken in his sixty-sixth year1 and as he is said to have been born in #adgc1 this gives the date of the picture as #aeci or early in #aedj4 ,he is shown standing1 at half-length1 slightly turned to the left4 ,he is wearing a doublet of dusky red silk1 edged with brown fur1 and a white collar embroidered with black silk4 ,his outer robe of dark velvet has a deep collar and border of ermine1 and on his head is a plain1 flat black hat1 without a badge1 over a black skull-cap which covers the ears4 ,in his left hand he holds the long white wand of his office of ,lord ,high ,treasurer1 and in his right the shorter gold baton1 tipped with black1 which he carried as hereditary ,earl ,marshal of ,england4 ,across the shoulders hangs the magnificent and richly-jewelled collar of the ,order of the ,garter with the pendant ,george1 which is painted with all ,holbein's wonderful mastery in the clear rendering of minute ornament4 ,the face1 clean-shaven1 and of a brown complexion1 displays remarkable subtlety in the delineation of a proud and cruel nature4 ,the cold1 unflinching eyes1 the thin1 compressed lips with their faint1 ironic smile1 and the bony hands clasping the staves1 reveal the sitter's true character as it has come down to us in the pages of history1 pride of race1 cruelty almost remorseless in its pursuit of power1 and inflexibility of purpose both in personal aggrandisement and in the service of his royal master4 ,footnote #dah3 ,woltmann1 #bfg4 ,reproduced by ,law1 ,pl4 vi42 ,davies1 p4 #agi2 ,knackfuss1 fig4 #acc2 ,pollard1 ,henry ,,viii1 p4 #ahh2 ,ganz1 ,holbein1 p4 #abc4 ,the background is green1 and across the top of the panel runs the inscription3 8,,thomas ,,dvke ,,off ,,norfolk ,,marshall ,,and ,,tresvrer ,,off ,,inglonde ,,the ,,lxvi ,,yere ,,of ,,his ,,age40 ,it is now almost illegible1 through the passage of time and over-painting1 but can be deciphered by the aid of the exactly similar inscription on the ,arundel picture4 ,this1 as already stated1 gives the date of the portrait as about #aedj4 ,the inscription1 however1 is not contemporary1 but was probably added some hundred years later1 in the reign of ,charles ,i1 when the picture was in the collection of the ,earl of ,arundel4 ,it was finely etched by ,vorsterman when in the ,earl's possession1 in #afcj1 though without the inscription1 but beneath the plate is engraved3 8,hans ,holbein pinxit4 ,visitur in dibus ,arondelianis ,londini40 ,this does not necessarily prove that the inscription on the panel did not exist at that date1 as ,vorsterman may have omitted it as disfiguring4 ,that it was certainly there fifteen years later is proved by a coloured drawing on vellum by ,philip ,fruytiers1 the ,antwerp painter1 dated #afde1 a copy of a study by ,van ,dyck representing a large group of ,thomas ,howard1 ,earl of ,arundel1 his wife1 and family4 ,on the wall in the background ,van ,dyck had inserted1 and ,fruytiers has copied1 on the one side1 this very portrait of the ,duke of ,norfolk by ,holbein1 in which the inscription across the top of it in gold letters can be plainly seen1 and on the other side the portrait of his son1 the ,earl of ,surrey1 also evidently a work by ,holbein1 though the original painting is now lost1 which is inscribed3 8,,henry ,,howard ,,erle ,,of ,,suhry ,,anno ,,tatis ,,sv #be40 ,this water-colour drawing1 which is signed 8,an4 ,vandyke inv4 ,ph4 ,fruytiers fecit #afde10 is in the collection of the ,duke of ,sutherland1 and there is a small copy of it in oils on copper at ,norfolk ,house1 which also shows the inscription4 ,it was engraved by ,vertue in #agdc4 ,the original sketch or composition by ,van ,dyck has been lost4 ,illustration3 ,,vol4 ,,ii41 ,,plate #be ,,thomas ,,howard1 ,,duke ,,of ,,norfolk ,,windsor ,,castle ,sidenote3 ,,portrait ,,of ,,thomas ,,howard ,it is supposed that the ,windsor version is the one which was in the ,arundel ,collection1 but its subsequent history is uncertain4 ,that collection was divided in #afhf1 and the share which fell to the ,duke of ,norfolk may possibly have contained this portrait of his ancestor4#dai ,the ,duke's pictures were sold in #afib1 and nothing further is to be heard of this portrait until it is mentioned by ,walpole as being then 7#agfb7 in ,leicester ,house1 at that time the dower-house of the ,dowager ,princess of ,wales1 widow of ,frederick1 ,prince of ,wales4#dbj 8,there can be no doubt10 says ,mr4 ,ernest ,law1 8that the picture passed1 on the death of the ,princess in #aggb1 into the possession of the ,crown with the rest of the collection which had been formed by ,prince ,frederick40#dba ,it is not known from whom that ,prince acquired it1 but many of his pictures were purchased for him on the ,continent by his agent1 ,bagnols1 and it is not unlikely that ,woltmann's surmise is correct1 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 #bc1 #agcb1 as 8,een zeer konstig uitmuntent stuk door ,hans ,holbeen1 zynde de ,hartog van ,nortfolk nooit zoo goet gezien10 which must have been a fine work1 as it fetched the relatively high price of #aabj florins4#dbb ,it is quite possible1 therefore1 that the portrait was one of those sold by ,lord ,stafford in ,amsterdam in #afed1 immediately after the death of the ,countess of ,arundel1 and that it was never in the possession of the ,duke of ,norfolk1 but remained in that town until #agcb4 ,footnote #dai3 ,the only portrait of the ,duke mentioned in the ,arundel inventory of #afee has no artist's name placed against it1 but it comes next to the portrait of the ,earl of ,surrey1 which is given to ,holbein4 ,it is entered as 8,ritratto de ,tomaso ,howard1 ,ducha de ,nordfolk40 ,footnote #dbj3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 i4 p4 #hc4 ,footnote #dba3 ,law1 ,holbein's ,pictures1 c41 p4 #ai4 ,footnote #dbb3 ,woltmann1 ii4 pp4 #eg and #aef4 ,the copy at ,arundel ,castle1 about which still less is known1 is so good that it is only when it is placed side by side with the ,windsor version1 as it was in the ,tudor ,exhibition in #ahij1 that the latter is seen to be by far the finer work of the two4 ,the ,arundel picture is slightly the smaller1 and was last exhibited at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #di74 ,there is a second version of this portrait in the ,norfolk collection1 at ,norfolk ,house1 in which various alterations have been made in the position and the dress1 and a more elaborate background has been added4 ,it is a work of comparatively little merit1 and appears to have been painted during the seventeenth century by some inferior artist4 ,at the time he sat to ,holbein the ,duke was at the height of his power4 ,he had been the bitter enemy of both ,wolsey and ,cromwell1 and had assisted to bring about the downfall of both1 and had arrested the latter with his own hands4 ,after ,cromwell's execution he became the most powerful of ,henry's subjects1 and reached his highest summit of greatness4 ,his influence over the ,king1 however1 waned after the fall of his niece1 ,catherine ,howard1 when he was supplanted by his enemies1 the ,earl of ,hertford and the ,seymours4 ,in #aedf he was attainted1 together with his son1 the ,earl of ,surrey1 for high treason1 and only escaped the latter's fate by the death of the ,king on the day the warrant for his execution was made out4 ,he remained in the ,tower throughout the reign of ,edward ,,vi1 but was released on the accession of ,queen ,mary in #aeec1 and his titles and estates were restored to him1 but he only lived to enjoy them for a year4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bf ,,henry ,,howard1 ,,earl ,,of ,,surrey ,wrongly inscribed 8,thomas ,howard0 ,drawing in black and coloured chalks ,,windsor ,,castle ,sidenote3 ,,portraits ,,of ,,henry ,,howard ,that ,holbein painted his son1 ,henry1 ,earl of ,surrey1 is proved by the small portrait on the wall in ,fruytiers' version of ,van ,dyck's picture of the ,arundel family4 ,the inscription on this miniature copy gives his age as twenty-five2 and as he was born about #aeag1 ,holbein must have painted him about #aeda4 ,he is represented with reddish hair and beard1 and brown eyes1 the head slightly turned to the right1 and wears a black cap with a feather1 and a black mantle from the folds of which the right hand appears4 ,there is a small drawing in the ,windsor ,collection wrongly inscribed 8,tho4 ,howard ,e4 of ,surrey10#dbc which bears some likeness to the ,earl in the ,fruytiers drawing1 and is supposed to represent ,henry ,howard4 ,it is badly rubbed1 and has suffered from retouching and certain coarse alterations1 and has the slightly-wavering touch which marks the so-called 8,melanchthon0 in the same collection4 ,it is apparently the original study for the portrait which was engraved by ,hollar when it was in the ,arundel ,collection4#dbd ,there are two other heads at ,windsor also named ,thomas ,howard1 ,earl of ,surrey1 but the attribution cannot be correct1 as ,surrey's son1 ,thomas1 was a small boy of only six or seven at the time of ,holbein's death4 ,whether the drawings represent the poet himself is also doubtful4 ,one of them1 inscribed 8,thomas ,earl of ,surry0 7,pl4 #bf71dbe in which he is shown full-face1 clean-shaven1 with hair cut straight across the forehead and partly covering the ears1 and wearing a black cap with scalloped edges and an ostrich feather1 is one of the finest drawings in the whole collection1 conspicuous for the delicacy of the modelling and the freedom and expressiveness of the draughtsmanship4 ,the face is one of considerable charm1 which is not to be seen in the third drawing1#dbf inscribed 8,tho4 ,earle of ,surry10 perhaps a little later in date1 in which the head is turned slightly to the left1 and the hair entirely covered with the black skull-cap he wears beneath the feathered bonnet4 ,the dress is only slightly indicated1 and is rubbed1 and a circular medallion suspended from a broad ribbon hangs on his breast4 ,a portrait of his wife is also to be found among the ,windsor heads1#dbg full-face1 wearing the angular ,english head-dress with black fall1 and a round jewelled ornament hanging from a chain round her neck1 and a second medallion on her breast4 ,the dress which1 like the ornaments1 is badly rubbed1 was of rose-coloured velvet1 according to a note in ,holbein's handwriting4 ,the portrait for which this drawing was the study1 like that of her husband1 cannot now be traced4 ,the two full-length portraits of ,henry ,howard1 dated #aedf1 at ,arundel ,castle and at ,knole respectively1 are usually ascribed to the ,netherlandish painter ,guillim or ,gillam ,stretes1 on account of ,strype's statement1 already quoted1#dbh that in #aeea the ,privy ,council ordered a picture 8of the late ,earl of ,surrey1 attainted10 to be fetched away from 8the said ,guillim's house40 ,the ,duke of ,norfolk's version of the portrait#dbi has a very elaborate architectural setting1 coarsely painted in stone colour1 and apparently of a somewhat later date than the rest of the picture1 while the one belonging to ,lord ,sackville at ,knole shows the figure only1 and is looked upon by some authorities as the original4 ,the attribution of these two pictures to ,stretes is extremely doubtful4 ,the ,arundel portrait1 in particular1 suggests the hand of an ,italian1 and the name of ,nicolas ,beilin of ,modena may be tentatively suggested4 ,one of them was in the collection of ,thomas ,howard1 ,earl of ,arundel1 where it was attributed to ,holbein4 ,it is described in the inventory of #afee as 8il ritratto del ,conte de ,surry grande del naturale40 ,footnote #dbc3 ,woltmann1 #cab2 ,wornum1 ii4 #h2 ,holmes1 ii4 #ai4 ,footnote #dbd3 ,parthey1 #aeji4 ,reproduced by ,ganz1 ,holbein1 p4 #aig 7#b74 ,the portrait itself is described in the ,arundel inventory of #afee as 8,ritratto de ,henrico ,howard1 ,conte de ,surrey40 ,footnote #dbe3 ,woltmann1 #cad2 ,wornum1 ii4 #f2 ,holmes1 i4 #bj4 ,reproduced by ,davies1 p4 #ahj1 and elsewhere4 ,footnote #dbf3 ,woltmann1 #cac2 ,wornum1 i4 #ce2 ,holmes1 i4 #ba4 ,footnote #dbg3 ,woltmann1 #ccj2 ,wornum1 ii4 #bd2 ,holmes1 i4 #bb4 ,footnote #dbh3 ,see p4 #afh4 ,footnote #dbi3 ,exhib4 ,burlington ,fine ,arts ,club1 #aiji1 ,no4 #ed4 ,reproduced ,arundel ,club1 #aijg1 ,no4 #c2 ,pollard1 ,henry ,,viii1 p4 #bhd4 ,only three dated works of the year #aeda remain2 the two fine portraits of men in the ,berlin and ,vienna ,galleries1 and the miniature of ,charles ,brandon1 the younger son of the ,duke of ,suffolk4 ,the ,berlin panel1#dcj 7,no4 #ehf ,c71 is inscribed at the top1 in gold1 on either side of the cap1 8,,anno #aeda10 and lower down1 in smaller letters1 level with the sitter's ears3 8,,etatis 3 ,,sv 3 #cg40 ,the coat of arms1 enamelled in red and white1 on the gold ring on his left hand1 indicates that in all probability this young man was a member of the ,dutch family of ,vos van ,steenwijk1 though the writer has failed to trace the name1 or any indication of a sojourn in or visit to ,england on the part of its bearer1 in the ,calendars of the ,english ,state ,papers4 ,it is a half-length portrait1 considerably less than life-size1 head and body turned to the right1 but both eyes shown4 ,the eyes are grey1 and the finely painted beard and moustache are a reddish brown4 ,in his clasped hands he holds a pair of brown gloves4 ,he wears a black silk under-dress and a surcoat of black or very dark brown1 with the collar turned over to show the lining of black watered silk1 and his flat cap of the same colour has a turned-down brim4 ,he is gazing to the spectator's right with a far-away and slightly melancholy look in his eyes1 which are wonderfully painted1 as is the beautiful and expressive left hand4 ,it comes from the ,von ,sybel1 ,elberfeld1 ,merlo of ,cologne1 and ,suermondt collections1 having been purchased from the last-named owner in #ahgd4 ,footnote #dcj3 ,woltmann1 #aag4 ,reproduced by ,knackfuss1 fig4 #acd2 ,ganz1 ,holbein1 p4 #abh4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bg ,,portrait ,,of ,,an ,,unknown ,,young ,,man #aeda ,,imperial ,,gallery1 ,,vienna ,sidenote3 ,,portrait ,,of ,a ,,man ,,with ,a ,,falcon4 ,the picture of an unknown man1 aged twenty-eight1 at ,vienna#dca 7,no4 #adgi7 7,pl4 #bg71 is still finer in expression1 and1 indeed1 is one of the most brilliant portraits of ,holbein's later years4 ,it is one of his customary half-length figures1 less than life-size1 seated at a table1 the body turned to the right1 and the face looking out at the spectator4 ,his doublet is of purple-brown silk1 and over it he wears the usual black cloak with a deep collar and lining of brown fur1 and black cap with a brim4 ,the collar of his white shirt is beautifully embroidered with black ,spanish work and tied with black laces4 ,his grey gloves are held in his left hand1 and his right rests on the olive-green cloth of the table1 the forefinger being thrust within the pages of a gilt-edged book1 near which is placed an inkstand with a red cord4 ,on one of his rings is an intaglio4 ,the clean-shaven face1 showing blue on chin and upper lip1 is of a ruddy brown complexion1 and the hair1 which does not cover the ears1 is almost concealed by the hat4 ,the unknown sitter1 who appears to be an ,englishman1 is comely in features1 and the eyes have a far-seeing1 visionary expression1 which ,holbein has rendered with extraordinary vividness and subtlety of drawing4 ,the upper part of the background consists of a blue-grey wall1 with wooden panelling1 or the back of a long wooden seat1 below1 and the panel is inscribed on either side of the head3 8,,anno ,,dni #aeda ,,etatis ,,sv #bh40 ,it was in the collection of the ,archduke ,leopold ,william in the seventeenth century4 ,there is an old copy of this picture in the ,palermo ,gallery 7,woltmann1 #bbc74 ,footnote #dca3 ,woltmann1 #bed4 ,reproduced in the ,vienna ,catalogue1 p4 #cdc2 ,knackfuss1 fig4 #acf2 ,ganz1 ,holbein1 p4 #abg4 ,to the year #aedb belongs the small portrait of an unknown ,englishman in the ,hague ,gallery 7,no4 #bgg7 7,pl4 #bh71dcb which1 again1 is brilliant in execution1 the details painted with the minutest care1 but with a touch both delicate and free from all hardness1 and unusual richness of colour4 ,the head is full-face1 the body turned slightly to the left4 ,his closely cropped hair is chestnut in colour1 turning to red at the ends of his moustache and short pointed beard4 ,it is almost the only portrait by ,holbein in which the sitter is shown without a hat4 ,he wears a dress of black velvet and watered silk with a pattern1 slashed with red silk at the shoulder and wrist4 ,on his left hand1 which is gloved1 stands his falcon1 a large bell on its claw4 ,his right hand1 in which he holds the bird's hood1 is ungloved1 with a gold ring set with a stone on the little finger4 ,the light falls from the right1 and the shadow on the left side of the face is more strongly marked than in most of ,holbein's portraits4 ,the modelling is fine1 the face full of strong character1 and1 as usual1 the hands are most expressively painted1 the whole presentment being most vivid and life-like4 ,the background is a plain blue-grey1 of much the same tone as that in the portrait of #aeda at ,vienna4 ,across the panel is inscribed1 on either side of the head1 the date #aedb1 and lower down 8,,anno ,,etatis ,,sv ,,xxviii40 ,little is known about the history of this picture1 except that it was at one time in the royal collections of ,england1 and that it was taken to ,holland by ,william ,,iii1 and was included in the list of works of art reclaimed by ,queen ,anne after that ,king's death4#dcc ,like the portrait of ,cheseman1 however1 it remained abroad4 ,it is inscribed on the back 8,the manner of ,holbein10 and in old catalogues was absurdly described as a portrait of ,sir ,thomas ,more4 ,footnote #dcb3 ,woltmann1 #afj4 ,reproduced by ,mantz1 p4 #aga2 ,ganz1 ,holbein1 p4 #abi4 ,footnote #dcc3 ,no4 #ba4 8,a man's head with a hawk by ,holbein40 ,illustration3 ,,vol4 ,,ii41 ,,plate #bh ,,portrait ,,of ,,an ,,unknown ,,man ,,with ,a ,,falcon #aedb ,,royal ,,picture ,,gallery1 ,,mauritshuis1 ,,the ,,hague ,sidenote3 ,,undated ,,portraits ,,of ,,last ,,years ,it is probable that during this year ,holbein painted ,sir ,william ,fitzwilliam1 created ,earl of ,southampton in #aech1 who died at ,newcastle in #aedc4 ,there is a fine drawing of the head in the ,windsor ,collection1#dcd turned three-quarters to the right1 wearing a black cap with a medallion1 and ear-flaps1 or a coif1 tied under the chin2 slight whiskers are indicated on the cheek-bones4 ,it is a face of strong individuality1 with a big nose1 finely and boldly drawn1 the dress only roughly indicated4 ,there is a full-length portrait of the ,earl1 #f ft4 #c ft4 #c in41 in the ,fitzwilliam ,museum1 ,cambridge 7,no4 ii4 #afd71dce which is described in the catalogue as probably a copy of the original picture by ,holbein which1 in #agic1 was destroyed by fire at ,cowdray ,house1 the estate purchased by the ,earl in #aebh4 ,he is represented standing to the right1 and wearing a black cap tied under the chin as in the ,windsor drawing1 a long black cloak with fur collar reaching to the knees1 dark hose and shoes1 and the collar and jewel of the ,garter round his neck4 ,he grasps a gold-headed staff in both hands1 and stands on a terrace with a low parapet and a pavement of black and red tiles1 overlooking a distant landscape consisting of wooded country and a land-locked harbour or estuary of a river with ships4 ,his coat of arms is in the top left-hand corner1 and in the right an inscription giving his titles and offices1 as ,lord ,privy ,seal and ,chancellor of the ,duchy of ,lancaster1 and the date #aedb4 ,the supposition that this picture is a copy after a lost original by ,holbein is probably correct2 it is quite in his manner1 though in workmanship it in no way reaches to his mastery1 the landscape background in particular showing an indecisive touch quite unlike his firm handling4 ,a copy of the head1 evidently taken from this picture1 a small panel1 #ac in4 #i in41 was lent to the ,burlington ,fine ,arts ,club ,exhibition1 #aiji 7,no4 #cd71dcf by the ,duke of ,devonshire1 which is inscribed across the brown background1 in an eighteenth-century hand1 8,,sir ,,thomas ,,moore40 ,the compilers of the ,burlington ,club catalogue do not accept the ,cambridge portrait on which it is based as a copy after ,holbein1 but as an original work1 and clearly by the same hand as the ,earl of ,surrey at ,knole1 the full-length of a young man in ,hampton ,court ,palace1 and the ,sir ,thomas ,gresham in ,mercers' ,hall1 with which the name of ,guillim ,stretes has been connected1 though on somewhat flimsy foundations4#dcg ,the ,windsor head1 however1 is in such close accord with the ,fitzwilliam ,museum picture that it seems reasonable to suppose that the latter was based on it1 or1 rather1 upon some painting of ,holbein's for which it formed the preliminary study4 ,there were two portraits of the ,earl in the ,arundel ,collection1 both attributed to ,holbein4#dch ,footnote #dcd3 ,woltmann1 #bia2 ,wornum1 i4 #e2 ,holmes1 i4 #ag4 ,reproduced in ,drawings of ,hans ,holbein 7,newnes71 ,pl4 xl4 ,footnote #dce3 ,reproduced in ,f4 ,r4 ,earp's ,catalogue of the collection1 #aijb1 p4 #if2 and in ,principal ,pictures of the ,fitzwilliam ,museum1 ,gowan ,grey1 ,ltd41 p4 #he4 ,footnote #dcf3 ,reproduced in the ,catalogue1 ,pl4 v4 ,footnote #dcg3 ,see ,burlington ,catalogue1 p4 #hf4 ,in one of his articles on the ,arundel ,collection 7see ,burlington ,magazine1 vol4 xxi41 ,august #aiab1 p4 #beg71 ,mr4 ,lionel ,cust speaks of this head of the ,earl1 at ,hardwick ,hall1 as 8perhaps by ,holbein himself10 and states that1 according to ,vertue1 in the sale of the ,earl of ,oxford's pictures1 #agda1 there was sold 8,lord ,fitzwilliams10 a head by ,holbein1 for fifteen guineas4 ,footnote #dch3 8,ritratto de ffitzwilliams ,conte de ,southampton10 and 8,conte de ,southampton ,fitzwilliams40 ,in #aedb ,john ,leland's 8,naeniae0 on the death of ,sir ,thomas ,wyat was published1 with the small circular woodcut of the poet after a drawing by ,holbein1 which has been already described2#dci but otherwise the only dated portrait of this year is the one of the young man with the falcon at the ,hague1 though there are several which must have been painted shortly before his death4 ,those of ,dr4 ,john ,chamber and ,sir ,william ,butts and his wife must have been produced in #aedb or the earlier half of #aedc1 while others1 such as the 8,elderly ,man0 at ,berlin1 the small portrait of an ,english lady at ,vienna1 and the ,simon ,george at ,frankfurt1 may be attributed with some certainty to the last seven or eight years of ,holbein's life4 ,it is probable1 too1 that he painted at about this time another portrait of the ,prince of ,wales4 ,no such painting now exists1 but the full-faced head with a cap in the ,windsor ,collection#ddj represents ,edward as a boy of about five or six years of age1 and certainly older than in the ,hanover picture1 while in the profile head with cap and feather in the same collection of drawings1#dda which forms the basis of numerous portraits in the ,national ,portrait ,gallery and elsewhere1 the boy seems even older1 though he was only six at the time of ,holbein's death4 ,footnote #dci3 ,see p4 #hj4 ,footnote #ddj3 ,woltmann1 #cbg2 ,wornum1 ii4 #b2 ,holmes1 not included4 ,see above1 p4 #afg4 ,footnote #dda3 ,woltmann1 #cbh2 ,wornum1 ii4 #c2 ,holmes1 ii4 #a4 ,see above1 p4 #afg4 ,the portrait of an ,unknown ,man1 aged fifty-four1 in the ,berlin ,gallery 7,no4 #ehf ,i7 7,pl4 #bi 7#a771ddb is another work of great power in its suggestion of life-like portraiture1 and of high technical excellence4 ,he is shown to the waist1 slightly turned to the right4 ,the face is a dignified one1 with a long nose1 and a slight droop in the right eyelid1 and a look of melancholy absorption about his dark grey eyes4 ,the hair and long beard are black1 the latter with numerous grey hairs finely indicated with all ,holbein's customary minute care4 ,the hands are thrust out of sight within the sleeves4 ,his doublet1 of which only the lower part of the sleeves is visible1 is of ruby-red silk or satin1 over which is a black or dark-brown coat with bands of black velvet1 and lined with a patterned watered silk4 ,the black cap has gold tags4 ,the plain background is a greyish-blue1 and on either side of the head is inscribed in gold lettering1 8,,tatis ,,sv #ed40 ,on the back of the panel are the letters 8,w4,e4,p4,l4,c410 apparently in a sixteenth-century hand1 probably the mark of some early ,english collector4 ,the same letters appear on the back of the portrait of ,robert ,cheseman at the ,hague1 and on the portrait of a young man by ,joos van ,cleve in ,berlin 7,no4 #fcc ,a71 which was formerly in the ,marlborough ,collection1 where it was at one time attributed to ,holbein4 ,nothing of the early history of the portrait under discussion is known4 ,it belonged at one time to ,sir ,j4 ,e4 ,millais1 and was lent by him to the ,holbein ,exhibition in ,dresden in #ahga1 where it was acknowledged by the leading ,german critics to be a splendid example of the master's later ,english period4 ,it was purchased at the ,millais sale1 in #ahig1 for #cjjj guineas for the ,kaiser ,friedrich ,museum4 ,there is a poor and lifeless copy of the head of this portrait in the collection of ,mr4 ,john ,g4 ,johnson1 of ,philadelphia4#ddc ,the panel is a pastiche1 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 ,gallery4 ,in the copy of the head the hat is without the gold tags1 the beard is slightly shorter1 and the sitter appears to be somewhat younger4 ,in that of the body the dress1 hands1 the rings1 gloves1 and book follow the ,vienna picture closely1 but the copyist has removed the two rings on the little finger of the right hand to the more usual ring-finger4 ,mr4 ,c4 ,ricketts regards it as 8almost certainly modern4 ,in draughtsmanship it is without subtlety1 the nostril is preposterous1 the under lip like a muffin40#ddd ,mr4 ,f4 ,j4 ,mather considers it to be old1 and of fair quality4 ,footnote #ddb3 ,woltmann1 #baa4 ,reproduced in the ,berlin ,catalogue1 p4 #agh2 ,ganz1 ,holbein1 p4 #adb2 and in colour in ,early ,german ,painters1 folio vi4 ,footnote #ddc3 ,reproduced in the ,burlington ,magazine1 vol4 ix41 ,august #aijf1 p4 #ceg2 and ,ganz1 ,holbein1 p4 #bbh4 ,it has no inscription4 ,footnote #ddd3 ,burlington ,magazine1 vol4 ix41 ,september #aijf1 p4 #dbf4 ,illustration3 ,,vol4 ,,ii41 ,,plate #bi;,a ,,portrait ,,of ,,an ,,unknown ,,elderly ,,man ,,kaiser ,,friedrich ,,museum1 ,,berlin 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #bi;,b ,,portrait ,,of ,,an ,,unknown ,,english ,,lady ,,imperial ,,gallery1 ,,vienna 8,it is pretty surely of ,holbein's century1 and of better quality than the reproduction indicates40#dde ,footnote #dde3 ,burlington ,magazine1 vol4 x41 ,november #aijf1 p4 #ach4 ,sidenote3 ,,portrait ,,of ,,simon ,,george ,the portrait of an unknown ,english lady in the ,imperial ,gallery1 ,vienna 7,no4 #adhc7 7,pl4 #bi 7#b771ddf is almost miniature in size1 and is characterised by the most delicate brush-work and great charm and richness of colour4 ,she is shown to the waist1 full-face1 the body turned slightly to the left1 and her hands clasped in front of her4 ,the dress is of dark brown or puce1 with the yoke and central hanging part of the sleeves of black velvet4 ,the sleeves from the elbow are of red velvet slashed with white at the wrists4 ,she wears a ,french head-dress of white and gold1 with black fall1 closely resembling the one in the portrait of ,catherine ,howard4 ,the hair is a dark reddish brown4 ,at her breast is suspended a circular gold ornament upon which is represented figures sacrificing at an altar1 possibly of ,holbein's designing4 ,the background is a deep grey-blue1 surrounded by a frame imitating stonework4 ,it has no inscription4 ,footnote #ddf3 ,woltmann1 #bec4 ,reproduced in ,vienna ,catalogue1 p4 #cdf2 ,knackfuss1 fig4 #ach2 ,ganz1 ,holbein1 p4 #adj2 and in colour in ,early ,german ,painters1 folio iii4 ,another small work of much beauty and delicacy of workmanship1 and charm of expression1 is the portrait of ,simon ,george1 of ,quocote1 in ,cornwall1 in the ,stdel ,institut in ,frankfurt 7,no4 #ga71ddg a profile portrait to the left1 showing the head and shoulders only1 and the right hand1 in which the sitter holds a carnation4 ,he has dark1 closely-cropped hair and pointed beard1 with a black cap over the right ear1 elaborately ornamented with a white feather1 many gold tags1 an oval medallion with a representation of ,leda and the ,swan1 and a small bunch of enamelled pansies4 ,his dress is a rich one1 and the open collar of the shirt is covered with black embroidery of a floral pattern of conventional design4 ,the background is of greenish blue1 and some letters of a two-lined inscription1 of later date than the painting1 mutilated by the reduction of the panel1 which appears to have been originally round1 can still be traced1 including the letters ,,nob and part of the painter's signature1 8,,ioha 3 ,h40 ,it was acquired in #ahgj from the ,brentano-,birckenstock sale4 ,the original study for the head is in the ,windsor ,collection1#ddh and shows the same slight frown wrinkling the forehead as in the picture4 ,the hairs of the moustache are very carefully drawn1 but the beard only shows a few days' growth4 ,it is inscribed at the bottom1 in cursive writing1 8,s4 ,george of ,cornwall40 ,footnote #ddg3 ,woltmann1 #aea4 ,reproduced by ,knackfuss1 fig4 #acg2 ,ganz1 ,holbein1 p4 #aci2 and in colour in ,early ,german ,painters1 folio vi4 ,footnote #ddh3 ,woltmann1 #cji2 ,wornum1 i4 #ae2 ,holmes1 i4 #di4 ,reproduced in ,drawings of ,hans ,holbein1 ,pl4 xviii4 ,the portrait of ,dr4 ,john ,chamber or ,chambre in the ,imperial ,gallery1 ,vienna 7,no4 #adhj7 7,pl4 #cj71ddi is one of ,holbein's most powerful portraits of old men1 the deeply-lined1 clean-shaven face being full of individuality4 ,he is shown to the waist1 turned three-quarters to the right1 in a plain black doctor's cap1 which covers the hair and hides all but the lobe of the ears1 and a black gown with brown fur collar2 and he holds a pair of grey gloves in his hands4 ,the background is a very dark blue1 and is inscribed1 on either side of the head1 8,,tatis ,,sve #hh40 ,the date of ,john ,chamber's birth has not been traced1 but the portrait was probably painted in #aeda or #aedb1 when ,holbein was engaged upon the big 8,barber-,surgeons0 picture1 in which ,chamber is introduced in much the same position as in the ,vienna portrait4 ,he died at an advanced age1 well over ninety1 in #aedi4 ,he was one of the ,king's physicians1 and his name was the first on the roll of six doctors who in #aeah received letters patent from the ,crown giving them the privilege of admitting other physicians to practise medicine in ,london1 which was the original foundation of the ,royal ,college of ,physicians4 ,chamber was joint author with ,dr4 ,butts and two others of a manuscript 8,pharmacopia0 for the use of ,henry ,,viii4 ,as ,court physician he attended ,anne ,boleyn at ,greenwich ,palace at the birth of the ,princess ,elizabeth1 and it was he who reported to the ,privy ,council the critical condition of ,jane ,seymour when ,edward ,,vi was born4 ,he married ,joan ,wardell in #aede1 when he was nearly ninety1 and their son was christened in the following year1 both he and his wife dying within a few weeks of one another in #aedi4 ,his career1 however1 was more remarkable for the many religious preferments he gained1 than for his medical skill4 ,born in ,northumberland1 he became a priest in early life1 and was a ,fellow1 and afterwards ,warden1 of ,merton ,college1 ,oxford4 ,in #aejb he went to ,italy and graduated in physic in ,padua4 ,on his return to ,england he succeeded ,linacre as the ,king's chief physician4 ,in #aebb he was ,canon of ,windsor1 in #aecf ,dean of the ,collegiate ,church of ,st4 ,stephen1 and later on ,archdeacon of ,meath4 ,a very excellent copy of this portrait is in the possession of ,merton ,college1 ,oxford1 and was included in the ,oxford ,exhibition of ,historical ,portraits in #aijd 7,no4 #bg74 ,it is inscribed on the back3 8,dr4 ,chamber1 phisician of ,king ,henry ,,viii1 copied from ,hanns ,holbein's original by ,h4 ,reinhart4 ,the original1 once belonging to the collection of ,king ,charles ,i1 was1 together with several other pictures of the same master1 after the execution of this ,monarch1 sold and became the property of ,archduke ,leopold1 ,stadtholder of the ,low ,countries1 from whence by legacy it passed into the ,gallery of the ,emperors of ,austria 7,ob4 #aedi740 ,the original portrait1 however1 does not appear at any time to have been included in the collection of ,charles ,i1 but it formed part of the wonderful series of works by ,holbein got together by ,thomas ,howard1 ,earl of ,arundel4 ,in the ,dictionary of ,national ,biography the date of his birth is given as #adgj1 while the ,oxford catalogue suggests the date #adfi1 but neither can be correct1 or otherwise the date of the ,vienna picture would be #aeeg or #aeeh1 fourteen years or so after ,holbein's death4 ,if the age of the sitter1 eighty-eight1 as given on the panel1 is correct1 and it is accepted that the portrait was painted about #aedb1 ,chamber must have been born about #aded4 ,the ,merton ,college copy was exhibited at the ,royal ,academy ,winter ,exhibition1 #aija-b 7,no4 #aee71 as a work of the school of ,holbein4 ,in #ahid the ,royal ,college of ,physicians became possessed of a miniature portrait of ,chamber1 painted on the back of the ten of clubs1 and said to be by ,isaac ,oliver4 ,this is a careful copy of the ,vienna picture1 and has a long ,latin inscription1 giving ,chamber's titles1 and the date of his death1 round the frame4 ,the original1 when in the ,arundel ,collection1 was engraved by ,hollar 7,parthey1 #acgb71 with the inscription 8,d4 ,chambers ,anno tatis ,sv #hh4 ,holbein pinxit40 ,in the ,arundel inventory it is described as 8,doctore ,john ,chambers40 ,it is possibly one of the pictures which remained on the ,continent after the death of the ,countess of ,arundel in #afed4 ,footnote #ddi3 ,woltmann1 #bee4 ,reproduced in ,vienna ,catalogue1 p4 #cdd2 ,knackfuss1 fig4 #adg2 ,ganz1 ,holbein1 p4 #aca4 ,illustration3 ,,vol4 ,,ii41 ,,plate #cj ,,dr4 ,,john ,,chamber ,,imperial ,,gallery1 ,,vienna ,sidenote3 ,,portrait ,,of ,,dr4 ,,john ,,chamber ,the portraits of ,sir ,william and ,lady ,butts1#dej which have suffered1 more particularly the former1 from coarse repainting1 are probably of about the same date as the ,dr4 ,chamber1 for ,butts is also one of the prominent figures in the 8,barber-,surgeons0 group4 ,the portrait of the husband has an inscription which has been repainted by an ignorant copyist1 and now reads 8,,anno ,,atats ,,sve ,,lix40 ,unfortunately1 as in the case of ,chamber1 the year of ,butts' birth is not known1 so that the exact date of the portrait cannot be proved4 ,it is given in the ,national ,portrait ,gallery ,catalogue as #adhe 7874 ,his tombstone at ,fulham bears only the date of his death1 #aede4 ,the portraits show the heads and shoulders only4 ,sir ,william is represented in profile to the right1 in black cap and furred gown1 and a heavy gold chain upon his shoulders4 ,his face is clean-shaven1 and his grey hair almost covers the ears4 ,lady ,butts is painted almost full-face1 but turned slightly to the left4 ,she wears the angular ,english head-dress with black fall1 a plain dress with fur-trimmed mantle1 and a large enamelled rose at her breast4 ,above her head is inscribed 8,,anno ,,tatis ,,sve ,,lvii40 ,both portraits were in the ,national ,portrait ,exhibition1 #ahff1 lent by ,mr4 ,w4 ,h4 ,pole-,carew1 and are now in the collection of ,mrs4 ,john ,gardner1 ,fenway ,court1 ,boston1 ,u4,s4,a4 ,they are about #ah in4 #ad in41 and the green backgrounds and inscriptions of both pictures have been badly repainted4 ,there is a good copy or replica of ,sir ,william in the ,national ,portrait ,gallery#dea 7,no4 #baj71 and copies of both husband and wife1 apparently seventeenth-century work1 in the collection of ,mr4 ,f4 ,a4 ,newdegate-,newdigate1 at ,arbury1 ,warwickshire4 ,there is no head of ,butts among the ,windsor drawings1 but that collection contains a masterly one of his wife1#deb in which the lines of the face are very strongly marked4 ,she was a daughter of ,john ,bacon of ,cambridgeshire4 ,the portrait of their third son1 ,edmund ,butts1 of ,thornham1 ,norfolk1 who died at the age of thirty in #aedi1 is in the ,national ,gallery 7,no4 #adif71 and is regarded as a work of that little-known ,english painter ,john ,bettes4 ,this portrait is dated #aede1 and the age of the sitter is given as twenty-six1 and on a card on the back is the inscription 8faict par ,johan ,bettes ,anglois40#dec ,footnote #dej3 ,woltmann1 #bjd1 #bje4 ,reproduced by ,ganz1 ,holbein1 pp4 #acb-c2 and in ,gowan1 ,masterpieces of ,holbein1 pp4 #da1 #db4 ,the portrait of ,lady ,butts engraved by ,hollar1 #afdi4 ,footnote #dea3 ,reproduced in the illustrated edition of the ,national ,portrait ,gallery ,catalogue1 vol4 i4 p4 #ba4 ,footnote #deb3 ,woltmann1 #cdc2 ,wornum1 ii4 #cf2 ,holmes1 ii4 #ac4 ,reproduced by ,davies1 p4 #bbj1 and elsewhere4 ,footnote #dec3 ,for some account of ,bettes1 see pp4 #cjh-i4 ,in the exhibition held at the ,burlington ,fine ,arts ,club in #aiji1 ,prince ,frederick ,duleep ,singh lent a portrait 7,no4 #cj71 also dated #aede1 said to represent ,edmund ,butts1 and attributed by the owner to ,bettes4 ,the armorial bearings on this picture indicate a member of the ,butts family1 but the person represented is certainly not the same as in the ,national ,gallery portrait1 nor do the two appear to be the work of the same painter4 ,sidenote3 ,,portrait ,,of ,,sir ,,william ,,butts ,dr4 ,butts was in receipt of a salary of #ajj a year from the ,king1 and was the favourite physician about the ,court4 ,he was a native of ,norfolk1 and educated at ,cambridge4 ,many prescriptions in his handwriting are preserved in the ,british ,museum4 ,he appears as one of the characters in ,shakespeare's ,henry ,,viii 7,act v4 sc4 #b71 and his name occurs in a number of contemporary letters4 ,thus1 in #aecg1 the ,earl of ,shrewsbury wrote thanking ,cromwell 8for asking the ,king to licence ,dr4 ,buttes to come to him02#ded and on ,october #f1 #aedb1 the ,earl of ,southampton wrote to ,wriothesley from ,york1 when upon the expedition against ,scotland3 8,recommend me to ,butts1 and thank him for his pills4 ,i would not have foregone them at this time for all the good ,i have40#dee ,in spite of the pills1 however1 the ,earl died at ,newcastle nine days later4 ,footnote #ded3 ,c4,l4,p41 vol4 xii4 pt4 i4 #cbh4 ,footnote #dee3 ,c4,l4,p41 vol4 xvii4 #iab4 ,a small half-length portrait of an ,unknown ,man in the ,basel ,collection 7,no4 #cbg71def belongs to the later period of ,holbein's ,english residence4 ,he is turned three-quarters to the left1 and wears the customary dark fur-lined surcoat and black cap1 and dark purple sleeves1 and holds his gloves and a paper1 upon which the inscription is now illegible1 in his clasped hands4 ,the beard1 moustache1 and hair are dark4 ,this picture1 which was purchased in ,basel in #ahfb1 has been more than once restored1 so that ,holbein's handiwork has suffered considerably4 ,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 ,vienna1#deg which was regarded by ,woltmann as probably by ,holbein1 but when exhibited in the ,dresden ,exhibition of #ahga was declared by the critics to be a genuine work4 ,it is similar in style to the small portrait of a ,lady in the ,vienna ,gallery1 and of about the same date4 ,she is shown at half-length1 turned a little to the spectator's right1 with clasped hands1 and wearing a dark dress with red puffings and gold tags from shoulder to wrist1 and a ,french hood with bands of gold ornaments and a black fall4 ,round her neck is a gold chain with a pendant with seven flat stones1 a second gold chain1 and a large brooch fastened at her breast with a cameo of a double head1 a young man's shown full-face1 attached to one of a lady in profile4 ,across the plain green background1 on either side of her head1 is inscribed 8,,anno ,,etatis ,,sv ,,xvii40 ,in appearance she is stolid and unattractive1 but this may be partly due to the present state of the picture4 ,footnote #def3 ,woltmann1 #bb4 ,reproduced by ,ganz1 ,holbein1 p4 #ada4 ,footnote #deg3 ,woltmann1 #bfj4 ,reproduced by ,ganz1 ,holbein1 p4 #add4 ,there remains one other portrait of a lady of about this date--that of ,lady ,rich1#deh which until #aiab had been for many years in the possession of the ,moseley family at ,buildwas ,park1 ,shropshire4 ,the sitter is represented to the waist1 slightly turned to the right1 and wears the ,english diamond-shaped hood with black fall1 and a black dress with a gold medallion decorated with the figures of a man and woman by a corpse1 which1 according to ,wornum1 are 8exquisitely put in40#dei ,according to the same writer1 it is 8a fine expressive portrait1 with a thin rich carnation40 ,it is painted on wood1 #ag in4 by #ac in41 and has suffered some retouching4 ,the face is a most determined one1 as can be seen from the fine preliminary drawing in the ,windsor ,castle ,collection4#dfj ,lady ,rich was the daughter and heiress of ,william ,jenks or ,gynkes1 a rich ,london grocer1 and she married1 in #aece1 ,lord ,chancellor ,rich1 of notorious memory1 who helped to ruin many of the prominent men of his day1 such as ,more and ,fisher4 ,in the seventeenth century the portrait became the property of the ,rev4 ,herbert ,croft1 ,bishop of ,hereford1 whose granddaughter1 ,elizabeth ,croft1 married ,acton ,moseley1 of ,staffordshire4 ,in #agib the portrait1 with some other pictures1 was bequeathed by ,sir ,archer ,croft to his cousin1 ,mr4 ,walter ,michael ,moseley4 ,the latter's descendant1 ,captain ,h4 ,r4 ,moseley1 parted with the picture in #aiab1 and it is now in an ,american collection4#dfa ,it was last exhibited at the ,national ,portrait ,exhibition at ,south ,kensington in #ahff as a portrait of 8,queen ,katherine of ,arragon40 ,there is also a drawing of her husband1 ,richard ,rich1#dfb at ,windsor1 and ,holbein must almost certainly have painted his portrait1 but all traces of it have been lost4 ,a version of it was among the pictures destroyed by fire at ,knepp ,castle in #aijd4 ,footnote #deh3 ,woltmann1 #abh4 ,footnote #dei3 ,wornum1 p4 #bif4 ,footnote #dfj3 ,woltmann1 #cai2 ,wornum1 ii4 #cg2 ,holmes1 ii4 #aj4 ,footnote #dfa3 ,for a fuller history of the picture1 see an article in ,the ,morning ,post1 ,may #bcrd1 #aiab4 ,footnote #dfb3 ,woltmann1 #cah2 ,wornum1 i4 #h2 ,holmes1 ii4 #i4 ,sidenote3 ,,holbein',s ,,self-,,portraits ,among the very last works from ,holbein's hand must have been the various miniature portraits of himself1 dated #aedc1 described in the next chapter4#dfc ,the self-portrait in the ,uffizi ,gallery1 ,florence1#dfd which is evidently founded on one of them1 or on one of the small oil-paintings1 now lost1 has few pretensions1 in the writer's opinion1 to be regarded as an original work1 though it is1 of course1 possible that beneath the brush-work of some later and inferior painter there may be an original work by ,holbein now practically obliterated4 ,it is only right1 however1 to point out that ,dr4 ,ganz considers it to be an original though damaged drawing1 and other writers are in agreement with him4 ,it is in coloured crayons on a gold ground1 and the comparatively modern inscription with the date #aedc has been painted over an earlier one1 which can be still traced below4 ,dr4 ,ganz suggests that it is probably one of the two portraits which ,van ,mander saw in ,amsterdam in #afjd4 ,footnote #dfc3 ,see pp4 #bcj-bca4 ,also ,vol4 i4 pp4 #bg-h4 ,footnote #dfd3 ,woltmann1 #aej4 ,reproduced by ,ganz1 ,holbein1 p4 #acd1 and elsewhere4 ,of far greater interest is the recently-discovered portrait1 first published in #aiab by ,dr4 ,ganz1#dfe which he considers to be a genuine self-portrait by ,holbein1 hitherto unknown4 ,the likeness both to the numerous miniatures and to the ,uffizi portrait is so great that the attribution is most certainly the correct one4 ,it is in all ways much more attractive than the last-named work1 and has far greater vitality and a more subtle expression of character4 ,it is a drawing of the head and shoulders only1 turned slightly to the spectator's right1 and the painter is wearing a dark fur-lined cloak and black cap4 ,part of the left hand only is shown4 ,it is a coloured-crayon drawing touched with water-colour1 on white paper which has been covered with a flesh-coloured ground4 ,the paper has a ,zrich water-mark1 and was only manufactured between #aecf-aedj1 so that the date of the drawing can be fixed with some accuracy1 and was very probably done in ,basel during ,holbein's short visit home in the autumn of #aech4 ,it has1 unfortunately1 suffered considerable damage1 and here and there has been touched up with ,indian-ink4 ,on the top right-hand comer of the blue background is inscribed1 in a later hand1 8,h4 ,h4 #ae 4440 ,it was purchased in ,england in the summer of #aiaj1 and is now in ,basel in the collection of ,dr4 ,rudolph ,geigy-,schlumberger4#dff ,footnote #dfe3 ,reproduced by ,ganz1 ,holbein1 p4 #ach4 ,footnote #dff3 ,see ,ganz1 ,holbein1 pp4 xxxix4 and #bdd4 ,he suggests that this drawing is perhaps the 8ritratto d'homo aquazzo0 of the ,arundel inventory4 ,several portraits by ,holbein1 which so far have not been traced1 were etched by ,hollar when they were in the ,arundel ,collection1 and these prints1 in the absence of the originals1 form invaluable records for the use of students4 ,some few of them1 however1 though ,hollar has placed ,holbein's name on them1 cannot have been painted by him1 as1 for instance1 the portrait of ,thomas ,chaloner1#dfg which is dated #aedh4 ,all the more important of them are reproduced by ,dr4 ,ganz in his ,holbein 7#aiab71dfh and several have been already described in these pages4 ,among those remaining there is one of an unknown bearded man in a black cap1#dfi and two of unnamed boys4#dgj ,the second of these boys1 whose head is turned three-quarters to the left1 appears1 from the details of the dress he is wearing1 to be a ,swiss4 ,holbein's original silver-point study for the portrait from which the etching was taken is in the ,louvre1 and is dated #aebj4 ,the connection between the two was first pointed out by ,dr4 ,ganz4#dga ,the circular portrait of ,sir ,anthony ,denny is inscribed 8,,anno #aeda ,,tatis ,,sv #bi40dgb ,the original painting1 a small roundel1 descended1 according to ,mr4 ,w4 ,barclay ,squire1 to the ,howards of ,greystoke ,castle1 and is now in the collection of ,mr4 ,j4 ,pierpont ,morgan1 junr4 ,there is an old copy of it at ,longford ,castle4#dgc ,the large print of an elderly1 grey-bearded man1 with fur coat1 and cap with a feather1#dgd is usually said to represent ,charles ,brandon1 ,duke of ,suffolk1 but though it bears considerable likeness to the authentic portraits of him1 the attribution is doubtful4 ,there are several portraits of ,english ladies among ,hollar's work4 ,of one1 in which the sitter is turned to the right1 and is wearing a round head-dress surmounted by a flat black cap with a large feather1#dge there is no study known1 but for two others1 which ,hollar has reproduced as small roundels1 the preliminary drawings are to be found in the ,windsor ,collection1 one of them of an unknown lady1 full-face1 wearing the angular head-dress1#dgf and the other the drawing inscribed 8,the ,lady ,mary after ,queen40#dgg ,the profile portrait of a lady1 which has been considered by some writers to represent ,anne of ,cleves1#dgh does not appear to be after an original by ,holbein1 though ,hollar has placed his name on it4 ,it is possible1 though not very probable1 that some of these circular etchings were based on the drawings1 and not on finished pictures4 ,footnote #dfg3 ,parthey1 #acga4 ,footnote #dfh3 pp4 #aif-bjj4 ,footnote #dfi3 ,parthey1 #aedd4 ,footnote #dgj3 ,parthey1 #aeea and #aedc4 ,footnote #dga3 ,see ,holbein1 p4 #bej4 ,the drawing reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #i2 and by ,mantz1 p4 #cd4 ,footnote #dgb3 ,parthey1 #achg4 ,footnote #dgc3 ,reproduced in ,magazine of ,art1 ,may #ahig1 p4 #db2 and in the catalogue of the collection of the ,earl of ,radnor1 ,w4 ,barclay ,squire1 #aiji1 ,no4 #add4 ,it is #d in4 in diameter1 and is given to ,holbein in the catalogue4 ,engraved by ,c4 ,picart1 #ahag4 ,footnote #dgd3 ,parthey1 #aeed4 ,footnote #dge3 ,parthey1 #aeej4 ,footnote #dgf3 ,parthey1 #aedi4 ,woltmann1 #cej2 ,wornum1 ii4 #ch2 ,holmes1 ii4 #bd4 ,footnote #dgg3 ,parthey1 #adfe4 ,for the drawing1 see p4 #beh4 ,footnote #dgh3 ,parthey1 #aede4 ,see p4 #ahb1 note #d4 ,sidenote3 ,,duke ,,of ,,buckingham',s ,,collection ,holbein's practice during his last ,english period seems to have been devoted almost entirely to portraiture1 so that an entry in an inventory of the ,duke of ,buckingham's pictures at ,york ,house1 made in #afce1dgi is of exceptional interest1 as it shows that he did occasionally paint subjects other than portraits4 ,it runs as follows3 8,hans ,holbin4--,jupiter and ,jo in ,water ,coulers40 ,this picture1 of which all traces are lost1 was hanging in the ,vaulted ,room4 ,the ,duke possessed a number of other works by or attributed to ,holbein1 but unfortunately the entries in the inventory are so tantalisingly vague that it is impossible to gather much information about them1 though two of them seem to have been portraits of ,steelyard merchants4 ,they included 8,erasmus ,rotterodamm after ,holbin02 8,a ,dutchman ,sealing a ,letter0 7possibly the ,john of ,antwerp now at ,windsor72#dhj 8,a ,rare piece1 being a ,dutchman02 8,a ,queen02 8,an other ,lady02 8,a little picture in ,linnen02 and 8,a little picture of ,holbin himself10 which was probably one of the miniatures4 ,with the exception of the last-named1 all are described as by 8,holbin0 or 8,hans ,holbin40 ,footnote #dgi3 ,see ,randall ,davies1 ,burlington ,magazine1 vol4 x41 ,march #aijg1 pp4 #cgf-hb4 ,also ,walpole1 ,anecdotes1 ed4 ,wornum1 vol4 i4 p4 #id4 ,footnote #dhj3 ,see pp4 #i-ad4 ,sidenote3 ,,the 8,,dancing ,,picture0 ,another subject-picture by ,holbein is mentioned by ,evelyn in his ,diary1 but so vaguely that it is impossible to guess what it could have been4 ,he says1 under the date ,may #h1 #afed3 8,i also call'd at ,mr4 ,ducie's1 who has indeede a rare collection of the best masters1 and one of the largest stories of ,h4 ,holbein40 ,this1 however1 may have been some picture similar to 8,the ,battle of ,spurs0 at ,hampton ,court1 attributed to ,holbein in ,evelyn's day1 and not a genuine work of the master4 ,his judgment was not always infallible1 as he speaks of the well-known 8,dancing ,picture10#dha which he saw at the ,duke of ,norfolk's at ,weybridge 7#bcrd ,august #afgh7 as 8that incomparable painting of ,holbein's40 ,footnote #dha3 ,this picture was traditionally said to have been begun in ,france by ,janet 7,clouet71 and ,vertue thought it might have been retouched by ,holbein1 8as it was probably painted for his patron1 the ,duke of ,norfolk1 from whom it descended immediately to the ,earl of ,arundel1 out of whose collection the father of the present possessor 7,colonel ,sotheby7 purchased it40 7,see ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #ie47 ,it was lent to the ,tudor ,exhibition1 #ahij1 by ,major-,gen4 ,f4 ,e4 ,sotheby1 ,no4 #ade4 ,the only entry in the ,arundel inventory which it is just possible might refer to this picture is 8,un quadretto con diverse figure ,jocatori1 etc410 which is given to ,holbein4 ---------------------------------------- -------------------------------- ,,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 ,mrs4 ,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 man1 possibly the painter ,harry ,maynert1 at ,munich4 ,the old tradition that ,holbein did not practise miniature painting until after he had settled in ,england is probably true4 ,van ,mander says that it was only at a late period1 after he had entered the ,king's service1 that he1 who knew how to adapt himself almost to everything1 took up the art of miniature painting1 in which he had before done nothing4 ,at that time he met at the ,court a very famous master in this art1 named ,master ,lukas4 8,with ,lukas he kept up mutual acquaintance and intercourse1 and learned from him the art of miniature painting1 which1 since then1 he pursued to such an extent1 that in a short time he as far excelled ,lukas in drawing1 arrangement1 understanding1 and execution1 as the sun surpasses the moon in brightness40#dhb ,seventy years later ,sandrart repeated this statement1 which he evidently took from ,van ,mander's book4 ,the ,master ,lukas in question was undoubtedly ,lucas ,hornebolt1 who was in the employment of the ,king throughout the whole period of ,holbein's residence in ,england4 ,so far1 the only pictures extant which have been attributed with some certainty to the studio of ,lucas and ,gerard ,hornebolt are the portraits of ,henry ,,viii1 of the type of the ,warwick ,castle portrait1 when that monarch was drawing towards the end of his life2 but the sister1 ,susanna1 wife of ,john ,parker1 ,yeoman of the ,robes1 and one of the ,king's bowmen1 was well known in her day as an excellent miniaturist1 while ,guicciardini speaks of ,lucas as not only a very great painter1 but as exceptionally good in the art of illuminating1 so that it is extremely probable that a number of the miniatures still in existence1 representing ,henry1 his wives1 and members of his ,court1 which though very excellent1 have not the brilliance of execution and the unfailing insight into character which mark the few genuine miniatures by ,holbein1 were the work of the members of this family4 ,guicciardini published his book only twenty-four years after ,holbein's death1 so that his account of the position they occupied at ,henry's court1 and the estimation in which they were held in ,england1 borne out as it is by the royal accounts1 is evidently an accurate one4 ,footnote #dhb3 ,quoted by ,woltmann from ,van ,mander1 i4 p4 #djg2 ,english translation1 p4 #cgj4 ,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 8,treatise concerning the ,arte of ,limning10 which was written1 at the request of ,richard ,haydock1 by ,nicholas ,hilliard1 the first and one of the finest of ,english native-born miniature painters1 who was born in all probability in #aecg1 and so was a boy of six when ,holbein died1 and based his art on ,holbein's own practice4 ,this treatise1 which was first published in its entirety by ,dr4 ,philip ,norman in the first annual volume of the ,walpole ,society1 #aiaa-ab1 from the original manuscript in the ,edinburgh ,university ,library1 was probably written by ,hilliard between #aeih-afjb4 ,the manuscript1 which is not in the miniaturist's own hand1 is dated #ahth ,march #afbd4 ,in it ,hilliard extols 8,king ,henry the eight a ,prince of exquisit jugment and ,royall bounty1 soe that of cuning stranger even the best resorted unto him1 and removed from other courts to his4 ,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 was1 so ,cuning in both together and the neatest2 and therewithall a good inventor1 soe compleat for all three1 as ,i never heard of any better then hee4 ,yet had the ,king in wages for limning ,divers others1 but ,holbean's maner of limning ,i have ever imitated and howld it for the best1 by ,reason that of truth all the rare ,siences especially the arts of ,carving1 ,painting1 ,goudsmiths1 ,imbroderers1 together with the most of all the liberall ,siences came first unto us from the strangers1 and generally they are the best and most in number4 ,i heard ,kinsard ,ronsard8 the great ,french poet on a time say1 that the ,ilands indeed seldome bring forth any ,cunning man1 but when they ,doe it is in high perfection2 so then ,i hope there maie come out of this ower land such a one1 this being the greatest and most famous ,iland of ,europe40#dhc ,footnote #dhc3 ,quoted by ,holmes1 ,burlington ,magazine1 vol4 viii41 ,january #aijf1 p4 #bbi4 ,see also ,walpole ,society1 vol4 i41 #aiab1 pp4 #ah-ai4 ,sidenote3 8,,miniatura1 ,,or ,,art ,,of ,,limning0 ,still further proof of ,holbein's fame as a limner or miniature painter is to be found in a manuscript written by ,edward ,norgate1 called 8,miniatura or the ,art of ,limning10 now among the ,rawlinson ,,mss4 in the ,bodleian ,library1 dedicated to ,henry ,frederick1 ,earl of ,arundel4 ,other versions of this treatise on the 8,art of ,limning0 are in the ,british ,museum 7,harl4 ,,mss41 ,no4 #fjjj72 in the possession of the ,royal ,society1 which came from the ,arundel ,collection2 and elsewhere4 ,norgate based a considerable part of his treatise on the earlier one by ,hilliard4 8,the incomparable ,h4 ,holbein10 he says1 8who1 in all his different and various methods of painting1 either in oyle1 distempre1 lymning or crayon1 was1 it seems1 so general an artist as never to imitate any man1 nor ever was worthily imitated by any40#dhd ,footnote #dhd3 ,quoted by ,dallaway in his notes to ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 vol4 i4 pp4 #aaa-b4 ,for a full account of ,hilliard's treatise1 and the various versions of ,norgate's work1 see ,dr4 ,philip ,norman in the ,walpole ,society's publication1 mentioned above2 also ,mr4 ,martin ,hardie in vol4 ii4 of ,dr4 ,g4 ,c4 ,williamson's ,history of ,portrait ,miniatures1 #aijd4 ,van ,mander is1 no doubt1 correct in saying that ,holbein received instruction in the art of miniature painting from ,lucas ,hornebolt1 and that he had not practised it until he came to ,england2 though ,hornebolt had nothing to teach him but the practical use of a medium in which1 as applied to portraiture1 he had until then had very little experience4 ,there is no evidence to show that he produced true miniatures while in ,basel1 though there is one attributed to him in the collection of the late ,mr4 ,j4 ,pierpont ,morgan1 a portrait of a ,baseler1 a certain ,arnold ,franz1 described below1 which affords possible proof that he did so4 ,such an isolated example as this1 however1 may have been painted during one of his later visits to ,basel1 or it may represent one of the members of the ,german colony in ,london4 ,several of his small circular oil paintings1 almost the size of the true miniature1 have been described in earlier chapters1#dhe so that he was already skilled in working on a small scale1 and within it of producing a life-like portrait1 of the utmost delicacy and truth to nature1 while his extraordinary skill and precision in rendering with most minute yet masterly touches of the brush all the details of the sitter's costume1 jewellery1 and accessories1 must have left him little to learn when he began to work in the new medium4 ,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 reach4 ,footnote #dhe3 ,see ,vol4 i4 pp4 #ahj1 #ahd-e2 ,vol4 ii4 pp4 #ad1 #bj1 #gj-a4 ,his miniatures are now of the greatest rarity1 though there are many in various ,english collections which still wrongfully bear his name1 given to them in less critical days1 when every portrait1 great and small1 dating from ,tudor times1 was ascribed to him4 ,in certain of these1 very possibly ,holbein's original handiwork has been buried beneath repairs and repaints by later and less skilful hands4 ,no doubt a number of others have been lost1 for so delicate and small an object of art as a miniature is soon damaged or mislaid2 though against this must be set the fact that many of them were kept in specially-made ivory boxes1 and so would not easily suffer destruction4 ,the number of them which1 from the perfection of their execution1 can be said with some approach to certainty to be from his brush1 can be counted almost on the fingers of one's hands4 ,these include the portraits of ,mrs4 ,pemberton2 the two sons of the ,duke of ,suffolk1 ,henry and ,charles ,brandon2 ,lady ,audley2 ,queen ,catherine ,howard2 ,sir ,thomas ,more2 the portrait of an unknown youth in the ,queen of ,holland's collection2 several of the painter himself1 done in the last year of his life1 and two or three others4 ,after these come several which1 though less perfect in draughtsmanship1 have serious claims to be considered as his work1 and after these1 again1 there are those fairly numerous examples which1 though of good execution and of real interest and value1 have no pretensions to rank as works of the great master4 ,some of these have been attributed tentatively to such painters as the ,hornebolts1 ,livina ,teerlinc1 ,stretes1 or ,bettes1 though modern criticism has not succeeded as yet in disentangling the works of these little masters the one from the other1 so that the various attributions are at present more or less mere guesswork4 ,sidenote3 ,,miniatures ,,of ,,sir ,,thomas ,,more ,the beautiful miniature of ,sir ,thomas ,more1 rediscovered by ,dr4 ,williamson when in the ,godolphin-,quicke ,collection1 and first published by him in his ,history of ,portrait ,miniatures1 which is in the late ,mr4 ,j4 ,pierpont ,morgan's collection1 has been already described when speaking of the portraits of ,sir ,thomas4#dhf ,a second miniature of ,more1 in the collection of the ,duke of ,buccleuch at ,montagu ,house1 was first reproduced by ,mr4 ,dudley ,heath in ,the ,connoisseur40#dhg ,this1 though based1 like the ,pierpont ,morgan miniature1 on the ,huth portrait1 shows some differences from both4 ,it is smaller than the other miniature1 and the sitter appears to be some years older4 ,the eyes are more downcast and the head slightly bent1 while the scanty beard is whiter4 ,in other respects the dress1 consisting of black cap and furred gown1 and collar of ,,ss with the ,tudor rose1 is the same4 ,another interesting point about it is that it is painted1 not in water-colours1 but in oil on a gesso ground1 upon a metal plaque which appears to be silver4 ,it has1 unfortunately1 suffered to some extent in the course of time1 and has been retouched here and there1 but it is a fine example1 very possibly by ,holbein1 showing1 according to ,mr4 ,heath1 8that vivid realism1 yet reserve of expression1 that sensitive modulation of the tones and contours1 that insistent yet flexible drawing of the features1 which constitute the sign-manual of the great portrait painter40 ,nothing seems to be known of the history of this miniature1 which was exhibited at ,south ,kensington in #ahfb 7,no4 #bjfa71 in the ,royal ,academy ,winter ,exhibition in #ahgi 7,case ,l1 #d71 and at the ,burlington ,fine ,arts ,club in #aiji 7,case ,c1 #ag74 ,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 service4 ,it has been generally supposed that when he returned to ,england a second time he saw little or nothing of the ,chancellor1 and if that is so1 these miniatures must have been painted between #aebf and #aebh1 when he was at work on the big group of his first ,english patron's family4 ,at that time1 however1 ,holbein had no official connection with the court1 and was possibly not yet on terms of intimacy with the ,hornebolts1 so that it seems more probable that any miniatures of ,more from his hand were done between #aecb1 the date of ,holbein's return to ,london1 and #aecd1 when the ex-,chancellor was imprisoned in the ,tower4 ,another possible solution is that they were painted after ,more's death for friends or relations who desired a memorial of him1 and were done from the oil painting or from the preliminary drawings still in the painter's possession4 ,footnote #dhf3 ,see ,vol4 i4 pp4 #cjf-g4 ,footnote #dhg3 ,the ,connoisseur1 vol4 xviii4 ,no4 #ga1 ,july #aijg1 frontispiece 7in colour47 ,also reproduced in ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 xxxiii4 ,another miniature from the ,montagu ,house ,collection was also reproduced for the first time by ,mr4 ,dudley ,heath in the same article1#dhh and was lent by the ,duke of ,buccleuch to the ,burlington ,fine ,arts ,club ,exhibition 7,case ,c1 #bb74 ,it represents ,george ,nevill1 third ,lord ,abergavenny1 and1 as already noted1#dhi is founded on the fine drawing in the collection of the ,earl of ,pembroke1 for so long considered to be a portrait of ,thomas ,cromwell4 ,the face1 which is that of an old man1 is turned three-quarters to the spectator's right1 and is clean-shaven4 ,his white hair is almost covered by the black cap1 on which is a gold jewel with three pendant pearls4 ,he wears a black fur-lined gown over a black doublet open at the throat1 showing his white shirt4 ,on the left-hand side of the bright-blue background is inscribed 8,g4 ,abergaveny40 ,it is painted1 like nearly all miniatures of the period1 on a playing card1 and is #a in4 in diameter4 ,it was purchased by its present owner1 with some other miniatures1 at the ,earl of ,westmorland's sale at ,apethorpe ,hall1 ,northamptonshire1 in #ahib4 ,it is in a perfect state of preservation1 full of vitality1 and excellent in modelling1 and has considerable claims to be regarded as an original4 ,the pale1 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 collection4 ,footnote #dhh3 ,the ,connoisseur1 vol4 xviii41 ,july #aijg1 frontispiece 7in colour74 ,also reproduced in ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 xxxiii4 ,footnote #dhi3 ,see p4 #fb4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ca ,,miniatures #a4 ,,henry ,,brandon #b4 ,,charles ,,brandon #c4 ,,lady ,,audley #d4 ,,queen ,,catherine ,,howard ,,windsor ,,castle #e4 ,,portrait ,,of ,,an ,,unknown ,,youth ,,queen ,,of ,,holland',s ,,collection #f4 ,,thomas ,,cromwell ,,the ,,late ,,mr4 ,j4 ,,pierpont ,,morgan',s ,,collection ,sidenote3 ,,miniature ,,of ,,lady ,,audley ,the two almost similar miniatures of ,catherine ,howard1 at ,windsor ,castle 7,pl4 #ca 7#d77 and ,montagu ,house1 have been already described2#dij both are beautiful examples1 and each one is almost certainly from ,holbein's own hand1 though the former has suffered from restoration4 ,in the royal collection at ,windsor there are three other miniatures which also can be given to him without any hesitation1 all three being masterpieces of the art of the limner2 these are the portraits of ,lady ,audley and the two ,brandon boys4 ,the miniature of ,lady ,audley 7,pl4 #ca 7#c771dia is of extraordinary delicacy in handling and colour1 and bears the stamp of ,holbein in every minute and unerring touch4 ,as ,mr4 ,law says1 8there was no other artist at the court of ,henry ,,viii1 or indeed in ,northern ,europe1 who could have produced so exquisite a work of art40#dib ,she is shown to the waist1 turned to the right1 with hands folded in front of her4 ,her richly-brocaded dress is of pale crimson1 with under-sleeves of dark grey and white ruffles1 and she wears a ,french hood trimmed with pearls1 and a black fall over her fair hair4 ,her double necklace is of almost the same pattern as the one worn by ,catherine ,howard4 ,there is no inscription on the plain1 deep blue background4 ,it is #b in4 in diameter1 and is painted on the back of the two of hearts4 ,the identity of the sitter is placed beyond doubt by the fine drawing1 inscribed 8,the ,lady ,audley10 in the ,windsor ,collection 7,pl4 #cg 7#a771dic in which the position and features of the sitter1 the costume and ornaments1 are almost exactly the same1 while the colour of the dress in the miniature agrees with the note in ,holbein's handwriting on the drawing--8damast rot40 ,this drawing is one of the finest and most delicate among the heads of women in the ,windsor ,collection--a long1 handsome face1 with pointed chin and sharp nose1 and very expressive eyes4 ,holbein has carefully indicated the details of the ornaments she is wearing4 ,her necklace is of elaborate workmanship1 apparently a band of alternate links of enamel and pearls arranged as flowers1 with a large pendant with inset facetted jewels and three hanging pearls4 ,at her breast is a large circular ornament of a somewhat similar design4 ,the oil painting for which the preliminary study was made1 and from which the miniature was possibly taken1 is now lost4 ,elizabeth1 ,lady ,audley1 was the eldest daughter of one who must have been in constant touch with ,holbein--,sir ,bryan ,tuke1 the ,treasurer of the ,chamber1 whose portrait by him has been already described1 and from whose hands he received his salary4 ,she married ,john ,touchet1 ninth ,lord ,audley4 ,footnote #dij3 ,see pp4 #aib-aic4 ,footnote #dia3 ,woltmann1 #bgj4 ,reproduced by ,law1 ,pl4 vii42 ,williamson1 ,history of ,portrait ,miniatures1 ,pl4 ii4 fig4 #c2 ,ganz1 ,holbein1 p4 #adi 7#c74 ,painted at about the same time as the 8,catherine ,howard40 ,footnote #dib3 ,law1 ,holbein's ,portraits at ,windsor ,castle1 p4 #be4 ,footnote #dic3 ,woltmann1 #cdb2 ,wornum1 ii4 #ca2 ,holmes1 ii4 #bg4 ,reproduced by ,davies1 p4 #bbj2 and elsewhere4 ,the portraits of the two young sons of the ,duke of ,suffolk1 ,henry and ,charles ,brandon1 are acknowledged on all sides to be among the very finest of ,holbein's miniatures4 ,dr4 ,woltmann1 indeed1 considered the one of the elder brother to be the best which ever came from his brush4 ,it is1 he says1 8the most beautiful miniature painting by ,holbein that is known to us1 and exhibits more strikingly than any other his artistic style and his spirited and perfect mode of execution1 true in spite of all its delicacy40#did ,this is certainly by no means too high praise1 for both miniatures are delightful renderings of childhood1 drawn with all ,holbein's keen perception1 and faultless in their precision of line and delightfulness of colouring4 ,the elder boy1 ,henry 7,pl4 #ca 7#a771die aged five1 is shown to the waist1 full-face1 leaning with his left arm on a table at his side1 his head slightly bent in the same direction4 ,he is wearing a black velvet dress with green under-sleeves1 and a black hat with a white feather4 ,his fair hair is cut straight across his forehead1 and there is a rather sad look in his eyes4 ,on the ledge of the table is inscribed1 8,,etatis ,,sve #e #f ,,sepdem10 and below1 on the table-leg1 8,,anno0 and the date1 which has been variously read by different writers4 ,the younger brother1 ,charles 7,pl4 #ca 7#b771dif aged three1 is also seen to the waist and full-face4 ,his dress is a bluish grey braided in red1 and with black cuffs4 ,his flat black cap has no feather2 his hair1 like his brother's1 is very fair1 and his blue eyes look straight at the spectator4 ,there is a strong likeness between the two4 ,he holds in front of him a paper with the inscription 8,,ann #aeda ,,etatis ,,sv #c #aj ,,marci40 ,both miniatures are painted on a playing card1 #b in4 in diameter1 and in each the background is the usual bright blue4 ,their pedigree in the royal collection can be traced back as far as ,charles ,i1 in whose catalogue they appear as3 8,done by ,hans ,holbein4 ,given to the ,king by ,sir ,h4 ,vane4 ,no4 #fd4 ,item4 ,done upon the wrong light4 ,upon a round card1 one of the ,duke of ,brandon's children1 being in a purple habit laced with red velvet lace1 with both his hands before him4 #b inches40 8,no4 #fe4 ,item4 ,another fellow piece of the same ,duke of ,brandon's children1 in a black cap and habit with green sleeves1 leaning with his left arm upon the table1 bending his breast towards his left shoulder1 on the table written his age1 and the year of our ,lord1 done upon the wrong light40 ,they appear again in ,james ,h's catalogue1 ,no4 #fdf1 as3 8,two heads in one frame1 in limning1 being the sons of ,charles ,brandon1 ,duke of ,suffolk4 ,by ,holbein40 ,footnote #did3 ,woltmann1 ,english translation1 p4 #cga4 ,footnote #die3 ,woltmann1 #bfh4 ,reproduced by ,law1 ,pl4 vii42 ,knackfuss1 fig4 #abd2 ,williamson1 ,pl4 ii4 fig4 #e2 ,ganz1 ,holbein1 p4 #adi 7#b74 ,footnote #dif3 ,woltmann1 #bfi4 ,reproduced by ,law1 ,pl4 vii42 ,knackfuss1 fig4 #ace2 ,williamson1 ,pl4 ii4 fig4 #g2 ,ganz1 ,holbein1 p4 #adi 7#a74 ,sidenote3 ,,henry ,,and ,,charles ,,brandon ,the boys were the sons of ,charles ,brandon1 first ,duke of ,suffolk1 who became brother-in-law of the ,king by his secret marriage in ,paris on ,may #ac1 #aeae1 with the young ,queen ,dowager of ,france1 widow of ,louis ,,xii2 and their mother1 ,suffolk's fourth wife1 was ,catherine1 only daughter and heiress of ,william1 tenth ,lord ,willoughby de ,eresby4 ,the year date on the elder boy's portrait has been usually read as #aece4 ,it is so given by ,wornum and ,woltmann1 and other writers have followed them1 but if the portrait represents ,henry ,brandon1 the date is quite impossible4 ,mary ,tudor1 the 8,french ,queen10 the ,duke of ,suffolk's third wife1 died on ,june #be1 #aecc1 and in ,september of the same year ,brandon married ,catherine ,willoughby1 the mother of these two boys4 ,in ,burke1 on the other hand1 it is stated that the marriage took place in #aece2 but this appears to be incorrect4 ,the ,dictionary of ,national ,biography gives the date of the elder boy's birth as ,september #ah1 #aece1 which date is fixed by the inquisitio post mortem held after his father's death in #aede2 so that it is quite impossible that the lad could have been five years old in #aece4 ,mr4 ,ernest ,law reads the date on the miniature as possibly #aeci2 to the writer1 however1 who has not had the privilege of examining the original1 it appears1 from careful examination of the excellent reproduction in ,mr4 ,law's book1 to be either #aedc or #aede1 the third figure being plainly a #d4 ,neither of these dates1 however1 can be correct1 and it is quite possible that at some time the inscription1 growing illegible1 has been repainted1 and that in so doing the restorer has made a mistake4 ,the lettering on both miniatures lacks the precision of an original inscription by ,holbein4 ,it is generally assumed that the two dates1 8#f ,sep0 and 8#aj ,marci10 refer to the boys' birthdays1 and there is no difficulty with regard to the second boy1 ,charles1 who was born in ,march #aech1 two and a half years after his brother4 ,the two miniatures have every appearance of having been painted at about the same time1 and it is to be expected that the elder of the two would be painted first4 ,the writer suggests1 therefore1 that the correct date of the portrait of ,henry is ,september #aedj1 and that of ,charles1 ,march #aeda4 ,the two boys were very carefully brought up in the ,protestant faith by their mother4 ,martin ,bucer1 the ,german reformer1 was appointed their tutor1 and they were afterwards in the charge of ,thomas ,wilson1 who became ,secretary of ,state to ,queen ,elizabeth4 ,at a later period ,henry was sent to ,sir ,john ,cheke1 and was educated with ,prince ,edward1 and finally entered ,st4 ,john's ,college1 ,cambridge1 where his brother afterwards followed him4 ,while there the two boys contracted that scourge of the sixteenth century1 the sweating sickness4 ,on the occasion of the outbreak they were hastily removed for safety to the ,bishop of ,lincoln's palace at ,brickdon1 in ,huntingdonshire1 but too late1 for both developed the disease1 and died together in one bed1 on the same day1 ,july #aa1 #aeea1 the younger within less than an hour of the elder4 ,their death at so early an age made an extraordinary impression at the time1 and a pamphlet on the subject was published by their tutor1 ,dr4 ,walter ,haddon4 ,peter ,martyr said of ,henry that1 with the exception of ,edward ,,vi1 he was the most promising youth of his day4 ,illustration3 ,,vol4 ,,ii41 ,,plate #cb ,,study ,,for ,a ,,family ,,portrait ,,group ,indian-ink wash drawing with brush outline ,,british ,,museum ,sidenote3 ,,drawing ,,of ,a ,,family ,,group ,there is a very beautiful drawing of the boys' mother in the ,windsor ,collection1#dig a head turned three-quarters to the left1 wearing the ,english angular head-dress with a band of pearls1 and a second ornamented band of which part of the pattern has been drawn in detail by ,holbein4 ,the collar is elaborately braided with black velvet1 and a medallion is indicated at the breast4 ,the brown eyes and the hair have been put in with water-colour4 ,the portrait for which it was the original study has not been traced4 ,there is a replica of this head in the ,british ,museum 7,no4 #aj71dih which was formerly in the ,robinson and ,malcolm collections4 ,in this connection1 too1 a second drawing in the ,british ,museum may be cited1 which represents a woman and children sitting on a bench 7,no4 #h7 7,pl4 #cb74dii ,it is in ,indian-ink on paper1 #e in4 #d in41 and comes from the ,cosway and ,utterson collections4 ,it has been reproduced by the ,vasari ,society1#ejj with a note by ,mr4 ,campbell ,dodgson1 and by ,dr4 ,paul ,ganz4#eja ,mr4 ,dodgson suggests that the scene represented is the interior of a church4 ,an effect of warm sunshine is skilfully suggested by the light which falls from a window1 not seen1 on the right4 ,the mother or nurse is seated in the centre of the group1 on a high-backed bench with panelling of the ,tudor 8linen0 pattern1 a baby in long clothes held on her lap4 ,on her right a boy with a flat cap and feather1 and puffed sleeves1 is seated1 his left elbow resting on the arm of the bench4 ,a little girl stands in front of her1 looking up1 and on the left a younger boy1 dressed like his brother1 is standing1 the whole making a group of the greatest charm4 ,it is described in the ,british ,museum ,catalogue as an admirable example of ,holbein's earlier ,basel period1 but it is evidently of later date1 and the costumes are undoubtedly ,english4 ,it has been recently suggested by ,mr4 ,peartree that the woman is 8,mother ,jack10 nurse to ,prince ,edward4#ejb ,in features and costume she bears considerable likeness to the unnamed drawing in the ,windsor ,collection1#ejc which is supposed to be a portrait of that nurse4 ,if this supposition be correct1 the baby would be the ,prince of ,wales1 and the date of the drawing about #aecg2 but this fails to account for the three other children4 ,dr4 ,ganz considers it to be a group of members of the ,brandon family1#ejd and as far as the two boys are concerned1 this suggestion has something in its favour4 ,the lad on the right is by no means unlike ,henry ,brandon4 ,the position of the head and the left arm are exactly the same as in the miniature1 and the dress has many points of resemblance4 ,the second boy1 too1 has some likeness to ,charles1 though he does not wear the velvet-braided costume of the miniature4 ,again1 however1 there is a stumbling-block to this theory in the presence of the two younger children1 for the ,duke's family by his fourth wife consisted of the two boys only4 ,by his second marriage with ,anne1 daughter of ,sir ,anthony ,browne1 he had two daughters1 ,anne1 afterwards ,lady ,powys1 and ,mary1 afterwards ,lady ,monteagle1 and by his third wife1 the ,king's sister1 he had two other daughters1 ,frances1 afterwards ,countess of ,dorset1 and ,eleanor1 afterwards ,countess of ,cumberland1 but these ladies were all too old for one of them to have been the little girl represented in the drawing4 ,owing1 no doubt1 to the wrong date on the miniature of ,henry ,brandon1 ,dr4 ,ganz ascribes this drawing to the year #aece1 and sees signs in the elder boy's face of approaching illness1 although no such illness is recorded until the sudden one in #aeea1 when he was nearly sixteen4 ,both explanations are ingenious1 but neither is entirely satisfactory4 ,on the margin of the drawing1 in a later hand1 is written--8exaltate ,cedrus4 ,h4 ,holbein10 which1 apparently1 is a reference to ,ecclesiasticus xxiv4 #ag1 8,quasi cedrus exaltata sum in ,libano40 ,footnote #dig3 ,woltmann1 #ccd2 ,wornum1 ii4 #ba2 ,holmes1 i4 #bf4 ,reproduced by ,knackfuss1 fig4 #adj2 and ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #cd4 ,footnote #dih3 ,woltmann1 #baj4 ,footnote #dii3 ,woltmann1 #ahi4 ,footnote #ejj3 #aije-f1 ,no4 #ah4 ,footnote #eja3 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ce4 ,footnote #ejb3 ,vasari ,society1 ,pt4 i4 ,no4 #ah 7#aije-f71 note by ,mr4 ,campbell ,dodgson4 ,footnote #ejc3 ,woltmann1 #cec2 ,wornum1 ii4 #ad2 ,holmes1 i4 #aj4 ,reproduced in ,drawings by ,hans ,holbein 7,newnes71 ,pl4 xxvi4 ,footnote #ejd3 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 p4 #ef4 ,the utmost perfection in miniature painting is to be found in the portrait of ,mrs4 ,robert ,pemberton 7,pl4 #cc 7#a7pl-#cc71eje in the late ,mr4 ,j4 ,pierpont ,morgan's collection 7,no4 iv471 which bears in every touch the unapproachable skill and rare individuality of the artist4 ,it was formerly in the collection of ,mr4 ,c4 ,heywood ,hawkins1 and at his sale on ,may #ae1 #aijd1 realised #bgej1 afterwards passing into the possession of ,mr4 ,morgan1 by whose courtesy it is reproduced in this book4 ,in the ,hawkins ,sale-,catalogue it was described as the portrait of ,frances ,howard1 ,duchess of ,norfolk1 but without authority1 for there was no ,duchess of ,norfolk of that name in ,holbein's time4 ,when exhibited by ,mr4 ,hawkins at ,south ,kensington in #ahfe1 it was described in the catalogue as merely--8,portrait of a ,lady1 ,anno ,aetatis ,suae #bc4 ,her coat of arms is affixed to the case40 ,this coat1 described by ,sir ,richard ,holmes in the ,burlington ,magazine1#ejf in a note accompanying a reproduction of the portrait1 is dated ,,mdlvi1 and in style and painting is about a century later than the miniature4 ,these arms1 as ,sir ,richard first pointed out1 are those of the ,pemberton family4 ,further researches1 undertaken by ,dr4 ,williamson1 and embodied in his catalogue of ,mr4 ,pierpont ,morgan's ,miniatures1 prove1 almost without doubt1 that the lady represented was ,mrs4 ,robert ,pemberton4 ,he says3 8,the arms of the wyverns' heads which are quartered with those of ,pemberton belong to the family of ,jago di ,lago1 gentleman1 of ,newcastle-under-,lyme1 ,staffordshire2 and ,robert ,pemberton1 of ,rushden1 ,northants1 ,m4,p4 for ,northampton in #adgh1 married ,alice1 daughter and co-heir of this ,jago di ,lago4444 ,major-,general ,r4 ,c4 ,b4 ,pemberton1 to whom ,i am indebted for these interesting references1 is of opinion that the lady in the miniature is ,margaret1 daughter of ,richard ,throgmorton1 of ,higham ,park1 co4 ,northants1 who was buried at ,rushden1 #bgth ,october #aegf4 ,she married ,robert ,pemberton1 of ,pemberton1 co4 ,lancs41 and of ,rushden1 eldest son of ,william ,pemberton1 of the same places1 and he died in ,september #aeid4 ,the arms would be those of this ,robert ,pemberton1 whose grandfather certainly bore them40#ejg ,footnote #eje3 ,reproduced in ,mr4 ,morgan's ,catalogue1 ,pl4 iv41 ,no4 #b1 and in colour in dition de luxe1 ,no4 #d2 ,burlington ,magazine1 vol4 v41 ,july #aijd1 frontispiece2 ,portrait ,miniatures 7,studio ,spring ,no471 #aiaj1 ,pl4 i42 ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 #aiji1 ,pl4 xxxii42 ,ganz1 ,holbein1 p4 #adh 7#c72 ,connoisseur1 ,dec4 #aijf4 ,footnote #ejf3 ,burlington ,magazine1 vol4 v41 ,july #aijd1 p4 #ccg4 ,footnote #ejg3 ,williamson1 ,mr4 ,j4 ,pierpont ,morgan's ,catalogue1 p4 #i4 ,illustration3 ,,vol4 ,,ii41 ,,plate #cc ,,miniatures ,,mrs4 ,,pemberton ,,the ,,late ,,mr4 ,j4 ,,pierpont ,,morgan',s ,,collection ,,portrait ,,of ,,holbein ,,by ,,himself ,,wallace ,,collection ,sidenote3 ,,miniature ,,of ,,an ,,unknown ,,youth ,in this very beautiful little masterpiece the lady is shown three-quarters face to the right1 wearing a black velvet bodice and small white linen cape1 and a lawn collar and cuffs1 embroidered with a geometrical design in black4 ,she has a red carnation fastened in her dress1 and round her neck a thin black cord with gold filigree ends1 and holds a single green leaf in her crossed hands4 ,her hair1 which is parted in the centre1 is almost concealed beneath her white linen cap4 ,the background is1 as usual1 blue1 and across it1 in gold letters1 runs the inscription1 8,,anno ,,etatis ,,sv #bc40 ,it is painted on the back of a playing card1 and is still in its original frame1 decorated with white and black enamel and three pearls4 ,the miniature in the ,queen of ,holland's collection 7,pl4 #ca 7#e77 equals1 if it does not surpass1 in the brilliance and delicacy of its execution and in the subtlety of its characterisation1 the portrait of ,mrs4 ,pemberton2 in some ways1 indeed1 it is the most perfect example of ,holbein's mastery of this branch of art which remains4 ,its discovery was due to ,sir ,richard ,holmes1 who1 in #aijc1 first attributed it to ,holbein1 in a communication to the ,burlington ,magazine1#ejh accompanied by a reproduction of the miniature4 ,it forms one of a collection of some four hundred1 of which about fifty are of ,english origin1 in the royal collections of ,holland at the ,hague4 ,it represents a youth of about fifteen or sixteen1 who so far has not been identified4 ,the head and shoulders only are shown1 turned three-quarters to the spectator's right1 the eyes cast down4 ,the hair is cut close1 and the dress is a brown doublet trimmed with black1 with a small open1 falling collar with white strings attached4 ,there is no inscription on the background4 ,with the exception of slight discoloration of the collar through the oxidization of the pigment1 this miniature is in faultless condition4 8,its extraordinary power and beauty10 says ,sir ,richard1 8were manifest at first sight1 and a close examination has convinced me that it can be attributed only to ,holbein1 of whose work in this branch of portraiture ,i have long been a student1 as well as of his crayon drawings4 ,it has all the restraint of power so characteristic of him1 and the exquisite delicacy of line combined with firmness and precision1 which never united in the same degree in any master with whose work ,i am acquainted40#eji ,the same writer suggested that it is possibly the portrait of a member of the family of one of the ,german merchants of the ,steelyard4 ,the facial characteristics1 however1 appear to be more ,english than ,german1 and it most probably represents the son of some personage about ,henry's court4 ,it was exhibited at the ,exhibition of ,miniatures in ,rotterdam in #aiaj1 and again at ,brussels in #aiab 7,no4 #hdf74 ,another fine miniature in the ,queen of ,holland's collection1 the portrait of an unknown man in black 7,brussels ,exhibition1 ,no4 #hdg71 was first pointed out by ,dr4 ,williamson in his ,history of ,portrait ,miniatures as very probably the work of ,holbein2 and since its exhibition at ,brussels in #aiab the attribution has been accepted by some of the leading ,dutch critics4#eaj ,footnote #ejh3 ,burlington ,magazine1 vol4 i41 ,april #aijc1 p4 #bah1 and frontispiece2 ,ganz1 ,holbein1 p4 #adg 7#b74 ,footnote #eji3 ,burlington ,magazine1 vol4 i41 ,april #aijc1 p4 #bah4 ,footnote #eaj3 ,see ,hist4 ,portrait ,miniatures1 vol4 i4 p4 #aa1 and ,pl4 iii4 #a4 ,sidenote3 ,,holbein',s ,,miniatures ,,of ,,himself ,a fine miniature portrait of the artist himself1 painted in the last year of his life1 is in the possession of the ,duke of ,buccleuch1#eaa and was exhibited at the ,royal ,academy ,winter ,exhibition1 #ahgi 7,case ,f1 #be71 and at the ,burlington ,fine ,arts ,club in #aiji 7,case ,c1 #bc74 ,it is a bust portrait1 turned three-quarters to the left1 the head facing the spectator4 ,he is represented in the act of painting1 the left hand supporting the right1 and is dressed in a plain black costume with white pleated collar and cuffs1 and a round black skull-cap4 ,he has dark hair and a closely-cut beard4 ,across the blue background is inscribed1 8,h4,h4 ,,an4 #aedc4 ,,tatis ,,sv #de40 ,it was formerly in the collection of ,horace ,walpole1 and at the ,strawberry ,hill sale in #ahdb was purchased by ,mr4 ,w4 ,blamire1 and when the latter's collection was disposed of in #ahfc it passed into the possession of the ,duke of ,buccleuch4 ,it is one of the best of several similar miniatures1 and is very fine in execution1 and has been usually ascribed to ,holbein himself4 ,the best of all is in the ,wallace ,collection 7,case ,b1 #ic7 7,pl4 #cc 7#b771eab and appears to be from the painter's own hand4 ,a number of copies are to be found in various collections2 one of them1 in the ,mayer van den ,bergh ,collection1 ,antwerp1 is reproduced by ,dr4 ,ganz4#eac ,woltmann considered that the ,montagu ,house portrait was 8scarcely the original1 but an old and contemporaneous copy10#ead but it is too excellent in execution to be the work of a mere copyist4 ,there is a second and larger version in the ,buccleuch ,collection1 with the same date1 #aedc1 also attributed to ,holbein4 ,the first-named example may possibly be the small round mentioned by ,van ,mander as being in ,amsterdam in his day4 ,lucas ,vorsterman's circular engraving was evidently based on this miniature or the somewhat larger portrait now lost1#eae of which the exceedingly poor likeness of the painter in the ,uffizi ,gallery gives but a feeble echo4 ,the print follows the miniature closely1 but is reversed1 so that ,holbein is represented as painting with his left hand4 ,hollar's engraving1 dated #afdg1 in which the painter's left hand is omitted1 was taken1 according to the inscription1 from an original in the collection of the ,earl of ,arundel1 though ,wornum was of opinion that it was based upon ,vorsterman's version4 ,both are described in an earlier chapter4#eaf ,the inscription across the background in ,hollar's print--8,,hh4 #de4 ,,an,o #aedc0--;agrees with the second miniature in the ,buccleuch ,collection4 ,van ,mander states that ,holbein painted with his left hand1 and in this ,sandrart and ,patin follow him1 but that this was a legend is proved by the original miniature in which the artist has represented himself holding his brush4 ,vorsterman's engraving1 which appears to bear out ,van ,mander's statement1 through his failure to reverse his drawing on the wood block1 if not the original source of the error1 may have helped to spread it4 ,sir ,george ,scharf1 however1 suggested another cause as the source of this tradition4 8,most of the portraits of ,henry ,,viii10 he says1 8more especially those attributed to ,holbein1 have the light coming in from the spectator's right1 a circumstance which may have tended1 in some degree1 to establish the tradition that ,holbein was left-handed4 ,these are specified by ,van der ,dort as done upon the wrong light40#eag ,footnote #eaa3 ,woltmann1 #cga 7#i74 ,reproduced in ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 ,pl4 xxxiii42 ,williamson1 ,hist4 ,portrait ,miniatures1 ,pl4 ii4 #d4 ,footnote #eab3 ,reproduced by ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #abe2 ,ganz1 ,holbein1 p4 #aej 7#b72 ,williamson1 ,hist4 ,portrait ,miniatures1 ,pl4 iii4 #c4 ,according to the new edition of the ,catalogue of the ,wallace ,collection there is engraved on the back of the case1 8,hans ,holbens--given to ,me by ,lord ,bolingbroke1 #ageg40 ,footnote #eac3 ,holbein1 p4 #bbg 7#d74 ,footnote #ead3 ,woltmann1 i4 p4 #dgg4 ,english translation1 p4 #dej4 ,footnote #eae3 ,see ,vol4 i4 pp4 #bg-h1 and ,vol4 ii4 p4 #bac4 ,footnote #eaf3 ,see ,vol4 i4 pp4 #bg-h4 ,footnote #eag3 ,old ,london1 #ahfg1 p4 #cbj4 ,the discovery of another miniature by ,holbein was made by ,dr4 ,g4 ,c4 ,williamson in #aiaa1eah and is one of exceptional interest1 as it is an undoubted likeness of ,thomas ,cromwell1 ,earl of ,essex1 ,k4,g4 7,pl4 #ca 7#f774 ,it came from a private source1 and is now in the late ,mr4 ,pierpont ,morgan's collection4 ,it was fully described1 and compared with other portraits of ,cromwell1 by ,mr4 ,lionel ,cust in the ,burlington ,magazine4#eai ,he is represented in a black cloak with fur collar1 black cloth cap1 and wearing the chain of the ,garter with the pendant ,george4 ,the background is blue4 ,it is about two inches in diameter1 painted on vellum or chicken-skin1 pasted on card4 8,it is encased10 says ,mr4 ,cust1 8in an ivory box1 carved on the back with a rose and other ornaments1 similar to1 though in no way so fine or so rich as1 the ivory box which contains the miniature portrait of ,anne of ,cleves1 lately bequeathed to the nation by ,mr4 ,george ,salting1 and now in the ,victoria and ,albert ,museum4 ,in the case1 however1 of ,mr4 ,morgan's portrait of ,cromwell1 the lower half of the box has been separated from the lid1 cut down1 and set in a gold frame1 which is ornamented by a series of small deformed pearls4 ,this gold framework is the work of a highly-efficient goldsmith1 but hardly seems to date from the days of ,henry ,,viii40 ,as ,cromwell is shown wearing the ,garter chain and badge1 of which order he was made a knight in ,august #aecg1 the miniature was no doubt painted at some date between ,august and ,december in that year1 to commemorate his election4 ,in this connection it is of interest to note that in ,cromwell's accounts1 preserved in the ,record ,office1 there is an entry under #dth ,january #aech3 8,hanns the painter1 #djs40#ebj ,this payment would suggest that1 in all probability1 ,holbein presented him with this miniature as a ,new ,year's gift1 and that in return he received the forty shillings from his old patron as an acknowledgment4#eba ,the miniature is thus some three or four years later in date than the portrait at ,tyttenhanger1 painted not later than the spring of #aecd1 when he was ,master of the ,jewel ,house4#ebb ,footnote #eah3 ,communicated by him to ,the ,times1 #beth ,may #aiaa4 ,footnote #eai3 8,a ,newly-discovered ,miniature of ,thomas ,cromwell10 vol4 xx41 ,october #aiaa1 pp4 #e1 #f4 ,the miniature reproduced p4 #g 7#a74 ,since the date of this article ,dr4 ,williamson has traced back the history of this miniature to a member of the ,cromwell family who settled and died near ,munich4 ,footnote #ebj3 ,c4,l4,p41 vol4 xiv41 pt4 ii41 #ghb 7f4 #aag74 ,footnote #eba3 ,see ,burlington ,magazine1 vol4 xx41 ,december #aiaa1 p4 #age4 ,footnote #ebb3 ,see pp4 #eh-fj4 ,sidenote3 ,,miniatures ,,of ,,henry ,,viii ,unfortunately this miniature has suffered severely during its past career1 and has been so rubbed down that little of the details of the dress or ornaments can now be distinguished beyond the mere outlines4 8,the face10 says ,mr4 ,cust1 8is faded and also rubbed1 but here the skilful drawing of the features reveals a master-hand which could be no other but ,holbein's4 ,very subtle1 however1 and recognizable are the distinctive features of ,thomas ,cromwell1 the vulgar nose1 with its sunken bridge1 the cunning eyes with the puckered skin at their corners40#ebc ,footnote #ebc3 ,burlington ,magazine1 vol4 xx41 ,october #aiaa1 p4 #e4 ,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 ,england1 the more important of which have been publicly exhibited from time to time4 ,in the royal collection in ,windsor ,castle there are four of the ,king himself1 but none of them can be given to ,holbein4 ,three of them appear to have been painted immediately before ,holbein's first visit to ,england1 and the fourth shortly after his death4 ,two1 in which ,henry is beardless1 and of youthful appearance1 were in ,charles ,i's collection1 and are entered in his catalogue as being among 8the limned pictures which my ,lord of ,suffolk gave to the ,king40 ,one of them is inscribed1 in two lines1 8,h4,r4 ,,viii4 ,,an,o ,,etatis ,,xxxv,o10 which gives the date as #aebe-f2 the other1 which it resembles closely1 has no date1 but merely 8,,rex ,,henricus4 ,,octavvs40#ebd ,the third ,windsor miniature is inscribed 8,h4,r4 ,,viii4 ,,an,o ,,xxxv40 ,in the spandrils four golden angels1 on a bright red ground1 are holding the letters ,h and ,k in golden cords1 and linked with true-lovers' knots4 ,sir ,george ,scharf considered these initials to refer to the ,king's last marriage1 on ,july #ab1 #aedc1 with ,catherine ,parr1 and the 8,,xxxv,o0 as referring1 not to ,henry's age1 but to his regnal year4 8,the face10 he says1 8at first sight looks youthful1 but it is fat1 and1 on careful inspection1 has a worn and very artificial appearance1 as if means had been employed to conceal age40#ebe ,mr4 ,wornum1 on the other hand1 considered the numerals to refer to the ,king's actual age1 and not to his reign1 and the initial ,k to ,katherine of ,aragon4#ebf ,it is only possible to say of the earlier of these miniatures that they are not the work of ,holbein4 ,as to the real author of them1 the name of one or other member of the ,hornebolt family can only be tentatively given1 without any real proof in support of it1 beyond the fact that the ,hornebolts were settled in this country before #aebf1 the name appearing in the accounts of the expenses of the royal household in that year1 and that there appears to have been no other foreign artist of like importance living in ,london at that date4 ,mr4 ,lionel ,cust1 in the ,burlington ,fine ,arts ,club ,exhibition ,catalogue1 suggests the name of ,jehan ,perral1 or ,jehan de ,paris1 as the possible author of some of the early portraits in miniature of the ,king1 painted before ,holbein's arrival in ,england4 ,perral was over here at the time of the marriage of ,louis ,,xii1 whose official painter he was1 with ,princess ,mary ,tudor1 for the purpose of designing the new ,queen's dresses4 ,his visit1 however1 could have been but a short one1 and does not account for miniatures of the year #aebf4 ,footnote #ebd3 ,both reproduced by ,law1 ,holbein's ,pictures at ,windsor ,castle1 ,pl4 vii4 ,footnote #ebe3 8,remarks on ,some ,portraits from ,windsor ,castle1 ,hampton ,court1 and ,wilton ,house10 ,archologia1 vol4 xxxix41 #ahfc1 p4 #beb4 ,footnote #ebf3 ,wornum1 p4 #bha4 ,the fourth miniature of the ,king at ,windsor is in oils on oak1 #b in4 in diameter1 in which he is wearing a thin beard and whiskers4 ,it is inscribed1 8,,henr4 #h ,,rex4 ,,angl4 ,,ta4 ,s3 #eg40 ,its date1 therefore1 must refer to the last year of the ,king's reign1 #aedf1 though there is a mistake in the age1 as he never entered his fifty-seventh year4 ,according to ,charles ,i's catalogue1 it was 8supposed to be done by ,holben1 and given to the ,king by my ,lord ,suffolk40 ,in type it corresponds very closely to the portrait of ,henry in ,st4 ,bartholomew's ,hospital1 ,london4 ,there is yet another miniature of the ,king at ,windsor1 by ,nicholas ,hilliard1 which appears to have been copied from some lost original by ,holbein or by ,hornebolt4 ,it is one of the customary full-face versions1 with beard1 and is one of the four fine miniatures which were appended to an elaborate jewel which ,hilliard executed in enamels and gold1 possibly for ,edward ,,vi1 representing the ,battle of ,bosworth ,field1 which was bought by ,charles ,i from ,laurence ,hilliard1 the painter's son4 ,the three other miniatures represent ,henry ,,vii1 ,jane ,seymour1 evidently copied from the well-known portrait by ,holbein1 and ,edward ,,vi1 which recalls more than one of the portraits of the young ,king usually attributed to ,guillim ,stretes4 ,the one of ,henry ,,viii is inscribed in gold3 8#aecf4 ,,tatis ,,sv #df40 ,sidenote3 ,,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 ,buccleuch1 two of which are attributed to ,holbein4 ,one is a reduced copy of ,holbein's portrait of ,henry belonging to ,earl ,spencer 7,case ,c1 #f74 ,a second#ebg is inscribed 8,h4,r4 ,,viii4 ,,an,o ,,xxxv10 and appears to be the original from which the ,windsor miniature1 described above1 was copied 7,case ,c1 #g74 ,it was formerly in the ,magniac ,collection4 ,the catalogue suggests that it is possibly the work of an illuminator of the ,french school4 ,a third 7,case ,c1 #be71 with a very similar inscription1 is evidently a second copy of the same miniature4 ,the fourth 7,case ,c1 #h 7,d771 forms one of a series of eight in an ebony frame1 which were formerly in the collection of ,charles ,i4 ,it is a full-face1 with grey beard1 and1 according to the royal catalogue1 was 8done by ,hans ,holbein1 given to the ,king by my ,lord ,suffolk40#ebh ,the companion miniatures represent ,henry ,,vii1 ,elizabeth of ,york 78copied by ,hoskins after an ancient ould coloured piece071 ,katherine of ,aragon1 ,anne ,boleyn 7also copied by ,john ,hoskins 8after an ould colured piece071 ,queen ,mary 78done by ,ant4 ,more071 ,edward ,,vi1 and ,queen ,elizabeth 78done by ,old ,hilliard074 ,the 8,henry ,,viii0 is fine1 and in the ,burlington catalogue is attributed to ,holbein1 but it is more probably another copy from 8an ould coloured piece0 by the master4 ,it has considerable resemblance to the fifth miniature from ,montagu ,house#ebi 7,case ,c1 #b71 also ascribed to ,holbein1 but not by him4 ,footnote #ebg3 ,reproduced in the ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxiii4 ,footnote #ebh3 ,reproduced by ,williamson1 ,hist4 ,portrait ,miniatures1 ,pl4 ii4 #f4 ,footnote #ebi3 ,reproduced in the ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxiii4 ,the very fine miniature portrait of the ,king in the ,pierpont ,morgan ,collection was included in the same exhibition 7,case ,b1 #a74ecj ,old tradition says that this portrait was presented by the ,king himself to ,anne of ,cleves4 ,tradition in this case may be correct1 though this ,queen is the least likely of all to have been the recipient of such a gift4 ,the correspondence with reference to the suggested marriages with the ,duchess of ,longueville1 the ,duchess of ,milan1 and ,anne herself1 shows that ,henry always refused to send a portrait of himself while such negotiations were in progress4 ,his anxiety was to see a portrait of the lady first1 and1 if possible1 the lady herself1 before making his final decision1 and to send one of himself before such final decision had been made would have been too compromising4 ,it is not likely1 therefore1 that he sent one to ,anne in ,dren1 and as he took the strongest aversion to her directly he saw her1 it is still less probable that she received a gift of so personal a nature after she arrived in ,england4 ,dr4 ,williamson1 in his catalogue of ,mr4 ,morgan's miniatures1 gives a very interesting account of the history of this fine little portrait1#eca and the companion one of ,anne of ,cleves1 both at one time in the possession of the ,barrett family1 of ,lee ,priory1 ,kent1 and later in that of the ,meyricks1 of ,goodrich ,court1 to which reference has been made in an earlier chapter4#ecb ,some years before the death of ,general ,meyrick1 who had succeeded to the ,goodrich ,court ,collection1 the miniature of ,henry ,,viii disappeared1 and was supposed to have been stolen4 ,it is said to have travelled as far as ,vienna1 but four years or so after ,general ,meyrick's death it reappeared in ,england1 and was repurchased for the family1 from whom1 in #aijf1 it was acquired by ,mr4 ,morgan4 ,footnote #ecj3 ,woltmann1 #aeg4 ,reproduced in ,mr4 ,morgan's ,catalogue1 ,pl4 ii41 and in colour in the dition de luxe1 ,no4 #b2 ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxii42 ,ganz1 ,holbein1 p4 #bbg 7#c74 ,footnote #eca3 ,see ,mr4 ,pierpont ,morgan's ,catalogue1 pp4 #d-g4 ,footnote #ecb3 ,see pp4 #aha-ahb4 ,it represents the head and shoulders only1 full-face1 with grey beard and moustache4 ,henry wears a black cap trimmed with jewels1 loops of pearls1 and a white feather1 a brown fur coat over a grey doublet embroidered with black1 a narrow white collar1 and a gold chain round his neck4 ,there is no inscription on the blue background4 ,it is #a in4 in diameter1 and is still preserved within its original turned ivory box1 ornamented at top and bottom with the ,tudor rose1 and covered with a piece of rock crystal4 ,there is some resemblance between it and the crayon drawing of the ,king at ,munich1 and1 in the details of the costume1 to the large cartoon at ,chatsworth and the full-face portrait in ,windsor ,castle1 which has been considered by some critics to be a copy of a lost picture by ,holbein1 and by others as an original portrait by some such court painter as ,lucas ,hornebolt4 ,the differences in the costume are slight1 and the dress is in its main features the same4 ,fine as this miniature is1 it is difficult to ascribe it to ,holbein himself2 it is more probably only an excellent old copy of a lost original1 or the work of some capable miniaturist adapted from one of ,holbein's paintings4 ,the miniature of ,anne of ,cleves1 which is slightly larger than the one of ,henry ,,viii1 and is enclosed within a similar turned ivory box delicately carved to represent a ,tudor rose1 has been already described4#ecc ,it is of the finest workmanship1 and may be given to ,holbein with little hesitation4 ,it was included in the ,burlington ,club ,exhibition1 #aiji 7,case ,b1 #d71 and the catalogue states that in all probability it was painted in ,july #aeci1 at ,dren4 ,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 hand4#ecd ,as a rule1 he only remained just long enough to make a study in coloured crayons1 but he stayed at ,dren for a week or two1 and so may have had time to paint both the large portrait and the miniature1 though it must be remembered that he also painted or drew the lady's sister1 the ,princess ,amelia4 ,it is much more probable that the miniature was taken from the larger portrait1 or that both were done from some lost crayon study1 than that the ,louvre picture should have been painted from the miniature4 ,footnote #ecc3 ,see pp4 #aha-ahb4 ,footnote #ecd3 ,see p4 #agf4 ,sidenote3 ,,miniatures ,,of ,,jane ,,seymour ,there are several miniatures of ,queen ,jane ,seymour in existence1 in most cases attributed to ,holbein1 all1 with one exception1 closely following the portrait of that ,queen in the ,vienna ,gallery1 upon which they are evidently based4 ,among the best are two which were in the ,burlington ,fine ,arts ,club ,exhibition1 lent by ,mr4 ,vernon ,watney and by the ,duke of ,buccleuch4 ,the former 7,case ,b1 #b71ece inscribed merely 8,a,,on ,,xxv10 is said to have belonged originally to the ,seymour family1 and to have been given by ,charles1 ,duke of ,somerset1 to his granddaughter1 ,elizabeth ,wyndham1 wife of the ,right ,hon4 ,george ,grenville1 from whom it passed into the possession of the ,duke of ,buckingham4 ,it was afterwards in the ,sackville ,bale and ,lumsden ,propert collections4 ,sir ,george ,scharf considered this miniature to be a portrait of ,anne ,boleyn1 and regarded the 8,,xxv0 as the ,king's regnal date1 and not as that of the lady's age2#ecf but the likeness to ,jane ,seymour is stronger1 though not very marked4 ,mr4 ,c4 ,f4 ,bell points out#ecg that the likeness of the sitter to ,lady ,hemingham or ,heveningham 78,henegham071 as she is represented in the fine drawing at ,windsor1#ech is much more pronounced1 and he suggests that the miniature was painted from the portrait of that lady1 taken from the drawing1 which has now disappeared4 ,mr4 ,watney's miniature1 however1 closely resembles the one belonging to the ,duke of ,buccleuch 7,case ,c1 #e71eci though the latter has no inscription and the pendant jewel set with large pearls is absent4 ,this last portrait belonged to ,horace ,walpole1 and by him was regarded as representing ,katherine of ,aragon1 and under that name it passed from the ,strawberry ,hill sale into the hands of ,mr4 ,blamire1 and afterwards into its present ownership4 ,it appears to be1 however1 an undoubted portrait of ,henry's third queen4 ,another miniature of ,jane ,seymour was lent to the same exhibition by ,mr4 ,h4 ,dent-,brocklehurst 7,case ,b1 #f71edj attributed like the others to ,holbein1 which was also formerly in the possession of ,horace ,walpole4 ,the portrait of this queen is also among the four miniatures attached to the enamelled jewel1 of ,nicholas ,hilliard's workmanship1 in the royal collection at ,windsor1 mentioned above4 ,it is inscribed 8,,an ,,dn #aecf ,,tatis ,,sv #bg10 which no doubt appeared on the original miniature by ,holbein1 now lost1 from which all these others are also derived4 ,footnote #ece3 ,reproduced in the ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxii42 ,ganz1 ,holbein1 p4 #adh 7#a74 ,footnote #ecf3 ,archologia1 vol4 xl41 #ahff1 p4 #ha4 ,footnote #ecg3 ,in a communication to ,dr4 ,ganz4 ,see ,holbein1 p4 #bde4 ,footnote #ech3 ,woltmann1 #ccc2 ,wornum1 ii4 #be2 ,holmes1 ii4 #ab4 ,footnote #eci3 ,reproduced in the ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxii4 ,footnote #edj3 ,reproduced in the ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxii4 ,the miniatures of ,catherine ,howard have been already described4#eda ,it is doubtful whether ,holbein painted ,queen ,catherine ,parr1 for the ,king did not marry her until ,july #ab1 #aedc1 only a month or two before the artist died4 ,a miniature in the possession of ,mr4 ,h4 ,dent-,brocklehurst1 lent by him to the ,burlington ,fine ,arts ,club ,exhibition 7,case ,b1 #g71 is said to represent this ,queen and to be by ,holbein1 but both attributions are probably incorrect4 ,it is inscribed 8,,ano ,,xxxii10 and if this is to be read as the regnal year1 it must have been painted between ,april #aedj and ,april #aeda1 and1 if it represents this ,queen1 more than two years before her marriage4 ,she wears a scarlet1 black1 and white circular ,french hood with black fall1 and cloth of gold dress4 ,sir ,george ,scharf considered it to be a portrait of ,catherine ,howard4#edb ,footnote #eda3 ,see pp4 #aib-aic4 ,footnote #edb3 ,archologia1 vol4 xl41 #ahff1 p4 #hd4 ,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 himself4 ,most of them represent the boy at a period after ,holbein's death1 and the name of ,guillim ,stretes has been suggested as their author4#edc ,the beautiful little circular drawing of the ,prince1 at a very early age1 in the ,basel ,gallery1#edd is apparently ,holbein's first study for a miniature which has now disappeared1 and may have been the 8portrait of the ,prince's ,grace0 which the artist presented to ,henry ,,viii on ,new ,year's ,day1 #aeci4ede ,footnote #edc3 ,see pp4 #afh-ahi4 ,footnote #edd3 ,woltmann1 #aaj 7#hb74 ,footnote #ede3 ,see p4 #afd4 ,sidenote3 ,,livina ,,teerlinc ,certain of these miniatures1 and others not described here1 some of them apparently copies after ,holbein1 while others are original works1 were no doubt produced by ,susanna ,hornebolt1 ,livina#edf ,teerlinc1 and ,stretes1 all three of whom were in turn much employed about the court1 and enjoyed royal pay4 ,it has been impossible1 so far1 to separate the works of these artists1 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 formed4 ,what little is known of ,susanna ,hornebolt has been given in an early chapter4 ,livina ,teerlinc1 eldest daughter of the miniaturist1 ,simon ,binnink of ,bruges1 married ,george ,teerlinc of ,blankenberghe1 near ,bruges1 and after the death of her husband's father1 in #aede1 they came to ,england4#edg ,she is mentioned by ,vasari in a short passage as 8,levina1 daughter of the above-named ,master ,simon of ,bruges1 who was nobly married in ,england by ,henry ,,viii1 was held in great esteem by ,queen ,mary1 and is now in much favour with ,queen ,elizabeth10 an account which ,guicciardini copies and slightly elaborates4#edh ,her name does not occur in the royal accounts1 however1 until ,midsummer1 #aedg1 under ,edward ,,vi1 when1 as 8maistris ,levyn ,terling paintrix10 she received a quarter's wages of #aj4 ,she held the same appointment under ,mary and ,elizabeth and at the same salary1 #dj a year4 ,on ,new ,year's ,day1 #aeef1 she presented ,queen ,mary with a small picture of the ,trinity1 and two years later her ,new ,year's gift to ,queen ,elizabeth was a portrait of her ,majesty 8finely painted upon a card10 for which she received in return a silver-gilt casting-bottle weighing #b oz4 ,in #aefa1 on a like occasion1 there was given to the same ,queen1 8,by ,mrs4 ,levina ,terling1 the ,queenes personne and other personnages in a box fynely painted10 which so pleased ,elizabeth that she retained it in her own keeping1 and gave 8,maistris ,levyn ,terling0 in return a silver-gilt covered salt-cellar weighing #e oz4#edi ,george ,teerlinc returned to ,bruges1 and died there before #beth ,august #aehj2 and ,mr4 ,weale conjectures that his wife died before him1 probably in ,england1 but there is no documentary evidence of this4 ,in any case1 ,vasari1 and ,guicciardini after him1 were wrong in stating that while at the ,english court she was 8nobly married40 ,footnote #edf3 ,also spelt ,levina4 ,footnote #edg3 ,see ,weale1 ,burlington ,magazine1 vol4 viii41 ,february #aijf1 p4 #cef4 ,footnote #edh3 ,the latter says3 8,levina1 figliuola di maestro ,simone di ,bruggia gi mentionato1 la quale nel miniare come il padre tanto felice et eccellente1 che il prefato ,henrice ,re d',inghilterra la volle con ogni premio haver' a ogni modo alla sua corte1 ove fu poi maritata nobilmente1 fu molto amata dalla ,regina ,maria1 et hora amatissima dalla ,regina ,elisabetta40 ,footnote #edi3 ,see ,j4 ,gough ,nichols1 ,archologia1 xxxix4 pp4 #ci-dj4 ,in the case of ,livina1 as with ,susanna ,hornebolt1 it is impossible to point with certainty to any work as being indubitably from her hand4 ,the two beautiful miniatures in the ,salting ,collection representing two little girls1 sisters1 aged five and four respectively1 which were formerly in the collection of ,mr4 ,c4 ,h4 ,t4 ,hawkins1 were attributed by both these owners to ,livina ,teerlinc1 and were so described in the catalogue of the ,burlington ,fine ,arts ,club ,exhibition 7,case ,b1 #e74eej ,the richness of the costume indicates that they were the children of some important personage about the court4 ,each one is dated 8,,ano ,,dni #aeij10 and they are enclosed in a contemporary turned ivory case4 ,dr4 ,williamson states that at one time they had attached to them 8a strip of parchment on which was recorded1 in handwriting undoubtedly contemporary1 that the two little portraits were #8fynely' painted by ,lavina ,teerlinc in #aeij at ,greenwich40#eea ,it is impossible however1 that miniatures painted in #aeij can be her work if ,mr4 ,weale's conjecture#eeb that she died before #aehj is correct2 but ,dr4 ,williamson1 who has been good enough to re-examine his notes1 made when the miniatures were in the ,hawkins collection1 is now of opinion that the date on the parchment is not #aeij1 but #aegj4 ,the third figure is indistinct1 but appears to be #g4 ,if this is so1 the attribution of these charming little works to ,livina is very probably a true one1 and the artist may still have predeceased her husband1 as ,mr4 ,weale surmises4 ,there is an interesting miniature in ,earl ,spencer's collection1 signed with an 8,l10 and dated #aebf1 a double portrait1 said to represent ,sir ,john ,boling and his mother1 though the couple appear to be man and wife1 which has been ascribed by some writers to ,lucas d',heere1 though the date1 of course1 makes such authorship impossible4 ,mr4 ,j4 ,j4 ,foster#eec states that when he examined it he thought he could discern a 8,t0 following the 8,l10 and suggests that it was the work of ,livina ,teerlinc2 but this is equally impossible1 for1 according to ,mr4 ,weale's researches1 she and her husband did not reach ,england until about #aede1 while in #aebf she must have been a mere child4 ,footnote #eej3 ,reproduced in ,burlington ,fine ,arts ,club ,catalogue1 ,pl4 xxxii4 ,footnote #eea3 ,williamson1 ,history of ,portrait ,miniatures1 vol4 i41 ,addendum1 p4 xx4 ,footnote #eeb3 ,burlington ,magazine1 vol4 viii41 ,february #aijf1 p4 #cef1 and vol4 ix41 ,july #aijf1 p4 #bgh4 ,footnote #eec3 ,british ,miniature ,painters1 #ahih1 p4 #ad and ,pl4 v4 ,sidenote3 ,,miniature ,,of ,,kratzer ,there are several very interesting miniatures in the ,pierpont ,morgan ,collection which1 although they cannot be given to ,holbein himself1 are certainly of his school and period4 ,one of the finest represents a ,baseler named ,arnold ,franz1 a man with a brown beard and moustache1 dressed in black4#eed ,it is in a richly-enamelled gold frame with pendant pearls1 and the sitter's age1 8,,aet4 #cb10 enamelled on the front1 and on the reverse1 8,arnold ,franz1 ,holbein ,pinx40 ,it was procured at the sale of a collection in ,basel1 and was stated to have been in the possession of the descendants of the sitter ever since it was painted4 ,there was also an unbroken family tradition that ,holbein himself had painted it1 and that ,franz1 said to have been a printer and a friend of ,froben's1 was intimately acquainted with the artist4 ,the ,franz family1 now extinct1 are also said to have possessed for many years a letter from ,holbein to his friend1 in which the miniature is mentioned1 but the document has been lost4#eee ,a second miniature in ,mr4 ,morgan's collection is a portrait of ,niklaus ,kratzer1 and is evidently by the same hand as the one of ,arnold ,franz4 ,it is not a reduced version of the ,louvre picture1 which was painted in #aebh1 but appears1 in ,dr4 ,williamson's opinion1 to have been painted some years earlier than that date1 though1 if that be the case1 it is not very likely that ,holbein was its author4 ,the face is nearly in profile1 to the left1 and the astronomer is wearing the customary fur-lined black coat and black cap1 and a gold chain round his neck4 ,in his hand he holds a brass armillary sphere4 ,a third miniature1 in the same possession1 which has considerable affinity in style to the two just mentioned1 represents ,charles ,brandon1 ,duke of ,suffolk4 ,it was formerly in the possession of the royal house of ,holland1 and afterwards in the ,propert and ,tomkinson collections4 ,dr4 ,williamson suggests that some of the ,holbeinesque miniatures1 such as these1 which exist in considerable numbers1 may have been the work of ,hans ,mielich 7#aeae-aegb71 of ,munich1 who painted portraits and miniatures of some merit1 and was for a time court painter to the ,duke ,albrecht ,v of ,bavaria4 ,there is no record1 however1 of any visit paid by him to ,england4 ,others may be possibly the work of such painters as ,thomas and ,john ,bettes and ,guillim ,stretes1 who are dealt with in a succeeding chapter4#eef ,footnote #eed3 ,pierpont ,morgan ,catalogue1 ,no4 #c1 and ,pl4 iii41 ,no4 #a1 and colour plate1 dition de luxe1 ,no4 #c4 ,footnote #eee3 ,williamson1 ,history of ,portrait ,miniatures1 vol4 i41 ,addendum1 p4 xx4 ,footnote #eef3 ,burlington ,magazine1 vol4 viii41 ,february #aijf1 p4 #cef1 and vol4 ix41 ,july #aijf1 p4 #bgh4 ,there remains one other miniature to be noted1 which until recently was regarded as the work of ,hans ,mielich1 but is now1 with apparent justice1 given to ,holbein4 ,it is in the ,bavarian ,national ,museum1 ,munich1 and represents a young man1 turned slightly to the right1 with a fair pointed beard and moustache1 and wearing a black dress and cap4 ,it is inscribed upon the blue background1 on either side of the sitter's head1 8,h4,m4 ,,tatis ,,sv #bg40eeg ,it was once thought to be a portrait of ,melanchthon1 and afterwards1 on account of the initials it bears1 it was regarded as a portrait of ,mielich by himself4 ,its attribution to ,holbein was due to ,dr4 ,hans ,buchheit1 the director of the ,national ,museum1 who published it in #aiaa as a work of the painter's later time4 ,the initials upon it are undoubtedly those of the sitter1 and not of the artist1 and it has been suggested that it represents the painter1 ,harry ,maynert1 one of the witnesses to ,holbein's will4#eeh ,whether this is so or not1 the miniature itself is a fine one1 and1 judging from a photograph alone1 its attribution to ,holbein by ,dr4 ,buchheit must be accepted as the correct one4 ,footnote #eeg3 ,british ,miniature ,painters1 #ahih1 p4 #ad and ,pl4 v4 ,footnote #eeh3 ,pierpont ,morgan ,catalogue1 ,no4 #c1 and ,pl4 iii41 ,no4 #a1 and colour plate1 dition de luxe1 ,no4 #c4 ---------------------------------------- -------------------------------- ,,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 8,queen of ,sheba0 miniature painting at ,windsor--,the 8,death of ,virginia0 at ,dresden--,drawing of a ship at ,frankfurt--,drawings of animals4 ,,if1 through some great misfortune1 nothing remained of ,holbein's work but the wonderful series of drawings of the heads of the men and women of ,henry ,,viii's court1 in the royal library at ,windsor1 this collection alone would still afford irresistible proof of his right to the title of one of the very greatest masters of portraiture4 ,the history of these drawings can be traced with some exactness1 though there are certain breaks in the continuity of the story4 ,in whatever way they may have been preserved by ,holbein during his lifetime1 they were1 shortly after his death1 bound together in book form1 and so remained until their rediscovery in the eighteenth century4 ,although they are not included in the elaborate inventory of the royal collection of works of art1 dated #bdth ,april #aedb1 or in the second inventory taken five years later1 in the first year of ,edward ,,vi's reign1 it may be conjectured that they came into the possession of the ,crown on ,holbein's death in #aedc1 or very shortly afterwards4 ,his death was so sudden1 that they may have been left behind in his painting-room at ,whitehall1 unknown to his executors1 and so remained in royal keeping1 though this is not a very likely surmise4 ,it is certain1 in any case1 that the book containing them was at one time in the possession of ,edward ,,vi4 ,this is proved by an entry in the ,lumley inventory of #aeij1 to which reference has been already made more than once4 ,the entry is as follows3 8,a greate booke of ,pictures doone by ,haunce ,holbyn of certeyne ,lordes1 ,ladyes1 gentlemen and gentlewomen in ,king ,henry the #h3 his tyme1 their names subscribed by ,sr ,john ,cheke ,secretary to ,king ,edward the #f wch book was ,king ,edward the #f40 ,there is no reason to doubt the statement that the names on many of the drawings were supplied by ,sir ,john ,cheke1 who1 at one time professor of ,greek at ,cambridge1 became one of the tutors of the young ,prince before he ascended the throne1 and died in #aeeg4 ,he must thus have been intimately acquainted with a certain number of ,holbein's sitters1 though not with all of them4 ,this would account for the fact that although many of the names he has written on the drawings are the right ones1 certain others are incorrect1 while some fourteen of them are not named at all4 ,he made mistakes1 for instance1 over some of the earlier drawings1 such as several of the sitters in the ,more ,family ,group1 with whom he was not likely to have been acquainted1 and in some doubtful cases he probably indulged in guesswork4 ,the late ,sir ,richard ,holmes considered that he merely made a list of the drawings1 which has not survived1 and that from this list the names were inscribed on the sheets by some later hand4#eei ,there is an entry in the accounts of ,sir ,thomas ,carwarden1 ,master of the ,revels1 preserved among the ,loseley ,,mss41 which very probably refers to this very book of drawings4 ,the document is undated1 but is considered to be of the reign of ,edward ,,vi4 ,it is as follows3 8,item for a peynted booke of ,mr4 ,hanse ,holby making1 #f li40 ,it is1 of course1 quite possible that this 8peynted booke0 may have had nothing to do with the ,windsor drawings1 but there is no other known work of ,holbein's to which the description would so well apply4 ,the supposition that it was the very book1 and that it was purchased by ,sir ,thomas for ,edward ,,vi1 fits in well with the fact1 established by the ,lumley inventory1 that the youthful monarch at one time possessed it4 ,if this be so1 the suggestion that ,henry ,,viii obtained it immediately after ,holbein's death is1 of course1 incorrect4 ,footnote #eei3 ,holmes in ,introduction to ,hanfstaengl's ,portraits of ,illustrious ,personages of the ,court of ,henry ,,viii4 ,sidenote3 ,,history ,,of ,,the ,,book ,,of ,,drawings ,it would appear that the book came into the possession of ,henry ,fitz-,alan1 ,earl of ,arundel1 after the death of ,edward ,,vi1 either by gift or purchase1 and was preserved at ,nonsuch1 together with the various portraits by ,holbein1 already mentioned1 some of which were certainly at one time in the royal possession2 and on his death in #aehj1 passed to his son-in-law1 ,lord ,lumley4 ,the palace and estate of ,nonsuch reverted to the ,crown in #aeia1 by exchange for other property1 but at what time the numerous pictures by ,holbein left the possession of the ,lumley family is not known4 ,at ,lord ,lumley's death in #afji the greater number of his books passed into the hands of ,henry1 ,prince of ,wales1 elder brother of ,charles ,i1 and it is very probable that the 8greate booke of ,pictures doone by ,haunce ,holbyn0 accompanied them1 and once again formed part of the royal collections4#efj ,it is usually stated1 however1 that ,charles ,i obtained them through the good offices of ,m4 de ,liancourt1 the ,french ambassador1 this statement being based on a note in ,abraham ,van der ,doort's catalogue of that monarch's pictures1 which1 if correct1 indicates that at some time between the drawing up of the ,lumley inventory 7#aeij7 and the list of ,king ,charles' pictures 7#afci71 the book of drawings had been taken into ,france1 and so cannot have belonged to ,henry1 ,prince of ,wales4 ,it seems certain1 nevertheless1 that this supposed journey to ,france and back again never took place4 ,mr4 ,lionel ,cust's suggestion is evidently correct1 and the mistake has arisen through a confusion between ,holbein's book of drawings and a very similar book of drawings by a ,french hand1 representing illustrious personages of the ,french court1 both of which were in the ,king's collection1 and are separately described in ,van der ,doort's catalogue4 ,it was the latter book1 no doubt1 which was procured through ,m4 de ,liancourt1 some such volume as that now at ,knowsley1 or the collection formerly at ,castle ,howard1 now at ,chantilly1#efa or the numerous albums of a similar kind scattered about ,france4 ,holbein's book of drawings1 on the other hand1 came to ,charles ,i from his brother4 ,footnote #efj3 ,see ,cust1 ,burlington ,magazine1 vol4 xviii41 ,february #aiaa1 p4 #bfi4 ,footnote #efa3 ,these were purchased by the fifth ,earl of ,carlisle in ,flanders1 probably towards the close of the eighteenth century4 ,the ,king1 however1 did not retain the volume for long1 but exchanged it with the ,earl of ,pembroke for the beautiful little picture of 8,st4 ,george slaying the ,dragon10 by ,raphael1 which is now in the ,hermitage ,gallery1 ,st4 ,petersburg4 ,this latter is entered in ,van der ,doort's catalogue as 8,a little ,st4 ,george1 which the ,king had in exchange of ,my ,lord ,chamberlain1 ,earl of ,pembroke1 for the book of ,holbein's drawings40 ,this picture was sold by the ,commonwealth for #aej1 and after passing through the ,la ,noue1 ,de ,sourdis1 and ,crozat collections1 found a final resting-place in the ,hermitage4 ,in #afbg1 while still in the ,earl of ,pembroke's possession1 it was engraved by ,lucas ,vorsterman1 so that the exchange with the ,king may have taken place in #afbh or thereabouts4 ,lord ,pembroke1 in his turn1 did not keep the drawings1 but almost at once passed them on to the great collector1 ,thomas ,howard1 ,earl of ,arundel1 who1 according to ,sir ,edward ,walker1 who wrote his life1 had 8more of that exquisite master1 ,hans ,holbein1 than are in the world besides40 ,whether ,lord ,pembroke gave the drawings to him1 or in his turn carried out a second exchange1 is not known4 ,their presence in the ,arundel ,collection is proved by a contemporary reference in the manuscript among the ,harleian ,,mss4#efb in the ,british ,museum entitled1 8,an exact ,compendious ,discours concerning the ,art of ,miniatura or ,limning10 on the fly-leaf of which is written1 in an eighteenth-century hand1 8of ,limning by ,hilliard10 to which attention has been already called4#efc ,as the ,holbein drawings were still in the possession of ,charles ,i in #afbg1 the paragraph in the 8discours0 which speaks of them as in the ,arundel ,collection cannot have been penned by ,nicholas ,hilliard himself1 who died in #afai4 ,the compiler was almost certainly ,edward ,norgate1 who held ,holbein in the highest estimation4 ,speaking of the painting of shadows1 he says3-- ,footnote #efb3 ,no4 #fjjj4 ,footnote #efc3 ,see p4 #bai4 8,the black must be deepened with ivory black1 and if in working in the heightenings and light-reflections1 you will mingle with your ordinary black a little lake and indigo1 or rather a little litmus instead of indigo1 you will find your black to render a rare and admirable reflection like to that of the well-dyed satin1 especially if your lights be strong and hard2 the manner whereof if you please to see inimitably expressed1 you will find abundantly for your content in the gallery of my most noble ,lord the ,earl of ,arundell1 ,earl ,marshal of ,england1 and done by the incomparable pencil of that rare master1 ,hans ,holbein1 who in all his different and various manners of painting1 either in oil1 distemper1 limning1 or crayon1 it seems was so general and absolute an artist1 as never to imitate any man1 or ever was worthily imitated by any40#efd ,footnote #efd3 ,quoted by ,wornum1 pp4 #cig-h4 ,also by ,dallaway with slight differences 7see p4 #bai above74 ,sidenote3 ,,norgate',s ,,references ,the reference to the ,windsor drawings occurs in the chapter dealing with crayon-painting4 8,i shall not need10 the writer says1 8to insist upon the particulars of this manner of working2 it shall suffice1 if you please1 to view of a book of pictures by the life1 by the incomparable ,hans ,holbein1 servant to ,king ,henry the ,eighth4 ,they are the pictures of most of the ,english lords and ladies then living1 and were the patterns whereby that excellent painter made his pictures in oil by2 they are all done in this latter manner of crayons ,i speak of1 and though many of them be miserably spoiled by the injury of time1 and the ignorance of some who formerly have had the keeping of the book1 yet you will find in those ruinous remains an admirable hand1 and a rare manner of working in few lines and no labour in expressing of the life and likeness1 many times equal to his own1 and ever excelling other men's oil pictures4 ,the book hath been long a wanderer2 but is now happily fallen into the hands of my noble lord the ,earl ,marshal40#efe ,footnote #efe3 ,quoted by ,wornum1 p4 #cih4 ,dallaway1 in his notes to ,walpole1 vol4 i4 p4 #hd1 quotes this passage with slight differences1 and adds after 8,earl ,marshal0--8a most eminent patron to all painters who understood the arte2 and who therefore preserved this book with his life1 till both were lost together0--which is not consistent with the words preceding it4 ,a second contemporary reference to the drawings occurs in the ,bodleian ,library manuscript1 ,miniatura or the ,art of ,limning1 etc41 also by ,edward ,norgate1 to which reference has been already made4#eff ,norgate1 when dealing with crayon drawings1 says3 8,a better way was used by ,holbein1 by priming a large paper with a carnation or complexion of flesh-colour1 whereby he made pictures by the life1 of many great lords and ladies of his time1 with black and red chalke1 with other flesh colours1 made up hard and dry1 like small pencil sticks4 ,of this kind was an excellent booke1 while it remained in the hands of the most noble ,earl of ,arundel and ,surrey4 ,but ,i heare it has been a great traveller1 and wherever now1 he hath got his errata1 or 7which is as good7 hath met with an index expurgatorius1 and is made worse with mending40#efg ,that the book was described as a 8great traveller0 is1 no doubt1 due to the fact that from #afdb until his death1 four years later1 the ,earl was living on the ,continent1 and that he took all his works of art with him4 8,after her husband's death10 says ,mr4 ,cust1#efh 8the ,countess of ,arundel continued to reside at various places on the ,continent1 accompanied by her collections1 until her own death at ,amsterdam in #afed4 ,litigation then ensued between her sons as to the disposal of her property4 ,a good part of the valuable ,arundel ,collection was disposed of in ,holland by the ,countess's younger son1 ,lord ,stafford1 but a considerable part eventually returned to the family of the ,duke of ,norfolk in ,england40 ,there is every reason to suppose that among the latter the ,holbein book was included4 ,footnote #eff3 ,see p4 #bai4 ,this manuscript is ,norgate's final version of the 8discours10 written some twenty years or so later than the ,british ,museum manuscript1 which was his first compilation4 ,footnote #efg3 ,quoted by ,dallaway1 in his notes to ,walpole's ,anecdotes1 vol4 i4 p4 #hd2 and by ,wornum1 p4 #cih4 ,footnote #efh3 ,see ,cust1 ,burlington ,magazine1 vol4 xviii41 ,february #aiaa1 p4 #bfi4 ,sidenote3 ,,later ,,history ,,of ,,the ,,drawings ,it should be noted that1 according to ,charles ,i's catalogue1 the number of drawings was only fifty-four4 ,van der ,doort may have made a mistake in the entry1 putting a #e instead of an #h1 otherwise it must be supposed that ,lord ,arundel already possessed some thirty of these 8heads10 which he added to the book after ,lord ,pembroke had given it to him4 ,the collection as it now exists does not contain the whole of the portrait-drawings of ,holbein's ,english period4 ,the fine head of ,lord ,abergavenny at ,wilton appears to have been kept back1 or to have been accidentally retained1 by ,lord ,pembroke when he parted with the remainder of the collection1 and there are several others in continental museums and elsewhere1 some of which are known to have once formed part of the ,arundel ,collection4 ,at ,basel there are ,sir ,nicholas ,carew1 an unknown ,english lady1 and a second ,english lady and her husband2 at ,dresden the ,count ,moretta2 at ,munich the head of ,henry ,,viii2 at ,berlin a fine head of an unknown ,englishman2 in the ,salting ,collection the magnificent study of a lady already described2#efi and the two heads in the ,duke of ,devonshire's ,collection at ,chatsworth4#egj ,if1 therefore1 ,van der ,doort is correct in stating that there were only fifty-four drawings in the book when it was in his keeping1 the one person in ,england most likely to have added so considerably to their number was the ,earl of ,arundel1 who was unceasing in his search for original works from ,holbein's hand4 ,there is no record to show at what time the book returned to the royal collections1 though the tradition noted by ,dallaway1 in his edition of ,walpole's ,anecdotes1 that they were purchased for ,james ,,ii at the sale of the possessions of ,henry1 ,duke of ,norfolk1 in #afhf1 is no doubt the correct one4#ega ,a list of the drawings was included in ,james ,,ii's catalogue1 which was published by ,bathoe in #ageh4 ,after this the drawings themselves were laid aside and forgotten1 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 ,palace1 together with a volume of equal importance containing the drawings of ,leonardo da ,vinci1 which now form so valuable a part of the royal collection at ,windsor4 ,queen ,caroline had them framed and glazed1 and for many years they decorated her own apartments1 first at ,richmond1 and afterwards in ,kensington ,palace4 ,early in the succeeding reign they were removed to the ,queen's ,house1 now ,buckingham ,palace1 where they were taken from the frames and bound up in two volumes1 forming a part of the large collection of drawings1 similarly bound1 got together by ,george ,,iii4 ,the suggestion that they should be engraved originated with ,dalton1 the keeper of the ,king's drawings1 but the work was so badly done that it was abandoned in #aggd after ten plates only had been issued4 ,the engraver was ,george ,vertue1 who1 according to ,walpole1 was the originator of the project4 8,it is a great pity10 he says1 8that they have not been engraved2 not only that such frail performances of so great a genius might be preserved1 but that the resemblances of so many illustrious persons1 nowhere else existing1 might be saved from destruction4 ,vertue had undertaken this noble work2 and after spending part of three years on it1 broke off1 ,i do not know why1 after having traced off1 on oil paper1 but about five and thirty4 ,these ,i bought at his sale2 and they are so exactly taken as to be little inferior to the originals40#egb ,this tracing was done by ,vertue and ,mntz when the drawings were hanging in ,queen ,caroline's room at ,kensington4 ,there were thirty-four of them1 and they were framed and hung in what ,walpole called his ,holbein ,chamber at ,strawberry ,hill4 ,somewhat later the projected publication was taken up again more successfully1 on the suggestion1 according to ,dallaway1 of ,horace ,walpole1 under the direction of ,john ,chamberlaine1 who succeeded ,dalton as keeper of the drawings4 ,the engravings were published between #agib and #ahjj in fourteen numbers1 containing eighty-two portraits1 forming two large folio volumes1 under the title of ,imitations of ,original ,drawings by ,hans ,holbein1 in the ,collection of ,his ,majesty1 for the ,portraits of ,illustrious ,persons of the ,court of ,henry ,,viii1 with ,biographical ,tracts4 ,the historical notices were written by ,edmund ,lodge1 ,lancaster ,herald1 and the plates1 with the exception of eight1 were engraved by ,f4 ,bartolozzi1 ,r4,a4 ,f4 ,c4 ,lewis was also engaged to take part in the work1 but his plate of 8,cecilia ,heron0 was in all ways so much finer than ,bartolozzi's efforts that ,chamberlaine had the plate destroyed1 fearing that if it were published side by side with the others1 the latter would suffer so severely from the contrast that the success of the publication would be endangered4 ,as transcripts of ,holbein's drawings1 ,bartolozzi's engravings have very little artistic merit4 ,many of them1 indeed1 have small likeness to the originals1 and all of them lack the strength and character and the searching truth of line which make the drawings themselves such masterpieces of art4 ,in more recent years the drawings have been frequently photographed and published1 the most important series being that issued by ,mr4 ,f4 ,hanfstaengl in two volumes1 with an introduction and descriptive notes by the late ,sir ,richard ,holmes1 ,f4,s4,a4 ,it should be added that under ,queen ,victoria the two volumes were broken up1 and the drawings properly mounted and arranged4 ,they are now kept in four portfolios4 ,footnote #efi3 ,see ,vol4 i4 p4 #cji4 ,footnote #egj3 ,see ,vol4 i4 pp4 #ccf-g4 ,footnote #ega3 ,walpole1 ,anecdotes1 ed4 ,wornum1 vol4 i4 p4 #hd note4 ,footnote #egb3 ,ibid41 pp4 #he-hf4 ,in ,walpole's day the collection consisted of eighty-nine sketches1 but in more recent times two have been withdrawn1 as the work of ,jacob ,binck4 ,one of the two heads of ,sir ,thomas ,wyat is only a good1 careful copy of the other1 in which the hair of the beard is drawn with great elaboration1 from the hand of some follower or imitator of ,holbein1 and in one or two other cases the drawings are1 perhaps1 only copies of lost originals1 or even original drawings by some other hand1 such as the so-called 8,melanchthon10 with its faltering line1 which lacks much of ,holbein's customary strength and certitude4 ,sidenote3 ,,the ,,method ,,of ,,their ,,execution ,the drawings were executed in almost all cases in black and coloured chalks4 ,during his first visit to ,england ,holbein used1 as a rule1 white paper1 the outlines being drawn in black and the features modelled in red chalk4 ,the series of heads of members of ,sir ,thomas ,more's family1 and contemporary drawings such as the ,warham and ,guldeford1 are done in this manner4 ,later on it was his custom to use a paper covered entirely with a ground of flesh or salmon colour1 upon which the features were modelled in black chalk1 and slight touches of red1 after which the outlines were strengthened and the details of the hair1 dress1 and ornaments put in with pen or brush and ,indian-ink4 ,in some cases the whole face was completely modelled with the greatest delicacy1 and as a rule the eyes1 hair1 and beard were drawn in with water-colour or coloured crayons in their natural hues4 ,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 handwriting1 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 master4 ,in one instance--the portrait of ,john ,godsalve--the drawing is entirely finished in water-colours1 and the figure is shown against a blue background2 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 seen4 ,the earlier drawings are usually the largest1 the one last-named being about #af in4 high by #ab in4 wide4 ,the ,warham is #ag in4 by #ab in41 the ,guldeford #ae in4 by #aa in41 and the ,godsalve the same size4 ,one of the largest of all is the ,jane ,seymour1 which is #bj in4 by #aa in4 ,sidenote3 ,,the ,,method ,,of ,,their ,,execution 8,some have been rubbed10 says ,walpole1 8and others traced over with a pen on the outlines by some unskilful hand40#egc ,in a few instances1 it is true1 these strengthening touches appear to be by some other hand than ,holbein's1 but in most of the drawings they are just as certainly his4 ,the studies have suffered considerable damage during the passage of time4 ,they are stained1 and many of them badly rubbed1 so that the more delicate modelling and colouring carried out in crayons has almost vanished4 ,in consequence the brush-work1 which has better withstood rough usage1 at first sight appears to be a little hard1 and in some instances even coarse1 thus slightly marring that perfect harmony of effect which characterised the drawings when fresh from the artist's hand4 ,the finer details have been worn away1 leaving certain lines more prominent than ,holbein intended4 ,a closer study1 however1 as ,sir ,richard ,holmes points out1 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 possess4 8,on some of the heads these touches occur only on the eyes1 nostrils1 and lips1 where the marvellous accuracy of modelling1 particularly in the corners of the mouth1 is not to be excelled in the work of any other master40#egd ,it must be remembered1 too1 that these studies were1 in almost all cases1 working drawings1 done for transference or for copying on the panel1 and are in that sense not finished works1 some parts and details being emphasised more strongly than others4 ,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 portraits2 for instance1 in the long beard of ,sir ,thomas ,wyat or the close-cut hair of ,simon ,george4 ,in other drawings the unshaven stubble on a man's chin or upper lip is put in with a few masterly strokes4 ,here and there high lights have been indicated with a touch of white1 as in the heads of ,lord and ,lady ,vaux4 ,it may be taken1 then1 that in the greater number of cases1 the only hand which can be traced in these drawings is that of ,holbein himself1 dimmed here and there by the passing of the years1 or rough or careless usage at some time or other during their earlier wanderings4 ,certain critics1 however1 consider that in many of them1 some later hand has attempted to revivify the fading lines1 with results quite contrary to those intended4 ,mr4 ,campbell ,dodgson1 speaking of the lovely head of an ,englishwoman in the ,salting ,collection1 describes it as being 8entirely free from the retouching which disfigures many of the ,windsor heads40#ege ,mr4 ,gerald ,davies is also among those who consider that the drawings have been retouched by some other hand than ,holbein's4 8,i am quite persuaded10 he says1 8that the strengthening of the outlines1 either by chalk lines or in many cases by ,indian-ink1 is not due to the hand of ,holbein himself4 ,among the drawings are a few which have never been so touched4 ,the lines of these are of great delicacy and of the most expressive quality--an artistic dream which has almost faded from the paper4 ,these are the select few which1 having suffered most from rubbing1 and having the faintest indications to guide the hand of the reinforcer1 have been left in their ghostly beauty4 ,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 it4 ,it has been done on the whole well1 if such a thing can ever be said to have been well done at all4 ,but these same lines will be found to be hard and wiry1 and somewhat unfeeling as compared to the subtly sympathetic outline of the master himself4 ,there remains yet the further manner of reinforcement by a strong outlining1 often accompanied by a slight thickening in parts by means of a wash1 in what appears to be ,indian-ink4 ,the ink has toned now1 and has lost much of the offence of its once strong contrast with the rest of the delicate modelling4 ,but remembering what that contrast would have been when the ink was fresh1 ,i find it impossible to believe that it was added by the hand of ,holbein40#egf ,mr4 ,davies suggests that this ,indian-ink strengthening took place when the drawings came into the hands of ,charles ,i1 and that possibly ,wenceslaus ,hollar was employed for the purpose4 ,it is difficult to follow him in this suggestion of ,hollar's retouching1 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 himself4 ,a more credible suggestion is that of ,mr4 ,lionel ,cust1 who says3 8,it is very probable that the drawings were refreshed by outlines very soon after ,holbein's death1 if not by the painter himself4 ,since that date the most likely time for them to have suffered any alteration would have been after their rediscovery at ,kensington1 when they were for a time in the hands of ,george ,vertue1 an expert crayon-artist himself as well as engraver40#egg ,footnote #egc3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #he note4 ,footnote #egd3 ,holmes in ,introduction to ,hanfstaengl's ,portraits of ,illustrious ,personages1 c4 ,footnote #ege3 ,vasari ,society1 ,pt4 ii4 7#aije-f71 ,no4 #ca4 ,footnote #egf3 ,davies1 ,holbein1 p4 #abb4 ,footnote #egg3 ,burlington ,magazine1 vol4 xviii41 ,february #aiaa1 p4 #bgj4 ,some part of the damage done to them may have been due to wear and tear in the artist's own studio1 for it is possible that he employed an assistant or two2 though if that had been the case1 it is strange that there is no record among the ,state papers of a licence granting him leave to employ journeymen1 such as was necessary under the ,act dealing with foreign residents4 ,it is possible1 too1 though far from probable1 that he may have had one or two pupils--though here again there is no record of them--who would copy his drawings1 and might be entrusted occasionally with the tracing of the drawings upon the panel1 or even in painting parts of the replicas of portraits which must sometimes have been ordered4 ,it is evident that these drawings were made solely for the artist's own purposes1 both in order to avoid a too frequent attendance of his sitters at his studio1 and also because it was the method of working which best suited him4 ,they remained1 therefore1 in his own possession1 and were never handed over to his patrons4 ,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 ,england4 ,in ,france1 as ,m4 ,dimier points out1 8the result of this rage for portraits was that people were not content with the necessarily limited number of originals4 ,the works of the masters of the time were copied and recopied a hundred times1 often by unskilful and sometimes by absolutely clumsy hands4 ,this was the case not only with the portraits of kings and queens1 which have been multiplied thus in all ages1 but with those of any one at court--a feature which is peculiar to the period under consideration4 ,not even the number of painted portraits and painted copies was enough2 there was a demand for quicker and cheaper satisfaction4 ,the original chalk-drawings were copied1 in the same medium1 an infinite number of times1 far oftener1 indeed1 than the paintings2 and these drawings were commonly bound into albums and preserved as family treasures4 ,a vast number of these albums must have perished1 but a vast number still exist40#egh ,nothing of this kind occurred on this side of the ,channel4 ,holbein's original drawings1 after his death1 were preserved in a volume in this fashion1 but they formed an unique example4 ,though copies or duplicates of one or two of them exist1 such as the ,john ,fisher and the ,duchess of ,suffolk in the ,british ,museum1 the ,guldeford1 ,fisher and ,poyntz formerly in the ,heseltine ,collection1 and the head called ,sir ,charles ,wingfield in the collection of ,sir ,john ,leslie1 ,bart41 recently published by ,mr4 ,lionel ,cust1#egi the collection as a whole was never copied in this way1 as it would have been in ,france4 ,it is doubtful if most of these duplicates1 fine as they are1 are actually from ,holbein's own hand4 ,footnote #egh3 ,dimier1 ,french ,painting in the ,sixteenth ,century1 p4 #bi4 ,footnote #egi3 ,burlington ,magazine1 vol4 xviii41 ,february #aiaa1 p4 #bga4 ,sidenote3 ,,studies ,,for ,,lost ,,portraits ,it may be taken for granted that portraits were painted from nearly all these ,windsor studies1 more than eighty in number1 though possibly a few1 drawn during the last months of his life1 were not carried out in this way4 ,it is1 therefore1 a little extraordinary that less than thirty of such finished oil portraits have so far been traced1 the remainder having disappeared2 and of these latter only about one half are original paintings by ,holbein1 the remainder being copies of lost originals4 ,among the first-named we have ,jane ,seymour1 ,catherine ,howard1 the ,prince of ,wales1 ,sir ,thomas ,more1 ,warham1 ,guldeford1 ,southwell1 ,john ,godsalve1 ,reskimer1 ,simon ,george1 ,lady ,vaux1 ,lady ,rich1 ,lady ,butts1 ,lady ,audley 7miniature only71 and one or two others2 in the second class the ,more ,family ,group is the most important1 there being no less than seven studies for this great work at ,windsor1 including the one of ,sir ,thomas himself4 ,there still remain more than fifty drawings in ,england alone of which no paintings are known4 ,it seems impossible that the whole of these pictures should have perished4 ,some of them1 it is to be hoped1 may yet be discovered1 hidden away in some remote country house1 perhaps obscured by dirt and disfigured by repaintings1 so that hitherto they have remained unrecognised4 ,it is not very likely that drawings of this size were made as preliminary studies for miniatures1 or otherwise this might account for some of the missing portraits1 as such small works would be much more easily lost than panel paintings4 ,it is true that in a few instances1 such as the portraits of ,lady ,audley and the ,earl of ,abergavenny1 we have miniatures closely following the drawings1 but no large portraits2 but it does not follow that the latter were not painted4 ,on the other hand1 there are a considerable number of ,holbein's portraits--between thirty and forty--for which no preliminary studies remain1 and these range over every period of his career4 ,this1 however1 is not so extraordinary1 for drawings disappear more easily than pictures4 ,in some instances1 too1 their absence may be explained by the artist's method of work4 ,it was his occasional habit1 more particularly in the earlier half of his career1 to fasten down the preliminary study upon the panel1 and use it as the ground-work of his painting1 so that the drawing naturally was lost4 ,the portrait of his wife and children at ,basel has been carried out in this way1 and the ,anne of ,cleves in the ,louvre is painted on vellum or parchment1 afterwards mounted on canvas4 ,this1 however1 was not his more regular practice1 which was to transfer the study to the panel by tracing or pricking4 ,not a single study exists for any one of the portraits of the ,german merchants of the ,steelyard1 or for such portraits as the ,duchess of ,milan1 ,jean de ,dinteville and the ,bishop of ,lavaur1 ,kratzer1 ,thomas ,godsalve1 ,sir ,henry ,wyat1 ,cromwell1 ,tuke1 the ,duke of ,norfolk1 ,cheseman1 ,dr4 ,chamber1 and the painted portraits of various unknown men at ,berlin1 ,vienna1 ,basel1 and elsewhere4 ,for the portraits of ,erasmus there is only a study for the hands1 while there is no drawing for the ,amerbach or ,froben4 ,on the other hand1 among a number of fine drawings in continental museums there are1 in addition to the two earlier and three later ones of the members of the ,meyer family1 only two--the ,morette in ,dresden and the ,sir ,nicholas ,carew in ,basel--of which the finished paintings still exist4 ,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 employment4 ,the ,windsor drawings1 a number of which have been described in previous chapters of this book1 make this sufficiently clear4 ,included among the heads which have not been described are ,john ,russell1 ,earl of ,bedford2 ,sir ,william ,parr1 afterwards ,marquis of ,northampton2 ,thomas ,boleyn1 ,earl of ,wiltshire and ,ormonde2 ,edward ,stanley1 ,earl of ,derby2 ,george ,brooke1 ,lord ,cobham2 ,thomas1 ,lord ,vaux2 ,sir ,thomas ,parry2 ,sir ,william ,sherrington2 ,sir ,thomas ,wentworth2 ,edward1 ,lord ,clinton2 ,sir ,thomas le ,strange2 ,sir ,george ,carew2 ,lord ,chancellor ,rich1 and others2 and among the ladies1 ,lady ,parker1 ,lady ,ratcliffe1 ,mary ,zouch1 ,lady ,rich1 ,lady ,henegham1 the ,marchioness of ,dorset1 ,lady ,mewtas1 ,lady ,monteagle1 and ,lady ,borough4 ,illustration3 ,,vol4 ,,ii41 ,,plate #cd;,a ,,unknown ,,englishman ,drawing in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #cd;,b ,,william ,,parr ,marquis of ,northampton ,drawing in black and coloured chalks ,,windsor ,,castle ,sidenote3 ,,descriptions ,,of ,,some ,,of ,,the ,,heads ,the study of ,william ,parr1 ,marquis of ,northampton 7,pl4 #cd 7#b771ehj is one of the few in which the hands are shown4 ,the head1 with close-cropped hair and short1 round beard1 has suffered from rubbing1 but remains a fine and strongly individualised study of character4 ,the dress and jewellery are indicated with some elaboration1 to which are added notes in ,holbein's handwriting1 and detailed sketches of his hat ornaments and other jewellery are drawn in the margin4 ,the medallion he wears appears to be of open-work with a figure of ,st4 ,george1 and one of the links of his chain is inscribed with the word 8,,mors40 ,in the ,thomas ,boleyn1#eha also1 the right hand is shown1 and the dress is drawn with much more detail than in most of the companion drawings1 while the face is one of the most carefully elaborated in the whole series1 the individual hairs of the beard and moustache being indicated with minute precision4 ,equally careful drawing of the hair is to be seen in the head of ,lord ,stanley1#ehb with its expressive face and fine eyes4 ,another very powerful drawing is the full-face portrait of ,lord ,cobham1#ehc with open doublet showing his bare chest1 a head of most striking individuality4 ,one of the most beautiful among the more finished studies is that of ,lord ,vaux 7,pl4 #ce71ehd in which the hair1 cut straight across the forehead1 and the beard and moustache are put in with almost microscopic detail1 as well as the design upon the white collar with its strings of black and white cord4 ,there is a second study of ,lord ,vaux#ehe in the collection4 ,it is1 of course1 impossible to give even a short description of the whole of the drawings1 but among the numerous studies of 8unknown men0 two in particular cannot be overlooked4 ,the one is the head of a handsome young man with a long1 sharp nose1#ehf thin whiskers1 and a small beard1 the head turned slightly to the right1 and both eyes shown 7,pl4 #cd 7#a774 ,he wears large ostrich feathers in his black hat1 which has a medallion1 the design not indicated1 and gold tags4 ,the dress1 very roughly sketched in1 is badly rubbed4 ,the drawing is one of great beauty1 very delicate and refined in its treatment and feeling4 ,the second1 to which reference has been already made1 is the very striking likeness of a man with a flat1 broad nose1 bushy1 curly beard1 and hair falling over the ears1 his eyes cast slightly downwards1 one of the most powerful drawings in the ,windsor ,collection1 which ,miss ,hervey suggests is possibly a study for a second portrait of ,jean de ,dinteville 7,pl4 #cf 7#a774ehg ,dr4 ,paul ,ganz considers the sitter to be a man of pronounced southern ,french type1 and probably a member of the ,french embassy which was in ,london in #aecc4ehh ,it is just as probable1 however1 that this unknown nobleman was ,english1 for the type1 though unusual1 is to be met with occasionally4 ,footnote #ehj3 ,woltmann1 #caf2 ,wornum1 ii4 #e2 ,holmes1 i4 #ae4 ,footnote #eha3 ,woltmann1 #bhh2 ,wornum1 i4 #ba2 ,holmes1 i4 #af4 ,footnote #ehb3 ,woltmann1 #caj2 ,wornum1 i4 #af2 ,holmes1 i4 #ah4 ,footnote #ehc3 ,woltmann1 #cae2 ,wornum1 i4 #dd2 ,holmes1 i4 #ai4 ,footnote #ehd3 ,woltmann1 #cbj2 ,wornum1 i4 #bf2 ,holmes1 i4 #bc4 ,footnote #ehe3 ,woltmann1 #cbb2 ,wornum1 i4 #da2 ,holmes1 i4 #ca4 ,footnote #ehf3 ,woltmann1 #cdf2 ,wornum1 i4 #be2 ,holmes1 i4 #ea4 ,footnote #ehg3 ,woltmann1 #cde2 ,wornum1 i4 #ab2 ,holmes1 i4 #eb4 ,see p4 #dd4 ,footnote #ehh3 ,hdz4 von ,h4 ,h4 dem ,jng41 p4 #ed4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ce ,,thomas1 ,,lord ,,vaux ,drawing in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #cf;,a ,,unknown ,,man 7said to be ,jean de ,dinteville7 ,drawing in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #cf;,b ,,mary ,,zouch ,drawning in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #cg;,a ,,lady ,,audley ,drawing in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #cg;,b ,,lady ,,mewtas ,drawing in black and coloured chalks ,,windsor ,,castle 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #ch 8,,the ,,lady ,,henegham0 7,possibly ,margaret ,roper7 ,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 rubbing4 ,such an one is the head of ,mary1 daughter of the ,duke of ,norfolk1 and wife of the ,king's natural son1 ,henry1 ,duke of ,richmond1 which has been already described4#ehi ,the fine head of ,lady ,mewtas 7,pl4 #cg 7#b771eij the face a strong one1 is very delicately modelled1 and unspoilt by the presence of too forcible outlines4 ,her jewelled ornaments include a circular pendant with five dark table stones and three hanging pearls1 suspended from a thin chain1 with beads round the neck1 a circular medallion at the breast with a figure subject now almost obliterated1 and across the top of the bodice a band of pearls set in groups of five like flowers4 ,the incorrectly-named 8,lady ,mary1 after ,queen10#eia whom it certainly does not represent1 is another fine drawing which has suffered considerable damage4 ,it has been gone over with the tracing point for transference to panel1 but no painting after it is now known to exist4 ,the same is the case with the head of the ,marchioness of ,dorset1#eib the daughter of ,charles ,brandon and the ,king's sister1 ,mary1 which also shows indications of tracing4 ,this is a good example of a drawing in which the fine modelling of the face has now almost disappeared1 so that the darker lines stand out too insistently4 ,there is most brilliant and subtle drawing of the eyes1 nose1 and mouth in the very expressive and beautiful head of the so-called ,lady ,henegham 7,pl4 #ch71eic wife of ,sir ,anthony ,hemingham or ,heveningham1 of ,ketteringham in ,norfolk1 which remains in very excellent condition4 ,she wears a small pendant ornament with one hanging pearl at her neck1 and on the breast an upright oval medallion with a figure within a ,renaissance framework4 ,it has been suggested that this fine head really represents ,margaret ,roper1 and the features are not unlike those of several members of the ,more family2 but against this attribution must be placed the fact that the drawing1 unlike all the other studies for the family picture1 is not on white paper4 ,among the best of the other heads of women are ,lady ,parker1#eid ,lady ,lister1#eie ,lady ,rich1#eif ,lady ,elyot1#eig ,lady ,audley1 already described 7,pl4 #cg 7#a771 an unknown lady1 wearing a white cap or bonnet covering the hair and ears and reaching to the chin#eih--;a large drawing on white paper1 something of the type of the ,more family1 but rather more freely drawn--and ,mary ,zouch 7,pl4 #cf 7#b774eii ,the last-named is one of the most attractive of the whole series4 ,the face1 seen in full1 is modelled with extreme delicacy and expression4 ,she wears a ,french circular hood with bands of ornament over her smooth1 yellow hair1 parted in the middle and covering the ears4 ,her dress is of black velvet1 as noted in ,holbein's handwriting1 and the medallion at her breast1 surrounded with a ,renaissance framework1 has an almost obliterated subject1 apparently a female figure with flying draperies seated on a rock1 possibly ,perseus and ,andromeda4 ,this drawing is inscribed 8,m4 ,souch10 and ,sir ,richard ,holmes1 following ,wornum1 suggests that the drawing represents ,joan1 wife of ,richard ,zouch1 son of ,lord ,zouch of ,haringworth4 ,it is1 however1 more probably ,mary ,zouch1 a member of the same family1 who was a maid of honour to ,jane ,seymour1 and1 after the ,queen's death1 received an annuity of #aj on ,april #fth1 #aedb1 in recognition of her services1 which was to be continued until she 8was married or otherwise provided for40#fjj ,footnote #ehi3 ,woltmann1 #cbd2 ,wornum1 ii4 #ag2 ,holmes1 ii4 #bc4 ,see pp4 #aaj-aaa4 ,footnote #eij3 ,woltmann1 #cci2 ,wornum1 ii4 #bj2 ,holmes1 ii4 #af4 ,footnote #eia3 ,woltmann1 #cca2 ,wornum1 ii4 #ci2 ,holmes1 ii4 #ae4 ,etched by ,hollar 7,parthey1 #adfe72 the etching reproduced by ,ganz1 ,holbein1 p4 #aii 7#c74 ,footnote #eib3 ,woltmann1 #ccb2 ,wornum1 ii4 #af2 ,holmes1 ii4 #ad4 ,footnote #eic3 ,woltmann1 #ccc2 ,wornum1 ii4 #be2 ,holmes1 ii4 #ab4 ,footnote #eid3 ,woltmann1 #cch2 ,wornum1 ii4 #bh2 ,holmes1 i4 #bg4 ,footnote #eie3 ,woltmann1 #ccf2 ,wornum1 ii4 #bf2 ,holmes1 i4 #bh4 ,footnote #eif3 ,woltmann1 #cai2 ,wornum1 ii4 #cg2 ,holmes1 ii4 #aj4 ,footnote #eig3 ,woltmann1 #bhe2 ,wornum1 ii4 #ai2 ,holmes1 i4 #ci4 ,footnote #eih3 ,woltmann1 #cej2 ,wornum1 ii4 #ac2 ,holmes1 ii4 #aa4 ,footnote #eii3 ,woltmann1 #cdd2 ,wornum1 ii4 #bg2 ,holmes1 i4 #cj4 ,footnote #fjj3 ,c4,l4,p41 vol4 xvii4 #bhc 7#bh74 7,april #f1 #aedb47 ,sidenote3 ,,studies ,,in ,,berlin ,,and ,,basel ,the ,berlin ,print ,room possesses a remarkably fine portrait-drawing of an unknown ,englishman1#fja with deep blue eyes1 straight brown hair1 a scanty beard1 and a thoughtful1 expressive face1 slightly turned to the left4 ,he wears a small flat cap1 unornamented1 and the usual gown with heavy fur collar4 ,only slight touches of colour have been used on the eyes1 hair1 and lips1 and the paper has been covered with a pale red wash4 ,footnote #fja3 ,woltmann1 #abj4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #cf2 ,davies1 p4 #bbd4 ,among the portrait-drawings in the ,basel ,gallery1 some fourteen in all1 most of which have been already described1 the finest is perhaps that of an unknown young man in a large1 broad-brimmed black hat1#fjb which is certainly one of the most beautiful of his drawings now existing 7,pl4 #ci74 ,the sitter1 a handsome and dignified man1 with a large1 straight nose1 and refined features--evidently a man of culture of the type of ,bonifacius ,amerbach--is turned to the left1 the face seen almost in profile1 though both eyes are shown4 ,the lips of the mobile mouth are slightly parted1 and the expressive eyes gaze into the distance1 as though he were lost in thought4 ,the brown1 bushy hair1 which covers the ears and falls over the forehead1 is drawn with rapid1 masterly touches1 and the profile of the face stands out with great effect against the dark background formed by the underside of his large hat4 ,the flesh tints are suggested with simple but subtle touches of the chalk4 ,the dress is merely sketched in with a few lines1 though the brown fur collar of his coat is sufficiently indicated just where it comes under the beardless chin4 ,this superb drawing1 in which the artist has seized upon and set down with unerring insight the finest traits of the sitter's character1 is in black and coloured chalks4 ,the type of face1 in the opinion of ,woltmann and ,dr4 ,ganz1 is distinctly ,german4 ,from its technique1 which1 on the one hand1 has much in common with the later studies of the ,meyer family made for the ,darmstadt 8,madonna10 and on the other with the drawings for the ,more ,family ,group1 it may be surmised that this study was made in ,basel shortly before ,holbein left for his first visit to ,england4 ,it has much in common1 too1 with the coloured drawing in ,basel of ,holbein himself1 and it may be noted1 as a small point1 that the hat the unknown youth is wearing is similar to the one the artist wears1 though rather larger1 and is of a different fashion from the black head-gear worn by ,holbein's ,english sitters4 ,footnote #fjb3 ,woltmann1 #ch4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #ed1 and ,holbein1 p4 xxxi42 ,knackfuss1 fig4 #ajf4 ,among the other portraits of unknown personages at ,basel are two heads of an ,englishman and his wife1#fjc and a third1 still finer1 of a lady wearing the angular ,english head-dress and black fall1 who was evidently a member of the court circle4#fjd ,this drawing1 which is also in black and coloured chalks1 must be placed among the best of ,holbein's studies of women4 ,it has been conjectured that it represents ,lady ,carew1 and also ,lady ,guldeford4 ,the equally beautiful drawing of ,sir ,nicholas ,carew#fje has been described already4 ,all the drawings just mentioned form part of the ,amerbach ,collection1 and it may be suggested1 though the suggestion is not a very plausible one1 that at least those of them which represent ,english people were taken to ,basel by ,holbein himself1 on one or other of his visits home1 and were left behind when he returned to ,england1 together with the sketch-book1 also in the ,amerbach ,collection1 which is undoubtedly of the ,english period2 or1 on the other hand1 they may have been sent over from ,london to his widow with his personal belongings by his executors after his death4 ,footnote #fjc3 ,woltmann1 #cf1 #cg4 ,the lady reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #aa4 ,already described4 ,see ,vol4 i4 p4 #cba1 and ,plate #hb1 ,vol4 i4 ,footnote #fjd3 ,woltmann1 #cb4 ,reproduced by ,davies1 p4 #bbd2 ,knackfuss1 fig4 #aje4 ,already described4 ,see ,vol4 i4 p4 #cba1 and ,plate #ha 7#b71 ,vol4 i4 ,footnote #fje3 ,woltmann1 #ca4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #dj2 and in ,holbein1 p4 xxxiii4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ci ,,portrait ,,of ,,an ,,unknown ,,young ,,man ,drawing in black and coloured chalks ,,basel ,,gallery ,sidenote3 ,,holbein ,,and ,,the ,,clouets ,altogether apart from their artistic merits1 these drawings of ,holbein's are of the utmost historical value1 both on account of their number1 including as they do so many of the leading characters who played a part in the making of ,england in ,tudor days1 and also because of the perfection of their draughtsmanship and the corresponding life-likeness of their portraiture1 so that they form true documents in every sense of the word4 ,holbein's genius shows us ,henry's ministers and the lords and ladies who surrounded him1 just as they were in life1 without any attempt at flattery1 but with every feature set down with unfaltering truth1 and1 above all1 with a grasp of character which the portrait drawings of no other great master of his period show in the same degree4 ,he has left behind1 as a mine of wealth for the use of the student of history1 in drawings alone1 without taking into account his numerous painted portraits for which no drawings now exist1 a series of more than one hundred representations of ,tudor men and women4 ,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 ,clouets1 ,jean and ,franois1 father and son4 ,these1 though of the utmost value as historical portraiture1 and also of great beauty and even fascination as works of art1 fall short of the greatness which stamps ,holbein's work of a like nature4 ,the elder ,clouet had not his mastery of drawing2 his knowledge was more limited and his means more restricted4 ,his drawings have 8a stiffness and dryness which are very far from the flowing and supple handling of the ,basle master40#fjf ,his son had considerably more science4 8,his drawing in reality is extremely profound1 and as exactly calculated as any known4 ,in tracing the human face and all the parts presented by the model1 he has the ability of a specialist1 whose long practice of an art that is deep rather than wide has enabled him to accumulate a mass of information and experience4 ,he reaches perfection in the proportion of the features1 in the exact placing of all the fine fugitive1 mobile parts of the face1 in the careful study of the extremely subtle relations from which the mass of form draws its solidity1 and in skill in constructing the unity of impression of a face and of a type40#fjg ,he has little or nothing1 however1 of ,holbein's beauty of style4 ,holbein's drawings are matchless in the delicacy of their modelling1 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 nature2 and also for the way in which this delicacy of touch in handling the crayon1 and subtlety and precision of the strengthening lines with brush or pencil1 are combined with the wonderful vigour and sense of life with which each individual drawing is filled4 ,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 art4 ,it is owing to the knowledge and mastery which are the basis of these ,portrait-,studies--studies usually made with rapidity1 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 slight4 ,delicacy and strength meet in them in exquisite combination2 the flexibility and refinement of his line are always kept well under control1 and there is no over-elaboration of detail to the detriment of character4 ,each drawing bears upon it the stamp of a style1 and of a great style1 which was ,holbein's own individual possession1 in which freedom and truth are tempered and perfected by self-restraint4 ,footnote #fjf3 ,dimier1 ,french ,painting in the ,sixteenth ,century1 p4 #dd4 ,footnote #fjg3 ,dimier1 p4 #bje4 ,illustration3 ,,vol4 ,,ii41 ,,plate #dj ,,the ,,queen ,,of ,,sheba',s ,,visit ,,to ,,king ,,solomon ,silver-point drawing washed with colour ,,windsor ,,castle ,sidenote3 8,,the ,,queen ,,of ,,sheba0 ,to attempt even a list of ,holbein's more important drawings other than his portrait-studies would be quite beyond the scope of this book1 in the course of which1 however1 many of them have been touched upon2 but there still remain several which cannot be passed over in silence4 ,chief among them is the small drawing on parchment1 highly finished like a miniature1 in the ,library1 ,windsor ,castle1 which represents the 8,queen of ,sheba's visit to ,king ,solomon0 7,pl4 #dj74fjh ,it is a composition containing no less than thirty-four small figures1 and so1 after the wall-paintings in the ,basel ,town ,hall and the 8,triumphs0 of the ,london ,steelyard1 is one of the most considerable arrangements of grouping ever attempted by him4 ,king ,solomon is seated on a throne on a high das approached by a number of steps within a large chamber1 the roof of which is supported by slender columns of ,renaissance architecture4 ,behind the throne is suspended a large curtain1 and on the steps on either side are placed groups of the elders and long-bearded wise men of ,solomon's kingdom4 ,in the centre the ,queen mounts the steps1 her hands outstretched as though in wonder and admiration of the great king4 ,in the foreground a procession of her ten ladies1 walking two and two1 passes towards the left1 and on the right are a group of her attendants bearing rich presents1 some of them kneeling with uplifted baskets4 ,the drawing is in silver-point1 slightly washed with grey and brown1 and touched here and there with water-colour2 the fruits in one of the baskets are red and green1 and some of the draperies and details are touched with dead gold4 ,the background between the pillars is blue powdered with gold stars4 ,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 paintings4 ,the figures of the women are gracefully conceived and grouped1 and the heads of the men have character and expression4 ,in its general arrangement the upper half of this miniature drawing recalls the 8,rehoboam0 wall-painting in the ,basel ,town ,hall1 though the setting is more richly treated2 while in the general gracefulness of its design it is ,italian in feeling1 and has close affinity to the 8,triumph of ,riches0 drawing for the decoration of the ,steelyard4 ,it was probably done at about the same date as the latter1 perhaps as a present for the ,king1 the subject having been chosen as conveying a subtle and flattering suggestion that ,henry and ,solomon were alike in their possession of great wisdom4 ,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-painting4 ,there is no record of any wall-decoration of this subject1 either in the ,steelyard or at ,whitehall1 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 approval2 or1 on the other hand1 it may be a miniature copy from one of his frescoes in grisaille1 which has disappeared1 made by ,holbein himself as a gift for his royal master4 ,it was at one time in the ,arundel ,collection1 and while there was engraved by ,hollar4 ,in the inventory of that collection it is entered as 8,regina de ,saba in miniatura chiaroscuro40 ,there is a picture in the ,dresden ,gallery representing the 8,death of ,virginia10 which appears to be an early copy of another of ,holbein's lost frescoes in grisaille1 which has many points in common with the 8,queen of ,sheba0 miniature painting1 and is carried out in a similar scheme of colouring4 ,both were1 no doubt1 the work of his second ,english residence4#fji ,footnote #fjh3 ,woltmann1 #bgb4 ,reproduced in ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #cb1 and in ,holbein1 p4 #ahb2 ,knackfuss1 fig4 #ade4 ,footnote #fji3 ,see ,woltmann1 ii4 p4 #abd4 ,reproduced by ,ganz1 ,holbein1 p4 #agd4 ,another important drawing1 of an earlier date1 in the ,stdel ,institut at ,frankfurt1 represents a transport ship about to put out to sea4#faj ,it is a three-masted vessel1 with high poop1 crowded with small figures1 among them a troop of landsknechte1 one of whom stands in the stern1 a fine figure1 holding aloft a banner which flaps in the wind4 ,others play drum and trumpets1 some hold pikes1 and one of them embraces a girl4 ,the anchor has been hauled up1 and most of the sailors are at work in the rigging unfurling the sails2 but several of them are taking parting drinks from large jars1 even at the masthead1 and one of the number is already overcome with sea-sickness4 ,below1 on the left1 a boat with two rowers is pulling vigorously towards the ship1 either to put on board a late comer or to fetch off those for the shore4 ,the exact date of this drawing is uncertain4 ,it is possible that ,holbein saw some such vessel during his visit to ,amerbach in the south of ,france1 or that he made it a year or two later at ,antwerp on his way to ,england for the first time4 ,footnote #faj3 ,woltmann1 #aeb4 ,reproduced by ,knackfuss1 fig4 #gj4 ,water-colour has been used for the faces1 dresses1 and other parts of the drawing4 ,his skill in the representation of animals is shown in a number of drawings4 ,there are some fine horses in the 8,triumph of ,riches0 study1 and also in the 8,samuel and ,saul0 and the 8,sapor and ,valerian0 drawings for the ,basel ,town ,hall paintings1 as well as in the woodcut of 8,the ,ploughman0 in the 8,dance of ,death0 series and in others of his woodcut illustrations2 the latter also showing good studies of sheep1 dogs1 and other animals4 ,the early drawings of a lamb and a bat have been described on a previous page4#faa ,footnote #faa3 ,see ,vol4 i4 p4 #afa4 ---------------------------------------- -------------------------------- ,,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 8,holbein ,gate0 at ,whitehall--,the ,porch at ,wilton--,drawing of a royal chimney-piece in the ,british ,museum--,ceilings in ,st4 ,james's ,palace and the ,matted ,gallery1 ,whitehall--,sculptured capitals in the ,more ,chapel1 ,chelsea ,church--,glass window in ,shelton ,church1 ,norfolk--,number of his designs for jewellers1 goldsmiths1 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 them4 ,holbein was a master in all crafts1 and ,erasmus' description of him in his letter to ,peter gidius1#fab not as painter1 or sculptor1 but simply as a fine workman 7insignis artifex71 was a true one4 ,his great technical powers in every department of decorative design1 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 drawings1 show him to have been a real master of arts in every sense of the word4 ,footnote #fab3 ,see ,vol4 i4 p4 #bee4 8,the artistic quality he possessed in the highest degree10 says ,mr4 ,m4 ,digby ,wyatt1 8was1 ,i consider1 the intensity with which he realised #8form4' ,able master as he was of delineation1 what gives the stamp of enduring truth to his work is the feeling of assurance his delineation conveys to the mind of the spectator1 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 it4 ,there is never any uncertainty as to his intention or meaning--what he says was1 was--what he says should be1 should be4 ,in this precise conception of pure form and power of conveying his own sense of it to others1 he stood upon the same platform as the great men to whose universal genius ,i have already alluded--,albert ,drer and ,leonardo da ,vinci4 ,the artist who possesses in a high degree any such power as that ,i have attempted to define1 must of necessity have the requisite aptitude for success in either painting1 architecture1 or sculpture1 or all three2 since the power in question lies at the root of and is indispensable to the satisfactory practice of either or all4 ,architects will do well to look earnestly at such reliques as time has spared of the genius of ,drer1 ,da ,vinci1 and especially of ,hans ,holbein1 since1 so far as ,i know1 they were the best makers of working drawings who ever lived4 ,of whatever they drew they gave every characteristic1 and their slightest sketches never fail to mark essentials and to omit secondaries of form and expression40#fac ,footnote #fac3 ,m4 ,digby ,wyatt1 8,foreign ,artists employed in ,england10 c41 ,transactions of the ,royal ,institute of ,british ,architects1 #ahfh1 p4 #bbi4 ,horace ,walpole1 speaking of the rise of ,renaissance architecture in ,england--8,grecian art plaistered on ,gothic10 he calls it--says that 8the beginning of reformation in building seems owing to ,holbein4 ,his porch at ,wilton1 though purer than the works of his successors1 is of this bastard sort2 but the ornaments and proportions are graceful and well chosen4 ,i have seen drawings of his1 too1 in the same kind4 ,where he acquired this taste is difficult to say2 probably it was adopted from his acquaintance with his fellow-labourers at court40#fad ,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 truth4 ,henry ,,viii had at least two good ,italian architects in his employment--first1 ,girolamo da ,treviso1 and afterwards ,john of ,padua1 as well as sculptors and modellers of architectural detail such as ,benedetto da ,rovezzano and ,giovanni da ,maiano1 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 period4 ,holbein produced a few designs of an architectural nature1 but no building exists of which it can be said that he was the architect4 ,footnote #fad3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 #abh4 ,sidenote3 8,,holbein',s ,,gate0 ,,at ,,whitehall ,the gateway which1 according to tradition1 he designed1 and hence known as 8,holbein's ,gate10 was one of ,henry ,,viii's additions to ,whitehall1 and connected the tennis court1 the cock-pit1 and the bowling-green with the palace1 besides providing the ,king with a gallery into the park1 from which he could witness the sports which took place there on special occasions4 ,it was built1 according to ,walcott1 of stone mixed with small squares of flint1 and tesselated1 and was 8very neatly set40 ,j4 ,t4 ,smith1 in his ,antiquities of ,westminster1 describes it as being in the ,tudor style of architecture1 with battlements and four lofty towers1 the whole enriched with bustos on the north and south sides4 ,pennant1 who had himself seen the gate1 says3 8,to ,holbein was owing the most beautiful gate at ,whitehall1 built with bricks of two colours1 glazed and disposed in a tesselated fashion4 ,the top1 as well as an elegant tower on each side1 were embattled4 ,on each front were four busts1 in baked clay1 which resisted to the last every attack of the weather40 ,an excellent idea of its appearance is to be obtained from the engraving by ,g4 ,vertue 7#agbe7 in the 8,vetusta ,monumenta40 ,the gateway was pulled down in #agei in order to widen ,parliament ,street4 ,the materials were obtained by the ,duke of ,cumberland1 ,ranger of ,windsor ,park1 with the intention of re-erecting the gate at the end of the ,long ,walk4 ,in the end1 however1 they were worked up in several buildings the ,duke built in the park4 ,two of the medallions were put in front of the park lodges1 but most of them appear to have been stolen when the gateway was pulled down4 ,three of them eventually came into the possession of a coachbuilder named ,wright1 who1 in #agfi1 employed ,john ,flaxman1 the sculptor1 then a boy1 to repair them4 ,they were in terra-cotta1 coloured and gilt1 and the ornaments included the rose and crown and the ,king's initials4 ,wright had them removed to ,hatfield ,priory1 ,essex1 where they were still to be seen in #ahjc1 in which year ,j4 ,t4 ,smith went down there to copy them4 ,they were larger than life1 and were said to be representations of ,henry ,,vii1 ,henry ,,viii when sixteen1 and ,bishop ,fisher4 ,the two which decorated the front of the park lodges were afterwards removed to ,hampton ,court1 where1 says ,allan ,cunningham1 8they are made to do duty as two of the ,roman emperors described by ,hentzner in his ,travels40 ,it seems probable that they were the work of ,giovanni da ,maiano4 ,in its design there is nothing to suggest that ,holbein was the architect of this famous gateway1 and it is much more probable that one of the ,italians employed by the ,king was responsible for it2 and the legend which connects ,holbein with it may have arisen from the fact that he had rooms in ,whitehall1 possibly in the very gateway to which his name has been so long attached4 ,it contained1 says ,dallaway1 8several apartments1 but the most remarkable was the #8little study1 called the ,new ,library1' in which ,holbein was accustomed to employ himself in his art1 and the courtiers to sit for their portraits40#fae ,footnote #fae3 ,dallaway1 notes to ,walpole's ,anecdotes1 ed4 ,wornum1 p4 #acc4 ,sidenote3 ,,the ,,porch ,,at ,,wilton ,tradition has also long associated the name of ,holbein with the ,porch at ,wilton1 the seat of the ,earl of ,pembroke4 ,this porch or loggia is of no great beauty1 but it is free from any admixture of ,gothic detail1 and is a good example of the early adaptation in ,england of ,renaissance architecture and ornamentation4 ,it originally formed part of the house1 but in the nineteenth century1 when some alterations to the buildings were made1 it was removed to the end of a walk in the gardens4 ,the dissolution of the monastery of ,st4 ,edith1 on the site of which the house stands1 took place in #aeci1 and the abbey and its rich possessions were granted by the ,king to ,sir ,william ,herbert shortly afterwards4 ,in the erection of his mansion the first ,earl no doubt employed one of the architects then attached to ,henry's court1 for there is little in the design of this small porch to support the tradition that the man he selected was ,holbein1 rather than one of the ,italians whose business it was to invent and embellish such buildings4 ,it is1 indeed1 simpler in design and less lavish in ornamental detail than those architectural backgrounds to his windows which ,holbein produced when in ,basel1 based upon recollections of his visit to ,italy4 ,the size of the porch may be gauged by the entrance-way1 which measures #h feet in height4 ,round the three outer doorways runs an interlaced design cut in low relief1 which still retains much of its original colour1 the ground a rich red and the ornament yellow1 from which the original gilding has worn away4 ,in the corners a wreath of fruit and flowers encircles a small wyvern on a blue background4 ,above the capitals of the fluted pillars1 and just below the projecting mouldings that divide the upper and lower portions of the porch1 is a broad band filled with a pattern of intersecting circles1 painted on a flat surface in light blue and yellow1 lined and touched with darker blue and red4 ,probably the whole surface was originally painted and gilded4 ,in the upper part the double pillars are repeated1 but with rich acanthus capitals4 ,on the three faces over the openings are panels with the ,pembroke coat of arms1 with a circular medallion on each side1 containing heads of men and women in relief1 those on the front being apparently busts of the ,earl and his wife4 ,the vigorous heraldic design supported by the ,talbot dogs and wyverns forms a novel finish to the crown4 ,the interior has a ribbed and vaulted ceiling1 and brackets and other details in bold relief1 including a number of figures on pedestals4 ,it is1 of course1 possible that ,holbein provided drawings for the building of this porch1 but there is no real evidence of this1 and the style of the design does not suggest his invention4 ,it is much more likely to have been due to one of ,henry's ,italians1 such as ,antonio ,toto4 8,the character of the whole10 says ,woltmann1 8as is shown especially in the crowning1 is far too feeble for us to think of ,holbein as its architect2 and1 besides this1 the costume of the half-length figures1 introduced in several of the medallions1 shows that the work was executed near the close of the sixteenth century40#faf ,wornum also calls attention to the lateness of the costumes1 and says of the porch itself that it displays 8neither taste nor knowledge of the style40 ,he adds3 8,as for the ,whitehall ,gate1 it was a mongrel of ,gothic and ,renaissance quite unworthy of ,holbein1 and1 ,i should imagine1 an impossible design for him2 it was similar in general character to the gate of ,st4 ,james's ,palace1 at the bottom of ,st4 ,james's ,street40#fag ,waagen says that the medallions contain busts of ,edward ,,vi and the ,pembroke family4#fah ,footnote #faf3 ,woltmann1 ,eng4 trans41 p4 #dai4 ,footnote #fag3 ,wornum1 pp4 #cei-fj4 ,footnote #fah3 ,for drawings of this porch and its various details1 and a description of it as it now is1 see an article in the ,art ,journal1 #ahig1 pp4 #de-h1 written and illustrated by ,mr4 ,g4 ,fidler4 ,among the architectural works by ,holbein1 which1 if they were ever carried out1 cannot now be traced1 must be placed his very admirable design in the ,british ,museum for a magnificent chimney-piece#fai for one of ,henry ,,viii's palaces1 in all probability ,bridewell4 ,it is conceived in the finest ,renaissance taste1 and is covered with elaborate and beautiful ornamentation4 ,it is in two stages1 each flanked by a pair of fluted pillars carrying richly-decorated entablatures4 ,the upper part is divided into six divisions1 the three higher ones containing the royal arms and motto1 and the king's initials and badges1 the portcullis and fleur-de-lis4 ,the central panel of the lower range represents a battle of horsemen1 and the two on either side contain circular medallions with figures of ,charity and ,justice1 charming compositions1 in which beauty of form is rendered with all that freedom and life-like accuracy which characterise everything ,holbein produced1 even his most hasty sketches4 ,the lower part of the fireplace1 over the open hearth1 on which the logs are shown burning across two fire-dogs1 is filled with a semicircular lunette1 with a second scene of horsemen engaged in furious combat1 in the centre of which is a wreathed medallion with figures of ,esther and ,ahasuerus4 ,in the spandrels are smaller rounds with the heads of a lady and a helmeted warrior4 ,on the bases of the pillars on either side are blank tablets for inscriptions1 surrounded by scroll-work4 ,this splendid fireplace was evidently intended to occupy an important position in one of the ,king's buildings1 as the frequent occurrence of his initials and the presence of the royal coat of arms and badges indicate4 ,peacham1 in his ,compleat ,gentleman1 when speaking of ,holbein1 says that he has seen 8of his owne draught with a penne1 a most curious chimney-peece ,k4 ,henry had bespoke for his new built pallace at ,bridewell10 and there is no doubt that this is the drawing to which he referred4 ,it is in pen and ink1 with ,indian-ink wash and slight colour1 #ba in4 #af in41 and was formerly in the ,arundel1#fbj ,richardson1 and ,walpole collections4 ,it is possible that ,holbein made similar designs for ,nonsuch ,palace4 ,in this drawing ,mr4 ,digby ,wyatt thought he saw the same designer as the one who produced the beautiful woodwork of ,king's ,college ,chapel1 ,cambridge4 ,this important work1 he says1 8,i cannot hesitate to believe must have been executed from his designs4444 ,in its way it is a model of ,renaissance wood-carving1 revealing in every arabesque1 and especially in the ornaments of the lunettes1 the peculiarities of classical form as they were first1 if ,i may use the expression1 translated from the ,italian into ,german by ,albert ,drer1 ,altdorfer1 ,peter ,vischer1 and others1 including ,holbein40#fba ,the ceiling of the chapel of ,st4 ,james's ,palace has also been attributed to ,holbein1 though without any evidence but that of style4 ,this ceiling1 says ,wornum1 8is a curious work1 a panelled ,renaissance design1 and tastefully coloured4 ,it was repaired in #ahcf by ,sir ,r4 ,smirke2 the general ground is blue2 the panellings are defined by ribs of wood gilt2 there are also ornaments in foliage1 painted green2 and there are many coats of arms emblazoned in their proper colours4 ,a small running open ornament1 cast in lead1 enriches the under sides of the ribs4 ,the date #aedj occurs in several places1 and various short inscriptions are scattered about1 as--,henricus ,rex #h--;,h and ,a1 for ,henry and ,anne of ,cleves1 with a lover's knot between them40#fbb ,his work in connection with the internal decoration of ,whitehall1 including the great fresco in the ,privy ,chamber and the ceiling in the ,matted ,gallery1 mentioned by ,pepys1 has been already described4#fbc ,footnote #fai3 ,british ,museum ,catalogue1 #af 7vol4 i4 p4 #ccj74 ,woltmann1 #aig4 ,reproduced by ,his1 ,pls4 #dh-ej2 ,davies1 p4 #bbd4 ,the work was probably carried out by ,nicolas ,bellin1 8maker of his ,majesty's chimneys40 ,footnote #fbj3 ,countess of ,arundel's inventory--8,disegno per ,ornamento d'un ,camino40 ,footnote #fba3 ,m4 ,digby ,wyatt1 ,transactions ,royal ,institute of ,british ,architects1 #ahfh1 p4 #bcc4 ,footnote #fbb3 ,wornum1 p4 #cji1 note4 ,a view of the ceiling is given in ,richardson's ,architectural ,remains of the ,reigns of ,elizabeth and ,james ,i1 #ahch1 ,pl4 #ab4 ,footnote #fbc3 ,see pp4 #ic-ih and #ahe-ahh4 ,sidenote3 ,,more ,,chapel ,,in ,,chelsea ,,church ,one more work of an architectural nature1 attributed to ,holbein by ,mr4 ,f4 ,m4 ,nichols in his paper1 to which reference has been already made1 read before the ,society of ,antiquaries in ,march #ahih1 must be noted4 ,in the design of the two capitals#fbd supporting the arch which divides the chancel of old ,chelsea ,church from the ,more ,chapel he 8recognised at once the characteristic invention of ,holbein40 ,each capital is 8founded upon the suggestion of a classical capital of the composite order4 ,but the antique model is treated with a freedom which would scarcely have commended itself to the taste of an ,italian artist40 ,they are capitals of half columns1 there being only a single arch between the chapel and the chancel1 and each capital1 like the pillars1 has five sides1 as the columns1 if completed1 would be octagonal4 ,in the eastern capital the volutes terminate in a projecting human head1 and in each hollow of the abacus above is inserted the winged head of a cherub4 ,the acanthus-leaf design which covers the lower part has various objects introduced among the foliage1 such as a shield with ,more's arms and his crest of a ,moor's head1 a sword crossed with a sceptre1 a mace1 and two ornamented tablets1 one of which bears the date #aebh in ,arabic numerals4 ,the western capital is of a somewhat similar design4 ,human heads take the place of those of the cherubs1 and the five sides below display various religious emblems and ornaments1 such as crossed candlesticks1 a bundle of tapers1 a pail of holy water with sprinkling-brush1 a clasped prayer-book or missal1 and a blank shield4 ,these objects clearly have reference to the religious ceremonies in which ,more was accustomed to take part in the chapel1 while the ornaments on the other capital may have reference to his secular employments4 ,the ,holbeinesque character of the designs1 combined with the locality of ,chelsea1 the association with ,sir ,thomas1 and the date #aebh1 during the earlier part of which year ,holbein was still in ,england1 are sufficient1 in ,mr4 ,nichols' opinion1 to prove that ,holbein was the designer4 ,mr4 ,beaver1 in his ,memorials of ,chelsea1 in discussing the authorship of these capitals1 rejects their attribution to ,holbein on the ground that they have an ,italian character1 and may be more probably ascribed to one of the ,italian artists then employed in this country2 and most architects who have made a close study of this period are in agreement with him4 8,but10 says ,mr4 ,nichols1 8there are abundant examples in ,holbein's work of his fondness for architectural details of a ,renaissance type4444 ,an ,italian architect would scarcely have dealt so freely with the just proportions of the classic capital upon which his design was founded4 ,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 treated40#fbe ,mr4 ,reginald ,blomfield is of opinion that these carvings are of ,french origin4 ,he says3 8,the names of ,french artists or workmen scarcely ever occur in the ,state ,papers1 and there are few instances of ,renaissance work in ,england which can be attributed to them4 ,the capitals to the arch between the ,more chantry and the chancel of old ,chelsea ,church are an unusual instance4 ,they closely resemble ,french work of the early sixteenth century such as is found along the banks of the ,seine between ,paris and ,rouen4 ,the monument in the ,oxenbrigge ,chapel in ,brede ,church1 ,sussex1 dated #aecg1 is another rare example4 ,it is of ,caen stone1 admirably carved1 and was probably made in ,france and shipped to the port of ,rye1 some nine miles distant from ,brede40#fbf ,footnote #fbd3 ,reproduced from photographs in ,mr4 ,nichols' paper1 ,proceedings ,soc4 of ,antiq41 second series1 vol4 xvii4 ,no4 #a 7,march #ahih71 pp4 #acb-de4 ,footnote #fbe3 ,see ,nichols1 ,proceedings ,soc4 of ,antiq41 second series1 vol4 xvii4 ,no4 #a1 p4 #adc4 ,footnote #fbf3 ,blomfield1 ,history of ,renaissance ,art in ,england1 #ahig1 i4 #ah4 ,in a letter to the present writer1 in #aija1 ,mr4 ,blomfield1 after his attention had been called to ,mr4 ,nichols' paper1 states that he adheres to his opinion that the ,chelsea capitals are of ,french origin4 ,in the same paper ,mr4 ,nichols also draws attention to a two-light stained-glass window in the south chapel of the village church of ,shelton in ,norfolk1 which contains figures of ,sir ,john ,shelton and his wife1 ,ann1 daughter of ,sir ,william ,boleyn and aunt to ,henry ,,viii's second queen1 a lady well known about the court1 who at one time had charge of the ,princesses ,mary and ,elizabeth4 ,the work1 in ,mr4 ,nichols' opinion1 is evidently of foreign origin1 being totally different from the ,english glass of the same period within a few feet of it1 and the faces and figures being executed more in the manner of a picture than of stained glass4 ,the foreign origin of the work is shown1 among other indications1 by the peculiar treatment of the heraldry1 which has a decidedly ,german character4 ,both figures are represented kneeling1 ,sir ,john in a crimson robe lined with fur1 and his dame in a contemporary dress of crimson1 with the ,english angular head-dress4 ,the heads appear to have been carefully drawn from good portrait-studies supplied to the glazier4 ,calculating from the known age and date of ,sir ,john ,shelton's death and his appearance in the window1 ,mr4 ,nichols holds that these portrait-studies must have been made about #aebg1 and he is of opinion that ,holbein's was the hand which supplied some foreign glazier with the designs for them4 ,neither of the heads1 however1 is to be found among the ,windsor series4 ,sidenote3 ,,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 advantage4 ,some hundreds of his working drawings in this branch of art still exist1 the greater number of which are in the ,british ,museum and at ,basel1 those in the latter collection being for the most part contained in a sketch-book of his later ,english period2 indeed1 most of the drawings which have survived were produced in ,england1 though he must have carried out a considerable body of work of the same nature while in ,basel4 ,when he came to ,london he was already a master of decorative design as applied to most of the handicrafts1 and his influence soon made itself felt among a number of the craftsmen employed by ,henry and his court4 ,his wonderful skill in the production of fine ,renaissance ornamentation of the purest taste1 combined with a happy use of the human figure1 set a fashion in jewellery and personal ornament1 and inspired those who carried out his designs to a greater beauty and delicacy of workmanship4 ,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 ,england4 ,even at so early an age he already possessed1 in addition to his skill in painting and drawing and book illustration1 a thorough knowledge of the rules of composition and design according to the best ,italian traditions1 and was well versed in the use of the forms and proportions of classical architecture and ornament1 in addition to possessing practical skill in the true application of design to the various art crafts and industries4 ,illustration3 ,,vol4 ,,ii41 ,,plate #da ,,queen ,,jane ,,seymour',s ,,cup ,pen-and-ink drawing ,,british ,,museum ,sidenote3 ,,designs ,,for ,,cups ,,and ,,goblets ,holbein's most elaborate design for goldsmiths' work which has survived is the one known as the ,jane ,seymour ,cup1 which was evidently made to the order of the ,king at about the time of his marriage with that lady in #aecf4 ,two drawings for this exist in pen and ink1 the more highly-finished one1 which is washed with colour and gold1 being in the ,bodleian ,library1 ,oxford1#fbg and the other in the ,british ,museum1#fbh the latter 7,pl4 #da71 which is #ag in4 #i in41 showing slight modifications4 ,the cup is a covered one1 of a very beautiful shape1 the lines of which are not disguised or confused by the lavish ornamentation with which it is covered4 ,the body is set with four circular medallions containing busts of 8antique heads0 in high relief1 the one facing the spectator being a woman with bared breast4 ,above them is a deep band of exceptionally beautiful interlacing ornament of floriated design2 and below a smaller band with the initials of ,henry and his ,queen1 entwined with true-lovers' knots1 alternating with square-cut precious stones set as flowers1 and similar bands of precious stones at the base1 and round the rim of the cover4 ,the stem is decorated with hanging pearls and dolphins1 cupids' heads1 and wreaths1 and a narrow band containing the motto of the ,queen1 8,bound to ,obey and ,serve10 which is repeated on the cover4 ,the latter is of very light and graceful design1 with two grotesque figures terminating in fish-tails blowing foliated trumpets1 and above them two cupids supporting a shield surmounted by the royal crown4 ,when carried out in gold the general effect must have been one of extraordinary richness and beauty4 ,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 #afbe4 ,in an inventory of that date it is thus described3 8,item a faire standing ,cupp of ,goulde1 garnished about the cover with eleaven ,dyamonds1 and two poynted ,dyamonds about the ,cupp1 seaventeene ,table ,dyamonds and one ,pearle ,pendent uppon the ,cupp1 with theis words ,,bovnd ,,to ,,obey ,,and ,,serve1 and ,h and ,i knitt together2 in the ,topp of the ,cover the ,queenes ,armes1 an ,queene ,janes ,armes houlden by twoe ,boyes under a ,crowne ,imperiall1 weighing ,threescore and five ounces and a halfe40 ,no further traces of this masterpiece of the goldsmith's art exist4 ,in spite of its beauty1 it was most probably melted down1 like much of the royal plate1 to meet the demands of an impoverished exchequer4 ,it is1 indeed1 a matter of the keenest regret that1 in spite of the hundreds of designs with which ,holbein furnished the ,london goldsmiths or the ,basel armourers1 not a single example of work so carried out remains1 and his achievements in this branch of art can only be judged from his working drawings4 ,footnote #fbg3 ,woltmann1 #bbb4 ,reproduced by ,his1 ,pl4 xlv4 ,footnote #fbh3 ,brit4 ,mus4 ,catg41 #ah4 ,reproduced by ,davies1 p4 #bjd2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #dg4 ,illustration3 ,,vol4 ,,ii41 ,,plate #db ,,hans ,,of ,,antwerp',s ,,cup ,pen and wash drawing ,,basel ,,gallery ,his designs for cups with covers1 goblets1 tankards1 and other table vessels1 which from the richness of their ornament were evidently intended for ceremonious occasions1 are numerous4 ,some of them are only known through ,hollar's etchings1 while the drawings for the remainder are for the most part in the ,basel ,gallery4 ,the most interesting of them is the standing cup and cover in the ,basel sketch-book1 which ,holbein designed for his friend ,hans von ,antwerp 7,pl4 #db71fbi which may have been intended by the latter as an addition to the collection of plate in the guild-hall of the ,steelyard merchants4 ,the left-hand half has been drawn with the pen1 from which the other half has been transferred by damping and pressure4 ,the broad1 flat body has a deep band of ornament containing nude figures blowing trumpets amid foliage1 and a somewhat similar band round the base1 and on the crest of the cover is the nude figure of ,truth holding a book and a lighted torch4 ,by the side is an alternative design for this figure4 ,round the rim of the cover is inscribed ,,hans ,,von ,,ant,,werpen4 ,another cup and cover1 or table ornament1 with a wide stand1 of which only the left side is shown1 though much more hasty in execution1 is a more highly elaborated piece of decoration1 in which small nude standing figures are combined with leafage and festoons4#fcj ,on the side of the sheet are a number of alternative sketches for various details4 ,there is no need to describe at length the other designs for covered cups in the ,basel ,gallery1 one of which is surmounted by the nude figure of a woman with right arm extended and the left hand resting on a shield2#fca while a second design has a figure of ,justice1 and on the base a medallion with the bust of a lady in sixteenth-century costume4#fcb ,several studies for tankards are to be found among ,hollar's etchings4 ,these etchings indicate the existence at one time of a third sketch-book or set of designs1 which1 at the time when ,hollar worked from it1 was in the possession of the ,earl of ,arundel1 but has since disappeared4 ,footnote #fbi3 ,woltmann1 #aaj 7#ajd74 ,reproduced by ,his1 ,pl4 xxvii4 #a4 ,see ,vol4 ii4 p4 #aa4 ,footnote #fcj3 ,woltmann1 #aaj 7#ii74 ,reproduced by ,his1 ,pl4 xxxi4 #b4 ,footnote #fca3 ,woltmann1 #aji4 ,reproduced by ,his1 ,pl4 xxvi4 #b4 ,footnote #fcb3 ,woltmann1 #aaj 7#ajj74 ,reproduced by ,his1 ,pl4 xxvi4 #c2 ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #ab4 ,illustration3 ,,vol4 ,,ii41 ,,plate #dc ,,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 wash1 of an astronomical clock1 which was formerly in the ,mariette and ,horace ,walpole collections 7,pl4 #dc74fcc ,this clock1 the design for which must have been one of ,holbein's last undertakings1 was presented to ,henry ,,viii by ,sir ,anthony ,denny on ,new ,year's ,day1 #aedd1 shortly after the painter's death4 ,it consists of an hour-glass enclosed within a case1 the doors of which stand open in the drawing1 with a terminal figure of a satyr in the centre1 which recalls the very similar figure in the full-length woodcut portrait of ,erasmus4 ,the hour-glass rests on a pedestal with legs1 supported at the corners with other terminal figures of satyrs1 and having a circular space in the centre left blank in the drawing4 ,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#fcd--;each pointing to a sundial of metal curved outwards in an arc1 for which their fingers serve as gnomon4 ,on their heads rests a mechanical clock with a sun-face in the centre of the dial with fiery locks1 one of which forms the pointer1 the whole surmounted by a crown4 ,on the left side of the sheet is a compass1 probably intended to fit inside the clock-case4 ,the drawing is inscribed1 in ,sir ,anthony ,denny's own handwriting3 8,strena facta pro anthony deny camerario regio quod in initio novi anni #aedd regi dedit40 ,he was then ,king's ,chamberlain1 and was knighted in the ,september of the year in which he made his royal master this handsome gift4 ,other notes occur on the drawing1 here and there illegible1 made evidently for the guidance of the craftsman who carried out ,holbein's design1 which is simpler1 though no less characteristic in style1 than his drawing for ,queen ,jane ,seymour's gold cup4 ,footnote #fcc3 ,brit4 ,mus4 ,catg41 #ag4 ,woltmann1 #aic4 ,reproduced by ,his1 ,pl4 xlvii42 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #dh4 ,footnote #fcd3 ,brit4 ,mus4 ,catg41 #bb 7a72 ,woltmann1 #aid4 ,reproduced by ,his1 ,pl4 xlvi4 ,sidenote3 ,,designs ,,for ,,sheaths ,,and ,,hilts ,his designs for sword and dagger hilts1 sheaths1 and various ornaments for sword-belts and weapons are numerous1 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 beauty4 ,one of the finest1 and most elaborate1 is the large pen-and-wash drawing1 #ag in4 #d in41 in the ,british ,museum1 which was purchased in #ahgd from the ,earl of ,wicklow's collection 7,pl4 #dd74fce ,the handle has spiral bands set with stones1 and numerous pearls are also set in the sheath1 the hilt1 and the guard4 ,these gems are held or supported by a number of nude figures of women1 old men1 satyrs1 and children amid foliage1 each one full of individual character1 and drawn as only ,holbein could draw them4 ,it was evidently intended for execution in chiselled gold or silver1 and produces an effect of great splendour4 ,only the right half of the sheath is drawn1 as the design was to be repeated on the other side4 ,there is an alternative design for parts of the hilt in the ,basel ,gallery4#fcf ,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 out4#fcg ,it is an offset taken by ,holbein from a pen-and-ink drawing4 ,another of the ,basel designs is for a powder-flask1 possibly to be executed in bone or ivory1 in which naked cupids are intermingled with the foliage4#fch ,footnote #fce3 ,brit4 ,mus4 ,catg41 #ai4 ,reproduced by ,his1 ,pl4 xxix42 ,davies1 p4 #bjf4 ,footnote #fcf3 ,woltmann1 #aaj 7#ig74 ,reproduced by ,his1 ,pl4 xxx4 #c4 ,footnote #fcg3 ,woltmann1 #aaj 7#bh74 ,reproduced by ,his1 ,pl4 xxxi4 #a4 ,footnote #fch3 ,reproduced by ,his1 xxxi4 #c4 ,there is a splendid design for a dagger sheath in the ,bernburg ,ducal ,library1 which is divided into four compartments1 the three upper ones containing figures in settings of ,renaissance architecture4#fci ,in the uppermost is a group representing the ,judgment of ,paris4 ,the youth1 in sixteenth-century costume1 reclines with his back against a pillar with ,mercury bending over him and offering him the apple1 the three goddesses standing in front of him1 and ,cupid aiming at him with a bow and arrow4 ,the next division shows the deaths of ,pyramus1 a cleverly foreshortened figure beneath a fountain1 and ,thisbe1 who is stabbing herself by his body4 ,below is ,venus within a scalloped niche1 with the long ass's ears of a jester1 and a blindfolded cupid at her feet4 ,the lowest compartment contains scroll-work1 the whole terminating in a cherub's head within volutes1 with the initial ,h4 at the bottom4 ,there is a slighter preliminary pen study for this sheath in the ,basel ,gallery1 which shows a number of differences 7,pl4 #de 7#c774fdj ,another dagger sheath at ,basel is of particular interest because it is dated #aebi1fda and so must have been drawn in ,basel after ,holbein's return from his first visit to ,england 7,pl4 #de 7#a774 ,the design consists entirely of conventional foliage1 seen against a black background1 as though to be executed in chiselled open-work over some black material such as velvet1 or to be filled in with niello4 ,there are other sheaths in which the subject stands out against a plain black background1 one1 in ,berlin1 with a ,dance of ,death1#fdb of which there is a repetition at ,basel 7,pl4 #df 7#a771fdc which appears to be an impression taken from the ,berlin drawing1 strengthened and finished with ,indian-ink1 by some other hand than ,holbein's2 and another in the ,british ,museum1 with a ,triumph of ,bellona1#fdd of which only the sheath is by him4 ,the hilt is obviously the work of some other designer1 in all probability1 according to the ,british ,museum catalogue1 ,peter ,fltner of ,nuremberg4 ,it was formerly in the ,beckford ,collection1 and consists of two pieces of paper joined together1 the hilt on one and the sheath on the other4 ,another sheath in the ,basel ,gallery is decorated with a ,roman ,triumph 7,pl4 #df 7#b771fde slightly drawn1 in the manner of ,mantegna1 recalling the frieze in the #aeag portrait of ,benedikt von ,hertenstein2 and a second of a like quality1 representing ,joshua's ,passage of the ,jordan 7,pl4 #df 7#c774fdf ,other designs for the knobs and cross-pieces of dagger hilts will be found in the ,british ,museum 7,pl4 #dg74 ,footnote #fci3 ,woltmann1 #abd4 ,reproduced by ,woltmann1 i4 p4 #dcd4 ,footnote #fdj3 ,woltmann1 #fj4 ,reproduced by ,his1 ,pl4 xxiii4 #c2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #dj4 ,footnote #fda3 ,woltmann1 #ef4 ,reproduced by ,his1 ,pl4 xxiii4 #b2 ,knackfuss1 fig4 #ajh4 ,footnote #fdb3 ,woltmann1 #abc 7,bauakademie-,beuth-,schinkel ,museum74 ,footnote #fdc3 ,woltmann1 #eg4 ,reproduced by ,his1 ,pl4 xxi4 #c2 ,knackfuss1 fig4 #aji4 ,footnote #fdd3 ,brit4 ,mus4 ,catg41 #ci4 ,woltmann1 #aif4 ,reproduced by ,davies1 p4 #bjf4 ,footnote #fde3 ,woltmann1 #eh4 ,reproduced by ,his1 ,pl4 xxi4 #a2 ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #da 7a74 ,footnote #fdf3 ,woltmann1 #ei4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #da 7b74 ,illustration3 ,,vol4 ,,ii41 ,,plate #dd ,,design ,,for ,,dagger ,,hilt ,,and ,,sheath ,pen-and-ink and ,indian-ink wash drawing ,,british ,,museum 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #de ,,dagger ,,sheath ,,with ,,foliated ,,ornament ,dated #aebi ,,upright ,,band ,,of ,,ornament ,piper and ,bears ,,dagger ,,sheath ,,with ,,the ,,judgment ,,of ,,paris ,,basel ,,gallery 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #df #a4 ,,dagger ,,sheath ,,with ,a ,,dance ,,of ,,death #b4 ,,dagger ,,sheath ,,with ,a ,,roman ,,triumph #c4 ,,dagger ,,sheath ,,with ,,joshua',s ,,passage ,,of ,,the ,,jordan ,,basel ,,gallery 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #dg ,,designs ,,for ,,dagger ,,hilts #a4 ,b4,m4 #bj 7b7 #c4 ,b4,m4 #bj 7a7 #b4 ,b4,m4 #bj 7c7 #d4 ,b4,m4 #bj 7e7 #e4 ,b4,m4 #bj 7d7 ,,british ,,museum ,sidenote3 ,,designs ,,for ,,pendants ,,and ,,jewels ,the sketch-book bequeathed to the ,british ,museum by ,sir ,hans ,sloane in #agec contains nearly two hundred drawings1 almost all of them designs for jewellery and other small objects for personal use or adornment1 such as belt tassels and buckles1 book covers with rings for attachment to girdles1 seals1 portable sundials1 pendants and brooches4 ,henry ,,viii was lavish in his use of jewellery1 and the fashion he set was slavishly followed by his courtiers4 ,dresses were loaded with gems and elaborate specimens of the goldsmith's art1 and this delight in finery was carried to such an extent that it was a topic for jest and sarcasm among foreigners4 ,more than one contemporary account gives details of the ,king's costume and the many jewels which adorned it1 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 home4 ,french and ,italian jewellers paid frequent visits to ,london1 and sold him many gems and beautiful specimens of gold and silver work and other art objects1 while he regularly employed a large number of ,english and resident foreign jewellers4 ,their services were most in demand about ,new ,year's ,day1 when gifts were showered upon his ,majesty1 and he in return made many presents1 often of great value4 ,there is no doubt that some of these gifts were designed by ,holbein1 and that he served as designer to several of the leading ,london goldsmiths4 ,the ,british ,museum ,collection contains many designs for pendants and for jewels which were suspended round the neck by a ribbon or chain1 this attachment being shown in a number of the studies 7,pl4 #dh74 ,in most of them table diamonds and other flat stones1 together with pearls1 are arranged in geometric patterns1 the interstices being filled with strap1 scroll1 or ribbon-work1 or some conventional floral design4 ,occasionally at the top of the jewel there is a small grotesque or nude figure 7,pl4 #di74 ,many of the designs have a black ground indicating niello or champlev enamel4 ,in some instances1 however1 the blackening may have been done merely to indicate the design more clearly to the craftsman who was to carry it out4 ,some of them are coloured and are often touched with gold1 so that it is possible to tell the jewels and materials it was intended to use4 ,several pendants are in the shape of a cross1 and others heart-shaped2 one of the latter is of gold1 with three pendant pearls1 and two doves billing on a green bough in enamel1 with the motto1 ,,tvrtvrvm ,,concordia 7,pl4 #dh 7#c774fdg ,another shows the bust of a woman in ,tudor dress holding between her hands a large table-cut stone1 across which is written1 apparently in another hand1 8,well ,laydi ,well0 7,pl4 #di 7#i774fdh ,several pendants are in the form of monograms1 a very fine one consisting of the letters ,r4 and ,e4 in gold1 with two rubies1 an emerald1 and a garnet at the four corners1 hung by a ribbon above and with three pearls below 7,pl4 #dh 7#g772fdi many of the designs1 in fact1 show one or more pearls suspended in this fashion4 ,a jewel very similar to the last-named1 formed of the sacred monogram1 is worn by ,jane ,seymour in her portrait at ,vienna4 ,another pendant monogram1 with the initials ,h and ,i and an emerald in the centre 7,pl4 #dh 7#f771 was evidently designed for the ,king and his third ,queen4#fej ,several of them have mottoes1 such as ,,qvam ,,accipere ,,dare ,,mvlto ,,beativs 7,pl4 #di 7#g771fea or ,,prvdentement ,,et ,,par ,,compas ,,incontinent ,,viendras1#feb the latter on a round device of two horns of plenty1 two dolphins and a pair of compasses with serpents writhing round them 7,pl4 #ej 7#h774 ,among the brooches there is one consisting of three diamonds enwreathed by a scroll1 on which is inscribed1 ,,mi ,,ladi ,,prinsis1 and the same motto occurs on a second4#fec ,footnote #fdg3 ,brit4 ,mus4 ,catg41 #bg 7b74 ,woltmann1 #aii 7#cj74 ,reproduced by ,his1 ,pl4 xliii4 ,footnote #fdh3 ,brit4 ,mus4 ,catg41 #bh 7a74 ,reproduced by ,his1 ,pl4 xli4 ,footnote #fdi3 ,brit4 ,mus4 ,catg41 #bg 7e74 ,reproduced by ,his1 ,pl4 xliii4 ,footnote #fej3 ,brit4 ,mus4 ,catg41 #bg 7f74 ,reproduced by ,his1 ,pl4 xliii4 ,footnote #fea3 ,brit4 ,mus4 ,catg41 #bh 7f74 ,reproduced by ,his1 ,pl4 xli4 ,footnote #feb3 ,brit4 ,mus4 ,catg41 #bi 7i74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fec3 ,brit4 ,mus4 ,catg41 #cj 7a and b74 ,reproduced by ,his1 ,pl4 xxxiv4 ,sidenote3 ,,designs ,,for ,,medallions ,there are two designs for book bindings with rings for suspension1 no doubt covers for a prayer book4 ,they are decorated with metal and enamel in arabesque patterns1 and one of them has the initials ,t4,w4 in the centre1 which are repeated in the corners1 ,t4,w4 above and ,w4,t4 below4#fed ,on the second the same initials are combined with an ,i1#fee and in both cases it is probable that they were intended for ,sir ,thomas ,wyat4 ,two very similar designs appear to be for a jewelcase1 or perhaps a portable reliquary4#fef ,there is also an interesting drawing of a seal with the coat of arms of ,charles ,brandon1 ,duke of ,suffolk1 within the garter and its motto1 and around the whole a circular band inscribed ,,carolvs ,,dvx ,,svffycie ,,pro ,,honore ,,svo ,,richemond 7,pl4 #ej 7#d774feg ,among the remaining studies are various devices1 coats of arms1 including ,holbein's own 7,pl4 #ej 7#f771 book clasps1 bracelets1 chains 7,pl4 #ea 7#c1 #d1 and #e771 collars1 rings1 a number of monograms 7,pl4 #dh 7#a771 some of them containing as many as eleven letters1 probably concealing a complete name or the initials of the words of some device1 grotesque figures1 winged warriors1 nude women1 and satyrs--the latter in some cases certainly intended for the foot of a vase1 box1 or salt-cellar1 or some such table ware--together with a variety of ornaments for which the exact purpose is not indicated4 ,these last are largely fragments of circular borders or segments of discs1 decorated with arabesques on enamel 7,pl4 #eb74 ,in some of these designs for enamel the pattern is in white on a ground of blue and red or blue and black4 ,footnote #fed3 ,brit4 ,mus4 ,catg41 #ca 7b74 ,woltmann1 #aia4 ,reproduced by ,his1 ,pl4 xliv42 ,davies1 p4 #bbf4 ,footnote #fee3 ,brit4 ,mus4 ,catg41 #ca 7a74 ,woltmann1 #aia4 ,reproduced by ,his1 ,pl4 xliv42 ,davies1 p4 #bbf4 ,footnote #fef3 ,brit4 ,mus4 ,catg41 #ca 7c and d74 ,reproduced by ,his1 ,pl4 xliv42 ,davies1 p4 #bbf4 ,footnote #feg3 ,brit4 ,mus4 ,catg41 #bi 7a72 ,woltmann1 #aii 7#dd74 ,reproduced by ,his1 ,pl4 xl4 ,among the designs at ,basel is a very charming and humorous upright band or panel1 for goldsmith's work 7,pl4 #de 7#b73pl-#de71feh 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 drum1 a design no doubt suggested to ,holbein by the sight of some travelling showman with a troupe of performing animals4 ,two other bands of ornament in the ,basel ,gallery1 in which the design is arranged horizontally1 represent in one case a humorous frieze with nude children1#fei and in the other similar children with dogs hunting a hare1 chasing one another1 and blowing horns 7,pl4 #ea 7#a and #b77ffj ,the latter is a carefully-finished drawing1 in which the small figures are arranged with great decorative effect among curved ,renaissance ornamentation of conventional floriated design4 ,in the same collection there are several elaborately decorated mirror-frames4 ,footnote #feh3 ,woltmann1 #ed4 ,reproduced by ,his1 ,pl4 xxii4 #b2 ,knackfuss1 fig4 #aaa4 ,footnote #fei3 ,woltmann1 #fa4 ,footnote #ffj3 ,woltmann1 #ee4 ,reproduced by ,his1 ,pl4 xxv4 #d2 ,knackfuss1 fig4 #aaj4 ,illustration3 ,,vol ,,ii41 ,,plate #dh ,,designs ,,for ,,pendants ,,and ,,ornaments #a4 ,b4,m4 #cc 7f7 #b4 ,b4,m4 #cc 7g7 #c4 ,b4,m4 #bg 7b7 #d4 ,b4,m4 #bg 7d7 #e4 ,b4,m4 #bg 7c7 #f4 ,b4,m4 #bg 7f7 #g4 ,b4,m4 #bg 7e7 #h4 ,b4,m4 #bg 7a7 ,,british ,,museum 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #di ,,designs ,,for ,,pendants #a4 ,b4,m4 #bh 7m7 #b4 ,b4,m4 #bh 7g7 #c4 ,b4,m4 #bh 7e7 #d4 ,b4,m4 #bh 7k7 #e4 ,b4,m4 #bh 7l7 #f4 ,b4,m4 #bh 7i7 #g4 ,b4,m4 #bh 7f7 #h4 ,b4,m4 #bh 7d7 #i4 ,b4,m4 #bh 7a7 ,,british ,,museum 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #ej ,,designs ,,for ,,medallions ,,or ,,enseignes #a4 ,b4,m4 #ce 7d7 #b4 ,b4,m4 #ce 7e7 #c4 ,b4,m4 #ce 7c7 #d4 ,b4,m4 #bi 7a7 #e4 ,b4,m4 #bi 7l7 #f4 ,b4,m4 #bi 7e7 #g4 ,b4,m4 #bi 7b7 #h4 ,b4,m4 #bi 7i7 #i4 ,b4,m4 #bi 7g7 ,,british ,,museum ,there remains one particular form of personal ornament for which ,holbein's services as designer were in constant demand4 ,this was the circular medallion or enseigne worn on the hat1 and also1 in the case of ladies1 as a pendant at the end of a chain or ribbon1 or in the shape of a brooch fastened to the front of the dress4 ,they usually bore some figure-subject1 the earlier examples being1 as a rule1 religious1 with figures or emblems of saints or scenes from the ,scriptures4 ,in course of time subjects taken from classical story or medival legend were used1 and designs of a fanciful and allegorical nature4 ,they became highly popular forms of personal adornment1 and ,french and ,italian jewellers brought numbers of them over to ,london4 8,every one1 from the highest rank downwards10 says ,mr4 ,h4 ,clifford ,smith1 8had his personal devise or impresa1 or more often a series of them4 ,it was worn as an emblem--an ingenious expression of some conceit of the wearer1 the outcome of his peculiar frame of mind4 ,it usually contained some obscure meaning1 the sense of which1 half hidden and half revealed1 was intended to afford some play for the ingenuity of the observer4 ,the love of the time for expressing things by riddles led to the publication of sets of emblems1 like those of ,alciatus1 which had imitations in all directions4 ,every one1 in fact1 tried his hand at these #8toys of the imagination4'0#ffa ,footnote #ffa3 ,h4 ,clifford ,smith1 ,jewellery1 ,the ,connoisseur's ,library1 #aijh1 p4 #bbc4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ea #a4 ,,band ,,of ,,ornament ,children at ,play #b4 ,,band ,,of ,,ornament ,children and ,dogs hunting a ,hare ,,basel ,,gallery #c4 ,,design ,,for ,a ,,collar ,,with ,,nymphs ,,and ,,satyrs 7#ce;h7 #d4 ,,design ,,for ,a ,,chain 7#ce;f7 #e4 ,,design ,,for ,a ,,bracelet ,,or ,,collar ,,with ,,diamonds ,,and ,,pearls 7#ce;a7 ,,british ,,museum 99 99 99 99 99 ,illustration3 ,,vol4 ,,ii41 ,,plate #eb ,,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 drawings4 ,in the latter1 unfortunately1 the subjects are so slightly indicated that it is impossible in most cases to make them out4 ,they are to be found almost invariably in the portraits of courtiers1 the learned doctors and the more soberly-attired ,german merchants not using them4 ,those worn by the more wealthy were generally of gold1 with the design in repouss work1 frequently enamelled in colours1 and often with precious stones set in them4 ,they were1 as a rule1 surrounded by a border or framework of similar workmanship1 sometimes set with jewels4 ,some of them were fastened with a pin1 like a brooch1 others had loops or small holes round the edges so that they could be sewn to the hat4 ,henry ,,viii possessed a large collection of these ornaments4 ,in a list dated #aebf there is mentioned1 among many others1 a crimson velvet bonnet1 double turfed1 with a brooch of ,st4 ,michael set with diamonds1 and a white rose on one side and a red rose on the other2 and another of a buttoned cap of black velvet with a diamond and a brooch of ,paris work of ,st4 ,james4 ,other hats had brooches representing 8three men and a pearl in the back of one of them02 a lady leading a brace of greyhounds2 ,venus and ,cupids2 a lady holding a heart in her hand2 another lady holding a crown2 another with a cameo head and a hanging pearl2 8a man standing on a faggot of fire02 8a handful of feathers02 8a gentleman in a lady's lap02 and ,st4 ,george1 ,hercules1 and so on4#ffb ,in another list1 two years later in date1 there is mentioned 8a brooch with a gentlewoman luting1 with a scripture over it40#ffc ,occasionally these enseignes are described as 8valentines of goldsmith's work40 ,most of the ,king's hats were also lavishly decorated with gold aglets4 ,footnote #ffb3 ,c4,l4,p41 vol4 iv4 pt4 i4 #aijg4 ,footnote #ffc3 ,c4,l4,p41 vol4 iv4 pt4 ii4 #eaad4 ,see vol4 i4 p4 #ceg4 ,sidenote3 ,,designs ,,for ,,medallions ,none of the jewels included in these earlier lists can have been designed by ,holbein2 but after he became attached to the court he appears to have been constantly employed in this way1 and it became1 no doubt1 the fashion to wear an enseigne or medallion of his devising4 ,among his drawings1 in the ,british ,museum1 at ,basel1 and at ,chatsworth1 there are a number of small circular designs with figure-subjects which were evidently intended for such purposes4 ,unfortunately1 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 8,lot and his ,daughters0 in the ,british ,museum 7,pl4 #ej 7#b771 which1 as recently pointed out by ,mr4 ,lionel ,cust1 was the design for the medallion shown in the portrait of ,catherine ,howard4#ffd ,very possibly some of the other enseignes or pendant roundels represented in his portraits were of his own devising1 but they are painted on so small a scale that the subjects upon them are difficult to decipher4 ,footnote #ffd3 ,see pp4 #aie-aif4 ,the medallion of 8,lot and his ,daughters0 forms one of a numerous series of roundels1 usually about #b in4 in diameter1 with subjects taken from the ,old ,testament1 the greater number of which are in the ,basel sketch-book4 ,among the latter are three different studies on one sheet for the subject of ,hagar and ,ishmael in the ,wilderness1#ffe and a fourth with ,sarah giving ,hagar to her husband2#fff the ,sacrifice of ,cain and ,abel2#ffg ,jacob embracing ,rachel2#ffh ,jacob causing the stone to be removed from the well for ,rachel1#ffi a very beautiful little drawing with an interesting group of buildings in the background2 ,david and the ,woman of ,tekoah kneeling before him2#fgj the ,sacrifice of ,elijah1 in which a jewel is inset to depict the fire on the altar2#fga and ,moses and the destruction of ,korah and his company4#fgb ,this last is set within an open-work border with mermaids and cupids amid scroll-work4 ,several other subjects from the ,old ,testament1 such as ,judah and ,tamar1 and ,david playing before ,saul1 are to be found among the engravings made by ,wenceslaus ,hollar from drawings by ,holbein1 now lost1 when in the ,arundel ,collection4 ,among the subjects from the ,new ,testament at ,basel are the ,baptism of ,christ1#fgc the ,last ,judgment1#fgd and the ,repentant ,magdalen4#fge ,two designs of the ,archangel ,michael slaying the ,dragon are for the badge accompanying a chain of the order of ,st4 ,michael1 and may have been drawn from the badge belonging to ,dinteville4#fgf ,another represents the kneeling figures of a young couple in ,english dress holding a cup with a heart over it1 evidently for 8a valentine of goldsmith's work40#fgg ,among the unknown subjects is one in which a nude man is standing upon a prostrate knight1 who with one hand shatters ,cupid's bow and with the other breaks the fallen man's sword2#fgh one which repeats one of the subjects of the ,basel ,town ,hall wall-paintings--the blinding of ,zaleucus2#fgi and others representing ,juno and ,callisto1 ,pomona1 ,leucothea on a dolphin1 and two ,centaurs4#fhj ,footnote #ffe3 ,woltmann1 #aaj 7#cg-dc74 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #e4 ,footnote #fff3 ,woltmann1 #aaj 7#fg74 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #de4 ,footnote #ffg3 ,woltmann1 #aaj 7#ga74 ,footnote #ffh3 ,woltmann1 #aaj 7#fh74 ,footnote #ffi3 ,woltmann1 #aaj 7#gf74 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #de4 ,footnote #fgj3 ,woltmann1 #aaj 7#gj74 ,footnote #fga3 ,woltmann1 #aaj 7#fc1 #fe74 ,footnote #fgb3 ,woltmann1 #aaj 7#gg74 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #db4 ,footnote #fgc3 ,woltmann1 #aaj 7#gc74 ,footnote #fgd3 ,woltmann1 #aaj 7#ge74 ,footnote #fge3 ,woltmann1 #aaj 7#ee1 #ef74 ,footnote #fgf3 ,woltmann1 #aaj 7#fd74 ,footnote #fgg3 ,woltmann1 #aaj 7#hh74 ,footnote #fgh3 ,woltmann1 #aaj 7#fb74 ,footnote #fgi3 ,woltmann1 #aaj 7#fa74 ,footnote #fhj3 ,woltmann1 #aaj 7#ec1 #gd1 #ha1 #hc74 ,the subjects of similar medallions in the ,british ,museum include one of the ,annunciation1#fha with the legend 8,,origo ,,mvndi ,,melioris0 round it1 with a border of daisies in yellow and green enamel2 one of the ,trinity1#fhb with the legend 8,,trinitatis ,,gloria ,,satiabimvr0 7,pl4 #ej 7#e771 and a border of roses in enamel1 both of which are in pen and ink washed with water-colours2 and a third with a standing figure of ,st4 ,john the ,baptist 7,pl4 #ej 7#c774fhc ,yet another depicts ,time extracting ,truth from the ,rock 7,pl4 #ej 7#a71fhd also with a ,latin quotation round the edge1 and a second1 with the motto1 8,,prvdentement ,,et ,,par ,,compas ,,incontinent ,,viendras10 already described4#fhe ,further designs for enseignes contain such subjects as a sleeping boy lying under a fountain1 which jets its water upon him 7,pl4 #ej 7#i772fhf and a woman in flames1 with her father and mother lamenting over her1 which is said by ,woltmann to represent ,dido on the funeral pyre4#fhg ,among other roundels1 two contain ,holbein's own coat of arms 7,pl4 #ej 7#f771fhh and two others a device with a hand issuing from a cloud and resting on a book which lies on a rock1 and the ,italian motto1 8,,servar' ,,voglio ,,qvel ,,che ,,ho ,,gvirato0 7,pl4 #ej 7#g774fhi ,footnote #fha3 ,brit4 ,mus4 ,catg41 #bi 7k74 ,woltmann1 #aii 7#ai74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhb3 ,brit4 ,mus4 ,catg41 #bi 7l74 ,woltmann1 #aii 7#ac74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhc3 ,brit4 ,mus4 ,catg41 #ce 7c74 ,footnote #fhd3 ,brit4 ,mus4 ,catg41 #ce 7d74 ,footnote #fhe3 ,brit4 ,mus4 ,catg41 #bi 7i74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhf3 ,brit4 ,mus4 ,catg41 #bi 7g74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhg3 ,brit4 ,mus4 ,catg41 #bi 7h74 ,woltmann1 #aii 7#ae74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhh3 ,brit4 ,mus4 ,catg41 #bi 7e1 f74 ,woltmann1 #aii 7#db74 ,reproduced by ,his1 ,pl4 xl4 ,footnote #fhi3 ,brit4 ,mus4 ,catg41 #bi 7b1 c74 ,woltmann1 #aii 7#bb74 ,reproduced by ,his1 ,pl4 xl4 ,at ,chatsworth there is a sheet of drawings containing six enseignes and one larger design which appears to be for some kind of a sheath4#fij ,they are among the very finest examples of ,holbein's work in this field1 drawn with the greatest delicacy1 and admirable in composition4 ,they represent 7#a7 ,hagar and ,ishmael 7,pl4 #ec 7#b771 a variant of the ,basel design1 in which the angel is flying towards ,hagar1 who is seated under a tree1 with the naked infant asleep under a bush1 and on a scroll the names 8,hagar0 and 8,ismael02 7#b7 ,the ,last ,judgment 7,pl4 #ec 7#c771 with ,christ seated on clouds1 and men and women kneeling below1 with figures struggling out of graves1 and on one side the yawning mouth of a dragon representing hell2 7#c7 ,icarus falling into the sea 7,pl4 #ec 7#a771 his wings melted by the sun1 and ,phbus driving his chariot drawn by four winged horses through the sky2 7#d7 ,diana and ,acton 7,pl4 #ec 7#e771 with four nude women standing in water on the left1 and ,acton on the bank already turning into a stag1 with his dogs attacking him1 and others rushing through the wood in the background2 7#e7 three beehives on a wooden stand under a roof of rushes 7,pl4 #ec 7#f771 with ,cupid1 blindfolded1 his bow on the ground1 holding up his hands as though stung by the bees which are flying round him1 and below a shield for a coat of arms1 coloured blue1 and the motto1 8,,nocet ,,empta ,,dolore ,,volupta10 on a ribbon scroll1 the whole surrounded by a band of conventional scroll pattern2 7#f7 a man in sixteenth-century costume1 with folded arms1 asleep on the grass1 under an oak tree on a rocky piece of ground 7,pl4 #ec 7#g774 ,on the right is a large clock with hanging weights1 the hands pointing to twelve o'clock1 and the figure of a small child pulling the rope of the hammer which strikes the bell4 ,round the trunk of the tree is a scroll with the legend 8,,aspetto ,,la ,,hora0 7,i await the hour74 ,this is possibly the design for a watch-back4 ,these medallions are in pen and bistre1 with touches of red in some of the figures1 and green here and there in trees or grass4 ,the remaining design seems to be for a short1 broad sheath1 but not1 apparently1 for a weapon 7,pl4 #ec 7#d774 ,it represents the ,rape of ,helen1 who stands on the seashore1 seized by the arms by two men1 one wearing a helmet4 ,a boat containing figures--some of them waving their hands--is coming towards them over the water4 ,there are some buildings on the left1 and at the bottom1 in the foreground1 two nude figures with long spades digging in the sand4 ,the leg of one of these two figures projects beyond the boundary-line of the sheath1 showing that the design was not intended for a flat ornament1 but was to be continued on both sides of the object4#fia ,footnote #fij3 ,woltmann1 #aca-g4 ,all reproduced by ,s4 ,arthur ,strong1 in his ,drawings by ,old ,masters at ,chatsworth1 and in ,critical ,studies and ,fragments1 ,pl4 xviii4 p4 #acb2 and in ,burlington ,magazine1 vol4 i4 ,no4 iii41 ,may #aijc1 frontispiece4 ,footnote #fia3 ,in the ,burlington ,magazine 7vol4 i4 ,no4 iii41 ,may #aijc1 p4 #ced7 some doubt is thrown upon the correctness of the attribution of the ,chatsworth roundels to ,holbein1 but in every touch his handiwork is unmistakable4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ec ,,designs ,,for ,,medallions1 ,,etc4 #a4 ,,icarus #b4 ,,hagar ,,and ,,ishmael #c4 ,,the ,,last ,,judgment #d4 ,,the ,,rape ,,of ,,helen #e4 ,,diana ,,and ,,act,,on #f4 ,,cupid ,,and ,,bees #g4 8,i ,,await ,,the ,,hour0 ,duke of ,devonshire's ,collection ,,chatsworth ,the wide range of subject shown in these badges affords remarkable proof of the fertility of ,holbein's invention4 ,the great number of them1 too1 indicates that he must have found regular and lucrative employment in work for the ,london jewellers and goldsmiths4 ,possibly those which remain formed only a small part of his total output4 ,it has been suggested1 indeed1 that none of the studies which have survived were actually carried out as ornaments1 but were rather designs either rejected by the goldsmith or the patron for whom ,holbein was working1 or were merely drawn by the artist as part of his stock-in-trade1 from which clients could make their selection4#fib ,this supposition is based on the fact that the drawings have always been carefully preserved in the original sketch-books1 and bear no traces of having undergone the rough usage of a goldsmith's workshop4 ,it does not seem at all probable1 however1 that this was the case2 it is1 indeed1 absurd to suppose that these designs1 several hundreds in number1 and many of them of the greatest beauty1 could have been rejected as not good enough by those for whom they were prepared4 ,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 ,howard1 to say nothing of those larger drawings for the ,jane ,seymour ,cup and the ,denny astronomical clock1 which1 in any case1 cannot have been rejected designs4 ,a much simpler explanation is that ,holbein kept his original designs by him for future reference1 and made other versions or copies1 possibly sometimes more elaborate in detail1 for the use of the craftsmen who carried them out4 ,footnote #fib3 ,see ,r4 ,e4 ,d4 ,sketchley1 8,holbein as ,goldsmith's ,designer10 in ,art ,journal1 ,june #aiaj1 p4 #age4 ,with the exception of the cup designed for ,hans of ,antwerp1 which shows that the two men worked together1 it is impossible to connect ,holbein's name directly with that of any one of the many goldsmiths who served the court2 but it is probable that he was employed by at least several of them1 and almost certainly by ,cornelis ,hayes4 ,there were an extraordinary number of such craftsmen1 both native and foreign1 in ,london at that period1 and many others1 more particularly ,frenchmen and ,italians1 who paid periodical visits to ,england in order to sell works of art and jewels to the ,king and the nobility4 ,sidenote3 ,,the ,,king',s ,,jewellers ,the leading ,london jeweller of the earlier part of ,henry's reign was ,robert ,amadas1 of ,lombard ,street1 an alderman1 who in #aebf was appointed ,master of the ,jewel ,house1 a post which he held until his death in #aecb1 when he was succeeded by ,thomas ,cromwell4 ,other leading goldsmiths were ,alderman ,sir ,john ,mundy1 appointed justice to the merchants of the ,steelyard in #aebe1fic ,alderman ,robert ,fenrother1 ,gerard ,hughes1 ,robert ,lord1 ,nicholas and ,henry ,wooley1 ,thomas ,trappes1 ,william ,holland1 ,john ,twiselton1 ,john van ,utricke1 and ,henry ,holtesweller4 ,large sums were spent in ,new ,year's gifts1 the ,king both giving and receiving many very valuable presents4 ,thus in #aebj #abjh1 #ags4 #f;d4 was paid to ,amadas1 ,twiselton1 and ,holland for supplying such gifts1 and in #aeba no less than #afgi1 #aes4 #aj;d41 while smaller sums were received by other goldsmiths4#fid ,there was also constant demand for gold and silver plate for presentation to foreign ambassadors and envoys1 and for christening presents for the children of the ,king's favourites4 ,amadas supplied many of these1 as well as seals1 jewels1 spangles and other ornaments for the jackets of the ,king's ,guards1 silver bells1 bosses1 and nails for his ,majesty's use1 and many other articles which need not be specified4 ,amadas was dead before ,holbein became attached to the court1 and it is not at all likely that the latter designed for him4 ,he must1 however1 have been well acquainted with the ,dutchman1 ,cornelis ,hayes1 or ,heyes1 who became a naturalised ,englishman in ,january #aebc1fie and was afterwards one of the most regularly employed of the goldsmiths specially appointed to the ,king's service4 ,he received licence to keep six alien apprentices and twelve journeymen1 notwithstanding the statute of #ad #ae ,hen4 ,,viii4#fif ,he supplied many jewels for ,anne ,boleyn1 including 8a diamond in a brooch of our ,lady of ,boulogne10 and was employed1 after ,wolsey's downfall1 to remove the coat of arms from the ,cardinal's plate and place thereon the royal arms instead4 ,he was also frequently occupied in repairing and altering the royal jewels and badges4 ,his possible co-operation with ,holbein1 in #aecd1 in connection with the making of a silver cradle and figures of ,adam and ,eve has been already mentioned1#fig and also that the piece of plate given to ,holbein by the ,king in return for the portrait of ,prince ,edward was made by ,hayes4#fih ,holbein and ,hayes had a common friend in ,bourbon1 the ,french poet1 who stayed with the goldsmith when in ,london4 ,footnote #fic3 ,c4,l4,p41 vol4 iv4 pt4 i4 #abih4 ,footnote #fid3 ,c4,l4,p41 vol4 iii4 pt4 ii4 pp4 #aeci1 #aedd 7,king's ,book of ,payments74 ,footnote #fie3 ,c4,l4,p41 vol4 iii4 pt4 ii4 #bhjg 7#bh74 ,footnote #fif3 ,in ,may #aeca4 ,c4,l4,p41 vol4 v4 #bgh 7#h74 ,footnote #fig3 ,see pp4 #ib-ic4 ,footnote #fih3 ,see p4 #afd4 ,illustration3 ,,vol4 ,,ii41 ,,plate #ed ,,henry ,,viii ,,granting ,a ,,charter ,,to ,,the ,,barber-,,surgeons' ,,company ,,barber-,,surgeons' ,,hall1 ,,london ,another goldsmith of importance was the ,welshman ,morgan ,wolf1 ,fenwolf1 or ,phillip1 one of the sewers of the chamber1 and keeper of the castle and lordship of ,abergavenny4 ,both he and the ,englishman ,john ,freeman supplied many ,new ,year's gifts and other goldsmith's work to ,henry4 ,the latter was a protg of ,cromwell's1 who found him much employment in connection with the dissolution of the monasteries1 and granted him a number of fat appointments4 ,morgan ,wolf engraved the ,great ,seal of ,england in #aedc4fii ,among the foreign jewellers who came frequently to ,england1 and some of whom eventually settled here1 were ,alart ,plumier1 or ,plymmer1 as he is called in the royal accounts1 of ,paris1 who had frequent dealings with the ,king2 ,jehan ,lange1 of the same city1 who came over as the representative of several ,parisian houses2 ,hubert ,morett1#gjj ,christopher ,herrault1 ,peter ,romaynes1 ,guillim ,ottener1 ,john ,crispin1 ,latronet1 and ,martin ,garrard1 the latter obtaining a patent of denization in #aece4 ,to prolong the list of names would be only tedious1 for it is impossible to connect ,holbein's name definitely with any one of them1 though there is every probability that ,cornelis ,hayes and ,john of ,antwerp both worked in conjunction with him4 ,footnote #fii3 ,c4,l4,p41 vol4 xviii4 pt4 i4 #dfc 7f4 #hg74 ,footnote #gjj3 ,see p4 #fh4 ---------------------------------------- -------------------------------- ,,chapter ,,xxviii ,,the ,,barber-,,surgeons ,,picture ,,and ,,the ,,painter',s ,,death ,holbein's last important work1 the ,barber-,surgeons picture1 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 #aedc--;,discovery of his will--,his executor1 ,john of ,antwerp1 and his witnesses1 ,anthony ,snecher1 ,olryck ,obinger1 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 collections4 ,the last important work upon which ,holbein was engaged1 a work left unfinished owing to his sudden death1 was the large picture still hanging in the old hall of the ,barber-,surgeons' ,company in ,monkwell ,street1 ,london 7,pl4 #ed74gja ,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 7#aedj-da71 and must have been begun shortly after the passing of the ,act4 ,at an earlier period the barbers and the surgeons of ,london had formed a single company1 but in course of time had become separated2 and upon their second coming together ,holbein was called in to furnish a permanent record of the event4 ,during the progress of the work he painted separate portraits of at least two of the sitters in the big picture--,dr4 ,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 family4 ,footnote #gja3 ,woltmann1 #bjb4 ,reproduced by ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #bgj2 ,ganz1 ,holbein1 p4 #acj4 ,the truth of ,van ,mander's statement that ,holbein left this large picture unfinished is apparent after even a cursory examination of it4 ,that writer1 who regarded it as an 8unusually splendid work10 says3 8,according to the feeling of some1 ,holbein is said not to have completed the piece himself1 but that the deficient parts were painted by some one else4 ,nevertheless1 if this be the truth1 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 it40#gjb ,footnote #gjb3 ,quoted by ,woltmann1 i4 p4 #dgd4 ,eng4 trans41 p4 #ddd4 ,the latter part of ,van ,mander's statement1 however1 is far from correct1 for the hand of a very inferior craftsman is plainly enough to be discerned over a greater part of the picture4 ,the general arrangement of the kneeling figures in the front rank1 and the position assigned to the ,king1 were evidently ,holbein's1 who had probably finished the heads1 and even the robes1 of several of the leading members of the ,guild1 while the heads of others had possibly been traced on the panel from his own preliminary studies before death cut short his labours4 ,for the rest1 the picture appears to have suffered from more than one later attempt to finish it4 ,sidenote3 ,,description ,,of ,,the ,,picture ,the composition consists of nineteen figures4 ,henry ,,viii is shown full-length on his throne1 which is not placed in the centre of the picture1 but somewhat to the spectator's left4 ,he is crowned and dressed in his full robes of state1 holding the sword in his right and the charter in his left hand4 ,he is represented as far larger in size than the other figures kneeling in front of him1 something in the manner of earlier days1 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 him4 ,this is a trick to which such a master as ,holbein would never have descended2 indeed1 the figure of the ,king1 who stares straight out of the picture with a dull1 wooden countenance1 without evincing the slightest interest in the ceremony in which he is the chief performer1 cannot even have been sketched in by ,holbein1 and is a stiff and clumsy performance at the best4 ,the head has evidently been copied from one of the numerous likenesses of ,henry of the type of the ,warwick portrait1 without any attempt to alter the position of the face or to connect it with the presentation which is taking place4 ,the position of the head may have been indicated by ,holbein on the panel1 and ,woltmann is probably right in his conjecture that it was his intention to represent him standing on the steps of the throne1 and not seated1 which would account for the height of the face as it now is above the surrounding figures4#gjc ,on the ,king's right hand only three members of the ,guild are kneeling--,chamber in the front1 with ,butts next1 and ,t4 ,alsop behind him4 ,the three may have been thus placed in the position of honour as the ,king's personal physicians4 ,all three wear a furred gown and a doctor's cap4 ,the head of ,chamber is excellent1 and appears to be wholly ,holbein's work1 with little or no retouching2 that of ,butts has suffered more severely from incompetent hands1 while the ,alsop is much weaker4 ,it is in this part of the picture1 and in one or two of the heads on the opposite side1 that ,holbein carried his work almost entirely to completion4 ,eight men kneel in the front row on the ,king's left1 headed by ,t4 ,vicary1 who receives the charter from the royal hand1 five of them with beards1 and some of them with skull-caps1 and wearing more elaborate costumes and gowns than those opposite to them4 ,the second figure1 ,t4 ,aylif1 the ,warden1 is one of the most effective1 the head1 though here again retouching is very evident1 being perhaps the best of all4 ,the heads of ,harman and ,monforde are noteworthy among the remainder of the figures1 the greater number of which have been so badly repainted that no touch of ,holbein's hand is now visible2 though it is possible that in some cases he was responsible for the outline4 ,according to ,dr4 ,woltmann1 traces of the pinholes by means of which the transference of ,holbein's original sketches of the heads to the panel was made1 can still be seen in several instances4 ,behind the eight kneeling members of the ,company on the spectator's right there appears an upper row of seven figures1 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 death4 ,these later figures are so badly placed that they entirely spoil the composition1 and are quite devoid of artistic merit1 being the work of a still weaker hand than that of the unknown 8finisher40 ,they evidently formed no part of the original arrangement1 but represent later members of the company who wished their portraits to be included4 ,the panel is further marred by the fact that over each sitter1 with the exception of five in the last-named row1 his name is inscribed in large letters4 ,another late addition1 which also helps to spoil the general effect1 is a large white tablet on the wall on the right1 which contains a long ,latin inscription in prose and verse in praise of the ,king4 ,originally this space was occupied by a window1 through which could be seen the old tower of the church of ,st4 ,bride's1 showing that the ceremony was represented as taking place in the palace of ,bridewell4 ,behind the ,king hangs a large gold-embroidered curtain1 and on either side of it the space is roughly filled in with flowers and fruit representing tapestry4 ,according to ,dr4 ,ganz1#gjd it is the same chamber1 with the same hangings1 probably the throne-room in ,whitehall1 as in the large picture of the family of ,henry ,,viii at ,hampton ,court 7,no4 #cdj 7#eaj771gje which has been attributed by some writers to ,guillim ,stretes2 and again1 in a portrait of ,queen ,elizabeth in the possession of the ,earl of ,buckinghamshire4 ,it is possible that the ,king may have sat for the picture at ,whitehall1 and that ,holbein made use of the surroundings at his hand1 but the view from the window in the copy of the ,barber-,surgeons painting1 mentioned below1 seems to indicate that the room represented was in ,bridewell4 ,there is no resemblance between the patterns of the carpets in the two pictures4 ,it is painted on a panel made up of a number of thick1 vertical oak boards1 and is #aj ft4 #c in4 wide by #f ft4 high4 ,in ,woltmann's opinion1 8the picture is nothing but a ruin1 in which we have to search with difficulty for the traces of ,holbein40#gjf ,footnote #gjc3 ,woltmann1 i4 p4 #dge4 ,footnote #gjd3 ,see ,holbein1 p4 #bdc4 ,footnote #gje3 ,the central part of this picture1 showing ,henry ,,viii enthroned1 with ,edward ,,vi and ,queen ,catherine ,parr on either side of him1 is reproduced by ,mr4 ,ernest ,law in ,the ,royal ,gallery of ,hampton ,court1 p4 #acj4 ,footnote #gjf3 ,woltmann1 ,eng4 trans41 p4 #ddf4 ,this opinion1 and an almost similar one given by ,wornum1 were regarded by the late ,sir ,charles ,robinson as far too scathing4#gjg ,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 others2 but that nowhere had the finishing touches and work required to give final truth and perfection of representation been bestowed4 ,he thought that an interval of some twenty or thirty years must have elapsed before the ,barber-,surgeons1 in an inauspicious moment1 determined on the completion of their picture1 the superadded work seeming to be that of a somewhat advanced ,elizabethan period4 ,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 studio1 for it would have been of infinitely greater value than it is now4 ,finished by him it could not have been less than a masterpiece2 but even in its incomplete state it would have been of equal interest as forming an invaluable example of his technique and methods of working4 ,footnote #gjg3 ,in a letter to ,the ,times1 #bhth ,august #ahie4 ,sidenote3 ,,copy ,,made ,,for ,,james ,i ,on the #acth of ,january #afah ,james ,i wrote from ,newmarket to the ,company asking that the picture should be lent to him1 as he was anxious to have a copy made of it1 and promising that this should be done expeditiously1 and the original redelivered safely4 8,we are informed10 he said1 8there is a table of ,painting in your ,hall whereon is the ,picture of our ,predecessor of famous memorie ,k4 ,henry the #hth41 together wh diverse of yr ,companie1 wh being both like him and well done ,wee are desirous to have copyd40#gjh ,holbein's name is not mentioned in this letter4 ,the copy then made is in all probability the one now in the possession of the ,royal ,college of ,surgeons1#gji which is smaller than the original1 and an indifferent version of it1 on paper attached to canvas4 ,the figure of ,alsop1 on the extreme right of the ,king1 is omitted1 and in place of the tablet with the inscription1 the window with a view of the church tower is shown1 proving that even if it is not the copy ordered by ,james ,i1 it is at least a very early version of the original4 ,it was at one time in the collection of ,desenfans1 and at his sale in #aghf was purchased by the ,surgeons' ,company for fifty guineas4 ,it has been incorrectly described as the original cartoon for the picture1 and it has also been said1 but this again is wrong1 that it belonged at one time to the ,barber-,surgeons' ,company1 and that when the two branches of the ,guild were finally separated in #agde1 the ,college retained the copy or cartoon and the ,company kept the picture4#gaj ,footnote #gjh3 ,the original letter is in the possession of the ,company4 ,footnote #gji3 ,the ,college also possesses a second copy of the picture4 ,footnote #gaj3 ,in #aghi this copy was cleaned and put in order by a man named ,lloyd1 who asked #djj for his labours1 but eventually took fifty guineas4 ,the next reference to the picture occurs in ,pepys' ,diary1 under the date ,august #bi1 #affh4 ,the entry runs3 8,at noon1 comes by appointment ,harris to dine with me2 and after dinner1 he and ,i to ,chirurgeons' ,hall1 where they are building it new1 very fine2 and there to see their theatre1 which stood all the fire1 and1 which was our business1 their great picture of ,holbein's1 thinking to have bought it1 by the help of ,mr4 ,pierce1 for a little money4 ,i did think to give #bjjl4 for it1 it being said to be worth #ajjjl42 but it is so spoiled that ,i have no mind to it1 and is not a pleasant though a good picture40 ,the fire of which ,pepys speaks was the great fire of #afff1 and the damage to which he refers may have been caused to some extent by the smoke1 though it is more probable that the injury he noted was merely that caused by time and restoration4 ,wornum suggests that it underwent restoration shortly after the ,great ,fire1 and that the tablet with the inscription was then introduced in place of the original window4#gaa ,the entry in the ,diary further shows how high a value the ,company placed on the picture even in those days1 and also that they were prepared to sell it at their own price4#gab ,footnote #gaa3 ,wornum1 p4 #ceb1 who quotes the whole of the ,latin inscription4 ,footnote #gab3 ,see ,appendix 7,m74 ,in #agcd the ,company commissioned ,bernard ,baron to engrave the picture for the sum of #aej guineas4 ,the plate1 which is a large one1 and a fairly accurate transcript of the original1 except that it is reversed1 was published in #agcf4 ,it was dedicated to the ,earl of ,burlington1 with a ,latin inscription4 ,in #ahef it was engraved on wood for the ,illustrated ,london ,news by ,henry ,linton4#gac ,in #ahie the ,company were again anxious to sell it1 and an effort was made to purchase it for the nation1 but unfortunately the scheme fell through1 possibly because the extravagant price of #ae1jjj was asked for it4 ,footnote #gac3 ,reproduced in ,mantz1 p4 #agb4 ,while still engaged upon this important work1 ,holbein's life was cut short by the plague1 which raged so severely in ,london in the summer and autumn of #aedc that hundreds of people died each week from it4 ,according to ,hall1 8,thys yeare was in ,london a great death of the ,pestilence1 and therefore ,mighelmas ,tearme was adjourned to ,saynt ,albons02 and ,stow repeats this statement almost word for word4#gad ,holbein succumbed to it on some date between the #gth of ,october and #bith of ,november4 ,this was proved by the discovery of his will in ,february #ahfa1 by ,mr4 ,w4 ,h4 ,black1 ,f4,s4,a41 who found it in one of the ,registers of the ,commissary of ,london1 at that time preserved in the ,record ,room at ,st4 ,paul's ,cathedral4 ,it is included in the book called 8,beverly10 on folios #aaf and #aba1 that volume covering the period from #aeci to #aedh4 ,it runs as follows3 ,footnote #gad3 ,hall1 ,the ,union of the ,two ,noble and ,illustrate ,families of ,lancastre and ,yorke1 #aedh1 p4 #beg4 ,stow1 ,the ,annales1 c41 #afae1 p4 #ehe4 ,sidenote3 ,,holbein',s ,,will 8,holbeine4--,in the name of ,god the father1 sonne1 and holy gohooste1 ,i1 ,joh ,holbeine1 servaunte to the ,kynges ,magestye1 make this my ,testamente and last will1 to wyt1 that all my goodes shalbe sold and also my horse1 and ,i will that my debtes be payd1 to wete1 fyrst to ,mr4 ,anthony1 the ,kynges servaunte1 of ,grenwiche1 ye of sic summe of ten poundes thurtene shyllynges and sewyne pence sterlinge4 ,and more over ,i will that he shalbe contented for all other thynges betwene hym and me4 ,item1 ,i do owe unto ,mr4 ,john of ,anwarpe1 goldsmythe1 sexe poundes sterling1 wiche ,i will also shalbe payd unto hym with the fyrste4 ,item1 ,i bequeythe for the kynpyng keeping of my two ,chylder wich be at nurse1 for every monethe sewyn shyllynges and sex pence sterlynge4 ,in wytnes1 ,i have sealed and sealed sic this my testament the vijth day of ,octaber1 in the yere of or ,lorde ,god ,mlv,cxliij4 ,wytnes1 ,anthoney ,snecher1 armerer1 ,mr4 ,joh of ,anwarpe1 goldsmythe before said1 ,olrycke ,obynger1 merchaunte1 and ,harry ,maynert1 paynter40 ,to this the following official act was appended on the #bith ,november3 8,,xxixo die mensis ,novembris anno ,domini predict4 ,johannes ,anwarpe executor nominat1 in testamento sive ultima voluntate ,johannis alias ,hans ,holbein nuper parochie sancti ,andree ,vndershafte defuncti comparuit coram ,magistro ,johanne ,croke1 c41 ,commissario generali1 ac renunciavit omni executioni hujus modi testamenti1 quam renunciationem dominus admisit1 deinde commisit administracionem bonorum dicti defuncti prenominato ,johanni ,anwarpe in forma juris jurato et per ipsum admissa pariter et acceptata4 ,salvo jure cujuscumque4 ,dat4 etc40 ,on the #bith ,november in the aforesaid year of our ,lord1 ,john ,anwarpe1 appointed executor in the testament or last will of ,john alias ,hans ,holbein1 recently deceased in the parish of ,st4 ,andrew ,undershaft1 appeared before ,master ,john ,croke1 ,commissary-,general1 and renounced the execution of the said will1 which renunciation was allowed1 and the administration of the property left was consigned to the before-mentioned ,john ,anwarpe as sworn in1 which was admitted and accepted by him4 ,the right of each intact4 ,this is followed on folio #aba of the book by the entry3 8,holbene4--,,xxixno die mensis predicti commissa fuit administracio bonorum ,johannis alias ,hans ,holbe parochie sancti ,andrei ,undershaft nuper abintestato defuncti ,johanni ,anwarpe in forma juris jurato1 ac per ipsum admissa pariter et acceptata4 ,salvo jure cujuscumque4 ,dicto die1 mens1 c40 ,holbene4--,the #bith of the aforesaid month the administration of the property of ,john alias ,hans ,holben1 recently deceased ab intestato in the parish of ,st4 ,andrew ,undershaft1 was consigned to ,john ,anwarpe as sworn in1 and was admitted and accepted by him4 ,the right of each intact4 ,said day of month1 c4#gae ,footnote #gae3 ,see ,sir ,a4 ,w4 ,franks1 ,archologia1 vol4 xxxix41 p4 #b1 and ,w4 ,h4 ,black1 same vol41 p4 #bge4 ,according to these entries1 ,john of ,antwerp was ,holbein's executor1 although he is not so mentioned in the will1 and on the #bith ,november he renounced all execution of it1 and took out letters of administration only4 ,the will itself appears to have been drawn up carelessly and in haste2 probably ,holbein was already sickening when he made it1 so that it had to be done in a hurry1 or he may have been merely alarmed1 owing to the number of people daily dying around him1 including1 as ,mr4 ,lionel ,cust points out1#gaf some members of ,john of ,antwerp's own household1 in whose dwelling1 he suggests1 ,holbein may himself have contracted the disease4 ,the meaning of the two official acts is not easy to follow1 but the explanation given by ,sir ,augustus ,w4 ,franks1 ,f4,s4,a41 procured from a legal source1 is no doubt the correct one4 8,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 other2 yet1 if we suppose that ,john ,anwarpe was considered to have been appointed executor by implication 7which the law allowed71 much of the seeming inconsistency will disappear4 ,the object of the renunciation may have been either to obviate some doubt which existed as to whether ,john ,anwarpe was so made executor 7for the language is hardly strong enough71 or to avoid certain liabilities that would have affected him as executor1 but not as administrator4 ,formerly a person was said to have died intestate1 not only when he left no ,will1 but also when he left a ,will and appointed no executor1 or appointed executors and they all renounced4 ,in this administration act the testator is accordingly said to have died intestate4 ,the great difficulty in these official acts is how ,john ,anwarpe could have been executor and ,mr4 ,anthony not4 ,the second of the two is almost a repetition of the first1 and both are dated on the same day40#gag ,footnote #gaf3 ,burlington ,magazine1 vol4 viii41 ,february #aijf1 p4 #cfj4 ,see also p4 #ac4 ,footnote #gag3 ,archologia1 vol4 xxxix4 p4 #ae4 ,sidenote3 ,,holbein',s ,,will ,the will is of great interest1 not only as proving the date of ,holbein's death within a week or two1 but also as affording some information as to his worldly position and his personal friends4 ,although his practice in ,london was a large one1 he died somewhat heavily in debt1 and the inference is that he had not saved money4 ,what his personal possessions consisted of1 the document1 so hastily drawn1 does not say1 but1 unlike a number of his fellow-artists1 he does not seem to have owned any property in ,london4 ,it does not necessarily follow1 however1 that he was extravagant in his habits1 though he kept a horse and owed money4 ,it has been assumed that the frequent payment of his salary in advance was due to improvidence2 but there is nothing beyond the terms of his will to support this1 or to show that he spent all his income on himself1 and that he failed to send money regularly to ,basel in support of his wife and family4 ,the reference to his two children at nurse indicates some irregular connection in ,england1 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-townsmen4 ,considering the laxity of morals at that period1 the fact that he had a second family in ,london is not very surprising4 ,it has been suggested that the mother of these children died of the plague shortly before the artist1 and that his will was made through anxiety to provide for them should he in turn be taken with the rapid and usually fatal disease1 to which most victims succumbed within three days4 ,the amount bequeathed for these children's maintenance1 about three half-pence a day each1 does not seem much1 but when the relative value of money at that time is taken into consideration1 it was no doubt enough for their simple needs4 ,what eventually became of them is not known4 ,with regard to the four witnesses to the will1 all of whom were1 no doubt1 personal friends of the painter1 nothing is known with any certainty except as regards ,john of ,antwerp4 ,the ,mr4 ,anthony of ,greenwich1 one of the ,king's servants1 to whom ,holbein owed the considerable amount of #aj1 #acs4 #g;d41 is evidently the same individual who witnessed the will as ,anthony ,snecher1 armourer1 although the words 8before said0 do not occur against his name as witness as they do in the case of ,john of ,antwerp4 ,both ,mr4 ,black and ,sir ,a4 ,franks1 however1 appear to have regarded them as two distinct persons4#gah ,the former suggested that 8,mr4 ,anthony0 was ,anthony ,anthony1 one of the officers of the ,ordnance ,department1 who had some skill as an illuminator1 if the embellishments of certain rolls dealing with the navy and signed by him were from his hand1 as is probable4 ,the latter thought that ,anthony ,snecher was possibly one of the body of ,german armourers in the regular employment of the ,king at ,greenwich1 of whom ,erasmus ,kirkheimer was the chief1 and that ,holbein may have supplied him with designs for the ornamentation of weapons4 ,mr4 ,j4 ,gough ,nichols suggested that ,mr4 ,anthony may have been ,anthony ,toto1 the painter1 with whom ,holbein must have been acquainted1 and with whom he may have worked in conjunction with other foreign artists upon the decoration of ,nonsuch ,palace4 ,footnote #gah3 ,see ,archologia1 vol4 xxxix4 pp4 #ac-ad1 and #bgd4 ,of ,olryck ,obinger1 the merchant1 nothing is known1 but from his name he must have been a ,swiss or ,german1 possibly a merchant of the ,steelyard1 though there is no reference to him in the ,state ,papers1 which contain the names of a large number of the members of that body4 ,from his name1 too1 ,harry ,maynert1 the painter1 also appears to have been a ,german or a ,fleming4 ,he remains an indefinite figure at present4#gai ,mr4 ,black suggested that he might be a relation of the ,john ,maynard who was one of the painters employed on the tomb of ,henry ,,vii4 ,a relationship is also possible with the ,katherine ,maynors1 of ,antwerp1 a painter1 who obtained letters of denization in ,england in #aedj1 at which time she was a widow4 ,footnote #gai3 ,the fine miniature by ,holbein at ,munich1 bearing the initials ,h4 ,m41 which ,dr4 ,ganz suggests may be a portrait of ,harry ,maynert1 is described on pp4 #bda-b4 ,sidenote3 ,,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 #aeed4 ,this mistake is to be traced back to the publication of ,carel van ,mander's ,het ,schilder ,boeck1 published in #afjd1 two years before the writer's death4 ,in his account of ,holbein he concludes by saying3 8,soo is ,holbeen in groote benoutheydt te ,londen ghestorven van de ,pest ,ao #aeed1 oudt #ef ,jaren40 ,thus did ,holbein die in ,london1 of the plague1 in great distress1 in the year #aeed1 fifty-six years old4 ,succeeding writers copied from ,van ,mander4 ,joachim von ,sandrart repeated the statement in his ,teutsche ,akademie--8,wurde er #aeed im #ef ,jahre seines ,alters von der damals in ,londen wtenden ,pest hingerafft0--and later biographers continued the error1 which led to great confusion1 as it added eleven years to the painter's life1 and caused almost all ,tudor portraits bearing dates between #aedd and #aeed to be attributed to him4 ,wornum suggests that the letter from the ,burgomaster of ,basel to ,jacob ,david1 the ,parisian goldsmith1 with reference to ,philip ,holbein1 which is dated #aede and speaks of ,holbein1 the father1 as then deceased1 may have been shown to ,van ,mander or copied for him1 and that in transcribing it1 or even in the printing of his book1 the last two figures of the date were accidentally transferred1 so that #de was turned into #ed4gbj ,such mistakes are not of uncommon occurrence1 and this solution may be the true one4 ,there was no plague raging in ,london in #aeed1 while in #aedc there was an unusually severe visitation4 ,otherwise ,van ,mander's account of the painter's death is substantially correct4 ,the place of his burial remains uncertain1 but according to tradition1 as voiced by ,strype1 he was interred in the church of ,st4 ,catherine ,cree4 ,strype1 in his additions to ,stow's ,survey of the ,cities of ,london and ,westminster1#gba says3 ,i have been told that ,hans ,holben1 the great and inimitable painter in ,king ,henry ,,viii's ,time1 was buried in this ,church2 and that the ,earl of ,arundel1 the great ,patron of ,learning and ,arts1 would have set up a ,monument to his ,memory here1 had he but known whereabouts the ,corps lay40 ,footnote #gbj3 ,wornum1 p4 #bc4 ,footnote #gba3 #agbj1 ,book ,,ii4 p4 #fd4 ,the same story was told by ,sandrart1 without mentioning the church4 ,he supposed that the ,earl's difficulty arose from the fact that so many people were dying daily1 and had to be buried in such haste1 that ,holbein probably shared a common grave with others1 and that no record would be kept4 ,there can be little doubt that he would be buried in or near the parish in which he was residing4 ,the church of ,st4 ,catherine ,cree1 though in the next parish1 is not many hundred yards distant from the ,church of ,st4 ,andrew ,undershaft1 and it is probable that ,holbein was interred in one or the other of them1 possibly the latter1 confusion as to the exact locality having arisen at a later date owing to the close proximity of the two churches4 ,unfortunately no registers of the time are available4 ,st4 ,andrew ,undershaft escaped the ,great ,fire1 but its register from #aech to #aegi has disappeared1 while that of ,st4 ,catherine ,cree begins only in #affc4 ,holbein's wife and family are not mentioned in his will1 and what little is known of their further history is largely due to the researches of ,dr4 ,his-,heusler in the ,basel archives4 ,his wife survived him for six years1 dying early in #aedi1 after a somewhat lengthy illness1 as on the #ith of ,july in the preceding year she appointed1 for this reason1 a deputy to manage her affairs4 ,it is to be gathered that she was left by ,holbein in a fairly comfortable position1 what with the annual pension allowed her by the civic authorities1 the two houses which her husband had purchased fifteen years earlier1 and the legacy from his uncle ,sigmund1 which the painter does not appear to have touched4 ,nor does it follow1 because she was not mentioned in the will1 that he had failed to send to her at least a part of his ,english earnings4 ,an inventory taken on the #hth of ,march #aedi1 shortly after her death1 shows that she was fairly well provided with worldly goods4 ,in addition to furniture1 an ample supply of linen1 and the more ordinary household utensils1 she possessed two silver-gilt covered cups1 six silver goblets1 a dozen silver-plated spoons1 and a valise with a portion of her deceased husband's wardrobe1 including a black cap1 a ,spanish cape trimmed with velvet1 a doublet of smoke-coloured ,florentine taffeta1 and others of black satin1 crimson silk1 and black damask4 ,these garments must have been left behind by ,holbein when he visited ,basel in #aech1 rather than forwarded after his death by his executor1 who1 according to the terms of the will1 was obliged to sell everything4 ,his stepson1 ,franz ,schmid1 who carried on his father's tanning business1 died before his mother1 leaving two children4 ,sidenote3 ,,holbein',s ,,descendants ,some years after #aede1 ,holbein's eldest son1 ,philip1 having completed his apprenticeship to ,jacob ,david in ,paris1 from whose service he only obtained release after the ,basel ,town ,council had come to his assistance1 worked for a time as a goldsmith in ,lisbon1 and finally settled in ,augsburg1 where he founded a diamond-cutting business4 ,he in turn had a son named ,philip1 who1 in #afaa1 petitioned the ,emperor ,matthias for a confirmation and augmentation of 8his old and noble coat of arms40 ,in this document1 in which he describes himself as ,imperial court jeweller and a citizen of ,augsburg1 he speaks of his grandfather ,johann1 as 8the painter at that time celebrated throughout ,europe10 and asserts that the ,holbeins were descended from a noble family of the 8city of ,uri40 ,this last statement1 however1 was largely imaginary1 and had its sole foundation in the fact that the ,holbein arms#gbb were the same as those of the canton of ,uri1 with the exception that the latter lacked the star between the bull's horns4 ,this ,philip ,holbein1 who1 according to ,von ,mechel1 had been living in ,vienna since #afjj1 had his petition granted on the #ast ,october in the following year1 #afab4 ,in #agef one of his descendants1 ,johann ,georg ,holbein1 who was connected with the ,court of ,chancery1 obtained a confirmation of the noble rank granted to his family in #afab1 with the surname of ,holbeinsberg1 and in #aghg was raised to the rank of a ,knight of the ,empire1 with the title of a noble of ,holbeinsberg4 ,footnote #gbb3 ,see ,vol4 i4 p4 #hc4 ,holbein's elder daughter1 ,katherine1 married in #aede a butcher named ,jacob ,gyssler1 a widower with a grown-up daughter4 ,among the papers of ,ludwig ,iselin there is a list of all the deaths which occurred in ,basel between #aehh and #afab1 from which we learn that she died on ,february #h1 #aeij4 ,she is described as ,katharina ,holbeinin1 daughter of the deceased ,hans ,holbein1 the distinguished painter1 wife of a butcher4 ,the second daughter1 ,kngolt1 or ,kunigunde1 after the death of her mother1 married a miller named ,andreas ,syff4 ,they had a numerous family1 and one of their granddaughters married ,friedrich ,merian1 brother of the well-known engraver1 ,matthas ,merian4 ,kngolt1 according to ,iselin's list1 died seven months after her sister1 on ,september #ae1 #aeij4 ,she is described in the same terms1 as the daughter of the celebrated artist4 ,in this list there also occurs the name of a third lady of the ,holbein family1 who died on the #agth ,september #aeid1 but she is merely described as 8,felicitas ,holbein1 wife of ,conrad ,volmar1 died of the plague10 and it is not certain that she was one of the painter's daughters4 ,nothing is known of the younger son1 ,jacob ,holbein1 except that he also became a goldsmith1 and that he came to ,england and died in ,london in the summer of #aeeb4 ,in #aedi1 at the time of his mother's death1 he was still a minor1 and the document in the ,basel archives dealing with the division of his property after his death is dated ,june #bg1 #aeeb4 ,no other record of his presence in ,london has been so far traced4 ,the name occurs in ,england both before and after ,hans ,holbein's residence here1 but in every case the bearers of it were almost certainly ,englishmen4 ,walpole mentions a ,holbein1 on the authority of an entry in a register at ,wells1#gbc as living in the reign of ,henry ,,vii1 and conjectures him to have been a foreigner1 and even a relation of ,hans1 and the possible author of some early paintings1 including a portrait of ,henry ,,vii4 ,in this1 however1 he was wrong4 ,his ,holbein was evidently an ,english country gentleman1 and probably some relative of a certain ,johannes ,holbyn of ,north ,stoke1 close to ,bath1 who died in #aedh1 and left a sum of money to the ,cathedral of ,wells4 ,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 ,folkestone1 dated ,august #ba1 #aecd1 who bequeathed forty-six shillings and eightpence for a new covered font for the parish church1 and of his widow1 who died shortly after him1 which is dated ,november #be1 #aecd1 and was proved in the following ,january4 ,these people were all ,english1 and had no connection with the painter4#gbd ,footnote #gbc3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #di4 ,footnote #gbd3 ,see ,sir ,a4 ,w4 ,franks1 ,archologia1 vol4 xxxix4 p4 #af2 ,w4 ,h4 ,hart1 ,proceedings ,soc4 of ,antiq41 #afth ,april #ahfc2 and ,wornum1 p4 #cgb4 ,holbein founded no school of painting either in ,england or ,switzerland1 and there is no evidence to show that he had any pupils4 ,it is probable that he employed assistants when engaged upon such wall-paintings as those he carried out in ,whitehall1 but whoever they may have been1 their engagement was only a temporary one4 ,as already noted1 there is no record1 as there is in the case of several other foreign artists then resident in this country1 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 illegal4 ,no pupil of his is mentioned by any of his early biographers1 and it seems almost certain that no one directly studied under him4 ,if there had been such a painter1 some record of him is almost certain to have survived4 ,there are a number of portraits1 as a rule of no very great artistic merit1 in various private collections in ,england1 which were evidently painted indirectly under his influence4 ,such examples are to be expected1 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 up1 who attempted to work in his methods and to copy his style4 ,it is hardly possible now that even the names of these third-rate imitators and ineffectual rivals will be unearthed4 ,sidenote3 ,,guillim ,,stretes ,as already stated1 prior to the discovery of his will almost all paintings bearing dates between #aedc and #aeed were ascribed to him2 even to-day1 in some instances1 the owners1 in spite of the impossibility1 still adhere to the great name1 as the catalogues of most of the exhibitions held within recent years dealing with the ,tudor period afford proof4 ,the authorship of these pictures must be sought for elsewhere1 though in many cases the task is one of extreme difficulty4 ,several painters of considerable talent were at work at the ,english court during the years immediately following ,holbein's death1 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 confidence4 ,such men as these were ,johannes ,corvus and ,gerlach ,fliccius2 but in other cases1 such as that of ,guillim ,stretes1 only the names and a few scanty records remain1 and it is impossible to point to any picture which can be said with absolute certainty to have been produced by them4 ,lucas ,hornebolt died in #aedd1 about six months later than ,holbein1 and in the same year ,girolamo da ,treviso was killed by a cannon-ball at the siege of ,boulogne4 ,several of the leading ,italian artists1 however1 continued to serve the court during the remainder of ,henry ,,viii's life and throughout the succeeding reign1 such as ,antonio ,toto1 the sergeant-painter1 his colleague1 ,bartolommeo ,penni1 and ,nicolas ,bellin of ,modena1 though no signed or authenticated picture by any one of them has survived4 ,one of the most important of ,holbein's immediate successors was the ,dutch painter1 ,guillim or ,gillam ,stretes1 though so far no mention of him has been found prior to the accession of ,edward ,,vi4 ,strype's extract from the records of the ,privy ,council1 having reference to a payment of fifty marks made to him for two pictures of the young ,king and one of the ,earl of ,surrey1 has been already quoted1#gbe as well as the fact that in #aeec he was receiving1 as ,king's painter1 an annuity of #fb1 #ajs41 more than double ,holbein's salary1 showing that he was a person of importance among the painters of ,edward's reign4 ,reference has also been made to the attribution to ,stretes of the full-length portrait of ,henry ,howard1 ,earl of ,surrey1 in the collection of the ,duke of ,norfolk at ,arundel ,castle1#gbf and of the duplicate version1 without the painted framework1 at ,knole4#gbg ,the attribution of these two works to ,stretes is based entirely on the ,privy ,council order4 ,dr4 ,waagen#gbh stated that the ,arundel ,castle portrait was inscribed 8,william ,strote10 but no one else has succeeded in discovering this signature1 and very possibly the name he quotes was seen by him on some old label then attached to the frame and since removed4 ,these two portraits1 as already noted1 have been grouped with several other full-lengths1 including the young man in red at ,hampton ,court ,palace 7,no4 #cde 7#cae771 wrongly described as a portrait of the ,earl of ,surrey1#gbi that of ,sir ,thomas ,gresham1 dated #aedd1 in ,mercers' ,hall1 the beautiful portrait of ,william ,west1 ,lord ,delawarr1#gcj belonging to ,lieut4-,col4 ,g4 ,l4 ,holford1 ,c4,i4,e41 ,c4,v4,o41 and the one of the ,earl of ,southampton1 #aedb1 in the ,fitzwilliam ,museum4#gca ,these portraits display somewhat close affinities1 though it is not possible to allow that all are by the same hand4 ,the portrait of ,william ,west is a work of great power and character1 and has been attributed to ,holbein himself1 but the style of the painting does not accord with his4 ,all these works are of considerably earlier date than that of the ,privy ,council order1 which is the earliest reference so far discovered touching this painter1 and it is extremely doubtful whether he had anything to do with them4 ,one is on safer ground in attributing to him some of the portraits of ,king ,edward1 which exist in considerable numbers1 two of which he certainly painted1 and very possibly others4 ,these portraits of the young ,king1 and ,stretes' probable connection with them1 have been dealt with in an earlier chapter4#gcb ,one other picture ,stretes is known to have painted1 for it is recorded that on ,new ,year's ,day1 #aeef1 he presented ,queen ,mary with 8a table of her ,majesty's ,marriage40#gcc ,this picture1 which must have been one of particular interest1 has completely disappeared4 ,dr4 ,williamson records a signed miniature by him of ,edward ,,vi1 almost full-face1 wearing a jewelled cap1 in ,earl ,beauchamp's collection at ,madresfield ,court1#gcd and he also attributes to the same painter a second miniature of the young ,king1 as a little boy1 in the ,rijks ,museum1 ,amsterdam4#gce ,footnote #gbe3 ,see pp4 #afh-agj4 ,footnote #gbf3 ,exhib4 ,burl4 ,fine ,arts ,club1 #aiji1 ,no4 #ed4 ,reproduced ,arundel ,club1 #aijg1 ,no4 #c2 ,pollard1 ,henry ,,viii1 p4 #bhd4 ,footnote #gbg3 ,see p4 #bja4 ,footnote #gbh3 ,waagen1 ,treasures of ,art in ,great ,britain1 vol4 iii4 p4 #cj4 ,footnote #gbi3 ,reproduced by ,law1 ,royal ,gallery of ,hampton ,court1 p4 #acf4 ,footnote #gcj3 ,exhibited ,royal ,academy ,winter ,exhibitions1 #ahgj1 ,no4 #bc2 #ahhj1 ,no4 #afg2 #aijh1 ,no4 #b2 ,burl4 ,fine ,arts ,club1 #aiji1 ,no4 #ea4 ,reproduced ,arundel ,club1 #aijh1 ,no4 #aj2 and ,burl4 ,fine ,arts ,club ,catalogue1 ,pl4 xvii4 ,footnote #gca3 ,see pp4 #bjd-bje4 ,footnote #gcb3 ,see pp4 #afh-agj4 ,footnote #gcc3 ,queen ,elizabeth's ,progresses1 vol4 i4 p4 xxxv41 and ,nichols' ,illustrations of ,ancient ,times1 p4 #ad4 ,footnote #gcd3 ,williamson1 ,history of ,portrait ,miniatures1 #aijd1 vol4 i4 p4 #ab4 ,reproduced1 ,pl4 v4 fig4 #c4 ,footnote #gce3 ,ibid41 ,pl4 xlvii4 fig4 #f4 ,sidenote3 ,,gerlach ,,fliccius ,of ,johannes ,corvus1 the ,fleming1 and his portraits of ,richard ,foxe1 ,bishop of ,winchester1 and of ,mary ,tudor1 sister of ,henry ,,viii1 the one undated1 and the other of the year #aecb1 some account has been already given4#gcf ,little is known of this painter1 or of ,gerlach ,fliccius or ,flicke1 who1 like ,holbein1 was ,german1 and appears to have settled in ,london towards the end of ,henry ,,viii's reign1 where he died in #aeeh4 ,recent researches by ,miss ,mary ,hervey#gcg have1 however1 added considerably to our knowledge of this painter and his work4 ,his will1 recently discovered1 which is dated #bdth ,january #aeeh1 and was proved by his widow on the #aath ,february following1 shows that he was living in the parish of ,st4 ,giles without ,cripplegate1 and that he possessed lands and goods in ,osnabrch1 of which place he was no doubt a native4 ,in this document he calls himself 8,drawer10 and gives his name as ,garlick ,flicke1 and it was under the name of ,garlick that he was generally known in this country4 ,the ,lumley inventory includes three portraits by him--a full-length1 described as 8,the ,statuary of ,thomas first ,lo3 ,darcy of ,chiche1 created by ,king ,edw4 #f4 ,ld ,chamberlayne to the said ,k4 ,edw43 drawn by ,garlicke10 and two small ones of 8,queen ,marye1 drawne by ,garlicke10 and 8,thomas1 the third ,duke of ,northfolke1 drawne by ,garlicke40 ,unfortunately these three portraits have disappeared--the full-length of ,lord ,darcy in quite modern times4 ,until #ahed it was hanging in ,irnham ,hall1 ,lincolnshire1 but in that year the house and its contents were sold1 and the present whereabouts of the picture has so far not been traced4 ,miss ,hervey gives a list of eight portraits which can be attributed with more or less certainty to ,fliccius4 ,in addition to the three from the ,lumley ,collection1 there are three others in the collection of the ,marquis of ,lothian at ,newbattle ,abbey1 ,dalkeith1 the portrait of ,archbishop ,cranmer in the ,national ,portrait ,gallery1 and the small double portrait of the painter himself and his friend1 ,richard ,strangeways4 ,the three at ,newbattle ,abbey#gch are of great interest1 though it is impossible to describe them in detail here4 ,the finest1 which is dated #aedg1 and is signed 8,gerlacius ,fliccs ,germans faciebat10 represents an unknown man of the age of forty1 whom ,miss ,hervey tentatively suggests to be ,william1 ,lord ,grey of ,wilton1 clad in a slit buff jerkin and a black velvet surcoat trimmed with fur4 ,it is a portrait of considerable power1 and though it has suffered from repainting still appears to have been the work of a man of more than ordinary artistic talents4 ,the second portrait at ,newbattle--of ,sir ,peter ,carew--has many points in common with it1 and was probably painted at about the same time4 ,the portrait of ,archbishop ,cranmer in the ,national ,portrait ,gallery is stiffer in style than these1 and suggests a more obvious attempt to follow the manner of ,holbein1 but though very carefully painted and with every appearance of truth of portraiture1 lacks the vitality which stamps everything from the hand of the master4 ,it is signed 8,gerbicus ,flicciis ,germanus faciebat10 and though undated was1 according to the sitter's age1 painted in #aede4 ,the curious double portrait1 on a small oak panel1 of ,flicke and his friend ,strangeways or ,strangwish1 the gentleman privateer1 known as the 8,red ,rover10 was painted in prison in #aeed4 ,the artist seems to have been mixed up in ,wyat's rebellion1 and as a result he and his friend were imprisoned1 but afterwards released4 ,over each head is painted a verse1 that above ,flicke's in ,latin1 which1 translated1 runs3 8,such in appearance was ,gerlach ,fliccius1 what time he was a painter in the ,city of ,london4 ,this portrait he painted from a mirror for his dear friends1 that they might be able to remember him after his death40 ,the lines over ,strangeways are in ,english3 8,strangwish thus strangely depicted is1 ,one prisoner for thother hath done this2 ,gerlin hath garnisht for his delight1 ,this woorck whiche you se before youre sight40 ,footnote #gcf3 ,see ,vol4 i4 p4 #bfi4 ,footnote #gcg3 ,see ,burlington ,magazine1 vol4 xvii41 ,may #aiaj1 pp4 #ga-i1 and ,june #aiaj1 pp4 #adg-h1 from which most of the following facts have been taken2 and ,j4 ,g4 ,nichols1 ,archologia1 xxxix4 pp4 #dj-da4 ,footnote #gch3 ,all reproduced by ,miss ,hervey in ,burlington ,magazine1 as quoted4 ,the background is blue4 ,the present ownership of this picture is unknown4 ,the remaining picture1 at ,newbattle ,abbey1 is a small portrait of ,jacques de ,savoie1 duc de ,nemours1 showing the head and shoulders only of a young man with fair hair and a very slight beard and moustache1 in ,french dress1 and wearing the ,order of ,st4 ,michael4 ,it betrays the influence of the ,french school1 and is in style of marked difference to his other known works4 ,it was identified in #aiji by ,m4 ,dimier1 who discovered three crayon drawings taken from it1 all of them bearing the title given above4 ,the original picture is signed 8,g4 ,fliccus ft410 and on the back is an old label with 8,origl4 ,fliccus ft40 ,miss ,hervey suggests that it was painted on the ,continent about #aeee4gci ,footnote #gci3 ,reproduced by ,miss ,hervey1 ,burlington ,magazine1 vol4 xvii41 ,june #aiaj1 p4 #adh1 together with one of the ,french drawings4 ,sidenote3 ,,hans ,,eworthe ,,or ,,eeuwouts ,recent researches on the part of ,mr4 ,lionel ,cust have established the identity of another foreign painter of considerable skill1 who was at work in ,england some years after ,holbein's death1 but who hitherto has been known only under the initials ,h4 ,e4#gdj ,this monogram occurs on a number of pictures of important personages bearing dates from #aeej to #aefh1 the earliest of them being on a portrait at ,longford ,castle1 formerly known as ,sir ,anthony ,denny1 but now recognised as ,sir ,thomas ,wyndham4 ,these portraits have usually been given to ,lucas d',heere1#gda of ,ghent1 although all that is known of that painter's life1 including the fact that he did not come to ,england before #aefh1 made the attribution of any one of them to him one of great difficulty4 ,mr4 ,cust1 by means of certain entries in the ,lumley inventory1 has proved that the real author of them was a certain ,jan ,eeuwouts1 of ,antwerp1 whose name became anglicised into ,haunce or ,hans ,eworthe4 ,three of the ,lumley portraits are described as the work of ,eworthe--8,mr4 ,edw4 ,shelley slayne at ,mustleborough fielde1 drawen by ,haunce ,eworthe02 8,haward a ,dutch ,juellor1 drawne for a ,maisters prize by his brother1 ,haunce ,eworthe02 and 8,mary ,duches of ,northfolke1 daughter to the last ,earle of ,arundell ,fitzallan1 doone by ,haunce ,eworthe10 the last one being in all probability the portrait now at ,arundel ,castle1 which is signed ,h4 ,e4 in monogram4 ,several other portraits in the ,lumley inventory1 though no painter's name is given1 still exist1 and bear this monogram1 such as the small double portrait of ,lord ,darnley and his brother1 ,charles ,stewart1 at ,windsor ,castle2 ,lord ,maltravers at ,arundel ,castle2 ,sir ,john ,lutterel1 dated #aeej1 at ,dunster ,castle2 and ,sir ,thomas ,wyndham1 also dated #aeej1 at ,longford ,castle4#gdb ,these portraits prove that ,eworthe was much employed by ,lord ,lumley or his father-in-law1 the last ,earl of ,arundel1 at ,nonsuch ,palace4 ,mr4 ,cust has traced him as a resident alien in ,london in #aeeb in the parish of ,st4 ,saviour's1 ,southwark4 ,he is described in the return as 8,john ,ewottes1 paynter10 and assessed at the high rate of eight guineas1 and he employed a servant named ,john ,mychell1 who was assessed at eightpence4 ,as 8,jan ,eeuwouts1 schilder10 he was admitted a free master of the ,guild of ,st4 ,luke in ,antwerp in #aedj4 ,it is thus possible that he was a native of that city4#gdc ,footnote #gdj3 ,see ,burlington ,magazine1 vol4 xiv41 pp4 #cff-h4 ,footnote #gda3 ,for an account of d',heere's work in ,england1 see ,lionel ,cust in ,dict4 of ,national ,biography1 #ahhh1 vol4 xiv41 in the ,magazine of ,art1 #ahia1 and in the ,proceedings of the ,huguenot ,society of ,london1 vol4 vii4 ,no4 #a1 #aijc4 ,footnote #gdb3 ,reproduced in the ,catalogue of the ,earl of ,radnor's ,pictures1 #aiji1 ,no4 #afe4 ,footnote #gdc3 ,for further details concerning ,hans ,eworthe1 see ,mr4 ,cust's paper1 already quoted1 in the ,burlington ,magazine1 and ,mr4 ,w4 ,barclay ,squire's notes to the portrait of ,sir ,thomas ,wyndham in the ,earl of ,radnor's ,catalogue4 ,the latter describes all the portraits which so far can be attributed to ,eworthe with any degree of certainty4 ,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 #afce4 ,the entry is as follows3 8,hans ,evolls--,a little head of ,queen ,mary40#gdd ,the spelling of most of the names in this inventory is largely phonetic1 and evidently the work of some person with little knowledge of such matters1 so that he may easily have turned ,eworthe into ,evolls4#gde ,the following statement of ,walpole's also suggests a possible connection with ,eworthe3 8,another picture of ,edward ,,vi was in the collection of ,charles ,i1 painted by ,hans ,hueet1 of whom nothing else is known4 ,it was sold for #bjl4 in the civil war40#gdf ,footnote #gdd3 ,see ,burlington ,magazine1 vol4 x41 ,march #aijg1 p4 #chb4 ,footnote #gde3 ,or the double l may be merely a mistake of the compiler of the catalogue for a double t4 ,footnote #gdf3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #acf4 ,sidenote3 ,,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 ,elizabeth1 such as ,mor1 who came over in #aeec1 ,joos van ,cleve1 who did so in #aeed1 and ,lucas d',heere4 ,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 names1 but1 taking them as a body1 they must have been men of very modest talent1 and in portraiture1 when they essayed it1 merely feeble imitators either of ,holbein or one of the other leading foreigners at ,henry's court4 ,among them were ,john ,shute1 painter and architect1 and ,john ,bettes1 both of whom are described as miniature painters by ,richard ,haydock in his translation of ,lomazzo on ,painting 7#aeih71 and1 apparently1 as contemporaries of ,nicholas ,hilliard4 8,limnings10 he says1 8much used in former times in church-books1 as also in drawing by the life in small models1 of late years by some of our countrymen1 as ,shoote1 ,betts1 c41 but brought to the rare perfection we now see by the most ingenious1 painful1 and skilful master1 ,nicholas ,hilliard40#gdg ,meres1 in ,palladis ,tamia1 ,wits ,treasury1 the second part of his ,wits ,commonwealth1 also published in #aeih1 in giving a list of the leading painters in ,england at that time1 mentions 8,thomas and ,john ,bettes40 ,from these two entries it seems clear that ,bettes was an ,elizabethan miniature painter1 and ,vertue1 who was of opinion that he learned from ,hilliard1 mentions a miniature by him of ,holbein's sitter1 ,sir ,john ,godsalve1 in which he was represented with his spear and shield1 with the inscription 8,captum in castris ad ,boloniam #aedj40gdh ,there is1 however1 in the ,national ,gallery a small portrait of ,edmund ,butts 7,no4 #adif71 a son of ,sir ,william ,butts1 another of ,holbein's sitters1 to which reference has been already made1#gdi which is attributed to ,john ,bettes1 and bears the date #aede4 ,if this attribution1 based on a ,french inscription on the back of the panel1 be correct1 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 him1 quoted above1 which have been so far discovered1 and that he may even have been personally acquainted with ,holbein4 ,the portrait in the ,national ,gallery is a work of considerable merit1 and possesses certain ,holbeinesque characteristics4 ,in any case1 the date upon it makes it impossible1 if painted by ,bettes1 that he could have been ,hilliard's pupil1 as ,vertue asserted4 ,little or nothing is known of his work1 though1 according to ,dr4 ,williamson1 there is a fine miniature of an unknown man by him in the ,montagu ,house ,collection1 signed 8,j4 ,b4 #aehj02gej and a second1 of a somewhat earlier date1 a portrait of ,gaspard de ,coligny1 ,admiral of ,france1 apparently unsigned1 in ,lord ,beauchamp's possession at ,madresfield ,court4#gea ,dr4 ,williamson also notes a quaint miniature of ,edward ,,vi as a baby in the ,rijks ,museum1 ,amsterdam1 which in an old inventory of the ,dutch royal possessions is attributed to ,bettes4#geb ,fox1 in his ,ecclesiastical ,history1 states that ,john ,bettes drew the vignettes for ,hall's ,chronicle4 ,still less is known of ,thomas ,bettes1 but there was a miniature in the ,propert ,collection of ,john ,digby1 ,earl of ,bristol1 which was given to him4 ,footnote #gdg3 ,quoted by ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #agb4 ,footnote #gdh3 ,walpole1 ,anecdotes1 ed4 ,wornum1 i4 p4 #ach4 ,footnote #gdi3 ,see p4 #baj4 ,footnote #gej3 ,williamson1 ,history of ,portrait ,miniatures1 #aijd1 vol4 i4 p4 #ac2 reproduced ,pl4 iv4 fig4 #b4 ,footnote #gea3 ,ibid41 ,pl4 iv4 fig4 #a4 ,footnote #geb3 ,ibid41 ,pl4 xlvii4 fig4 #d4 ,another painter1 of whom little is known but his name1 was ,nicholas ,lyzarde1 who is generally considered to have been an ,englishman1 though ,mr4 ,digby ,wyatt speaks of him as ,nicolo ,lizardi4#gec ,he was employed about the ,court during the last years of ,henry ,,viii's reign4 ,thus1 in #aedc-d he was at the head of a band of painters engaged on work in connection with some revels at ,hampton ,court1 for which he received higher wages than the others--8,wages to painters3 ,nichs ,lezard #ah;d per diem02 and in #aedd-e he supplied various materials and properties for some other masque--8,paste work and painting1 ,nicholas ,lizarde1 painter1 for gyldinge under garments for women1 of white and blue sarcenet1 with party gold and silver1 #d li42 #h pastes for women1 #bj;d42 #h long heads for women1 made of past gilded1 with party gold and silver1 #dcs4 #d;d40 c4 ,he was afterwards in the regular employment of the ,court throughout the reigns of ,edward ,,vi1 ,mary1 and ,elizabeth1 being serjeant-painter to the last-named ,queen1 with a pension or salary of #aj a year4 ,nothing of his work remains that can be identified1 but that he painted 8subject0 pictures is to be gathered from a ,new ,year's gift he presented to ,queen ,mary in #aeef of a 8table painted with the ,maundy10 while in #aeeh his gift to ,queen ,elizabeth was 8a table painted of the history of ,assuerus10 for which he received a gilt cruse of some #h oz4 in weight4 ,he died in ,april #aega1 and at the time was living in the parish of ,st4 ,martin's-in-the-,fields1 and left a family of five sons and four daughters4#ged ,footnote #gec3 8,foreign ,artists in ,england10 c41 ,transactions ,royal ,inst4 ,brit4 ,architects1 #ahfh1 pp4 #bah and #bce4 ,it may be suggested that this painter was the 8,master ,nycolas0 or 8,nicholas ,florentine0 who worked with ,holbein on the decorations of the ,greenwich ,banqueting ,hall in #aebg2 while a possible1 though not very probable1 connection between ,nicholas ,lyzarde and ,nicholas ,lasora1 who was engaged upon similar work at ,westminster ,palace in #aecb1 has been already pointed out4 ,lasora1 however1 in spite of his ,italian-sounding name1 appears to have been a ,teuton1 for he may be identified with some probability as the 8,nic4 ,leysure1 a ,german10 mentioned more than once in the royal accounts4 ,see vol4 i4 p4 #cad and note4 ,footnote #ged3 ,j4 ,g4 ,nichols1 ,archologia1 vol4 xxxix4 p4 #de4 ,that he was not ,english seems probable from the fact that he was assessed and taxed at the customary rate for foreigners4 ,see pp4 #ahh-i4 ,sidenote3 ,,his ,,imitators ,,and ,,copyists ,in the wider field of ,european art1 also1 it is impossible to point to any painter who was a pupil1 or even a direct follower1 of the master4 ,sandrart says that ,christopher ,amberger 8followed the famous artist ,holbein in his manner of painting1 and especially in portraiture10 but modern criticism does not endorse this statement4 ,in any case1 his opportunities of studying ,holbein's works must have been few1 though ,woltmann considered that he certainly did so1 and regarded him1 if not as an actual pupil1 yet as a real follower of the master4#gee ,it is not to be expected1 indeed1 that ,holbein should have formed any definite school1 though he must have influenced painting in ,basel during his first and longest residence in that city2 but1 except for that period1 his life was more or less a wandering one1 and he never1 during his short career1 settled for a long enough time in any one place to have allowed him to gather any considerable body of pupils around him4#gef ,footnote #gee3 ,woltmann1 i4 p4 #dhh4 ,footnote #gef3 ,on this point1 however1 see ,elsa ,frlicher1 ,die ,portrtkunst ,hans ,holbeins des ,jngeren und ihr ,einfluss auf die schweizerische ,bildnismalerei im ,,xvi ,jahrhundert1 #aiji1 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 century1 such as ,hans ,asper1 ,tobias ,stimmer1 ,kluber1 ,clauser1 and ,hans ,bock the ,elder4 ,the work of his imitators and copyists1 such as they were1 is to be found in the portraits scattered about the older country houses and mansions of ,england1 where they are usually attributed to ,holbein himself1 often when the date upon them makes it impossible that he could have painted them4 ,among them are numerous old copies of still-existing portraits by him1 which indicate the estimation in which his work was held for years after his death4 ,for instance1 in the fire which burnt down ,knepp ,castle1 ,sussex1 in ,january #aijd1 a number of pictures were destroyed1 including no less than eight attributed to ,holbein4 ,the titles of nearly all of them were familiar enough--,sir ,henry and ,lady ,guldeford1 ,anne of ,cleves1 ,thomas ,cromwell1 ,sir ,richard ,rich1 and gidius--indicating that they were most probably merely replicas or copies4 ,it is true that ,holbein occasionally painted a replica1 but this was very rarely1 and in most cases the portraits in question were the work of far less skilful men1 and owed their existence to the desire of the descendants of ,holbein's original sitters to possess copies of the older family portraits4 ---------------------------------------- -------------------------------- ,,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 art1 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 ,drer and ,holbein4 ,,holbein',s art was many-sided1 but1 through the cruel caprice of ,fate1 he is known to-day to most people merely as a great portrait-painter1 and1 in a lesser degree1 as a designer of woodcut illustrations of remarkable power and imagination4 ,it is true1 of course1 that during the latter part of his life1 after he had settled more or less permanently in ,england1 his time was almost entirely occupied with portraiture1 and that1 beyond portraits1 little or nothing of his work remains in this country upon which to form a judgment of the versatility of his genius2 and it is true also that his stupendous gifts in this field of art were bound to find free expression4 ,that portrait-painting1 however1 became in the end his chief occupation was due much more to his environment than to his own personal choice4 ,there was little demand in this country for any other form of art1 and the painter1 as was only natural1 supplied what his patrons asked of him4 ,it is not to be supposed that the master who was capable of producing such great works as the 8,meyer ,madonna10 or the various altar-pieces and glass designs illustrating the 8,passion10 would have abandoned painting such compositions had he received any encouragement to continue2 but such encouragement came to a more or less abrupt conclusion during the stormy days of the ,reformation in ,basel1 and for the remainder of his life ,holbein produced little or nothing in the field of sacred art4 ,the few examples of this nature from his brush which remain place him in the front rank of sixteenth-century painters1 and had his birthplace been south instead of north of the ,alps1 and his life spent amid surroundings more sympathetic to this side of his genius1 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 ,renaissance4 ,sidenote3 ,,disappearance ,,of ,,decorative ,,works ,it is with respect to those larger decorative works1 however1 upon which he was engaged from time to time throughout his life1 both in ,switzerland and ,england--works for which in his own day he was so justly celebrated--that ,fate has treated him most unkindly4 ,the total disappearance of his great wall-paintings and monumental decorations is not only an immense loss to art1 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 powers4 ,not a single example of his skill as a mural decorator remains4 ,the passage of time1 the carelessness of those whose duty it was to preserve them1 and the ravages of fire and of the weather1 gradually obliterated these paintings1 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 authorities4 ,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 court1 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 which1 though different1 have been equally effective in their powers of destruction4 ,damp1 dirt1 and neglect brought about the gradual fading away of his great series of wall-paintings in the ,council ,chamber of the ,basel ,town ,hall2 while similar works of his ,english period1 the wonderful 8,triumphs0 painted for the banquet-hall of the ,german ,steelyard1 and the great fresco of ,henry ,,viii with his parents and ,jane ,seymour in ,whitehall1 have disappeared1 the former on the final breaking up of the ,german trade monopoly in this country1 and the dispersal of the contents of the ,steelyard buildings1 and the latter in the fire of #afih4 ,gone1 too1 is the large canvas of 8,the ,battle of ,spurs10 painted for the festivities at ,greenwich in #aebg1 one of the first of ,holbein's important undertakings in ,england4 ,no trace of this painting now remains1 and a similar fate has befallen the great picture of ,sir ,thomas ,more and his family1 though in this case it is not absolutely certain that ,holbein himself ever completed it4 ,finally1 death cut him down as he was engaged upon the most elaborate portrait group he ever undertook1 which was not half finished when he fell a victim to the plague4 ,this list of lost or ruined masterpieces is a long one4 ,unfortunately1 the tale is by no means uncommon in the history of art1 but ,holbein has suffered in this way more severely than most4 ,of their beauty and their imaginative power it is now only possible to judge from a few fragments of some of the original frescoes1 some inferior copies of certain of them1 and a number of masterly sketches and preliminary studies from ,holbein's own hand preserved in the ,basel ,gallery1 the ,british ,museum1 the ,louvre1 and elsewhere4 ,these latter1 scanty as they are1 remain priceless treasures1 for only by means of them is it possible to gain some idea1 though it is a pale reflection at the best1 of the greatness of ,holbein's achievement in the higher branches of art1 the loftiness of his ideals in his monumental paintings1 and the wide range of his genius4 ,in all these large decorative works ,holbein displayed the greatest fertility of invention1 and a power of dramatic composition of a very high order4 ,the extraordinary energy of conception1 the sense of life and movement in all his figures1 the truth and expressiveness of their gestures1 are all alike admirable4 ,this dramatic power is at its finest in his wall-paintings for the ,basel ,town ,hall--the 8,rehoboam0 and the 8,samuel and ,saul02 while in dignity and grandeur of composition1 and the noble rhythm of its stately movement1 the 8,triumph of ,riches0 panel for the ,steelyard is unsurpassed4 ,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 placed4 ,these settings show how quickly and completely he made the new ideas and decorative motives of the ,renaissance his own1 while the pictures themselves1 for which they formed the background and the frame1 breathe the lofty spirit of ,raphael and ,mantegna4 ,though there is no slavish copying of the art and architecture of ,northern ,italy1 their influence is to be seen so plainly in the work of his younger days that1 as pointed out in earlier chapters1 at least a short visit to ,lombardy on his part seems to have been absolutely certain4 ,sidenote3 ,,his ,,fertile ,,imagination ,the same qualities and the same influences are to be discerned in his designs for painted windows and the decoration of books2 though smaller in scale1 they are conceived with an equal grandeur and dramatic intensity4 ,indeed1 in his 8,dance of ,death0 woodcuts and illustrations to the ,old ,testament his imaginative and dramatic powers reached their highest manifestation4 ,minute as they are in execution1 they produce the same effects of largeness and dignity of composition as his great wall-paintings must have done4 ,in the 8,dance of ,death0 in particular the wideness of ,holbein's range of vision1 the greatness of his style in design1 and the intense vitality of his art are seen to the best advantage4 ,these little pictures1 a few inches square1 express within their borders almost the whole range of the emotions1 from the tender sympathy of the lovely 8,death and the ,ploughman10 and the poignant grief of 8,death and the ,little ,child10 down to the terror1 horror1 and violence which is encountered in others of the series in which ,death suits his coming to the character of his victims4 ,such works as these show the greatness of ,holbein as an imaginative artist4 ,another side of his nature and his art appears in such a design as his 8,peasants' ,dance0 on the faade of the ,haus zum ,tanz in ,basel1 in which the ,teutonic element in his character finds full play4 ,the boisterous1 even brutal1 merriment of these fellow-countrymen of his1 as they fling themselves into the pleasures of the dance with the utmost abandon1 made an undoubted appeal to him1 and in depicting them he expressed the joy of living which animates every movement with the utmost frankness and realism4 ,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 art4 ,in him the ,renaissance found very complete expression4 ,this is also to be seen in his innumerable designs for jewellery and the smaller decorative arts1 of which1 happily1 there still remain many examples4 ,both in book ornamentations and illustrations1 in work for the goldsmith and silversmith1 the jeweller1 and the maker of stained and coloured glass1 he showed himself to be in closest sympathy with the new movement4 ,in his earlier works the effect of this influence appears in the exuberant use he made of the models which he had recently studied1 some of the glass designs being overloaded with fantastic reminiscences of the details of ,lombardic architecture4 ,later on1 when he had completely grasped the full beauty of the ,renaissance forms1 his taste became purer1 and he adapted them to his uses with the happiest results4 ,in his drawings for personal ornaments and jewellery1 most of the best of which were done in ,london1 the earlier exuberance is restrained1 and the design is of the purest ,renaissance taste1 in the practice of which he became an absolute master4 ,these working drawings show infinite invention kept within the true limitations of the materials to be used1 frequently combined with very skilful adaptation of the human figure to decorative purposes4 ,it would be difficult to find a more beautiful design in the ,renaissance style than the one of the so-called ,jane ,seymour ,cup1 in which ,holbein more than holds his own with the best ,italian workers in this field4 ,sidenote3 ,,brilliance ,,of ,,his ,,draughtsmanship ,his sacred paintings1 in so far as can be judged from those which remain1 most1 if not all1 of which were done before he had reached the age of thirty1 possess similar qualities to those of his mural and historical works1 and had he but received some little encouragement from the ,english court1 he was capable of producing even finer masterpieces than the 8,meyer ,madonna0 during the seventeen or eighteen remaining years of his life4 ,in his 8,passion0 and kindred pictures the composition is usually admirable1 and the subject treated with that strong dramatic sense which has been noted already as one of the chief characteristics of his frescoes1 while in depth and earnestness of feeling they fall but little short of the work of the greatest of the ,italians4 ,in the ,meyer and the ,solothurn ,madonnas there is an air of divine tranquillity1 and a loftiness and purity in the expression of spiritual beauty1 which are combined in the happiest and most exquisite way with remarkable truth to nature1 and vividness of accurate and sympathetic portraiture in the figures both of the ,virgin and the ,divine ,child1 and those1 in the one case1 of the kneeling donor and his family1 and1 in the other1 of the attendant saints4 ,added to these qualities1 the rich1 subdued1 and harmonious colour gives a still greater truth and beauty to the whole4 ,in the panel at ,darmstadt1 indeed1 the painter has reached the full perfection of his art1 and that he painted nothing more of this nature must always be a source of deep regret to all who admire him4 ,in portraiture ,holbein's genius reached its highest manifestations4 ,this gift was largely inherited from his father1 but was carried to a much greater pitch of excellence by the son4 ,his technical methods1 too1 were those of his father1 and here again were developed by him to a far greater refinement of touch and skill in modelling2 and to these methods he remained constant throughout his life4 ,there is a striking contrast between the rapidity and brilliance of the draughtsmanship of the preliminary studies for his portraits and the patient1 concentrated1 minute1 and delicate brush-work of the finished portraits themselves4 ,in all his completed work he spared himself no pains in the painting of the accessories and details1 though in none of it1 brilliant and absolutely truthful as it is1 is there any sense of mere display1 any boastful attempt to show the world how clever he was4 ,he painted all such details with a loving care and an evident delight in their beauty1 and wrought them with a perfection and fidelity which has rarely if ever been surpassed4 ,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 reached4 ,yet the elaboration of subordinate things is never overdone2 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 work4 ,this manipulative skill delights and attracts1 but is forgotten when the portrait itself is examined4 ,without any apparent effort on the part of the painter1 the sitter looks out from the panel just as he did in life1 set down without flattery1 with no harsh features softened1 and with his character1 seized with such penetrative and imaginative power by ,holbein1 fixed for ever with unerring truth and errorless draughtsmanship for succeeding generations to see and to admire4 ,this effect of absolute truth of portraiture and revelation of character1 the one due to the wonderful delicacy1 subtlety1 and expressiveness of his line1 and the other to his sympathetic insight1 is obtained by what appear to be the simplest and most straightforward methods4 ,there is a dignity and reticence about the portraits which is admirable4 ,without thought of self1 he occupies himself entirely with the truth as he sees it1 and with his desire to realise it as completely as possible2 no brilliance of technical skill mars the self-restraint with which he approaches his sitter4 ,he puts little of himself into his portraits1 and leaves out little that is worth knowing about the subjects of them4 ,no great subtleties of light and shade are attempted1 and his colour1 beautiful and true as it is1 helps but does not overpower his chief purpose--the complete realisation of the man both in body and soul4 ,holbein was a painter whose keenness of observation was extraordinary2 he missed little or nothing1 and saw much that lesser painters would have ignored4 ,with his smooth1 fusing methods of painting he reached to most marvellously delicate and accurate modelling of form1 which in its expressiveness is beyond all words4#geg ,footnote #geg3 ,the writer finds it impossible to agree with a recent critic1 ,m4 de ,wyzewa1 who1 in a review of ,dr4 ,ganz's ,holbein1 in the ,revue des ,deux ,mondes1 ,january #ae1 #aiab1 speaks of the 8half-confidences0 of ,holbein's portraiture1 and holds that although the painter himself sees clearly the inmost depths of his sitters' characters1 he yet refrains from revealing them to us4 ,when the moment comes for laying bare their deepest feelings 8the prudent ,swabian workman1 through his instinctive reserve1 holds back40 ,in this respect1 therefore1 he compares him unfavourably with such masters as ,drer1 ,rembrandt1 and ,velazquez1 8who abandon themselves to their genius for psychological divination10 whereas ,holbein refuses us access to the souls of his sitters1 though at the same time indicating that he himself has penetrated to the mysterious depths4 ,he speaks of this as his 8professional hypocrisy10 and says that he cannot be excused for thus concealing the exact truth of the characters of the great personages who sat to him4 ,he sees similar traits in ,holbein's sacred paintings1 and this insensibility he regards as not real1 but feigned1 springing from the intelligence rather than from the heart4 ,lovers of ,holbein's art1 however1 will find it difficult to follow him in his contention4 ,as a draughtsman pure and simple he stands among the very highest2 in some of the qualities of his line he has never been surpassed or even equalled4 ,in the ,windsor and kindred drawings1 preliminary studies for his portraits1 his genius finds its most perfect expression1 and these are1 in many ways1 the greatest of his works4 ,slight as most of them are1 they contain all the elements of great art4 ,every fine quality1 except colour1 that is to be found in his finished portraiture is to be found here also1 and more plainly to be seen1 and produced without apparent effort or hesitation4 ,the swiftness yet sureness of his touch1 the wonderful delicacy yet strength of his supple1 forceful line1 its subtlety and flexibility1 the penetrative insight1 the freedom from all traces of mannerism1 and the perfect unity of brain1 eye1 and hand shown in these drawings1 combine to produce the most vivid effect of truthful1 living portraiture4 ,his complete mastership is revealed in every touch4 ,sidenote3 ,,holbein ,,and ,d,,rer ,in the ,german school of painting ,drer was the last and the greatest of the medivalists2 ,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 ,alps4 ,the art of these two great masters is1 in consequence1 in many ways so divergent that it is difficult to make any comparison between them4 ,holbein was the first of the painters of northern ,europe who was modern in the sense of the term as we understand it to-day4 ,drer was steeped in the spirit of the older schools1 both of thought and of art1 a dreamer of dreams1 a weaver of fantasies1 and much of his work had a spiritual passion which ,holbein's lacked1 while his art was imbued through and through with the feeling of the ,middle ,ages4 ,on the other hand1 one of the characteristic features of ,holbein's work was its serenity and saneness4 ,as already pointed out1 he had great imaginative power1 which he could use at times with dramatic intensity4 ,realism in his painting reached a very high and at the same time a very noble development4 ,his delight in nature is evident in all that he did2 he observed her minutely1 and took the utmost pleasure in reproducing her manifold beauties down to the smallest details1 while his work was filled with a frank delight in life and close sympathy with all things1 animate and inanimate1 in the world around him4 ,philosophical thought or theological subtleties left him untroubled4 ,that he was on the side of the ,reformation is made clear by more than one of his woodcut designs1 but his share in the controversy was after all a minor one1 and marked by little or none of that passion which swayed the more eager partisans on either side4 ,true child of the ,renaissance as ,holbein was1 he was yet one of the most original of artists4 ,his strong individuality stamped everything that he touched2 for though the influences under which he was trained can be traced throughout his career1 they in no way dominated his genius1 which found its own true expression4 ,circumstances combined to give this originality the fullest play4 ,both in ,basel and in ,london there was no school of painting worthy of the name1 and the artists who worked there had little or nothing to teach him4 ,in both these cities it was he who was the master who towered head and shoulders above his fellow-painters4 ,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 touched4 ,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 ,academy4 8,albert ,drer10 he says1 8may be regarded as par excellence the typical ,german artist--far more so than his great contemporary1 ,holbein4 ,he was a man of a strong and upright nature1 bent on pure and high ideals1 a man ever seeking1 if ,i may use his own characteristic expression1 to make known through his work the mysterious treasure that was laid up in his heart2 he was a thinker1 a theorist1 and1 as you know1 a writer2 like many of the great artists of the ,renaissance1 he was steeped also in the love of ,science4 ,his work was in his own image2 it was1 like nearly all ,german ,art1 primarily ethic in its complexion2 like all ,german ,art it bore traces of foreign influence--drawn1 in his case1 first from ,flanders and later from ,italy4 ,in his work1 as in all ,german ,art1 the national character asserted itself above every trammel of external influence4 ,superbly inexhaustible as a designer1 as a draughtsman he was powerful1 thorough1 and minute to a marvel1 but never without a certain almost caligraphic mannerism of hand1 wanting in spontaneous simplicity--never broadly serene4 ,in his colour he was rich and vivid1 not always unerring as to his harmonies1 not alluring in his execution--withal a giant4444 ,in ,holbein we have a complete contrast to the great ,franconian of whom ,i have just spoken2 a man not prone to theorise1 not steeped in speculation1 a dreamer of no dreams2 without passion1 but full of joyous fancies1 he looked out with serene eyes upon the world around him2 accepting ,nature without preoccupation or afterthought1 but with a keen sense of all her subtle beauties1 loving her simply and for herself4 ,as a draughtsman he displayed a flow1 a fullness of form1 and an almost classic restraint which are wanting in the work of ,drer1 and are1 indeed1 not found elsewhere in ,german ,art4 ,as a colourist1 he had a keen sense of the values of tone relations1 a sense in which ,drer again was lacking2 not so ,teutonic in every way as the ,nuremberg master1 he formed a link between the ,italian and the ,german races4 ,a less powerful personality than ,drer1 he was a far superior painter4 ,proud may that country be indeed that counts two names so great in art40#geh ,footnote #geh3 ,leighton1 ,addresses delivered to the ,students of the ,royal ,academy1 #bnd edition1 #ahig1 pp4 #cje-f4 7,dec4 #i1 #ahic47 ,sidenote3 ,,ruskin ,,on ,,holbein ,it is quite true that he was a better painter than ,drer1 for his mastery of the technical side of his art was complete1 while his artistic temperament found expression in many different branches of the decorative arts and crafts4 ,he was thus much more than a great painter3 he was a great artist and a great craftsman as well1 for though he did not actually cut the wood blocks he designed1 or fashion the actual cups of gold and silver for which he made the working drawings1 he had so perfect a knowledge of the practical side of the crafts1 and of the artistic capabilities and the limitations of the mediums in which his designs were to be carried out1 that he was indeed the 8notable workman0 which ,erasmus called him4 ,in all that he did1 the greatness and the individuality of his style1 his power of dramatic composition1 the versatility of his imagination and his restraint in the use of it1 his serene outlook upon life1 and the perfect and unerring unison of his eye and hand1 combine with his insight into character and technical skill of the rarest quality to make him one of the few great masters of the world4 ,ruskin's judgment of him1 when comparing him with ,sir ,joshua ,reynolds1 is so true and so just1 that1 although so well-known1 a sentence from it may be quoted here in conclusion4 8,the work of ,holbein10 he says1 8is true and thorough1 accomplished in the highest1 as the most literal sense1 with a calm entireness of unaffected resolution which sacrifices nothing1 forgets nothing1 and fears nothing4 ,holbein is complete2 what he sees1 he sees with his whole soul2 what he paints1 he paints with his whole might40#gei ,footnote #gei3 ,ruskin1 8,sir ,joshua and ,holbein10 in ,cornhill ,magazine1 ,march #ahfj4 ---------------------------------------- -------------------------------- ,,appendix 7,a7 ,,early ,,drawing ,,by ,,holbein ,,in ,,the ,,maximilians ,,museum1 ,,augsburg4 7,vol4 i4 p4 #dc7 ,,the drawing of 8,calvary0 in the ,maximilians ,museum1 ,augsburg 7,woltmann1 #c71 is probably the earliest one by ,holbein of which we have any knowledge4 ,it is a silver-point drawing1 touched with the brush in brown1 white being used for the high lights and red for the representation of ,christ's wounds4 ,it is a carefully wrought1 youthful piece of work1 at the same time showing considerable feeling in its rendering of the sacred subject4 ,the ,cross rises on the left1 turned away from the spectator1 so that the body of ,christ is seen almost in profile against the sky4 ,mary and ,john stand below on the right1 the former with hands clasped in prayer and head bent in grief4 ,lower down the rock1 in the centre1 kneels ,mary ,magdalen with uplifted arms1 and on the left of the ,cross a man is standing with his back to the spectator1 wearing a tall hat of 8beaver0 pattern4 ,in the background beyond him is a second cross with one of the thieves1 the ladder still placed against it4 ,down below the heights there is a glimpse of a mountain and buildings4 ,this interesting early example has been recently reproduced in the important publication of facsimiles of the complete series of ,holbein's drawings1 now in the course of appearing under the editorship of ,dr4 ,ganz--,die ,handzeichnungen ,hans ,holbeins des ,jngeren1 viii4 #a4 7,b7 ,,designs ,,for ,,painted ,,glass ,,of ,,the ,,lucerne ,,period4 7,vol4 i4 p4 #gi7 ,sidenote3 ,,early ,,glass ,,designs ,the design for painted glass with the arms of ,hans ,fleckenstein1 of ,lucerne1 in the ,ducal ,gallery1 ,brunswick 7not in ,woltmann71 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 ordered4 ,in the ,fleckenstein design the warrior on the left is bearded1 and wears a hat with very large feathers1 and a great sword1 while a long lance is held aloft in his right hand1 his left resting on the top of the shield1 towards which he leans1 and behind which his left leg is hidden4 ,the man on the right is younger and beardless4 ,his head is turned over his shoulder towards the right1 and his flat black cap is worn jauntily over one ear and covers one side of his face1 while a large hat with a huge mass of feathers is slung upon his back4 ,his right hand rests on his sword-hilt1 and his left on the top of the shield4 ,the background is one of plain architecture1 in striking contrast to the highly elaborated ones to be seen in most of ,holbein's glass designs produced after his visit to ,italy4 ,a barrel-roof is supported by flat columns with a round arch1 across which two iron bars run1 as in the ,solothurn ,madonna picture4 ,on either side of this arch1 on the top of the columns1 stand figures of ,st4 ,barbara and ,st4 ,sebastian4 ,the shield contains in two of the quarterings the ,fleckenstein 8house-sign0 surmounted by a bar1 the other two being filled with lozenge-shaped divisions4 ,on the band at the bottom1 left empty for an inscription1 is written 8hans ,fleckenstein1 #aeag10 and 8,j4 ,holbain10 the signature not being in the artist's own handwriting4 ,it is reproduced by ,dr4 ,ganz in ,die ,handzeichnungen ,hans ,holbeins des ,jngeren1 v4 #d4 ,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 7see vol4 i4 p4 #gg71 and further proof of this is to be found in another design of this period1 made1 in all probability1 during a leisurely journey from ,lucerne to ,lombardy in #aeah4 ,this is the striking design representing the ,banner-bearer of the ,urseren ,valley1 in the ,uri district--the valley watered by the ,reuss1 in which ,andermatt is the chief village4 ,this drawing1 which is in the ,royal ,print ,room1 ,berlin1 is mentioned by ,woltmann1 ii4 p4 #abj1 as1 in his opinion1 not by ,holbein1 but by some 8good ,swiss master40 ,the landsknecht1 a bearded man1 stands full-face1 with legs stretched wide apart1 and the banner held aloft in his right hand4 ,his left rests on his hip1 and he carries a great sword4 ,this animated1 vigorously drawn figure is evidently a portrait4 ,the banner1 an important part of the design1 bears on the left the figure of a bishop with crozier in the act of benediction1 and on the right a church1 with the bull of ,uri in the sky above it1 one hoof resting on the steeple4 ,in the background is represented the old pack-horse road over the ,st4 ,gotthard1 up which men are climbing with horses and mules loaded with barrels and bales4 ,on the summit rises the small church which is depicted on the banner4 ,the landscape is evidently one actually seen by the artist4 ,the setting is a very effective one1 consisting of plain pillars and an arch1 the former with vine branches and bunches of grapes trained round them in spirals1 the leaves forming the capitals and bases1 while other branches stretch across the archway4 ,above the latter is a representation of the ,judgment of ,paris1 with the three nude goddesses on the right1 and ,paris reclining on the ground on the left4 ,mercury1 holding the apple1 and ,venus1 the outer figures of this group1 are placed upon the tops of the pillars on either side4 ,the outlines have been put in with a pen in brown1 while the banner-bearer's face has been finished in water-colours1 and the background slightly washed with green4 ,reproduced in ,handzeichnungen ,hans ,holbeins des ,jngeren1 iv4 #d4 ,the glass design containing the coat of arms of the ,lachner family1 of ,basel1 in the ,print ,room of the ,national ,museum1 ,stockholm 7not in ,woltmann71 is a year or two later in date1 the elaborately imagined architectural background indicating that it must have been made shortly after ,holbein's return from ,italy1 when the recollections of the ,lombardic buildings he had studied with such keen interest were still fresh in his memory4 ,on one side stands a young1 beardless warrior as shield-bearer1 his face in profile to the right1 his lance over his shoulder1 and his right hand on his hip4 ,opposite to him is the completely nude figure of a woman1 her face turned towards the spectator1 and both hands resting on the shield4 ,her hair hangs down her back in two great plaits1 which are fastened together at the ends with a long loop4 ,this is a realistic study from the life1 and one of the very few drawings of the nude by ,holbein which remain4 ,the coat of arms on the curved ,italian shield consists of a pair of outstretched wings1 and these are repeated on the helmet which forms the crest1 from which masses of finely designed scroll-work fall on either side4 ,the two figures stand on a platform1 below which are two crouching fauns holding a tablet for an inscription4 ,the background1 as already stated1 is very elaborate1 consisting of an open loggia with a roof like the later 8,st4 ,elizabeth0 glass design 7see vol4 i4 p4 #adi and ,pl4 #dd71 and friezes and a semicircular arch supported by pairs of columns with grotesque capitals1 the arch being decorated with a band of ox-heads and foliage4 ,other friezes are covered with carved leaf and scroll-work1 and above them are grotesque sculptured figures and roundels with heads4 ,through the openings at the back only the sky is indicated4 ,this is a fine design1 more particularly in the figure of the man1 and in the helmet with its scroll-work4 ,it is a washed drawing1 with the knight's face and hands and the body of the woman put in with water-colour4 ,reproduced in ,handzeichnungen ,hans ,holbeins des ,jngeren1 iv4 #f4 7,c7 ,,early ,,drawings ,,for ,,wall-,,paintings4 7,vol4 i4 p4 #aja7 ,in addition to the studies for wall-paintings made by ,holbein shortly after his return from ,lucerne to ,basel1 described in vol4 i4 pp4 #ih-aja1 there is another in the ,ducal ,gallery1 ,brunswick 7,woltmann1 #abg71 representing the ,virgin ,mary1 as ,queen of ,heaven1 with the ,infant ,christ in her arms1 which is signed and dated 8#aebj1 ,h4 ,h40 ,her long hair falls in curls over her shoulders1 and a plain circular halo is placed behind her crown4 ,she is looking down upon the ,child1 whom she holds with both hands1 and he is smiling back at her4 ,she is placed in a perfectly plain architectural niche1 with two empty circles for medallions on either side4 ,according to an inscription on the back1 this drawing1 which is in black chalk washed with grey1 was1 towards the end of the sixteenth century1 in the possession of ,daniel ,lindtmeyer1 the glass painter of ,schaffhausen4 ,reproduced in ,handzeichnungen ,hans ,holbeins des ,jngeren1 iv4 #c4 7,d7 ,,glass ,,designs ,,with ,,the ,,coats ,,of ,,arms ,,of ,,the ,,von ,,andlau ,,and ,,von ,,hewen ,,families4 7,vol4 i4 p4 #ade7 ,a third design for painted glass1 representing the martyrdom of the ,holy ,richardis1 wife of the ,emperor ,carl the ,big1 is of about the same date1 and very probably belongs to the same series1 as the two designs bearing the coats of arms of the ,von ,andlau and ,von ,hewen families1 the second of which is dated #aebj4 ,st4 ,richardis1 wrongfully accused of unfaithfulness1 proved her innocence by submitting herself to the ordeal by fire4 ,she was the patron saint of the convent of ,andlau in ,alsace1 which1 according to the legend quoted by ,dr4 ,paul ,ganz1 was erected upon ground which had been scraped up by a bear4 ,it is most probable1 therefore1 that ,holbein's design was commissioned for the decoration of this particular religious house4 ,the drawing1 which is in the ,basel ,gallery 7,woltmann1 #ej71 shows the saint kneeling on the funeral pyre1 her hands clasped in prayer1 her head bent1 and her long curls falling below her waist4 ,she wears a large cross at her breast1 and has a circular halo inscribed 8,s4 ,,rigardis ,,virgo40 ,on the right is a small kneeling figure of an abbess or nun1 with open prayer-book1 and on the left the bear of the legend4 ,two flying angels1 with draperies very effectively arranged1 hold the martyr's crown above her head4 ,the ordeal takes place beneath a cupola1 with an opening in the centre1 supported by pillars of fantastic design1 the bases of the nearer ones being decorated with medallions hanging from chains4 ,below is the customary blank tablet for an inscription1 held by two grotesque sea-monsters with human heads4 ,at the back1 seen through the open arcading of the building1 there is a view of a small walled town in a hilly country1 with church and cloisters and watch-towers1 and1 lower down1 the red roofs of a cluster of houses4 ,this is one of the most charming of the numerous landscape backgrounds which ,holbein introduced into his glass designs and book illustrations4 ,the drawing is washed with grey1 and the background lightly touched in with water-colours4 ,it is reproduced in ,handzeichnungen ,hans ,holbeins des ,jngeren1 xi4 #h4 ,,the ,,glass ,,designs ,,of 8,,the ,,passion ,,of ,,christ0 7,vol4 i4 p4 #aef7 ,miss ,mary ,f4 ,s4 ,hervey1 in her ,holbein's ,ambassadors 7p4 #bb1 note71 draws attention to some cartoons for tapestry representing scenes from the ,passion designed by ,holbein4 ,the reference occurs in a letter from ,carlos de la ,traverse1 written from ,st4 ,ildefonse in ,spain in #aggi to ,m4 d',angeviller1 in which he proposes that the latter should buy the cartoons4 ,the offer1 however1 was declined on the ground that ,holbein was 8un peintre sec et demi-gothique0 7,see ,nouvelles ,archives de l',art ,franais1 #bnd series1 vol4 i4 pp4 #beh-fb74 ,it is possible that these designs were not for tapestry but for glass1 and they may even have been the set in ,sir ,thomas ,lawrence's collection1 now in the ,british ,museum4 7,e7 ,,the ,,faesch ,,museum4 7,vol4 i4 pp4 #hh1 #aff-h1 #ahj1 and #bci-da7 ,sidenote3 ,,the ,,faesch ,,museum ,among the miscellaneous contents of the ,faesch ,museum1 formed by ,dr4 ,remigius ,faesch1 or ,fsch1 the most important are the few works by and after ,holbein4 ,most of these came to him by inheritance from his grandfather1 the earlier ,remigius ,faesch1 burgomaster of ,basel1 who married ,rosa ,irmi1 the granddaughter of ,jakob ,meyer zum ,hasen1 and so became possessed1 not only of the double portrait of ,meyer and his wife1 ,dorothea ,kannengiesser1 painted in #aeaf1 and the two fine silver-point studies for the same1 but also the famous ,meyer ,madonna now at ,darmstadt4 ,this last picture1 unfortunately for the ,basel ,public ,picture ,collection1 he sold to ,lucas ,iselin in #afjf4 ,dr4 ,faesch's father1 ,johann ,rudolf ,faesch 7#aegd-affj71 also burgomaster of ,basel1 became in turn the owner of the ,meyer portraits and drawings1 and he added a number of other pictures to the collection4 ,he was acquainted with the painter ,bartholomus ,sarburgh1 who from #afbj to #afbh was busily occupied in painting portraits in ,basel1 and to whom1 in #afba1 he gave a commission for a likeness of his son ,remigius1 an excellent work now in the ,basel ,gallery4 7,reproduced by ,dr4 ,emil ,major in the sixtieth annual report of the ,basel ,picture ,collection1 #aijh47 ,from ,sarburgh1 when that painter was in ,holland1 ,johann ,rudolf ,faesch obtained the copies of ,holbein's series of ,prophets1 nine pairs 7see vol4 i4 p4 #hh74 ,the originals were in water-colour1 but were copied by ,sarburgh in oil4 ,he is said to have taken the originals with him to the ,netherlands1 since which time all traces of them have disappeared4 ,these copies are in the depot of the ,basel ,gallery2 two of the pairs are reproduced by ,dr4 ,ganz in ,holbein1 p4 #aia4 ,sidenote3 ,,the ,,faesch ,,museum ,remigius ,faesch the second 7#aeie-affg7 became a doctor of law and a professor in the ,basel ,university4 ,he was an ardent collector throughout his life1 not only of pictures1 but of books1 medals1 examples of goldsmiths' art1 and antiquities4 ,on the death of his father he became the possessor of the ,meyer portraits and the ,sarburgh 8,prophets40 ,to these he added a small square portrait of ,erasmus of the ,holbein school1 and in #afcj1 ,johannes ,ldin1 a pupil of ,sarburgh1 then in ,belgium1 copied for him the heads of ,jakob ,meyer's son and daughter from the ,meyer ,madonna picture2 apparently not from the original1 but from the copy now in the ,dresden ,gallery1 which1 according to ,dr4 ,major1 was most probably the work of ,sarburgh 7see vol4 i4 pp4 #bci-da74 ,in #afdh ,johann ,sixt ,ringlin copied for him one of the versions of the double portrait of ,erasmus and ,froben 7see vol4 i4 pp4 #aff-h74 ,again1 in #affg1 the year of ,faesch's death1 ,ldin presented him with a small portrait of ,holbein which he had painted from ,hollar's etching dated #afda4 ,faesch also possessed a second small portrait of ,erasmus1 copied from the roundel in the ,basel ,gallery1 several drawings of the ,holbein school1 and1 among other things1 the original wood-block of the 8,erasmus im ,gehuse40 ,on his death ,faesch left his collections and the mansion containing them in trust as a ,museum1 with usufruct to his descendants for so long as there should be a doctor of law among the members of his family1 failing which everything was to become the property of the ,basel ,university4 ,the last of these doctors of law was ,johann ,rudolf ,faesch1 who died in #ahbc1 when the ,museum and its contents were handed over to the ,university1 the pictures1 drawings1 and engravings eventually finding a permanent home in the ,basel ,public ,picture ,collection4 ,dr4 ,remigius ,faesch spent many years in the compilation of a manuscript1 in ,latin1 now in the ,university ,library of ,basel1 which he called 8,human ,industri ,monumenta40 ,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 possession1 to which reference has been made more than once in these pages4 ,the original text is given by ,woltmann1 ii4 pp4 #dh-ea1 and extracts from it in ,das ,fschische ,museum und die ,fschischen ,inventare1 by ,dr4 ,emil ,major1 which forms part of the ,annual ,report 7#aijh7 of the ,basel ,gallery1 already mentioned4 ,it is from this exhaustive and highly interesting account of the ,faesch collections and the various inventories and lists1 printed in full1 that the facts in this note have been taken4 ,the reference to the double portrait of ,erasmus and ,froben in the 8,human ,industri ,monumenta0 is as follows3 8,erant #b tabul junct1 ligamentis ferreis ut aperiri et claudi potuerint1 in tabula dextra ,effigies ,johan4 ,frobenii ,typographi1 in altera ,erasmi sine dubio ab ipso ,erasmo in gratiam et honorem ,frobenii1 quem impense amabat1 curat1 et eidem ab ,erasmo oblat1 unde et eidem dextram cessit3 ,ex his tabulis nobis exempla paravit pictor non imperitus ,joh4 ,sixtus ,ringlinus ,basil1 ,an4 #afdh1 qu extant inter effigies nostras40 ,faesch's account of the sale of the ,meyer ,madonna runs thus3-- ,sidenote3 ,,the ,,faesch ,,museum 8,an4 #afc 4 4 4 suprad4 pictor ,le ,blond hic vidua et hredibus ,luc ,iselii ad ,s4 ,martinum emit tabulam ligneam trium circiter ulnarum ,basiliensium tum in altitud4 tum longitud4 in qua adumbratus prdictus ,jac4 ,meierus ,consul ex latere dextra una cum filiis1 ex opposito uxor cum filiabus omnes ad vivum depicti ad altare procumbentes1 unde habeo exempla filii et fili in ,belgio ,joh4 ,ludi pictore ex ipsa tabula depicta4 ,solvit is ,le ,blond pro hac tabula #ajjj ,imperiales1 et postea triplo majoris vendidit ,mari ,medice ,regin ,galli vidu ,regis ,lud4 #ac matri1 dum in ,belgio ageret1 ubi et mortua3 ,quorsum postea pervenerit incertum4 ,tabula hc fuit ,avi nostri ,remigii ,feschii ,consulis1 unde ,lucas ,iselius eam impetravit pro ,legato ,regis ,galliarum1 uti ferebat1 et persolvit pro ea ,centum ,coronatos aureos solares4 ,an4 circ4 #afjf40 ,in this paragraph ,faesch speaks of ,johannes ,ldin as ,ludi1 but in an earlier one1 describing the portrait of ,holbein after ,hollar which ,ldin sent him1 apparently as a new year's gift1 he calls the painter ,joh4 ,lydio4 ,in an inventory drawn up early in the nineteenth century by the last keeper of the ,museum1 ,johann ,rudolf ,faesch1 the ,sarburgh 8,prophets0 are described as follows3 8#ac a #ba4 ,ferners befinden sich in dem ,faeschischen ,museo noch hienach-folgende ,neun ,gemhlde auf ,tuch1 welche von ,bartholomus von ,saarbrcken nach ,holbeinischen ,original ,gemhlden copirt worden sind1 solche werden von ,patin in dem ,eingangs gemeldten ,indice also beschrieben3 8#8,prophet omnes majores minores1 in novem tabulis bicubitalibus1 ita ut binos quvis illarum exhibeat1 coloribus aqueis nullo admixto oleo depicti4 ,has tabulas ,bartholomus ,sarbruck1 ,pictor eximius1 in ,belgium ,basilea detulit1 atque hic illarum apographa manu sua depicta reliquit1 qu servantur in ,muso ,feschiano4' 8,nach dieser ,beschreibung wren also die ,originalien mit ,wasserfarb1 die ,copien von ,barth4 v4 ,saarbrcken aber1 so sich im ,faeschischen ,museo befinden1 sind in ,oehl gemahlt4 ,die smtl4 ,propheten sind ganze ,figuren u4 die ,tableaux sind #c ,schuh #a ,z4 hoch u4 #b ,s4 #c ,z4 breit40 7,f7 ,,hans ,,holbein ,,and ,,dr4 ,,johann ,,fabri4 7,vol4 i4 p4 #age7 ,sidenote3 ,,holbein ,,and ,,dr4 ,j4 ,,fabri ,it is very probable that ,holbein's absences from ,basel in search of work during his second sojourn in that city 7#aeai-aebf7 were more frequent than has been generally supposed4 ,it is not to be expected that many records of such journeys should remain1 and for this reason the recent discovery1 by ,dr4 ,hans ,koegler1 of such an absence during #aebc is of exceptional interest4 ,his article1 describing this discovery1 entitled 8,hans ,holbein d4 ,j4 und ,dr4 ,johann ,fabri10 was published by him in ,repertorium fr ,kunstwissenschaft1 vol4 xxxv4 pts4 #d and #e1 7#aiab71 pp4 #cgi-hd4 ,fabri was ,vicar-,general of ,constance1 and afterwards ,bishop of ,vienna1 and a friend and correspondent of ,erasmus4 ,during the autumn of #aebc1 at some place not yet identified1 but evidently in the neighbourhood of ,constance1 ,holbein and ,dr4 ,fabri became acquainted1 or renewed an earlier intercourse1 for the ,vicar-,general made use of him as the bearer of some letter1 message of greeting1 or gift to ,erasmus1 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 ones4 ,the letter from ,erasmus to ,fabri1 written in ,november or ,december #aebc1 begins3 8,reverendo ,domino1 ,joanni ,fabro1 ,canonico et ,vicario ,constantien4 domino plurimum observando4--,salutem1 vir amantissime1 ex tua salutatione quam mihi per ,olpeium misisti1 melius habui4 ,erat enim accurata1 et veniebat ab amico1 et per hominem amicum4 ,spongiarum rursus tria milia sunt excusa1 sic visum est ,frobenio44410 c4 ,in this letter ,fabri's messenger is spoken of as 8,olpeius10 and the point for decision is whether this refers to ,hans ,holbein1 or to a second ,olpeius occasionally mentioned in the correspondence of ,erasmus--one ,severinus ,olpeius1 who acted as letter-carrier for ,erasmus more than once1 and appears to have been in the employ of the bookseller ,koberger of ,nuremberg4 ,in one or two of the letters of ,erasmus the name 8,olpeius0 is undoubtedly intended for ,holbein1 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 painter4 ,in this letter1 which is dated from ,freiburg1 ,september #aebi 7see vol4 i4 p4 #cda71 ,erasmus says3 8,utinam liceat adhuc semel in vita videre amicos mihi charissimos1 quos in pictura quam ,olpeius exhibuit1 utcunque conspexi summa cum animi mei voluptate4 ,bene vale cum tibi charissimis omnibus40 ,sidenote3 ,,holbein ,,and ,,dr4 ,j4 ,,fabri ,again1 in a second letter from ,erasmus to ,bonifacius ,amerbach written from ,freiburg on ,april #aj1 #aecc 7wrongly dated #aece in the manuscript71 first published by ,dr4 ,c4 ,chr4 ,bernoulli in #aijb 7see below1 ,appendix 7,j771 the 8,olpeius0 of whom the sage speaks so severely was almost certainly ,holbein4 ,dr4 ,koegler brings forward convincing arguments to prove that the artist was also the 8,olpeius0 of the letter to ,dr4 ,fabri1 and that the place of encounter was somewhere in the ,lake of ,constance district4 ,he also suggests that as ,dr4 ,fabri was connected in his official capacity with the ,maria-,wallfahrts ,church in ,rickenbach1 for which ,holbein's earliest known picture1 the ,virgin and ,child of #aead1 was painted1 and as he was also the personal friend of the orderer of that little work1 ,canon ,johann von ,botzheim of ,constance1 he must have been already acquainted with ,holbein4 ,in any case1 it seems certain that1 thanks to ,dr4 ,kgler1 we have here definite1 though scanty1 information of one more of the painter's wanderings in search of work4 7,g7 ,,the ,,trade-,,mark ,,of ,,reinhold ,,wolfe4 7,vol4 i4 p4 #bjb7 ,the charming device of boys throwing sticks at an apple tree1 which ,holbein made for the publisher ,reinhold ,wolfe1 seems to have been familiar to most ,english schoolboys in the sixteenth and seventeenth centuries1 as it was to be found in a ,latin ,grammar much in use4 ,there is an amusing reference to it in ,henry ,peacham's ,compleat ,gentleman 7reprint of the #afcd edition1 ,clarendon ,press1 #aijf1 pp4 #abf-g74 ,he says3 8,painting is a quality ,i love 7,i confesse7 and admire in others1 because ever naturally from a child1 ,i have beene addicted to the practice hereof3 yet when ,i was young ,i have beene cruelly beaten by ill and ignorant ,schoolemasters1 when ,i have been taking1 in white and blacke1 the countenance of some one or other 7which ,i could doe at thirteene and foureteene yeeres of age3 beside the ,mappe of any ,towne according to ,geometricall proportion1 as ,i did of ,cambridge when ,i was of ,trinity ,colledge1 and a ,junior ,sophister71 yet could they never beate it out of me4 ,i remember one ,master ,i had 7and yet living not farre from ,s4 ,albanes7 tooke me one time drawing out with my penne that peare-tree and boyes throwing at it1 at the end of the ,latine ,grammar3 which hee perceiving1 in a rage strooke me with the great end of the rodde1 and rent my paper1 swearing it was the onely way to teach me to robbe ,orchards2 beside1 that ,i was placed with him to be made a ,scholler and not a ,painter1 which ,i was very likely to doe2 when ,i well remember he construed me the beginning of the first ,ode in ,horace1 ,edite1 set ye forth1 ,maecenas1 the sports1 atavis ,regibus1 of our ancient ,kings3 but leaving my ingenious ,master1 to our purpose40 7,h7 ,,nicolas ,,bellin ,,of ,,modena4 7,vol4 i4 pp4 #bhb-d7 7i47 ,extract from a ,letter from ,sir ,john ,wallop1 ambassador to ,france1 to ,henry ,,viii1 respecting the extradition of 8,blanche ,rose0 from ,france1 and of ,nicolas ,bellin from ,england1 dated ,mantes1 #bg ,september #aedj4 7,state ,papers1 vol4 viii4 pt4 v4 cont41 ,no4 dcxxviii41 p4 #dci47 ,sidenote3 ,,nicolas ,,bellin ,,of ,,modena 8444 ,which the ,cardynall of ,tornon confessed to be true1 saying1 #8his 7i4e4 ,blanche ,rose7 mother was ,englissh1 and duelled in ,orleance1 and in the ,cardynalles tyme of ,yorke being brought uppe in ,england'2 and with stayed1 saing that the said fellowe shoued hym many other thinges1 that he cauled not to remembraunce3 and so left that pourposse1 and axed me why ,your ,majestie delivered not ,modena1 when he was send for1 showing me what was the cause why they desired hym so much1 being uppon acompte of a houndreth thousand crownes1 that the ,president ,jentill had begiled the ,king1 not yet ended4 #8,whye1' quod ,i1 #8then1 if ye dyd extyme hym so moch1 wherfore dyd ye not kipe hym 7i4e4 ,blanche ,rose71 that ,i demaunded1 in prison1 till ye had knowledge1 what aunswar should be made for the said ,modena2 whom if ye had extymed1 ye would have so doon8 but ,i perceyve1' quod ,i1 #8that ye thinke to have a greate personnaige of the said noughty fellowe1 who ,i ensure you to be of as ill qualities as canbe1 and his father a poore man2 and fourthre ye considre not howe gentelly the ,king my maister deliverd you of late ,adryan ,cappes4'0 7ii47 ,extract from a ,letter from ,sir ,john ,wallop to ,henry ,,viii1 referring to the work done at ,fontainebleau by ,nicolas ,bellin1 dated ,mlun1 #agth ,november #aedj4 7,state ,papers1 vol4 viii4 pt4 v4 cont41 ,no4 dcxlii41 p4 #dhd47 8444 and from thense browght me into his 7i4e4 ,francis ,i7 gallerey1 keping the key therof ,hym self1 like as ,your ,majestie useth1 and so ,i shewed ,hym1 wherewith ,he toke plesur4 ,and after that ,i had wel behold the said gallerey1 me thought it the most magnifique1 that ever ,i sawe1 the lenght and bredthe no man canne better shewe ,your ,majestie then ,modon1 who wrought there in the begynnyng of the same1 being at that tyme nothing in the perfection1 as it is nowe4 ,the rowff therof ys seeled with walnott tree1 and made after an other forme then ,your ,majestie useth1 and wrought with woode of dyvers cullers1 as before ,i have rehersed to ,your ,majestie1 and is partly gilt2 the pavement of the same is of woode1 being wrought muche after that sort2 the said gallerey is seeled rownde abowte1 and fynely wrowght three partes of it2 upon the fourthe parte is all antique of such stuff as the said ,modon makith ,your ,majesties ,chemenyes2 and betwixt every windowe standes grete anticall personages entier1 and in dyvers places of the said gallerey many fayre tables of stories1 sett in1 very fynely wrowgth1 as ,lucretia1 and other1 as the said ,modon can muche better declare the perfytnes of the hole to ,your ,majestie1 then ,i4 ,and in the gallerey at ,st4 ,james the like wold be wel made1 for it is bothe highe and large4 ,yf your pleasure be to have the paterne of this here1 ,i knowe right wel the ,frenche ,king woll gladly geve it me40 7,i7 ,,the ,,more ,,family ,,group4 7,vol4 i4 pp4 #bia-cjb7 ,sidenote3 ,,the ,,more ,,family ,,group ,there is a very interesting manuscript book1 dated #ahei1 in the possession of ,lord ,st4 ,oswald1 which contains a descriptive catalogue of the pictures at ,nostell ,priory1 together with 8,some brief ,notices of the sundry pictures of the ,family of ,sir ,thomas ,more1 ,knt41 ,lord ,high ,chancellor of ,england1 ,temp4 ,henry ,,viii10 from which1 through the courtesy of the owner1 the writer is enabled to give some extracts4 ,it was written by ,lord ,st4 ,oswald's grandfather1 ,mr4 ,charles ,winn1 whose chief purpose seems to have been to controvert ,horace ,walpole's adverse criticism1 based on ,george ,vertue's manuscript notes1 of the ,nostell picture4 ,mr4 ,winn gives a short history and description of the various versions of the ,family ,group4 ,speaking of the ,nostel ,priory version1 called throughout his notes the 8,roper0 picture1 he says3 8,this picture formerly belonged to ,william ,roper1 ,esqre41 son of ,william ,roper1 ,esqre41 ,prothonotary of the ,court of ,king's ,bench1 temp4 ,henry ,,viii1 who married ,margaret1 the oldest1 and favourite daughter of the celebrated ,sir ,thos4 ,more1 ,knt41 ,lord ,high ,chancellor of ,england2 and was painted for him by that renowned artist ,hans ,holbein in the year #aecj1 as appears from the monogram and date on the picture4 ,it remained in this family till the death of ,edwd4 ,roper1 the last in the direct male line of the ,ropers of ,well ,hall1 nr4 ,eltham1 ,co4 of ,kent1 and of ,st4 ,dunstans1 nr4 ,canterbury2 he had only one child1 a daughter1 who married ,charles ,henshaw1 ,esqre41 who on her father's death inherited all his property4 ,the issue of this marriage was three daughters1 the eldest of whom married ,sir ,edward ,dering1 ,bart41 of ,surrenden ,dering in the ,county of ,kent2 the second married ,col4 ,strickland of ,beverly1 in the ,east ,riding of the ,co4 of ,york2 and the third1 ,susannah1 married my great-grandfather1 ,sir ,roland ,winn1 ,bart41 of ,nostel1 in the ,west ,riding of the ,co4 of ,york4 ,mrs4 ,strickland died without leaving issue1 and on the death of ,mr4 ,henshaw1 his two surviving daughters succeeded to his real1 as well as personal property4 ,the ,holbein picture was valued at #cjjj1 and ,sir ,edward ,dering preferring to have his share in money1 my ancestor paid him a moiety of the valuation1 and thus became possessed of the picture1 which was conveyed to ,nostel1 where it still remains40 ,sidenote3 ,,the ,,more ,,family ,,group ,mr4 ,winn was of opinion that the version1 with life-size figures1 painted in distemper1 which belonged to ,andries de ,loo1 was not the picture at ,nostell1 the latter being painted in oil4 ,he considered that the ,de ,loo version was the one formerly at ,heron in ,essex 7afterwards at ,thorndon--see vol4 i4 p4 #cjj71 and that it was purchased at ,de ,loo's death by ,giles ,heron1 who married ,sir ,thomas ,more's second daughter1 ,cecilia4 ,heron ,hall was the seat of his family1 and the property passed into the possession of the ,tyrrell family by the marriage of ,sir ,john ,tyrrell with ,margaret1 daughter and heiress of ,sir ,william ,heron1 of ,heron1 ,kt4 ,quoting ,walpole's statement that the ,heron picture 8having been repainted1 it is impossible to judge of its antiquity10 he goes on to say that this 8appears to me to go very far in proof of the correctness of the opinion ,i have hazarded1 as to who was the purchaser of the ,de ,loo picture1 for it is hardly to be credited that had this 7,heron7 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 antiquity40 ,mr4 ,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 imagine1 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 picture1 in ,mr4 ,winn's time at ,barnborough ,hall 7see vol4 i4 p4 #cjj71 was the actual work painted by ,holbein for the ,chancellor1 either from the ,basel sketch or the ,de ,loo example4 ,it is not likely1 he says1 that ,sir ,thomas 8would have allowed the picture in ,distemper to be disposed of to ,de ,loo1 #8till he had secured a copy of it4 ,i can hardly therefore entertain a doubt that ,sir ,thomas did possess one of these large ,family pieces1 and that the picture at ,barnborough ,hall is the identical one4 ,john ,more had this picture conveyed to ,barnborough1 when he took up his abode there on the death of ,mr4 ,cresacre1 his wife's father40 ,the inference is that ,john ,more1 as head of the family1 inherited the version of the ,group expressly painted for his father4 ,mr4 ,winn says of this picture that it is 8in the number and arrangement of the persons represented a facsimile of the original sketch1 or drawing1 and ,i deem it far from improbable that it may be the picture which was painted1 by ,holbein1 for ,sir ,thomas2 for although it is now in a very deplorable state1 caused by most unpardonable neglect1 yet there are parts which shew that the picture1 in its original state1 was painted by no #8prentice hand4' ,it is now in a low room panelled with oak1 and has unfortunately been curtailed1 both in width1 and depth1 to fit it into the panel where it is placed1 and this may probably account for the absence of the monogram of the painter1 and the date4 ,the present size of the picture is length1 ten feet2 height1 eight feet4 ,the figures represented are the size of life40 ,of the ,burford picture 7see vol4 i4 pp4 #cja-b and ,pl4 #gf7 he says3 8,this picture was formerly in the possession of a branch of the ,more family1 who resided at ,gobions1 or ,gubbins1 not far from ,barnet1 in ,hertfordshire1 for whom ,i have no doubt it was painted1 and probably by ,zuccaro1 as it bears the date #aeic--some of the figures are copied from one of the pictures already alluded to 7most likely from that at ,barnborough72 these are ,sir ,john ,more1 ,knt41 ,sir ,thomas ,more1 ,knt41 ,john ,more1 ,margaret ,roper1 ,cecilia ,heron1 ,elizabeth ,dancey1 and ,anne ,cresacre4 ,the other figures 7four in number1 whose names ,i have given at page #ab7 are represented in the costume of the period in which the picture was painted1 viz4 temp4 ,eliz4 ,how this picture came into the possession of the ,lenthall family is not certain1 but the last possessor of it1 of that name1 told a relative of mine that it had been purchased by their ancestor the ,speaker ,lenthall1 on the sale of ,gobions and its contents40 ,after pointing out the differences between the ,roper picture1 the other versions1 and the ,basel sketch1 ,mr4 ,winn concludes by saying3 8,there are other differences observable between the ,sketch and the ,roper picture which though unimportant in themselves1 yet when considered in connection with those ,i have named1 do ,i think afford most satisfactory proof that the ,roper picture is no copy1 but that it is1 as ,vertue asserts1 an original production by ,hans ,holbein40 ,it is not possible1 however1 to follow ,mr4 ,winn in every one of his conclusions1 which would necessitate the belief that ,holbein himself painted no less than three versions of the ,family ,group--the one in distemper1 which was sold by the artist to ,de ,loo1 and afterwards purchased by ,giles ,heron1 now so injured that 8it is impossible to judge of its authenticity02 the one in oil painted for ,sir ,thomas1 which remained at ,barnborough in the possession of ,john ,more and his descendants1 and has been cut down and subjected to 8unpardonable neglect02 and the ,roper picture now at ,nostell ,priory4 ,it seems almost certain that ,holbein had no hand in the painting of the two first1 and that they are merely early copies or adaptations from the ,nostell picture1 though at the same time it should be pointed out that they follow the ,basel sketch more closely than the latter1 and do not show1 as it does1 various alterations in the design1 such as the introduction of the figure of the secretary ,harris4 ,this affords some support to the contention that they are of earlier date1 or copied from some earlier version1 than the ,roper canvas4 ,the ,basel sketch would not be available for the purpose1 as it was taken with him by ,holbein when he left ,england in #aebh4 ,still1 in spite of this1 the fact remains that the ,nostell ,priory version is the only one that has any pretensions to be regarded1 even in a small part1 as an original work by ,holbein1 and until further proof is forthcoming it is safest to conclude that ,sidenote3 ,,the ,,more ,,family ,,group ,holbein1 after making his preliminary studies1 began a large canvas which for some unknown reason was left by him in a very incomplete state1 and that ,sir ,thomas ,more had it finished by some other hand in #aecj1 and that this picture was the one which came into ,de ,loo's possession1 and is now at ,nostell ,priory4 ,one other point remains to be touched upon4 ,mr4 ,winn asserts that in ,vertue's opinion the ,roper picture is an original work by ,holbein1 and he quotes in support of this statement from a manuscript by ,vertue in his possession which he bought at the ,walpole sale4 ,he gives several extracts from it1 among them the following1 upon which1 apparently1 he bases his contention3 8,but the original painting by ,holbein of this family 7,more7 has long been preserved by the family of ,roper at ,eltham in ,kent1 and was till of late years there to be seen1 but of late at ,greenwich in the ,king's ,house in the ,park inhabited by ,sir ,john ,jennings1 the family of ,roper having desired leave to place it there till their house at ,eltham was rebuilt40 ,there is1 however1 a second account of this picture by ,vertue in his diaries preserved in the ,british ,museum 7,add4 ,,mss4 #bejga1 f4 #d71 first published by ,mr4 ,lionel ,cust in the ,burlington ,magazine1 ,october #aiab1 pp4 #dc-d2 and in this memorandum1 in which the picture is described in greater detail1 there is no suggestion made that it is an original work4 ,mr4 ,winn's manuscript appears to be rather earlier in date4 ,in it ,vertue speaks of his examination as having been made at ,greenwich 78,i compared the first sketch and the large picture together at ,greenwich0--the 8first sketch0 he speaks of being ,caroline ,patin's engraving of the ,basel drawing71 but in the ,british ,museum memorandum he states that he examined it1 at the request of the ,earl of ,oxford1 after it had been removed from ,greenwich to ,sir ,roland ,winn's house in ,soho ,square1 when he 8in a more particular manner observd that the picture differs from the others1 this seeming to be the most compleated40 ,he goes on to say3 8,first that design at ,basil1 presented to ,erasmus by ,sr4 ,th4 ,more1 ,i conceive to be the first sketch on lines on a sheet of paper1 or ,holbein's first draught1 and in this large painting of the ,family containd the picture of ,sir ,john ,mores wife1 a young ,lady to whom he was then lately married 7and there is left out ,margaret ,giggs7 as in the design of the first1 she only being a companion to his daughters and a favorite of ,mrs4 ,more ,sr4 ,thomas ,lady4 ,then there is also another person comeing in the room with srole in his hand--whose name is 444 ,harisius 444 famulus1 and behind a person setting reading on a desk--at bottom are two dogs favorites1 probably put in afterwards by another hand4444 ,there really does not appear to be that certainty of drawing1 strength of colouring1 as in many other pictures of ,holben4 ,therefore in the oppinion of several judges professors of painting it is doubtfull40 ,he goes on to say3 8,upon another review of the ,family peice of ,sr4 ,thomas ,more--,i observe that the light shade of the persons represented are various1 which is not consistent to nature nor practice in the art of painting1 for as it is a view of this ,family represented at once1 the light ought to proceed from one point throughout the whole picture1 which it doth not but some of the figures there represented1 the light proceeds from the right side and others from the left side4 ,and the light on the face of ,sr4 ,thomas proceeds from the left and his father ,sr4 ,john is from the right4 ,and also the ,lady of ,sr4 ,tho4 the light on her face proceeds from the left so in several there is a disagrement of light and shade40 ,vertue's explanation of the painting of the picture is that ,holbein1 after taking various portraits of members of the ,more family1 drew1 at ,sir ,thomas's request1 a design for a big ,family ,group1 but that before a start could be made on the picture by the artist ,henry ,,viii paid a visit to ,chelsea1 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 once1 and gave him so much to do that ,more's commission had to be abandoned4 ,sir ,thomas1 therefore1 8after #aecj0 employed someone else to paint the picture from the original design and the finished family portraits1 8perhaps1 and not unlikely1 some scholar of ,holbein's with his knowledge and consent10 this pupil 8so forwarding it with as much skill as he was able ready for ,holbein to go over again and review and finish it40 ,this would be a matter of time1 and during the progress of the work several alterations and additions were made1 such as the introduction of the figure of ,harris1 which figure1 in ,vertue's opinion1 showed 8most visible difference in painting and drawing10 so that it could not be copied from any painting by ,holbein1 but was the original work of the assistant1 who in this 8ventured to show all his skill with full liberty40 ,in conclusion he remarks that 8,raphael made many designs in small which were executed in large by his scholars1 some before his death and some after10 and suggests that ,holbein made the design for this ,family ,group with the same intention--8,especially as it may be observd none of these faces1 hands coppyd from ,holben's painted pictures are not labouriously finishd1 but left broad and light1 fitly disposed to receive any improvments by ,holbens hand--when1 on the contrary1 all the still life in the picture1 the jewells1 ornaments1 gold are highly finished40 ,sidenote3 ,,the ,,more ,,family ,,group ,since the ,nostell ,priory picture was photographed1 thanks to the kindness of ,lord ,st4 ,oswald1 for the purposes of this book1 it has undergone a thorough and very careful cleaning1 with the result that many details1 previously almost obscured1 can now be seen quite clearly1 while the general effect of the work as a whole has been greatly enhanced4 ,as noted in the text 7see vol4 i4 pp4 #bie-f71 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 ,gigs1 and the introduction of ,john ,harris4 ,elizabeth ,dancey1 who now stands next to ,sir ,john ,more1 is in exactly the same position and dress as in the sketch1 whereas ,margaret ,gigs1 who now forms the outer figure of the group on the left1 is wearing a plain white head-dress1 as in the preliminary study at ,windsor1 in place of the angular hood with black fall of the sketch2 and she now stands upright1 instead of stooping1 with her right hand resting on the book1 indicating a passage with her forefinger4 ,the secretary1 ,john ,harris1 on the opposite side of the picture1 has been brought from within the inner room1 in which he was indicated with another person in the sketch1 and now leans against one of the posts of the 8porch0 within the larger chamber1 having a roll with seals in his right hand2 while his companion is shown standing at the distant window1 his back to the spectator1 reading a book he holds in both hands4 ,the cleaning of the picture has made clear the details of the furniture and various objects placed about the room4 ,the chief changes in these have been already noted4 ,the most important occurs in connection with the large fitting or buffet on the left1 which in the sketch appears as a sideboard reaching to the ceiling1 with panels of linen-work surmounted by a carved canopy4 ,in the picture this has been changed to a more simple fitting or table1 such as is shown in 8,the ,two ,ambassadors10 covered with a ,turkish cloth or carpet1 the lower part of which forms a cupboard1 with a bottle and glass visible through one of the open doors4 ,upon this1 some of the plate1 including the dish and the jug with the cloth over it1 have been retained1 but pushed into the background1 with the two musical instruments placed in front of them1 while to the single vase with flowers another has been added4 ,one of these holds lilies and carnations1 and the other iris and columbines1 while the window-ledge on the extreme right1 behind ,lady ,more1 has now a large vase with flowers1 instead of the jug1 book1 and flickering candle4 ,the clock is seen to be an astronomical one4 ,in the foreground1 where rushes are roughly indicated1 the small footstool and the scattered books have been removed1 their place being taken by the two feebly-painted dogs4 ,happily1 during the recent cleaning1 the larger and more painful of these has been carefully removed1 to the very great advantage of the picture4 ,finally1 ,lady ,more no longer kneels at a prie-dieu1 but is seated1 and the chained monkey1 instead of scrambling against her skirts1 is placed on its perch at her feet1 looking at the spectator4 ,the name and age of each sitter is written over the head or across the dress1 the one over ,margaret ,gigs being in a different style of lettering from the others4 ,this last-named is merely 8,uxor ,johannes ,clements10 whereas in the ,east ,hendred version1 which seems to have been based more directly on the original design than that at ,nostell ,priory1 it is 8,margareta ,giga ,mori ,filiabus condiscipula et cognata1 ,ao #bb40 ,this has been taken to indicate that the ,east ,hendred picture was painted first1 before the lady married ,john ,clements4 ,,the ,,portrait ,,of ,,sir ,,thomas ,,more4 7,vol4 i4 pp4 #cjc-d7 ,this celebrated portrait1 which has been in the possession of the ,huth family for so many years1 is no longer in ,england4 ,it was purchased last year 7#aiab7 by ,messrs4 ,knoedler1 of ,old ,bond ,street1 ,london1 and is now in the collection of ,mr4 ,h4 ,c4 ,frick1 of ,new ,york4 ,it is deeply to be regretted that this fine example of ,holbein's art1 and one of such great historical importance1 has not found a final resting-place in the ,national ,gallery4 ,according to report1 the purchase price was #ej1jjj4 7,j7 ,,holbein',s ,,return ,,to ,,england ,,in #aecb4 7,vol4 i4 p4 #ceb7 ,sidenote3 ,,lord ,,arundel ,,and ,,rembrandt ,a letter from ,erasmus to ,bonifacius ,amerbach1 preserved among the ,basel manuscripts1 appears to have reference to ,holbein's second journey to ,england1 and at the same time to show that the relationships between the philosopher and the painter were not1 at that period at least1 entirely amicable ones4 ,this letter1 already referred to in ,appendix 7,f71 was first published by ,dr4 ,c4 ,chr4 ,bernoulli in the ,basel ,nachrichten1 ,no4 #bif1 #aijb1 and is dated ,freiburg1 #ajth ,april #aece1 but the year-date1 it is stated1 is wrong1 and should be #aecc4 ,the exact meaning of the letter is not quite clear1 but in it ,erasmus complains somewhat bitterly of foolish behaviour and needless delay of more than a month in ,antwerp on the part of 8,olpeius10 and of reprehensible conduct on his part towards certain people in ,england to whom ,erasmus had given him letters of introduction4 ,it seems almost certain that in the 8,olpeius0 of this letter ,holbein is intended4 ,the long stay in ,antwerp of which ,erasmus complains must have been in #aecb1 and apparently it was not until the following spring that he heard of it1 after receiving letters of complaint about the painter from one or more of his ,english correspondents4 ,there is nothing in the letter to indicate in what way ,holbein deceived these unnamed friends of ,erasmus4 ,the original text of the letter is as follows3 8,subornant te patronum1 cui uni sciunt me nihil posse negare4 ,sic ,olpeius per te extorsit litteras in ,angliam4 ,at is resedit ,antuerpi supra mensem1 diutius mansurus1 si invenisset fatuos4 ,in ,anglia decepit eos1 quibus fuerat commendatus40 7,k7 ,,lord ,,arundel ,,and ,,rembrandt ,,as ,,collectors ,,of ,,holbein',s ,,pictures4 7,vol4 ii4 p4 #ff7 ,several important pictures by ,holbein appear to have been in the ,netherlands during the seventeenth century1 and the ,earl of ,arundel1 through his friends and agents1 made serious efforts to add them to his collection1 though in some instances the price asked was too high for him4 ,in this search for examples of ,holbein's art he received considerable assistance from ,sir ,dudley ,carleton1 ,english minister at the ,hague1 to whom the ,earl wrote1 on #agth ,september #afai3 8,i hear likewise1 by many ways how careful your lordship is to satisfy my foolish curiosity in inquiring for the pieces of ,holbein40 ,two years later1 as already noted 7see vol4 i4 p4 #bda71 ,carleton was endeavouring to obtain for him a picture by ,holbein which may have been the ,meyer ,madonna2 and in #afbh another fruitless attempt was made to purchase the portrait of ,morette 7see ,vol4 ii4 p4 #fe-ff74 ,again1 on #beth ,april #afbi1 the ,earl wrote to ,sir ,henry ,vane respecting 8a book of ,holbein40 ,in the course of this letter he says3 8,i must likewise give you very many thanks for your care concerning ,bloome's 7,bloemaert's7 painting and book of ,holbein1 and the ,king protests against any meddling with it1 at #fjjl41 which he says cost him but #bjjl4 ,for the drawings ,i hoped to have had them for #cjl41 but rather than fail1 as ,i told you1 ,i would go to #ejl41 but never think of #ajjl41 nor #ejl4 offered without sure to have it2 if he would let it come1 upon security to send it back1 ,i should be glad1 if not1 let it rest40 ,sidenote3 ,,sir ,,nicholas ,,poyntz ,what this book was it is now impossible to say1 but it cannot have been the one containing the ,windsor drawings1 which came to the ,arundel ,collection from the ,earl of ,pembroke at about this time 7see ,sainsbury's ,original ,unpublished ,papers1 c41 #ahei1 ,nos4 #dd1 #ec1 #ee1 and #eg in ,appendix74 ,it may have been the little book of twenty-two designs of the ,passion of ,christ which ,lord ,arundel showed to ,sandrart 7see ,vol4 ii4 p4 #gg74 ,another seventeenth-century collector of pictures1 the great painter ,rembrandt1 was an admirer of ,holbein's work1 and at the end of his life1 when his fine collection had been sold and scattered for the benefit of his creditors1 and his monetary troubles were thick upon him1 we find him1 nevertheless1 offering the large sum of one thousand gulden for some picture by the master4 ,the document referring to this offer1 dated #aeth ,october #afff1 three years before ,rembrandt died1 is quoted by ,dr4 ,bode in his ,complete ,works of ,rembrandt1 #aijf1 vol4 viii4 pp4 #bif-g4 ,it is a letter written by ,anna de ,witt1 of ,dordrecht1 in the course of which she says3 8,whereas the picture is by one of the greatest painters of his time1 ,holbein1 who also painted the picture of their ancestor2 for this ,rembrandt offered #ajjj gulden40 ,this ancestor was ,willem ,schijverts van ,merode1 and the picture appears to have been a votive one1 in which he was represented as the kneeling donor4 ,dr4 ,bode1 however1 suggests that in all probability the picture which ,rembrandt was said to be so anxious to possess was not by ,holbein at all4 ,,the ,,portraits ,,of ,,sir ,,nicholas ,,poyntz4 7,vol4 ii4 p4 #ga-gb7 ,holbein's original painting of ,sir ,nicholas ,poyntz1 from which various copies were made1 appears to be the picture in the collection of the ,earl of ,harrowby1 at ,sandon ,hall1 ,stafford4 ,this picture is in close agreement with the one described by ,woltmann1 which was exhibited in ,paris1 at the ,exposition du ,palais ,bourbon1 in #ahgd1 by the ,marquis de la ,rosire1 and photographed on that occasion by ,braun1 but has since disappeared4 ,lord ,harrowby's picture1 which bears the same inscription and three-line motto in ,french as the examples mentioned in the text1 is a good and undoubtedly genuine work4 7,l7 ,,holbein',s ,,visit ,,to ,,joinville ,,and ,,nancy ,,in #aech4 7,vol4 ii4 p4 #adh-adi7 ,sidenote3 ,,visit ,,to ,,joinville ,letter from ,anthoinette de ,bourbon1 ,duchess of ,guise1 to her daughter ,marie1 ,queen of ,scotland1 respecting the visit of ,hoby and ,holbein to ,joinville1 dated #ast ,september 7#aech74 ,balcarres ,,mss41 ,advocates' ,library1 ,edinburgh1 vol4 ii41 ,no4 #bj4 7,kindly transcribed by ,mr4 ,james ,melville7 8,a la royne descosse4 8,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 ,mons4 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 oy louer lavocat de ,chateaudum savent et de bon conseil et quyl conet pourpos ,je retires 787 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 ,mons4 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 ,mons4 le marquys ,mons4 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 ,mons4 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 oyr se set touiours bien ,nostre ,seigneur le veuille1 et vous doint ,madame longue et bonne vie 7set7 se premyer de ,sebtenbre de vostre humble et bonne mere ,,anthoinette ,,de ,,bourbon 7,m7 ,,holbein',s ,,studio ,,in ,,whitehall4 7,vol4 ii4 p4 #ahe7 ,sidenote3 ,,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 which1 no doubt1 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 lady1 and who was1 in consequence1 thrown downstairs by the infuriated painter4 ,this story ,walpole tells as follows3 ,the writers of his life relate a story1 which ,vermander1 his first biographer1 affirms came from ,dr4 ,isely of ,basil and from ,amerbach4444 ,the story is1 that one day as ,holbein was privately drawing some lady's picture for the king1 a great lord forced himself into the chamber4 ,holbein threw him downstairs2 the peer cried out2 ,holbein bolted himself in1 escaped over the top of the house1 and running directly to the king1 fell on his knees1 and besought his ,majesty to pardon him1 without declaring the offence4 ,the king promised to forgive him if he would tell the truth2 but soon began to repent1 saying he should not easily overlook such insults1 and bade him wait in the apartment till he had learned more of the matter4 ,immediately arrived the lord with his complaint1 but sinking the provocation4 ,at first the monarch heard the story with temper1 but broke out1 reproaching the nobleman with his want of truth1 and adding1 #8,you have not to do with ,holbein1 but with me2 ,i tell you1 of seven peasants ,i can make as many lords1 but not one ,holbein--begone1 and remember1 that if ever you pretend to revenge yourself1 ,i shall look on any injury offered to the painter as done to myself4' ,henry's behaviour is certainly the most probable part of the story40 7,see ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 vol4 i4 pp4 #ga-b47 ,wornum gives a more elaborate account of the adventure 7,holbein1 pp4 #cai-bj71 and it is also introduced by ,richard ,lovelace into his poem called 8,peinture3 a ,panegyrick to the ,best ,picture of ,friendship1 ,mr4 ,pet4 ,lilly0 7,sir ,peter ,lely71 included in ,lucasta1 first published in #afdi4 ,the lines are as follows3 8,when to our huffling ,henry there complain'd ,a grieved earl1 that thought his honor stain'd3 ,away 7frown'd he71 for your own safeties hast6 ,in one cheap hour ten coronets ,i'l cast3 ,but ,holbeen's noble and prodigious worth ,onely the pangs of an whole age brings forth4 ,henry6 a word so princely saving said1 ,it might new raise the ruins thou hast made40 7,see ,lucasta1 ed4 ,w4 ,carew ,hazlitt1 #ahfd1 pp4 #bbe-f47 ,another seventeenth-century poet who makes reference to ,holbein--in this instance it is the ,dance of ,death which is in question--is ,matthew ,prior1 who1 in his ,ode to the ,memory of ,george ,villiers1 says3 8,our term of life depends not on our deed1 ,before our birth our funeral was decreed2 ,nor aw'd by foresight1 nor misled by chance1 ,imperious ,death directs the ebon lance1 ,peoples great ,henry's tombs1 and leads up ,holbein's ,dance40 ,sidenote3 ,,barber-,,surgeons' ,,picture ,it has been suggested that ,holbein's painting-room at ,whitehall was over the so-called ,holbein ,gate4 ,numerous engravings of this gate were made in the seventeenth and eighteenth centuries1 and reproductions of several of these will be found in ,whitehall3 ,historical and ,architectural ,notes 7,portfolio ,monograph71 by ,w4 ,j4 ,loftie1 ,f4,s4,a41 #ahie1 and in ,the ,old ,royal ,palace of ,whitehall1 by ,dr4 ,edgar ,sheppard1 #aija4 ,mr4 ,loftie reproduces an engraving of ,whitehall showing the ,gate after a drawing by ,hollar in the ,pepysian ,library1 ,cambridge2 the 8,banqueting ,hall1 ,holbein's ,gate1 and ,treasury10 from the engraving by ,j4 ,silvestre1 #afdj2 8,whitehall in #agbd10 from the engraving by ,j4 ,kip2 8,holbein's ,gate10 from an engraving by ,g4 ,vertue1 #agbe2 and 8,whitehall1 from ,king ,street10 from an engraving by ,r4 ,godfrey1 #agge1 after a drawing by ,t4 ,sandby1 ,r4,a4 ,dr4 ,sheppard reproduces the engraving after ,hollar1 and the ,kip and ,vertue engravings1 and also 8,whitehall10 from a picture by ,canaletto in the possession of the ,duke of ,buccleuch2 and 8,a ,view of ,whitehall with the ,holbein ,gateway10 from a drawing by ,paul ,sandby in the possession of ,mr4 ,e4 ,gardner4 ,,the ,,barber-,,surgeons' ,,picture4 7,vol4 ii4 p4 #bid7 ,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 ,westminster1 in the folio edition published in #agbj4 ,he says 7,book iii4 p4 #abh71 in speaking of 8,barber-,chirurgeons' ,hall03--8,in this ,hall also is a large and very curious ,piece of ,k4 ,henry ,,viii reaching the ,chirurgeons their ,charter2 with many other ,persons of the said ,company delineated4 ,it is said to be done by ,hans ,holben2 and some say1 as many ,broad ,pieces have been offered for the purchase of it as would cover it40 ---------------------------------------- -------------------------------- ,,summary ,,list ,,of ,,holbein',s ,,chief ,,pictures ,,and ,,portraits 7,alphabetically arranged under the various countries7 ,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 work1 the date whenever known1 and the number in ,woltmann's list1 together with a reference to the page or pages and the plates in the present book in which the particular picture is described or reproduced4 ,holbein's very numerous drawings1 studies1 and designs are not included4 ,for these the reader must be referred to the second volume of ,dr4 ,woltmann's book1 and1 more particularly1 to the important publication1 now in course of issue1 under the editorship of ,dr4 ,paul ,ganz1 which is to include a facsimile reproduction of every one of the master's drawings4 ,nor does this list include ,holbein's woodcuts and book illustrations1 for which the student is referred to ,woltmann1 ,passavant1 ,butsch1 and others4 ,,america ,,boston3 ,,collection ,,of ,,mrs4 ,,gardner ,portrait of ,sir ,william ,butts1 #aedb-c4 ,portrait of ,lady ,butts1 #aedb-c4 ,until recently in the possession of the ,pole-,carew family4 ,w4 #bjd1 #bje4 ,see ,vol4 ii4 p4 #bji-baj4 ,,new ,,york3 ,,metropolitan ,,museum ,portrait of ,benedikt von ,hertenstein1 #aeag4 ,see vol4 i4 pp4 #gb-d1 ,pl4 #bd4 ,not in ,woltmann4 ,portrait of ,erasmus4 ,recently purchased by the late ,mr4 ,j4 ,pierpont ,morgan from the ,howard of ,greystoke family4 ,see vol4 i4 pp4 #agg-h4 ,not in ,woltmann4 ,,new ,,york3 ,,collection ,,of ,,mr4 ,,benjamin ,,altman ,portrait of a ,lady1 probably ,margaret ,wyat1 ,lady ,lee4 ,until recently in the collection of ,major ,charles ,palmer1 ,windsor4 ,see ,vol4 ii4 p4 #hb-hc2 ,pl4 #ae1 vol4 ii4 ,not in ,woltmann4 ,,new ,,york3 ,,collection ,,of ,,mr4 ,h4 ,c4 ,,frick ,portrait of ,sir ,thomas ,more1 #aebg4 ,until recently in the possession of ,mr4 ,edward ,huth4 ,see vol4 i4 pp4 #cjc-d1 and ,vol4 ii4 p4 #cdj4 ,w4 #bjg4 ,,new ,,york3 ,,collection ,,of ,,the ,,late ,,mr4 ,j4 ,,pierpont ,,morgan ,portrait of ,mrs4 ,pemberton4 ,miniature4 ,see ,vol4 ii4 p4 #bbh-bhi2 ,pl4 #cc1 vol4 ii4 ,not in ,woltmann4 ,portrait of ,henry ,,viii4 ,miniature4 ,see ,vol4 ii4 p4 #bce-bcf4 ,w4 #aeg4 ,portrait of ,sir ,thomas ,more4 ,miniature4 ,see vol4 i4 pp4 #cjf-g4 ,not in ,woltmann4 ,portrait of ,thomas ,cromwell4 ,miniature4 ,see ,vol4 ii4 p4 #bca-bcb2 ,pl4 #ca1 vol4 ii4 ,not in ,woltmann4 ,,new ,,york3 ,,collection ,,of ,,mr4 ,w4 ,c4 ,,vanderbilt ,portrait of ,lady ,guldeford4 ,formerly in the collection of ,mr4 ,t4 ,frewen4 ,see vol4 i4 pp4 #cbj-a4 ,w4 #bjf4 ,portrait of ,lady ,rich4 ,now in an ,american collection4 ,until recently in the collection of ,captain ,h4 ,r4 ,moseley1 ,buildwas ,park1 ,shropshire4 ,see ,vol4 ii4 p4 #bab4 ,w4 #abh4 ,,canada3 ,,collection ,,of ,,mr4 ,,james ,h4 ,,dunn ,portrait of ,queen ,catherine ,howard1 #aedj-da4 ,see ,vol4 ii4 p4 #aid-aif4 ,not in ,woltmann4 ,,austria-,,hungary ,,prague3 ,,rudolphinum ,portrait of ,lady ,elizabeth ,vaux4 ,badly damaged1 but possibly an original4 ,see ,vol4 ii4 p4 #hf-hg4 ,w4 #bdc4 ,,vienna3 ,,imperial ,,gallery ,portrait of ,derich ,tybis1 of ,duisburg1 and the ,london ,steelyard1 #aecc4 ,see ,vol4 ii4 p4 #bj-ba2 ,pl4 #d1 vol4 ii4 ,w4 #bea4 ,portraits of an ,official of the ,court of ,henry ,,viii1 and his ,wife1 #aecd4 ,two small roundels4 ,see ,vol4 ii4 p4 #gj-ga4 ,w4 #bef1 #beg4 ,portrait of ,queen ,jane ,seymour1 #aecf4 ,good copies at ,the ,hague1 ,woburn ,abbey1 and elsewhere4 ,see vol4 ii4 pp4 #aaa-b2 ,pl4 #bj1 vol4 ii4 ,w4 #beb4 ,portrait of a ,young ,man1 aged #bh1 #aeda4 ,see ,vol4 ii4 p4 #bjb-bjc2 ,pl4 #bg1 vol4 ii4 ,w4 #bed4 ,portrait of ,dr4 ,john ,chamber1 #aeda-c4 ,see ,vol4 ii4 p4 #bjh-bji2 ,pl4 #cj1 vol4 ii4 ,w4 #bee4 ,portrait of an ,unknown ,english ,lady4 ,see ,vol4 ii4 p4 #bjg2 ,pl4 #bi1 vol4 ii4 ,w4 #bec4 ,,vienna3 ,,collection ,,of ,,count ,,lanckoronski ,portrait of an ,unknown ,english ,lady4 ,see ,vol4 ii4 p4 #baa-bab4 ,w4 #bfj4 ,,vienna3 ,,collection ,,of ,,count ,,sch,,nborn ,portrait of a ,member of the ,wedigh ,family of ,cologne1 and of the ,london ,steelyard1 #aecb4 ,see ,vol4 ii4 p4 #ae-af4 ,w4 #bfb4 ,,belgium ,,brussels3 ,,collection ,,of ,,frau ,l4 ,,goldschmidt-,,przibram ,portrait of a ,young ,man holding a ,carnation1 #aecc4 ,see ,vol4 ii4 p4 #eg4 ,w4 #bfa4 ,,british ,,isles ,,london3 ,,national ,,gallery ,the ,two ,ambassadors3 ,jean de ,dinteville and ,george de ,selve1 #aecc4 ,see vol4 ii4 chap4 xvii42 ,pl4 #i1 vol4 ii4 ,w4 #bae4 ,portrait of the ,duchess of ,milan1 #aech4 ,see vol4 ii4 chap4 xx42 ,pl4 #ba1 vol4 ii4 ,w4 #b4 ,,hampton ,,court ,,palace ,portrait of ,john ,reskimer of ,cornwall4 ,see vol4 i4 pp4 #ccc-d4 ,w4 #afb4 ,christ appearing to ,mary ,magdalen 78,noli ,me ,tangere074 ,see vol4 i4 pp4 #ie-h1 ,pl4 #cb4 ,not in ,woltmann4 ,portrait of ,johann ,froben1 printer of ,basel4 ,probably only a good old copy4 ,see ,vol4 ii4 p4 #ahc-ahd4 ,not in ,woltmann4 ,portrait of ,lady ,elizabeth ,vaux4 ,probably only a good old copy4 ,see ,vol4 ii4 p4 #hf-hg4 ,w4 #afc4 ,,windsor ,,castle ,portrait of ,sir ,henry ,guldeford1 #aebg4 ,see vol4 i4 pp4 #cag-bj2 ,pl4 #hj4 ,w4 #bfd4 ,portrait of ,hans of ,antwerp1 #aecb4 ,see ,vol4 ii4 p4 #h-ad2 ,pl4 #b1 vol4 ii4 ,w4 #bfe4 ,portrait of ,derich ,born of ,cologne1 and of the ,london ,steelyard1 #aecc4 ,see ,vol4 ii4 p4 #ah-bj2 ,pl4 #d1 vol4 ii4 ,w4 #bff4 ,portrait of ,thomas ,howard1 ,duke of ,norfolk1 about #aech-i4 ,see ,vol4 ii4 p4 #aig-aii2 ,pl4 #be1 vol4 ii4 ,w4 #bfg4 ,portrait of ,henry ,brandon4 ,miniature4 ,date doubtful4 ,see ,vol4 ii4 p4 #bbc-bbf2 ,pl4 #ca1 vol4 ii4 ,w4 #bfh4 ,portrait of ,charles ,brandon1 #aeda4 ,miniature4 ,see ,vol4 ii4 p4 #bbc-bbf2 ,pl4 #ca1 vol4 ii4 ,w4 #bfi4 ,portrait of ,lady ,audley4 ,miniature4 ,see ,vol4 ii4 p4 #bbb-bbc2 ,pl4 #ca1 vol4 ii4 ,w4 #bgj4 ,portrait of ,queen ,catherine ,howard4 ,miniature4 ,see ,vol4 ii4 p4 #aib-aic2 ,pl4 #ca1 vol4 ii4 ,w4 #bga4 ,king ,solomon and the ,queen of ,sheba4 ,miniature painting in grisaille1 touched with colour and gold4 ,see vol4 ii4 pp4 #bfb-c2 ,pl4 #dj1 vol4 ii4 ,w4 #bgb4 ,,victoria ,,and ,,albert ,,museum1 ,,south ,,kensington3 ,,salting ,,collection ,portrait of ,hans of ,antwerp4 ,small roundel4 ,see ,vol4 ii4 p4 #ad4 ,not in ,woltmann4 ,portrait of ,anne of ,cleves4 ,miniature4 ,see ,vol4 ii4 p4 #aha-ahb1 and #bcf4 ,w4 #aeh4 ,,national ,,gallery ,,of ,,ireland1 ,,dublin ,portrait of ,sir ,henry ,wyat4 ,replica of the portrait in the ,louvre1 ,paris4 ,see vol4 i4 p4 #cce4 ,not in ,woltmann4 ,,lambeth ,,palace ,portrait of ,william ,warham1 ,archbishop of ,canterbury1 #aebg4 ,see vol4 i4 pp4 #cbb-c4 ,w4 #bjh4 ,,wallace ,,collection1 ,,hertford ,,house ,self-,portrait of ,hans ,holbein1 #aedc4 ,miniature4 ,see ,vol4 ii4 p4 #bcj2 ,pl4 #cc1 vol4 ii4 ,see ,woltmann1 vol4 ii4 pp4 #afg-h4 ,,barber-,,surgeons' ,,hall1 ,,london ,henry ,,viii granting a ,charter of ,incorporation to the ,barber-,surgeons1 #aedc4 ,see ,vol4 ii4 p4 #bhi-bdd2 ,pl4 #id1 vol4 ii4 ,w4 #bjb4 ,,duke ,,of ,,bedford1 ,k4,g41 ,,woburn ,,abbey ,portrait of ,sir ,john ,russell1 afterwards ,earl of ,bedford4 ,attributed to ,holbein4 ,w4 #ceh4 ,portrait of ,queen ,jane ,seymour4 ,old copy4 ,see ,vol4 ii4 p4 #aab4 ,,berlin1 ,,kaiser ,,friedrich ,,museum ,,duke ,,of ,,buccleuch1 ,k4,g41 ,k4,t41 ,,dalkeith ,,house ,portrait of ,sir ,nicholas ,carew4 ,see ,vol4 ii4 p4 #hh-hi4 ,w4 #adb4 ,portrait of ,queen ,catherine ,howard4 ,miniature4 ,see ,vol4 ii4 p4 #aic-aid4 ,not in ,woltmann4 ,other fine miniatures of ,sir ,thomas ,more1 ,george ,nevill1 ,lord ,abergavenny1 ,self-portrait of ,holbein1 #aedc1 ,jane ,seymour1 ,henry ,,viii1 c41 attributed to ,holbein4 ,see vol4 ii4 chap4 xxv4 ,,berlin1 ,,kaiser ,,friedrich ,,museum ,,mr4 ,,ayerst ,h4 ,,buttery1 ,,london ,portrait of an ,unknown ,english ,lady4 ,formerly in the possession of the ,bodenham family4 ,see vol4 i4 ,postscript to ,chapter xiv4 and ,pl4 #ie4 ,,earl ,,of ,,caledon1 ,,tyttenhanger ,,park ,portrait of ,thomas ,cromwell1 #aecb-cd4 ,see ,vol4 ii4 p4 #eh-fa4 ,w4 #bdi4 ,,duke ,,of ,,devonshire1 ,g4,c4,v4,o41 ,,chatsworth ,henry ,,vii and ,henry ,,viii4 ,cartoon for the left-hand half of the ,whitehall ,wall-painting4 ,until recently at ,hardwick ,hall4 ,see ,vol4 ii4 p4 #ig-ii2 ,pl4 #ah1 vol4 ii4 ,w4 #afg4 ,,miss ,,guest1 ,,of ,,inwood ,portrait of ,sir ,bryan ,tuke4 ,formerly in the ,collection of the ,duke of ,westminster4 ,see vol4 i4 pp4 #cca-c4 ,w4 #bac4 ,according to report1 this picture is no longer in ,miss ,guest's possession1 having been sold during the present year 7#aiac74 ,,lord ,,leconfield1 ,,petworth ,portrait of ,derich ,berck of ,cologne1 and of the ,london ,steelyard1 #aecf4 ,see ,vol4 ii4 p4 #bb-bc2 ,pl4 #e1 vol4 ii4 ,w4 #bda4 ,,mr4 ,,hamon ,,le ,,strange ,portrait of ,sir ,thomas le ,strange1 #aecf4 ,see ,vol4 ii4 p4 #he-hf4 ,not in ,woltmann4 ,,duke ,,of ,,northumberland1 ,k4,g41 ,,syon ,,house ,portrait of ,edward1 ,prince of ,wales4 ,attributed to ,holbein4 ,see ,vol4 ii4 p4 #aff4 ,w4 #bdf4 ,,messrs4 ,,parkenthorpe1 ,,london ,the ,more ,family ,group4 ,the ,burford version1 recently in the possession of ,sir ,hugh ,p4 ,lane4 ,copy1 with later additions1 of the original painting4 ,see vol4 i4 pp4 #cja-b2 ,pl4 #gf4 ,,earl ,,of ,,radnor1 ,,longford ,,castle ,portrait of ,erasmus1 #aebc4 ,see vol4 i4 pp4 #afi-ga2 ,pl4 #ed4 ,w4 #bad4 ,,sir ,,john ,,ramsden1 ,,bt41 ,,bulstrode ,,park ,portrait of a ,musician4 ,formerly regarded as a portrait of ,sir ,nicholas ,vaux4 ,considered by ,dr4 ,ganz to represent ,jean de ,dinteville4 ,see ,vol4 ii4 p4 #eb-ec2 ,pl4 #aj1 vol4 ii4 ,not in ,woltmann4 ,,lord ,,sackville1 ,,knole ,,park ,portrait of ,margaret ,roper4 ,inscribed 8,queen ,cathrine40 ,old copy of a lost original by ,holbein1 or of the figure in the ,more ,family ,group4 ,see vol4 i4 pp4 #cjh-i4 ,portrait of ,queen ,jane ,seymour4 ,good old copy of the portrait in ,vienna4 ,see vol4 i4 p4 #aab4 ,,lord ,,st4 ,,oswald1 ,,nostell ,,priory ,the ,more ,family ,group1 #aebg-cj4 ,this picture1 among the various existing versions of the ,more ,family ,group1 has the greatest claims to be regarded1 at least in parts1 as the original work by ,holbein4 ,see vol4 i4 pp4 #bie-h2 and vol4 ii1 pp4 #ccd-dj2 ,pl4 #ge4 ,,earl ,,spencer1 ,g4,p4,v4,o41 ,,althorp ,,park ,portrait of ,henry ,,viii1 about #aecg4 ,see ,vol4 ii4 p4 #ajg-aji2 frontispiece1 vol4 ii4 ,w4 #a4 ,portrait of ,hans of ,antwerp 787 ,small roundel4 ,attributed to ,holbein4 ,see ,vol4 ii4 p4 #ad-ae4 ,not in ,woltmann4 ,,mr4 ,,vernon ,,watney ,portrait of an ,english ,lady4 ,miniature4 ,said to represent ,queen ,jane ,seymour4 ,see ,vol4 ii4 p4 #bcg4 ,not in ,woltmann4 ,,earl ,,of ,,yarborough ,portrait of ,edward1 ,prince of ,wales4 ,fine old copy of the portrait at ,hanover4 ,see ,vol4 ii4 p4 #afe2 ,pl4 #bb1 vol4 ii4 ,,france ,,paris1 ,,the ,,louvre ,portrait of ,erasmus1 #aebc4 ,see vol4 i4 pp4 #agb-c2 ,pl4 #ef4 ,w4 #bbd4 ,portrait of ,william ,warham1 ,archbishop of ,canterbury1 #aebg4 ,see vol4 i4 p4 #cbb2 ,pl4 #hc4 ,w4 #bbe4 ,portrait of ,niklaus ,kratzer1 the ,astronomer1 #aebh4 ,see vol4 i4 pp4 #cbg-cj2 ,pl4 #hf4 ,w4 #bbf4 ,portrait of ,sir ,henry ,wyat1 #aebg-bh4 ,see vol4 i4 pp4 #cce-f2 ,pl4 #hh4 ,w4 #bbg4 ,portrait of ,anne of ,cleves1 #aeci4 ,see ,vol4 ii4 p4 #aha-ahb2 ,pl4 #bd1 vol4 ii4 ,w4 #bbh4 ,portrait of ,sir ,richard ,southwell1 #aecf4 ,attributed to ,holbein1 but probably only a fine old copy4 ,see vol4 ii4 p4 #he4 ,not in ,woltmann4 ,f4 ,,engel-,,gros ,,collection1 ,,ch,,teau ,,de ,,ripaille1 ,,thonon1 ,,savoy ,portrait of a ,man wearing the livery of ,henry ,,viii4 ,small roundel4 ,see ,vol4 ii4 p4 #ga4 ,not in ,woltmann4 ,,germany ,,berlin1 ,,kaiser ,,friedrich ,,museum ,portrait of ,georg ,gisze1 member of the ,london ,steelyard1 #aecb4 ,see ,vol4 ii4 p4 #d-h2 ,pl4 i4 vol4 ii4 ,w4 #aae4 ,portrait of ,hermann ,hillebrandt ,wedigh of ,cologne1 member of the ,london ,steelyard1 #aecc4 ,see ,vol4 ii4 p4 #af-ag2 ,pl4 #c1 vol4 ii4 ,w4 #aaf4 ,portrait of an ,unknown ,man1 aged #cg1 #aeda4 ,possibly a ,member of the ,dutch family of ,vos van ,steenwyck4 ,see vol4 ii4 p4 #bjb4 ,w4 #aag4 ,portrait of an ,unknown ,man1 aged #ed4 ,formerly in the ,collection of ,sir ,j4 ,e4 ,millais1 ,bt4 ,see ,vol4 ii4 p4 #bje-bjf2 ,pl4 #bi1 vol4 ii4 ,w4 #baa4 ,,brunswick1 ,,royal ,,museum ,portrait of ,cyriacus ,fallen1 member of the ,london ,steelyard1 #aecc4 ,see ,vol4 ii4 p4 #bb4 ,w4 #abf4 ,,darmstadt1 ,,grand-,,ducal ,,palace ,the ,madonna and ,child with the ,family of ,jakob ,meyer1 ,burgomaster of ,basel1 about #aebf4 ,commonly known as the ,meyer ,madonna4 ,see vol4 i4 pp4 #bcb-de2 ,pl4 #ga4 ,w4 #adc4 ,,dresden1 ,,royal ,,picture ,,gallery ,double ,portrait of ,thomas and ,john ,godsalve1 of ,norwich1 #aebh4 ,see vol4 i4 pp4 #cbe-g2 ,pl4 #hd4 ,w4 #add4 ,portrait of ,charles de ,solier1 ,sieur de ,morette1 ambassador to the ,english ,court1 about #aecd4 ,see ,vol4 ii4 p4 #fc-gj2 ,pl4 #ab1 vol4 ii4 ,w4 #ade4 ,the ,madonna and ,child with the ,family of ,jakob ,meyer4 ,long regarded as an original work by ,holbein4 ,fine old copy of the picture at ,darmstadt4 ,see vol4 i4 pp4 #bcb-de4 ,not in ,woltmann4 ,,frankfurt1 ,,st,,delsches ,,kunstinstitut ,portrait of ,simon ,george1 of ,quocote4 ,see ,vol4 ii4 p4 #bjg4 ,w4 #aea4 ,,freiburg ,,im ,,breisgau1 ,,university ,,chapel1 ,,minster ,the ,adoration of the ,shepherds4 ,the ,adoration of the ,kings4 ,inner sides of the wings of the ,oberried altar-piece4 ,see vol4 i4 pp4 #hh-ia2 ,pl4 #bi4 ,w4 #aee1 #aef4 ,,hanover1 ,,provinzial ,,museum ,portrait of ,philip ,melanchthon4 ,small roundel4 ,see vol4 i4 pp4 #ahd-e2 ,pl4 #eh4 ,w4 #afd4 ,portrait of ,edward1 ,prince of ,wales1 #aech-i4 ,see ,vol4 ii4 p4 #afe4 ,w4 #afe4 ,,karlsruhe1 ,,grand-,,ducal ,,picture ,,gallery ,christ ,bearing the ,cross1 #aeae4 ,on the back the remains of a 8,crowning with ,thorns40 ,see vol4 i4 pp4 #ch-i4 ,w4 #afh4 ,st4 ,george1 #aebb4 ,st4 ,ursula1 #aebb4 ,wings of an altar-piece4 ,see vol4 i4 pp4 #aaa-b4 ,w4 #afi1 #agj4 ,,munich1 ,,alte ,,pinakothek ,portrait of ,derich ,born1 member of the ,london ,steelyard1 #aecc4 ,small oval1 almost miniature in size4 ,see ,vol4 ii4 p4 #bj4 ,w4 #bbj4 ,portrait of ,sir ,bryan ,tuke1 with ,death holding a ,scythe and ,hour-glass4 ,probably a good old copy of the picture until recently in the possession of ,miss ,guest of ,inwood4 ,see vol4 i4 pp4 #cca-c4 ,w4 #bai4 ,portrait of ,derich ,berck1 member of the ,london ,steelyard4 ,copy of the picture belonging to ,lord ,leconfield1 ,petworth4 ,see vol4 ii4 p4 #bc4 ,not in ,woltmann4 ,,munich1 ,,bavarian ,,national ,,museum ,portrait of a ,man1 aged #bg4 ,miniature1 with the initials ,h4 ,m4 on either side of the head4 ,see vol4 ii4 pp4 #bda-b4 ,not in ,woltmann4 ,,holland ,,the ,,hague1 ,,royal ,,picture ,,gallery ,portrait of a ,young ,lady1 said to be ,holbein's ,wife4 ,see vol4 i4 pp4 #ajf-h2 ,pl4 #cg4 ,w4 #afa4 ,portrait of ,robert ,cheseman1 #aecc4 ,see ,vol4 ii4 p4 #ed-eg2 ,pl4 #aa1 vol4 ii4 ,w4 #aei4 ,portrait of an ,unknown ,man with a ,falcon1 aged #bh1 #aedb4 ,see ,vol4 ii4 p4 #bjc2 ,pl4 #bh1 vol4 ii4 ,w4 #afj4 ,portrait of ,queen ,jane ,seymour4 ,good old copy of the picture at ,vienna4 ,see ,vol4 ii4 p4 #aac4 ,not in ,woltmann4 ,,the ,,hague1 ,,royal ,,palace ,portrait of a ,boy4 ,miniature4 ,see ,vol4 ii4 p4 #bbi-bcj2 ,pl4 #ca1 vol4 ii4 ,not in ,woltmann4 ,,italy ,,florence1 ,,uffizi ,,gallery ,portrait of ,sir ,richard ,southwell1 #aecf4 ,see ,vol4 ii4 p4 #hd-he2 ,pl4 #af1 vol4 ii4 ,w4 #adi4 ,self-portrait of ,hans ,holbein1 #aedc4 ,see ,vol4 ii4 p4 #bac4 ,w4 #aej4 ,,parma1 ,,picture ,,gallery ,portrait of ,erasmus1 #aecj4 ,probably only a good old copy4 ,see vol4 i4 p4 #agi4 ,w4 #bdj4 ,,rome1 ,,national ,,gallery ,portrait of ,henry ,,viii1 about #aeci4 ,see ,vol4 ii4 p4 #ajb-ajc2 ,pl4 #ai1 vol4 ii4 ,not in ,woltmann4 ,,spain ,,madrid1 ,,prado ,portrait of an ,old ,man4 ,attributed to ,holbein by some writers4 ,not by him according to ,dr4 ,ganz4 ,see vol4 i4 pp4 #ccd-e4 ,w4 #bag4 ,,switzerland ,,basel1 ,,public ,,picture ,,collection ,madonna and ,child1 #aead4 ,see vol4 i4 pp4 #cc-e2 ,pl4 #g4 ,not in ,woltmann4 ,head of the ,virgin4 ,head of ,st4 ,john4 ,see vol4 i4 pp4 #cg-h2 ,pl4 #h4 ,w4 #g1 #h4 ,the ,lord's ,supper4 ,christ on the ,mount of ,olives4 ,christ taken ,prisoner4 ,the ,scourging4 ,pilate ,washing his ,hands4 ,the above five paintings1 on canvas1 formed part of a larger 8,passion0 series1 probably for some ,basel church1 and are among the earliest works upon which ,holbein was engaged after he settled in that city4 ,see vol4 i4 pp4 #ci-db2 ,pls4 #i and #aj4 ,w4 #bd-h4 ,schoolmaster's ,sign1 #aeaf4 ,painted on both sides4 ,see vol4 i4 pp4 #ea-b2 ,pl4 #ad4 ,w4 #e1 #f4 ,double ,portrait of the ,burgomaster1 ,jakob ,meyer1 and his ,wife ,dorothea ,kannengiesser1 #aeaf4 ,see vol4 i4 pp4 #eb-e2 ,pl4 #ae4 ,w4 #aa4 ,adam and ,eve1 #aeag4 ,see vol4 i4 pp4 #ee-f2 ,pl4 #ag4 ,w4 #i4 ,portrait of ,bonifacius ,amerbach1 #aeai4 ,see vol4 i4 pp4 #he-g2 ,pl4 #bh4 ,w4 #aj4 ,the ,dead ,christ in the ,tomb1 #aeba4 ,see vol4 i4 pp4 #aja-c2 ,pl4 #ce4 ,w4 #ad4 ,seven ,fragments of three of the ,wall-paintings in the ,council ,chamber of the ,basel ,town ,hall3-- ,heads of the ,samnite ,ambassadors1 #aeba-b4 ,head of ,zaleucus of ,locri1 #aeba-b4 ,head of a ,spectator in the same painting1 #aeba-b4 ,head of ,king ,rehoboam1 #aecj4 ,hand of ,king ,rehoboam1 #aecj4 ,two groups of ,heads in the same painting1 #aecj4 ,see vol4 i4 pp4 #abi-ca and #cdh2 ,pls4 #dj and #ib4 ,w4 #ba4 ,portrait of ,erasmus1 in profile1 writing1 #aebc4 ,see vol4 i4 pp4 #agc-d4 ,w4 #ab4 ,the ,last ,supper4 ,see vol4 i4 pp4 #ge-f2 ,pl4 #be4 ,w4 #af4 ,the ,passion of ,christ4 ,in eight scenes4 ,the outer sides of the wings of an altar-piece4 ,see vol4 i4 pp4 #ia-e2 ,pl4 #cj4 ,w4 #bj4 ,christ as the ,man of ,sorrows4 ,mary as ,mater ,dolorosa4 ,diptych1 monochrome1 with blue backgrounds4 ,see vol4 i4 pp4 #ih-i2 ,pl4 #cc4 ,w4 #ai4 ,organ ,doors formerly in ,basel ,minster4 ,see vol4 i4 p4 #aac4 ,w4 #d4 ,magdalena ,offenburg as ,las ,corinthiaca1 #aebf4 ,see vol4 i4 pp4 #bdf-eb2 ,pl4 #gc4 ,w4 #ag4 ,magdalena ,offenburg as ,venus1 #aebf4 ,see vol4 i4 pp4 #bdf-eb2 ,pl4 #gc4 ,w4 #ah4 ,holbein's ,wife and ,children1 #aebh-bi4 ,see vol4 i4 pp4 #cdc-f2 ,pl4 #ij4 ,w4 #ae4 ,portrait of an ,unknown ,man4 ,see ,vol4 ii4 p4 #baa4 ,w4 #bb4 ,portrait of ,erasmus4 ,small roundel4 ,see vol4 i4 p4 #ahj2 ,pl4 #eh4 ,w4 #ac4 ,portrait of a ,young ,woman1 about #aebh4 ,unfinished4 ,see vol4 i4 pp4 #cdf-g2 ,pl4 #ia4 ,w4 #df4 ,printer's ,mark of ,johann ,froben4 ,portrait of ,johann ,froben4 ,old copy4 ,see vol4 i4 pp4 #ahc-d4 ,,basel1 ,,university ,,library ,coat of ,arms of ,petrus ,fabrinus1 ,rector of ,basel ,university1 #aebc4 ,coloured drawing in the ,university ,matriculation ,book4 ,see vol4 i4 pp4 #ade-f4 ,w4 #aab4 ,,basel1 ,,collection ,,of ,,dr4 ,,rudolph ,,geigy-,,schlumberger ,portrait of a ,man1 said to be ,holbein himself4 ,water-colour drawing4 ,see ,vol4 ii4 p4 #bac4 ,not in ,woltmann4 ,,lucerne1 ,,kunstverein ,fragments of the original wall-painting on the faade of the ,hertenstein ,house in ,lucerne3 part of the subject of the ,death of ,lucretia1 #aeag4 ,see vol4 i4 p4 #fh4 ,w4 #baf4 ,,solothurn1 ,,stadt ,,museum ,madonna and ,child1 with ,st4 ,nicholas 7or ,st4 ,martin7 and ,st4 ,ursus1 #aebb4 ,see vol4 i4 pp4 #ajc-aa2 ,pl4 #cf4 ,w4 #bdg4 ,z,,rich1 ,,schweizerisches ,,landesmuseum ,table painted with the legend of ,st4 ,nobody1 hunting and jousting scenes1 c41 for ,hans ,baer1 of ,basel1 #aeae4 ,see vol4 i4 pp4 #ce-g4 ,w4 #cei4 ---------------------------------------- -------------------------------- ,,pictures ,,by ,,and ,,attributed ,,to ,,holbein ,,and ,,of ,,his ,,school ,,and ,,period ,,exhibited ,,at ,,various ,,exhibitions ,,between #ahdf ,,and #aiab ,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 ,i4 ,,the ,,british ,,institution1 #ahdf #abj ,charles ,brandon1 ,duke of ,hans ,lord ,willoughby d',eresby ,suffolk d4 #aede ,holbein #abb ,henry ,,viii ,mrs4 ,nicholl #aca ,the ,infant ,son of ,charles ,lord ,willoughby d',eresby ,brandon1 ,duke of ,suffolk #acc ,edward ,,vi when ,prince of ,earl of ,hardwick ,wales #ace ,george ,brooke1 ,lord of ,f4 ,l4 ,popham1 ,esq4 ,cobham d4 #aeeh #ach ,queen ,mary ,hon4 ,c4 ,c4 ,cavendish ,m4,p4 #aee ,thomas ,howard1 ,duke of ,duke of ,norfolk ,norfolk1 #afa ,ambrose ,dudley1 ,earl of ,marquess of ,salisbury1 ,warwick1 d4 #aehi ,k4,g4 #afb ,william ,warham1 ,archbishop ,archbishop of ,canterbury of ,canterbury1 d4 #aecb #afc ,the ,family of ,henry ,,vii ,lord ,willoughby d',eresby and ,henry ,,viii1 c4 #agf ,catherine de ,bore1 wife of ,duke of ,sutherland1 ,k4,g4 ,martin ,luther #agh ,erasmus1 d4 #aecf ,duke of ,sutherland1 ,k4,g4 #bjj ,lady ,elizabeth ,gray1 wife ,lord ,baybrooke of ,thomas1 ,lord ,audley of ,warden1 ,lord ,chancellor #bje ,henry ,,viii granting the ,barber-,surgeons' ,company ,charter to the ,barber-,surgeons ,,ii4 ,,art ,,treasures ,,of ,,the ,,united ,,kingdom ,,collected ,,at ,,manchester ,,in #aheg ,old ,masters #ded ,portrait of ,francis ,i ,hans ,her ,majesty 7,hampton 7considered by some to be ,holbein ,court7 a ,janet7 #dee ,king ,henry ,,viii ,earl of ,warwick #def ,dr4 ,stokes 7,bishop of ,her ,majesty 7,windsor ,london7 ,castle7 #deg ,king ,edward ,,vi ,a4 ,barker1 ,esq4 #dei ,portrait of a ,young ,man ,lord ,ward holding a ,book #dfj ,portrait of ,francis ,i1 ,h4,r4,h4 ,prince ,albert dated #aeji1 ,no4 #dj of ,kensington ,palace ,catalogue #dff ,portrait of ,erasmus4 ,a ,georg ,her ,majesty 7,windsor copy of a picture by ,pentz ,castle7 ,holbein #ecc ,the ,root of ,jesse ,gerard ,sir ,culling ,eardly1 ,bt4 ,lucas ,horebout ,british ,portrait ,gallery #aj ,anne ,boleyn ,unknown ,earl of ,denbigh #aa ,anne ,boleyn 8 ,earl of ,warwick #ab ,mary ,boleyn 8 8 #ac ,lord ,darnley and his ,lucas ,her ,majesty 7,hampton ,brother1 ,charles ,stuart d',heere ,court7 #ad ,mary ,tudor and ,charles ,unknown ,duke of ,bedford ,brandon1 ,duke of ,suffolk #af ,queen ,katherine ,parr ,holbein ,earl of ,denbigh #ag ,earl of ,surrey 7,henry 8 ,her ,majesty 7,hampton ,howard71 the poet1 in a ,court7 red habit #bf ,sir ,nicholas ,carew1 ,k4,g41 8 ,duke of ,buccleuch in armour #bg ,sir ,walter ,raleigh 8 ,j4 ,gibson ,craig1 ,esq41 ,m4,p4 #bh ,lady ,raleigh 8 8 #bi ,the ,darnley ,cenotaph 8 ,duke of ,richmond #cj ,littleton 8 ,lord ,lyttelton #ca ,earl of ,southampton 7,henry 8 ,duke of ,portland ,wriothesley71 ,shakespeare's patron1 with his ,cat #cb ,countess of ,southampton 8 8 7,elizabeth ,vernon71 wife of above #cc ,bess of ,hardwick 7,building 8 8 ,bess7 #cd ,william ,camden in his 8 ,painter-,stainers' ,company dress as ,clarencieux #dh ,king ,henry ,,viii 8 ,duke of ,manchester #di ,cardinal ,wolsey 8 ,christ ,church1 ,oxford #ej ,queen ,jane ,seymour 8 ,duke of ,bedford #ea ,the ,father of ,sir ,thomas 8 ,earl of ,pembroke ,more holding a legal document #eb ,sir ,henry ,guildford 8 ,her ,majesty 7,windsor ,castle7 ,,south ,,kensington1 #ahfb #ec ,lady ,grey 7,margaret ,holbein ,duke of ,portland ,wooton7 #ec;,a ,lady ,jane ,grey 8 ,earl of ,stamford and ,warrington #ed ,king ,edward ,,vi4 ,a 8 ,her ,majesty 7,windsor knee-piece ,castle7 #ee ,king ,edward ,,vi at age of 8 ,earl of ,yarborough six #ee;,a ,king ,edward ,,vi 8 ,duke of ,northumberland #ef ,king ,edward ,,vi4 ,miniature 8 ,duke of ,portland full-length #eg ,the ,three ,children of ,king ,mabuse ,earl of ,pembroke ,henry ,,vii #eh ,queen ,mary ,i and ,philip 8 ,duke of ,bedford ,,ii4 ,small full-lengths1 dated #aeeh #ei ,queen ,mary ,i1 #aedd ,lucas ,society of ,antiquaries d',heere #fb ,queen ,elizabeth4 ,miniature 8 ,duke of ,portland full-length #ff ,william ,warham1 ,archbishop ,holbein ,archbishop of ,canterbury of ,canterbury #fg ,the ,princess ,elizabeth1 8 ,her ,majesty 7,hampton holding a book ,court7 #fg;,a ,sir ,thomas ,gresham 8 ,earl of ,stamford and ,warrington #agc ,lucius ,cary1 ,viscount 8 ,earl of ,clarendon ,falkland ,frame ,miniatures of the time of -- ,duke of ,buccleuch #g ,henry ,,vii and ,henry ,,viii1 c4 ,frame ,henry ,,viii ,holbein ,col4 ,meyrick #ag ,frame ,anne of ,cleves 8 8 #ag ,,iii4 ,,special ,,exhibition ,,of ,,works ,,of ,,art1 ,,south ,,kensington ,,museum1 ,,june #ahfb4 ,,section ,,xi4 ,,portrait ,,miniatures #aija ,mary ,tudor1 ,queen of ,sir ,a4 ,s4 ,addington1 ,esq4 ,england 7oil7 ,more #aije ,thomas ,cromwell1 ,earl of ,holbein 8 ,essex #aicb ,edward ,,vi 7sculptured in ,unknown ,t4 ,l4 ,barwick ,baker1 ,esq4 wood7 #aicc ,henry ,,viii 8 8 8 #aicd ,henry1 ,duke of ,richmond 8 ,c4 ,sackville ,bale1 ,esq4 #aice ,jane ,seymour ,hans 8 ,holbein #aicf ,mary ,tudor 8 8 #bjah ,henry ,,vii 8 ,duke of ,buccleuch1 ,k4,g4 #bjba ,henry ,,viii 8 8 #bjbb 8 8 8 #bjbc 8 8 8 #bjbd ,catherine of ,aragon 8 8 #bjbe 8 8 8 #bjbf 8 8 8 #bjbg ,mary ,tudor ,sir ,a4 8 ,more #bjbi ,catherine ,howard ,hans 8 ,holbein #bjcj 8 8 8 #bjci ,prince ,edward 8 8 #bjdj ,king ,edward ,,vi ,hans ,duke of ,buccleuch1 ,k4,g4 ,holbein #bjda 8 8 8 #bjdb 8 8 8 #bjfa ,sir ,thomas ,more 8 8 #bbaf ,the ,three ,children of ,ascribed ,j4 ,c4 ,dent1 ,esq4 ,henry ,,vii to ,mabuse #bbag ,jane ,seymour ,hans 8 ,holbein #bbah ,queen ,catherine ,parr 8 8 #bbai ,henry ,,viii1 full-length -- 8 7carved in honestone7 #bbbj ,henry ,,viii 7carved in ,hans 8 boxwood7 ,holbein #bbfe ,an ,unfinished ,portrait 8 ,sir ,wentworth ,dilke1 ,bt4 #bcda ,henry ,,viii ,unknown ,earl of ,gosford #bdje ,queen ,catherine ,howard ,hans ,duke of ,hamilton ,holbein #bdeh ,sir ,thomas ,more ,attributed,sir ,w4 ,t4 ,holburne4 ,bt4 to ,holbein #bdei ,erasmus 8 8 #bdgg ,thomas ,howard1 #crd ,duke of ,hans ,r4 ,s4 ,holford1 ,esq4 ,norfolk ,holbein #bdgh ,thomas ,howard1 #dth ,duke of ,sir ,a4 8 ,norfolk ,more #bedd ,henry ,,viii1 #aebf ,hans ,hollingworth ,magniac1 ,esq4 ,holbein #bede ,catherine of ,aragon 8 8 #beha ,henry ,,viii and ,jane 8 ,h4 ,danby ,seymour1 ,esq41 ,seymour ,m4,p4 #beih ,mary ,tudor1 ,queen of ,luis de ,rev4 ,walter ,sneyd ,england ,vargas #beii ,philip ,,ii of ,spain 8 8 #bfda ,leonhardus ,bur1 aged #bj1 ,hans ,charles ,sotheby1 ,esq4 #aedi ,holbein #bfea ,henry ,,viii 7oil on panel7 8 ,earl ,spencer #bfeb ,sir ,john ,boling ,hatton and ,lucas 8 his ,mother1 #aebe d',heere #bgbf ,catherine1 ,duchess of ,hans ,lady ,willoughby de ,eresby ,suffolk1 d4 #aehj ,holbein #bgbg ,thomas ,cromwell1 ,earl of ,unknown 8 ,essex ,,iv4 ,,special ,,exhibition ,,of ,,portrait ,,miniatures ,,on ,,loan ,,at ,,the ,,south ,,kensington ,,museum1 ,,june #ahfe #bgc ,henry ,,viii 7oil7 ,unknown ,duke of ,richmond #cjg ,mary ,tudor1 ,queen of ,sir ,a4 ,s4 ,addington1 ,esq4 ,england 7oil7 ,more #fja ,sir ,thomas ,more 7enamel7 ,h4 ,bone1 ,r4 ,g4 ,clarke1 ,esq4 ,r4,a4 #fbi ,mary1 ,queen of ,england ,luis de ,rev4 ,w4 ,sneyd 7oil74 ,dated #aeee ,vargas #fcj ,philip ,,ii of ,spain 7oil7 8 8 #fdh ,katherine of ,aragon 7on ,hans ,hollingworth ,magniac1 ,esq4 vellum7 ,holbein #feb ,henry ,,viii4 ,painted in 8 8 #aebf #gfc ,sir ,nicholas ,poyntz 8 ,r4 ,s4 ,holford1 ,esq41 ,m4,p4 7vellum7 #iej ,sir ,john ,boling ,hatton and ,lucas ,earl ,spencer1 ,k4,g4 his ,mother4 ,dated #aebe d',heere #ajbi ,earl of ,kildare 7oil on ,hans ,lord ,boston panel7 ,holbein #adf ,alicia1 wife of ,sir ,thomas 8 ,j4 ,heywood ,hawkins1 ,esq4 ,more 7on card7 #abhb ,mary ,tudor1 ,queen of ,unknown 8 ,england #acha ,henry ,,viii 7on ivory7 ,copy after,earl of ,gosford ,holbein #achh ,john ,calvin 7oil on panel7 ,hans ,earl ,spencer1 ,k4,g4 ,holbein #acib ,henry ,,viii 7oil on panel7 8 ,john ,jones1 ,esq4 #aeed ,thomas ,howard1 ,duke of 8 ,philip ,henry ,howard1 ,esq4 ,norfolk 7on panel7 #aeij ,katherine of ,aragon 7on 8 ,duke of ,buccleuch1 ,k4,g4 vellum7 #afjc ,thomas1 ,lord ,seymour of 8 8 ,sudeley 7on vellum7 #afdc ,henry1 ,duke of ,richmond ,unknown ,c4 ,sackville ,bale1 ,esq4 7on card7 #afde ,lady ,jane ,seymour ,hans 8 ,holbein #afea ,queen ,mary ,i of ,england 8 8 #agjh ,margaret ,tudor1 ,queen of ,unknown ,duke of ,marlborough ,scotland #ahaj ,ann of ,cleves4 ,signed 8,h4 ,hans ,david ,laing1 ,esq4 ,h40 7oil on panel74 ,holbein #bjhb ,henry ,,viii 7oil7 8 ,earl ,spencer1 ,k4,g4 #bjic ,portrait of a ,gentleman in 8 ,earl of ,shaftesbury1 ,k4,g4 a furred gown #bcdg ,henry ,,viii and ,edward ,,vi ,ascribed ,miss ,wilson to ,n4 ,hilliard #bfbg ,portrait of a ,lady1 aged ,hans ,j4 ,heywood ,hawkins1 ,esq4 #bc 7on card7 7,mrs4 ,holbein ,pemberton7 #bfee ,hans ,holbein1 the ,painter 8 ,earl ,spencer1 ,k4,g4 7oil7 #bffd ,edward ,,vi4 ,dated #aedg 8 ,henry ,f4 ,holt1 ,esq4 #bidf ,charles ,v1 ,emperor of ,ascribed ,william ,mosely1 ,esq4 ,germany to ,holbein #bidg ,anne ,boleyn 8 8 #bidh ,henry ,,viii 8 8 ,v4 ,,first ,,special ,,exhibition ,,of ,,national ,,portraits ,,ending ,,with ,,the ,,reign ,,of ,,king ,,james ,,the ,,second1 ,,on ,,loan ,,to ,,the ,,south ,,kensington ,,museum1 #ahff #df ,richard ,fox1 ,bishop of ,johannes ,corpus ,oxford ,christi ,winchester4 #cj0 #ai0 ,corvus ,college1 #di ,arthur1 ,prince of ,wales4 ,hans ,her ,majesty 7,windsor #ae0 #aa0 ,holbein ,castle7 #ej ,richard ,fox4 #ae0 #ab0 ,unknown ,richard ,cholmondeley1 ,esq4 #eb ,henry ,,vii4 #bc0 #ah0 ,jan de ,hon4 ,mrs4 ,greville ,howard ,mabuse #ec ,margaret ,tudor1 ,queen of ,unknown ,her ,majesty 7,hampton ,scotland4 #id0 #ee0 ,court7 #ed ,henry ,,vii and ,ferdinand of ,hans ,henry ,musgrave1 ,esq4 ,aragon4 #cb0 #ca0 ,holbein #ee ,henry ,,vii4 #bb0 #ag0 ,unknown ,her ,majesty 7,windsor ,castle7 #ef ,henry ,,vii4 #bj0 #af0 8 ,christ ,church1 ,oxford #eg ,queen ,elizabeth of ,york4 ,ascribed ,mrs4 ,b4 ,j4 ,p4 ,bastard4 #ba0 #af0 to ,mabuse #eh ,the ,three ,children of ,jan de ,her ,majesty 7,hampton ,henry ,,vii4 #ac0 #ag0 ,mabuse ,court7 #ei ,henry ,,vii4 #bb0 #be0 ,unknown ,charles ,winn1 ,esq4 #fj ,john ,colet1 ,dean of ,st4 8 ,university ,library1 ,paul's4 #cd0 #bd0 ,cambridge #fb ,henry ,,vii4 #ae0 #aa0 8 ,christ ,church1 ,oxford #fc ,james ,,iv of ,scotland4 #ad0 ,hans ,marquis of ,lothian #aa0 ,holbein #fh ,sir ,thomas ,wyat the ,elder4 ,unknown ,bodleian ,library1 ,oxford #ag0 #ac0 #ga ,edward ,stafford1 #crd ,duke ,hans ,marquis of ,hastings of ,buckingham4 #bc0 #ah0 ,holbein #gb ,nicolas ,kratzer4 #cd0 #bg0 ,viscount ,galway1 ,m4,p4 #gc ,hans ,holbein1 signed 8,h4 ,her ,majesty 7,hampton ,b41 ,a4,d4 #aeci40 #af0 #aa0 ,court7 #gd ,queen ,catherine of ,aragon ,walter ,moseley1 ,esq4 7,portrait of ,lady ,rich74 #ag0 #ac0 #ge ,henry ,,viii4 #ce0 #be0 ,duke of ,manchester #gf ,charles ,brandon1 ,duke of ,mrs4 ,branfill ,suffolk1 and his wife1 ,princess ,mary ,tudor4 #cj0 #bb0 #gg ,henry ,,viii4 #ce0 #bg0 ,unknown ,her ,majesty 7,windsor ,castle7 #gh ,queen ,katherine of ,aragon4 ,hans ,countess ,delawarr #bf0 #bj0 ,holbein #gi ,queen ,katherine of ,aragon4 ,unknown ,national ,portrait ,gallery #bc0 #ag0 #hj ,charles ,brandon1 ,duke of ,jan de ,earl of ,yarborough ,suffolk1 and the ,princess ,mabuse ,mary ,tudor4 #bh0 #ah0 #hd ,henry ,,viii4 #be0 #bb0 ,hans ,lady ,sophia ,des ,vux ,holbein #hf ,william ,warham1 ,archbishop ,archbishop of ,canterbury of ,canterbury4 #cb0 #bf0 #hh ,john ,fisher1 ,bishop of ,major ,j4 ,h4 ,brooks ,rochester4 #ac0 #aj0 #hi ,sir ,john ,more1 ,kt4 #af0 ,w4 ,b4 ,smythe1 ,esq4 #ab0 #ij ,margaret ,tudor1 ,queen of ,marquis of ,lothian ,scotland4 #ad0 #aa0 #ia ,sir ,thomas ,wyat the ,elder4 ,unknown ,marquis of ,hastings ,circular1 diameter #ai0 #ib ,john ,fisher1 ,bishop of ,hans ,st4 ,john's ,college1 ,rochester1 aged #gd4 #bh0 ,holbein ,cambridge #bd0 #ic ,thomas ,cranmer1 ,archbishop ,jesus ,college1 ,cambridge of ,canterbury4 #ie ,henry ,howard1 ,earl of ,bodleian ,library1 ,oxford ,surrey4 #h0 #f0 #if ,thomas ,linacre1 ,m4,d41 ,holbein or,her ,majesty 7,windsor dated #aebg4 #ah0 #ac0 ,metsys ,castle7 #ig ,queen ,anne ,boleyn4 #be0 ,unknown ,hon4 ,mrs4 ,greville ,howard #aj0 #ih ,sir ,thomas ,wyat the ,elder4 8 ,john ,bruce1 ,esq4 #ae0 #ab0 #ii ,henry ,,viii4 #cf0 #ce0 ,earl of ,warwick #aja ,sir ,thomas ,boleyn1 ,earl of ,hans ,w4 ,b4 ,stopford1 ,esq4 ,ormonde and ,wiltshire1 ,holbein ,k4,g41 aged #fj4 #bj0 #ag0 #ajb ,henry ,howard1 ,earl of ,her ,majesty 7,hampton ,surrey1 ,k4,g4 #gf0 #eb0 ,court7 #ajc ,queen ,anne ,boleyn4 #ad0 ,unknown ,earl of ,warwick #ab0 #ajd ,christina of ,denmark1 ,hans ,her ,majesty 7,windsor ,duchess of ,milan4 #ag0 ,holbein ,castle7 #ac0 #aje ,mary ,boleyn4 #ad0 #ab0 ,unknown ,earl of ,warwick #ajf ,james ,v of ,scotland and 8 ,duke of ,devonshire1 ,k4,g4 his second ,queen1 ,mary of ,guise4 #eg0 #dc0 #ajg ,queen ,anne ,boleyn1 dated ,hans ,sir ,montague ,j4 ,cholmeley1 #aecj1 8,h4 ,b40 #cc0 #bc0 ,holbein ,bt41 ,m4,p4 #ajh ,sir ,richard ,southwell1 ,kt4 ,h4 ,e4 ,chetwynd-,stapylton1 #ah0 #ad0 ,esq4 #aji ,henry ,,viii4 #ci0 #bi0 ,her ,majesty 7,windsor ,castle7 #aaj ,sir ,william ,butts1 ,kt4 #ah0 ,w4 ,h4 ,pole-,carew1 ,esq4 #ad0 #aaa ,sir ,nicholas 7called ,unknown ,marquis of ,ormonde 8,william07 ,poyntz1 dated #aece4 ,canvas4 #bg0 #ah0 #aab ,sir ,richard ,southwell1 ,michell1 ,ralph ,n4 ,wornum1 ,esq4 painted in #ahce4 #bb0 #ah0 after ,holbein #aac ,thomas ,cromwell1 ,earl of ,hans ,duke of ,manchester ,essex4 #ad0 #aa0 ,holbein #aad ,queen ,anne ,boleyn4 #aj0 ,earl of ,denbigh #h0 #aae ,lady ,butts4 #ah0 #ad0 ,w4 ,h4 ,pole-,carew1 ,esq4 #aah ,henry ,,viii4 #ce0 #bg0 ,viscount ,galway1 ,m4,p4 #aai ,queen ,jane ,seymour4 #ad0 ,unknown ,duke of ,northumberland #aa0 #abj ,mary ,tudor1 ,queen of ,unknown ,earl ,brownlow ,france4 #f0 #e0 #aba ,henry ,howard1 ,earl of ,hans ,countess ,delawarr ,surrey4 ,dated #aedf4 ,holbein ,canvas1 #ha0 #ea0 #abb ,joanna ,fitz-,alan1 ,lady ,john ,webb1 ,esq4 ,abergavenny4 ,she died before #aeai4 #af0 #bb0 #abc ,charles ,brandon1 ,duke of ,unknown ,earl ,brownlow ,suffolk4 #g0 #f0 #abd ,henry ,,viii4 #bh0 #bb0 ,hans ,her ,majesty 7,hampton ,holbein ,court7 #abe ,queen ,jane ,seymour4 #bd0 ,unknown ,countess ,delawarr #ai0 #abf ,thomas ,cromwell1 ,earl of ,hans 8 ,essex4 #cj0 #bd0 ,holbein #abi ,sir ,henry ,guildford1 ,kt4 ,john ,webb1 ,esq4 #cd0 #be0 #aca ,queen ,katherine ,parr4 #gj0 ,hans ,richard ,booth1 ,esq4 #cd0 ,holbein #acb ,queen ,anne of ,cleves4 #bh0 ,charles ,morrison1 ,esq4 #bb0 #acc ,sir ,henry ,wyat1 ,kt4 #cj0 ,unknown ,earl of ,romney #bd0 #acd ,henry ,,vii and ,henry ,,viii4 ,hans ,duke of ,devonshire1 ,k4,g4 ,cartoon1 #ajb0 #ed0 ,holbein #ace ,henry ,,viii and ,jane ,van ,reme1,her ,majesty 7,hampton ,seymour1 c4 #ci0 #cf0 after ,court7 ,holbein #ach ,will ,somers4 #bh0 #bc0 ,hans 8 ,holbein #ada ,sir ,william ,sidney1 ,kt4 ,lord ,de ,l',isle and ,dudley 8,holbein f4 #aebc40 #dh0 #ch0 #adb ,thomas ,cranmer4 ,canvas1 ,captain ,byng #cf0 #bi0 #adc ,erasmus4 ,dated #aecg4 #bc0 ,g4 ,pencz ,her ,majesty 7,windsor #ah0 ,castle7 #add ,henry ,,viii4 #ib0 #ec0 ,hans ,h4 ,danby ,seymour1 ,esq41 ,holbein ,m4,p4 #adf ,henry ,,viii4 #bd0 #ai0 ,unknown ,royal ,college of ,surgeons #adi ,sir ,henry ,guildford1 ,kt4 ,hans ,her ,majesty 7,windsor #cb0 #bf0 ,holbein ,castle7 #aej ,sir ,john ,more and ,sir ,sir ,henry ,ralph ,vane1 ,bt4 ,thomas ,more4 ,dated #aecj4 ,canvas1 #ee0 #dh0 #aea ,sir ,thomas ,pope4 #dg0 #cc0 ,countess of ,caledon #aeb ,henry ,,viii1 ,princess ,mary1 ,unknown ,earl ,spencer1 ,k4,g4 and ,will ,somers4 ,canvas1 #fc0 #ej0 #aec ,edward ,stanley1 #crd ,earl ,hans ,earl of ,derby1 ,k4,g4 of ,derby1 ,k4,g4 #ac0 #aj0 ,holbein #aed ,sir ,john ,cheke1 ,kt4 #ac0 ,duke of ,manchester #i0 #aef ,henry ,,viii4 #cj0 #bd0 ,unknown ,christ ,church1 ,oxford #aeg ,sir ,thomas ,more4 #bi0 #bc0 ,hans ,henry ,huth1 ,esq4 ,holbein #aei ,william1 #ast ,lord ,paget4 ,duke of ,manchester #ab0 #i0 #afa ,sir ,john ,thynne1 ,kt4 ,dated ,marquis of ,bath #aeff4 #ej0 #ci0 #afb ,sir ,nicholas ,carew4 #db0 ,f4 ,pourbus,earl of ,yarborough #cb0 #afc ,sir ,thomas ,more and his ,hans ,charles ,winn1 ,esq4 ,family4 ,canvas1 #ach0 #ii0 ,holbein #afe ,thomas ,howard1 #crd ,duke of ,her ,majesty 7,windsor ,norfolk1 ,k4,g4 #cj0 #bb0 ,castle7 #afg ,henry ,,viii4 ,oval1 #bi0 ,unknown ,andrew ,fountaine1 ,esq4 #bd0 #agj ,henry ,,viii and his ,family4 ,hans ,her ,majesty 7,hampton ,canvas1 #ach0 #ff0 ,holbein ,court7 #agb ,edward ,,vi4 #dj0 #cb0 #agc ,sir ,thomas ,smith1 ,kt4 ,p4 ,eton ,college #ahef4 #bi0 #bc0 ,fischer1 after ,holbein #age ,edward ,,vi4 ,dated #aedf4 #aa0 ,hans ,earl of ,hardwicke #aa0 ,holbein #agf ,edward ,,vi4 #bb0 #af0 ,earl of ,yarborough #agg ,edward ,,vi4 ,aged #i4 #bj0 ,christ's ,hospital #af0 #agi ,edward ,,vi4 #dj0 #cj0 8 #ahj ,edward ,,vi4 ,dated #aedg4 #bh0 ,duke of ,manchester #ba0 #aha ,thomas1 ,lord ,seymour of ,hans ,marquis of ,bath ,sudeley1 ,k4,g4 #bc0 #ag0 ,holbein #ahb ,sir ,thomas ,wyat the ,unknown ,earl of ,romney ,younger4 ,circular1 #ae0 diam4 #ahg ,edward ,,vi4 ,canvas1 #bf0 ,king's ,college1 ,cambridge #ba0 #aib ,edward ,,vi presenting ,hans ,bridewell ,hospital ,charters4 ,canvas1 #ajf0 ,holbein #aae0 #bjb ,stephen ,gardiner1 ,bishop ,lord ,taunton of ,winchester4 #ac0 #aj0 #bjh ,princess ,mary ,tudor1 ,marquis of ,exeter1 ,k4,g4 afterwards ,queen ,mary4 ,dated at back #aedd4 #ab0 #i0 #bcf ,margaret ,douglas1 ,countess ,her ,majesty 7,hampton of ,lennox4 ,dated #aegb4 #ib0 ,court7 #ed0 #bdg ,queen ,elizabeth4 ,aged #af4 ,her ,majesty 7,st4 ,james's #db0 #ca0 ,palace7 #cjb ,ambrose ,dudley1 ,earl of ,marquis of ,salisbury1 ,k4,g4 ,warwick4 #cg0 #bh0 #cfd ,sir ,william ,harris4 ,dated ,gerard ,rev4 ,j4 ,m4 ,st4 ,clere #aeif4 #cd0 #bh0 ,lucas ,raymond ,horebout #cga ,sir ,john ,spencer4 ,dated ,g4 ,stretes,earl ,spencer1 ,k4,g4 #aeij4 ,canvas1 #ce0 #bh0 #cgc ,admiral ,sir ,john ,wallop1 ,hans ,earl of ,portsmouth ,k4,g4 #bd0 #ag0 ,holbein #cgd ,lady ,harris4 #cd0 #bg0 ,gerard ,rev4 ,j4 ,m4 ,st4 ,clere ,lucas ,raymond ,horebout ,,vi4 ,,third ,,and ,,concluding ,,exhibition ,,of ,,national ,,portraits ,,on ,,loan ,,to ,,the ,,south ,,kensington ,,museum1 ,,april #ahfh #fbe ,sir ,brian ,tuke1 ,kt4 #ai0 ,hans ,marquis of ,westminster #ae0 ,holbein ,k4,g4 #fbf ,henry ,howard1 ,earl of ,ascribed ,lord ,taunton ,surrey1 and a ,lady1 to ,holbein supposed to be the ,fair ,geraldine4 #f0 #d0 #fbg ,edward ,seymour1 ,duke of ,hans ,duke of ,northumberland ,somerset1 ,k4,g4 #h0 #g ,holbein #fbh ,john ,reskimer4 #ah0 #ac0 8 ,her ,majesty 7,hampton ,court7 #fbi ,william ,west1 ,lord 8 ,r4 ,s4 ,holford1 ,esq41 ,m4,p4 ,delawarr4 #eb0 #ca0 #fci ,queen ,katherine ,parr4 #ad0 ,ascribed ,sir ,g4 ,r4 ,osborn1 ,bt4 #aj0 to ,amberger #fea ,edward ,,vi4 ,aged #b4 #eb0 ,hans ,duke of ,northumberland #cj0 ,holbein #fee ,sir ,john ,bourchier1 #bnd 8 ,lord ,berners ,baron ,berners4 #bd0 #bj0 #fef ,john ,stokesley1 ,bishop of 8 ,her ,majesty 7,windsor ,london1 #bj0 #ae0 ,castle7 #feg ,edward ,,vi4 #ea0 #cb0 8 ,sir ,g4 ,r4 ,osborn1 ,bt4 #fei ,lady ,guildeford4 ,dated 8 ,thomas ,frewen1 ,esq4 #aebg4 #cd0 #bg0 ,,vii4 ,,royal ,,academy ,,of ,,arts3 ,,winter ,,exhibitions ,,of ,,works ,,by ,,the ,,old ,,masters1 #ahgj-aiab #ahgj #bc ,the ,first ,lord ,de la ,warr4 ,hans ,r4 ,s4 ,holford1 ,esq4 ,panel1 #eb0 #cj0 ,holbein #ajh ,portrait1 with a 8 ,her ,majesty 7,windsor ,manuscript4 ,panel1 #bd0 ,castle7 #ah0 #aaa ,portrait of ,john1 ,elector 8 ,r4 ,s4 ,holford1 ,esq4 of ,saxony4 ,panel1 #bd0 #ah0 #abj ,portrait of ,sir ,thomas 8 ,henry ,huth1 ,esq4 ,more4 ,panel1 #bi0 #bc0 #adg ,portrait of ,edward ,,vi4 8 ,duke of ,northumberland ,panel1 #ea0 #bi0 #aeb ,portrait of a ,youth4 8 ,her ,majesty 7,windsor ,panel1 #bc0 #ag0 ,castle7 #ahga #aec ,portrait of ,thomas ,howard1 8 8 #crd ,duke of ,norfolk4 ,panel1 #ca0 #bd0 #bib ,portrait of ,geronimo 8 ,j4 ,h4 ,anderdon1 ,esq4 ,deodati1 murdered at ,antwerp #aeea4 ,panel1 #ab0 #h0 #bif ,portrait of ,francis ,i4 8 ,earl of ,dudley ,panel1 #bh0 #bc0 #ahgb #eb ,a ,portrait of a ,man4 8 ,j4 ,e4 ,millais1 ,esq41 ,r4,a4 ,panel1 #bj0 #ae0 #ff ,portrait of ,lady ,heneage1 8 ,j4 ,c4 ,hanford1 ,esq4 ,cousin of ,ann ,boleyn4 ,panel1 #af0 #ac0 #hb ,portrait of ,warham1 8 ,archbishop of ,canterbury ,archbishop of ,canterbury4 ,panel1 #cb0 #be0 #id ,portrait of ,sir ,william 8 ,w4 ,h4 ,pole-,carew1 ,esq4 ,butts1 ,kt41 principal ,physician to ,henry ,,viii4 ,panel1 #ah0 #ad0 #if ,portrait of ,lady ,butts4 8 8 ,panel1 #ah0 #ad0 #ach ,portrait of ,sir ,henry 8 ,her ,majesty 7,windsor ,guildford1 ,k4,g41 ,master of ,castle7 the ,horse to ,henry ,,viii4 ,panel1 #cb0 #bf0 #bac ,portrait of ,john 8 ,her ,majesty 7,hampton ,reskimeer1 a ,cornish ,court7 ,gentleman4 ,panel1 #ag0 #ab0 #bad ,portrait of ,dr4 ,thomas 8 ,w4 ,fuller ,maitland1 ,esq4 ,linacre1 ,physician to ,henry ,,vii and ,henry ,,viii4 ,founded the ,college of ,physicians1 and was its ,first ,president4 ,panel1 #aj0 #h0 #bbe 8,noli ,me ,tangere40 ,panel1 8 ,her ,majesty 7,hampton #bi0 #cf0 ,court7 #ahgc #aad ,the ,two ,ambassadors4 ,hans ,the ,earl of ,radnor ,panel1 #ha0 #hc0 ,holbein #age gidius1 the ,friend of 8 8 ,erasmus4 ,panel1 #bi0 #bj0 #agh ,portrait of ,erasmus1 8 8 signed 8,johannes ,holbein1 #aebc40 ,panel1 #bi0 #bj0 #aih ,portrait of a ,young ,man in 8 ,george ,p4 ,boyce1 ,esq4 a ,green ,striped ,dress4 ,panel1 #ag0 #ac0 #ahge #afg ,william ,tell1 an imaginary 8 ,sir ,w4 ,miles1 ,bt4 ,portrait4 ,panel1 #ca0 #bg0 #ahgf #ff ,portrait of ,mary ,queen of ,lucas ,earl of ,radnor ,scots4 ,panel1 #ci0 #cj0 d',heere #agc ,portrait of the ,three ,mabuse 8 ,children of ,christian ,,ii of ,denmark4 ,panel1 #ad0 #ah0 #ahgg #adf ,portrait of ,anne ,roper ,hans ,lord ,methuen 7also thought to be a ,holbein portrait of ,margaret1 ,countess of ,richmond and ,derby1 mother of ,henry ,,vii1 by ,mabuse74 ,panel1 #ad0 #aj0 #aga ,portrait of ,queen ,mary4 ,lucas ,society of ,antiquaries ,signed and dated #aeed4 d',heere ,panel1 #da0 #ca0 #ahd ,portrait of ,king ,edward ,hans ,w4 ,more ,molyneux1 ,esq4 ,,vi4 ,panel1 #bg0 #bj0 ,holbein #bcb ,portrait of a ,gentleman1 8 ,sir ,john ,neeld1 ,bt4 aged #dh4 ,dated #aedg4 ,panel1 #ca0 #be0 #bdi ,portrait of ,king ,henry 8 ,st4 ,bartholomew's ,hospital ,,viii4 ,canvas1 #df0 #cg0 #ahgh #bag ,the ,wheel of ,fortune4 ,hans ,duke of ,devonshire1 ,k4,g4 ,dated #aecc4 ,distemper on ,holbein canvas4 #bh0 #ah0 #bbd ,portrait of ,geronimo 8 ,j4 ,h4 ,anderdon1 ,esq4 ,deodati4 ,panel1 #ab0 #h0 #ahgi #bab ,portrait of ,queen ,mary4 ,attributed,lord ,chesham ,panel1 #h0 #f0 to ,hans ,holbein ,case ,queen ,katherine of ,aragon4 ,unknown ,duke of ,buccleuch1 ,k4,g4 ,f4 #a ,miniature 8 #b ,edward ,,vi4 ,miniature ,from a 8 picture by ,holbein 8 #e ,queen ,katherine of ,aragon4 ,holbein 8 ,miniature 8 #h ,queen ,elizabeth4 ,miniature ,john 8 ,bettes 8 #i ,edward ,,vi as a ,boy4 ,hans 8 ,miniature ,holbein ,case ,henry ,,viii4 ,miniature ,unknown ,duke of ,buccleuch1 ,k4,g4 ,f4 #aj 8 #aa ,henry ,,vii4 ,miniature 8 8 8 #ab ,henry ,,vii4 ,miniature 8 8 8 #ac ,queen ,katherine of ,aragon4 8 8 ,miniature 8 #ad ,queen ,mary4 ,miniature ,sir 8 ,antonio ,more 8 #ae ,henry ,,viii4 ,miniature ,hans 8 ,holbein 8 #af ,edward ,,vi4 ,miniature ,unknown 8 8 #bj ,queen ,catherine ,howard4 8 8 ,miniature 8 #ba ,queen ,katherine of ,aragon 8 8 holding a ,monkey4 ,miniature 8 #bb ,queen ,catherine ,howard4 ,after 8 ,miniature ,holbein 8 #be ,portrait of the ,painter4 ,hans 8 ,signed 8,h4 ,h41 #aedc1 ,holbein tat4 #de40 ,miniature 8 #bg ,henry ,,viii4 ,miniature ,from a 8 picture by ,holbein 8 #bh ,queen ,katherine of ,aragon4 ,hans 8 ,miniature ,holbein 8 #bi ,hans ,holbein4 ,miniature ,unknown 8 8 #cj ,edward ,,vi4 ,miniature 8 8 ,case ,catherine ,howard4 ,hans ,her ,majesty ,i4 #c ,miniature ,holbein 8 #d ,henry ,grey1 ,duke of 8 8 ,suffolk4 ,miniature 8 #e ,charles ,brandon1 ,duke of 8 8 ,suffolk4 ,miniature ,case ,sir ,thomas ,more4 ,miniature ,after ,duke of ,buccleuch1 ,k4,g4 ,l4 #d ,holbein #bah ,head of a ,man1 perhaps ,hans ,duke of ,devonshire1 ,k4,g4 ,francis ,north1 ,earl of ,holbein ,guildford4 ,drawing signed 8,h4 ,h40 #bai ,a ,theological or ,legal 8 ,edward ,j4 ,poynter1 ,esq41 ,discussion4 ,eng4 by ,tobias ,r4,a4 ,stimmer4 ,drawing #bca ,full-length ,figures of 8 ,marquis of ,hartington1 ,henry ,,vii and ,henry ,,viii4 ,m4,p4 ,cartoon #bag1 ,the ,windsor 8,heads0 ,her ,majesty #bjj-ba1 #bbc-cj1 #bcb-de #ahhj #adg ,head of an ,old ,man4 ,panel1 8 ,duke of ,devonshire1 ,k4,g4 #ac0 #aj0 #adi ,portrait of ,lady ,vaux4 8 ,her ,majesty 7,hampton ,panel1 #ad0 #aa0 ,court7 #aej ,portrait of a ,man4 ,panel1 8 ,duke of ,devonshire1 ,k4,g4 #ad0 #i0 #aeb ,portrait of ,henry ,howard1 8 ,charles ,butler1 ,esq4 ,earl of ,surrey4 ,dated #aecd4 ,panel1 #ae0 #aa0 #aee ,portrait of ,henry ,grey1 ,school of ,g4 ,p4 ,boyce1 ,esq4 ,duke of ,suffolk4 ,panel1 ,holbein #ac0 #aj0 #aeg ,portrait of ,lady ,heneage4 ,hans ,g4 ,c4 ,handford1 ,esq4 ,panel1 #af0 #aa0 ,holbein #afa ,portrait of ,henry ,,viii4 8 ,duke of ,devonshire1 ,k4,g4 ,panel1 #af0 #ab0 #afb ,portrait of a ,child4 8 ,sir ,henry ,ainslie ,hoare ,panel1 #h0 #f0 #afc ,portrait of ,edward ,,vi when 8 ,duke of ,northumberland ,prince of ,wales #afe ,sir ,thomas ,gresham4 ,panel1,school of ,the ,gresham ,committee #ga0 #db0 ,holbein #afg ,portrait of ,william ,west1 ,hans ,r4 ,s4 ,holford1 ,esq4 ,first ,lord ,delawarr4 ,holbein ,panel1 #eb0 #ca0 #afh ,portrait of a ,german ,lady4 8 ,earl ,spencer ,panel1 #bc0 #ai0 #afi ,the ,wheel of ,fortune4 8 ,duke of ,devonshire1 ,k4,g4 ,distemper on canvas1 #bg0 #ah04 ,dated #aecc #agj ,portrait of a ,man4 ,panel1 8 ,j4 ,e4 ,millais1 ,esq41 ,r4,a4 #bj0 #ad0 #aga ,portrait of ,lady 8 ,edward ,frewen1 ,esq4 ,guildford4 7,inscribed 8,anno #aebg4 tatis ,suae #bg407 ,panel1 #cb0 #bf0 #agb ,portrait of ,derek ,berck4 8 ,lord ,leconfield ,panel1 #bj0 #af0 #agc ,portrait of ,thomas ,howard1,attributed,duke of ,norfolk #crd ,duke of ,norfolk4 to ,holbein ,panel1 #cj0 #bc0 #agd ,portrait of ,sir ,henry ,hans ,her ,majesty 7,windsor ,guildford4 ,panel1 #cb0 ,holbein ,castle7 #bf0 #age ,sir ,w4 ,butts4 ,panel1 #ah0 8 ,w4 ,h4 ,pole-,carew1 ,esq4 #ad0 #agf ,portrait of ,clement ,newce1,school of ,w4 ,m4 ,martin-,edmunds1 ,esq4 ,esq41 of ,much ,hadham4 ,holbein ,panel1 #cb0 #bf04 ,dated #aeei4 #agg ,portrait of ,christina of ,hans ,duke of ,norfolk ,denmark1 ,duchess of ,milan ,holbein #agh ,portrait of ,lady ,butts4 8 ,w4 ,h4 ,pole-,carew1 ,esq4 ,panel1 #ah0 #ad0 #agi ,portrait of ,w4 ,warham1 8 ,archbishop of ,canterbury ,archbishop of ,canterbury4 ,panel1 #cb0 #bf0 #ahj ,portrait of ,thomas ,howard1 8 ,her ,majesty 7,windsor ,third ,duke of ,norfolk4 ,castle7 ,panel1 #ca0 #bd0 #aha ,portrait of ,john1 ,elector 8 ,r4 ,s4 ,holford1 ,esq4 of ,saxony4 ,panel1 #be0 #bh0 #ahb ,portrait of ,sir ,john ,more4 8 ,earl of ,pembroke ,panel1 #bi0 #bd0 #ahc ,portrait of a ,merchant of 8 ,her ,majesty 7,windsor the ,stahlhof or ,steelyard4 ,castle7 ,panel1 #bc0 #ah0 #ahd ,portrait of a ,young ,man4 8 ,g4 ,p4 ,boyce1 ,esq4 ,panel1 #ag0 #ac0 #ahe ,portrait of ,john ,reskimer4 ,hans ,her ,majesty 7,hampton ,panel1 #ag0 #ab0 ,holbein ,court7 #ahf ,portrait of a ,gentleman4 ,school of ,duke of ,buccleuch1 ,k4,g4 ,panel1 #ac0 #aa0 ,holbein #ahg 8,noli ,me ,tangere40 ,panel1 ,hans ,her ,majesty 7,hampton #bi0 #cg0 ,holbein ,court7 #ahh ,sir ,bryan ,tuke4 ,panel1 8 ,marchioness of ,westminster #ah0 #ad0 #aij ,portrait of ,anton ,fugger 8 ,francis ,cook1 ,esq4 of ,augsburg4 ,panel1 #ad0 #aa0 #aia ,portrait of ,john ,herbster4 8 ,earl of ,northbrook ,panel1 #af0 #aa0 #aib ,portrait of ,sir ,nicholas 8 ,duke of ,buccleuch1 ,k4,g4 ,carew4 ,panel1 #cf0 #dj0 #aie ,portrait of the ,princess 8 ,her ,majesty 7,st4 ,james's 7afterwards ,queen7 ,palace7 ,elizabeth4 ,panel1 #db0 #ca0 #aih ,portrait of a ,young ,man4 8 ,duke of ,marlborough ,panel1 #ag0 #ac0 #bjc ,william ,tell 7an imaginary 8 ,sir ,p4 ,myles portrait74 ,panel1 #ca0 #bf0 #bjd ,thomas ,cromwell1 ,earl of 8 ,duke of ,devonshire1 ,k4,g4 ,essex1 ,panel1 #f0 #e0 #bje ,portrait of ,thomas ,howard1 8 8 ,duke of ,norfolk4 ,panel1 #f0 #e0 #bcg ,portrait of ,edward ,,vi on 8 ,duke of ,buccleuch1 ,k4,g4 horseback4 ,canvas1 #ff0 #ei0 #ahha #aid ,portrait of ,sir ,thomas 8 ,mrs4 ,henry ,huth ,more4 ,panel1 #bi0 #bc0 #bja ,portrait of a ,lady4 ,panel1 8 ,mrs4 ,herbert ,blackburne #ad0 #aj0 #ahhb #aih ,christ ,mocked4 ,panel1 #cj0 ,holbein ,c4 ,magniac1 ,esq41 ,m4,p4 #bd0 787 #baf ,portrait of a ,lady4 ,panel1 ,hans ,mrs4 ,charles ,fox #g0 #f0 ,holbein #bbb ,portrait of ,thomas 8 ,countess of ,caledon ,cromwell1 ,earl of ,essex4 ,panel1 #cj0 #bd0 #ahhd #bhh ,the ,banker4 ,panel1 #be0 8 ,marquis of ,lansdowne #ai0 #ahhf #ahd ,portrait of ,henry ,,viii4 8 ,h4 ,r4 ,hughes1 ,esq4 ,panel1 #cd0 #be0 #ahhg #aeg ,portrait of one of the ,school of ,marquis of ,bath ,children of ,sir ,john ,holbein ,thynne4 ,dated #aehb4 ,panel1 #cc0 #bf0 #aff ,portrait of one of the 8 8 ,children of ,sir ,john ,thynne4 ,dated #aegd4 ,size not given #agb ,sir ,thomas ,more as a ,young ,hans ,ralph ,bankes1 ,esq4 ,man4 ,panel1 #ac0 #ab0 ,holbein #ahic #aff ,portrait of a ,man4 ,panel1 ,school of ,captain ,g4 ,l4 ,holford #ag0 x #ae0 ,holbein #agf ,portrait of ,sir ,thomas 8 ,the ,gresham ,committee ,gresham4 #ga0 x #db0 #ahid #age ,portrait of a ,gentleman4 ,hans ,mrs4 ,percy ,macquoid ,panel1 #ad0 x #aa0 ,holbein #ahie #age ,portrait of a ,banker4 ,school of ,charles ,l4 ,eastlake1 ,esq4 ,panel1 #ab0 x #i0 ,holbein #agh ,the ,death of the ,virgin in ,hans ,dr4 ,j4 ,p4 ,richter the the ,presence of the ,holbein ,elder ,apostles4 ,panel1 #fe0 x #ei0 ,d4 #bd ,design for a ,painted ,glass ,hans ,sir ,j4 ,c4 ,robinson ,panel1 supposed to ,holbein represent a ,meeting of the ,early ,swiss ,reformers4 ,dated #aebb4 ,case ,g,pendant1 known as the -- ,her ,majesty #ea 8,holbein ,george40 ,made for ,henry ,,viii #ahif #ach ,portrait of ,sir ,thomas ,hans ,edward ,huth1 ,esq4 ,more4 ,dated #aebg4 ,panel1 ,holbein #bi0 x #bc0 #aijb #aee ,portrait of ,john ,chamber1 ,school ,merton ,college1 ,oxford ,m4,d4 ,panel1 #bf0 x #ah0 of,holbein #aeg ,portrait of a ,man4 ,panel1 ,hans ,right ,hon4 ,lewis ,fry #ah0 x #ae0 ,holbein #afj ,portrait of ,edward ,,vi4 ,attributed,sir ,j4 ,c4 ,robinson1 ,c4,b4 ,panel1 #cg0 x #cj0 to ,william ,stretes #afh ,portrait of a ,man4 ,dated ,hans ,worcester ,college1 ,oxford #aeff4 ,panel1 #i0 x #aj0 ,holbein #aijg #ac ,portrait of a ,lady4 ,panel1 8 ,major ,charles ,palmer #af0 x #ab0 #aijh #b ,portrait of ,william ,west1 ,william ,major ,g4 ,l4 ,holford #ast ,lord ,delawarr4 ,panel1 ,stretes #eb0 x #ca0 #d ,portrait of ,queen ,mary ,lucas ,sir ,w4 ,cuthbert ,quilter1 ,tudor4 ,panel1 #cj0 x #bb0 d',heere ,bt4 #aiaj #fj ,portrait of ,william1 #ast ,hans ,lord ,gwydyr ,lord ,paget1 ,k4,g4 ,panel1 ,holbein #ah0 x #ac0 #ajf ,portrait of ,mrs4 ,anne 8 ,lord ,methuen ,roper4 ,panel1 #ad0 x #aj04 7,this picture has also been thought to be a portrait by ,mabuse of ,margaret1 ,countess of ,richmond and ,derby1 mother of ,henry ,,vii7 #aiab #de ,portrait of ,alderman ,school of ,lord ,de ,saumarez ,robert ,trappes4 ,dated ,holbein #aeed4 ,panel1 #bc0 x #ai0 ,,viii4 ,,grosvenor ,,gallery1 ,,winter ,,exhibition ,,of ,,drawings ,,by ,,the ,,old ,,masters1 #ahgh-i #efb ,saturn4 ,pen drawing ,hans ,christ ,church ,college1 ,holbein ,oxford #efc ,study of a ,pilgrim4 ,pen 8 ,john ,malcolm1 ,esq4 and bistre1 touched with red chalk #efd ,portrait of a ,man4 ,ascribed 8 ,silver-point1 touched withto ,holbein red chalk #efe ,a ,figure of a ,wild ,man4 ,hans 8 ,pen1 shaded with ,holbein ,indian-ink and colour #eff ,design for a ,lamp4 ,pen and 8 ,christ ,church ,college1 bistre ,oxford #efg ,two ,whole-length ,figures 8 ,john ,malcolm1 ,esq4 of ,ladies4 ,indian-ink touched with colour #efh ,portrait ,head1 in profile1 8 8 of a ,young ,man wearing a ,cap4 ,silver-point #egi ,pieta4 ,probably a design 8 ,alfred ,seymour1 ,esq4 for a tomb4 ,pen and bistre #ehj ,a ,man seated at a ,table1 8 ,christ ,church ,college1 with back to spectator4 ,oxford ,pen and bistre #eha ,design for a ,dagger 8 ,earl of ,warwick ,sheath1 representing a ,battle4 ,pen-and-wash ,,ix4 ,,exhibition ,,of ,,the ,,royal ,,house ,,of ,,tudor1 ,,new ,,gallery1 #ahij #e ,mary ,tudor1 ,dowager ,queen ,johannes ,mrs4 ,dent of ,sudeley ,corvus of ,france4 ,panel1 #bb0 x #ah0 #g ,sir ,henry ,wyat in ,prison1 ,unknown ,earl of ,romney and the ,cat bringing him a ,pigeon4 ,canvas1 #bi0 x #bd0 #ag ,sir ,henry ,wyat4 ,panel1 #ae0 8 8 x #ab0 #ai ,the ,three ,children of ,henry ,jan de ,mrs4 ,dent of ,sudeley ,,vii4 ,panel1 #ac0 x #ah0 ,mabuse #ba ,the ,cat that fed ,sir ,henry ,unknown ,earl of ,romney ,wyat4 ,panel1 #ae0 x #aa0 #cj ,arthur1 ,prince of ,wales4 8 ,her ,majesty 7,windsor ,panel1 #ad0 x #aj ,castle7 #ch ,charles ,brandon1 ,duke of ,hans ,lord ,donington ,suffolk1 ,k4,g4 ,panel1 #cd0 ,holbein x #bg0 #ci ,thomas ,cromwell1 ,earl of 8 ,duke of ,sutherland1 ,k4,g4 ,essex4 ,panel1 #bj0 x #ag0 #da ,thomas ,howard1 #crd ,duke of 8 ,duke of ,norfolk1 ,k4,g4 ,norfolk1 ,k4,g4 ,panel1 #cj0 x #bc0 #db ,cartoon of ,henry ,,vii and 8 ,marquis of ,hartington1 ,m4,p4 ,henry ,,viii4 #ajc0 x #ed0 #dc ,queen ,katherine of ,aragon4 ,unknown ,merton ,college1 ,oxford ,panel1 #bc0 #ag0 #dd ,queen ,jane ,seymour4 ,panel1 8 ,lord ,sackville #bd0 #ah0 #de ,john1 #bnd ,lord ,braye 7d4 ,hans ,lord ,braye #aeeg74 ,panel1 #dj0 #cb0 ,holbein #df ,gertrude1 ,lady ,petre 7d4 8 ,right ,rev4 ,monsignor ,lord #aeda7 ,petre #dg ,embarkation of ,henry ,,viii ,vincent ,f4 ,j4 ,thynne1 ,esq4 from ,dover1 #cast ,may ,volpe #aebj4 ,canvas1 #aba0 #fc0 #di ,henry ,,viii4 ,dated #aedd4 ,attributed,st4 ,bartholomew's ,hospital ,canvas1 #dg0 #ch0 to ,hans ,holbein #ej ,sir ,anthony ,browne1 ,k4,g4 ,unknown ,lord ,vaux of ,harrowden 7d4 #aedh74 ,canvas1 #cg0 #cj0 #ea ,henry ,howard1 ,earl of ,guillim ,duke of ,norfolk1 ,k4,g4 ,surrey4 ,stretes #eb ,hans ,holbein4 ,canvas1 #bj0 ,hans ,her ,majesty 7,windsor #ah0 ,holbein ,castle7 #ec ,elizabeth ,schmid1 wife of 8 8 ,hans ,holbein #ed ,charles ,brandon1 ,duke of 8 ,w4 ,holman ,hunt1 ,esq4 ,suffolk1 ,k4,g4 ,panel1 #h0 #f0 #ee ,henry ,,viii4 ,panel1 #ch0 8 ,earl of ,yarborough #bi0 #eg ,meeting of ,henry ,,viii and ,unknown ,her ,majesty 7,hampton ,court7 ,francis ,i at ,field of ,cloth of ,gold4 ,canvas1 #ff0 #aei0 #ei ,henry ,,viii4 ,panel1 #cf0 ,hans ,henry ,willett1 ,esq4 #cj0 ,holbein #fa ,cardinal ,fisher1 ,bishop of ,unknown ,hon4 ,h4 ,tyrwhitt-,wilson ,rochester ,panel1 #ba0 #af0 #fb ,portrait of a ,man4 ,panel1 ,school of ,charles ,eastlake1 ,esq4 #bc0 #ae0 ,hans ,holbein #fe ,queen ,katherine ,parr4 ,unknown ,earl of ,ashburnham4 ,panel1 #be0 #bj0 #fg ,portrait of a ,man4 ,panel1 ,hans ,sir ,j4 ,e4 ,millais1 ,bt41 #bj0 #ad0 ,holbein ,r4,a4 #fi ,edward ,stafford1 ,duke of 8 ,sir ,henry ,bedingfeld1 ,bt4 ,buckingham1 ,k4,g4 ,panel1 #ai0 #ac0 #gj ,sir ,john ,more4 ,panel1 #cc0 8 ,william ,seward1 ,esq4 #bf0 #ga ,queen ,jane ,seymour4 ,panel1 ,unknown ,society of ,antiquaries4 #af0 #ad0 #gb ,john ,reskemeer of ,cornwall4 ,hans ,her ,majesty 7,hampton ,court7 ,panel1 #ag0 #ab0 ,holbein #gc ,henry ,howard1 ,earl of ,unknown 8 ,surrey4 ,panel1 #ge0 #dj0 #gd ,henry ,,viii4 ,panel1 #ag0 8 ,charles ,butler1 ,esq4 #ac0 #ge ,charles ,brandon1 ,duke of 8 ,duke of ,sutherland1 ,k4,g4 ,suffolk1 ,k4,g4 ,panel1 #bd0 #ah0 #gf ,lady ,butts4 #ce0 #bf0 ,hans ,william ,seward1 ,esq4 ,holbein #gg ,thomas ,wriothesley1 #ast 8 ,major-,general ,f4 ,e4 ,sotheby ,earl of ,southampton4 ,dated #aede4 ,panel1 #bd0 #ah0 #gi ,sir ,nicholas ,poyntz1 ,kt4 8 ,marquis of ,bristol ,dated #aece4 ,panel1 #bd0 #ag0 #hj ,queen ,jane ,seymour4 ,panel1 ,unknown ,marquis of ,hertford #ba0 #ac0 #ha ,queen ,anne ,boleyn4 ,canvas1 8 ,earl of ,warwick #ad0 #ab0 #hb ,portrait of a ,man4 ,panel1 ,hans ,duke of ,devonshire1 ,k4,g4 #ad0 #i0 ,holbein #hc ,mary ,tudor1 ,dowager ,queen 8 ,earl ,brownlow of ,france4 ,panel1 #g0 #f0 #hd ,henry ,howard1 ,earl of 8 ,charles ,butler1 ,esq4 ,surrey4 ,dated #aecd4 ,panel1 #ae0 #aa0 #he ,erasmus4 ,panel1 #bj0 #ab0 ,lucas ,mrs4 ,du ,buisson ,cranach #hf ,hugo ,price1 ,,ll4,d41 ,founder ,hans ,jesus ,college1 ,oxford of ,jesus ,college1 ,oxford4 ,holbein ,panel1 #ah0 #ac0 #hh ,sir ,anthony ,denny1 ,kt4 ,unknown ,sir ,henry ,bedingfeld1 ,bt4 ,panel1 #ae0 #aa0 #hi ,portrait of a ,gentleman4 ,attributed,henry ,reeve1 ,esq41 ,c4,b4 ,dated #aeee4 ,panel1 #be0 to ,hans #bj0 ,holbein #ij ,sir ,henry ,guldeford1 ,k4,g4 ,hans ,her ,majesty 7,windsor ,panel1 #cb0 #be0 ,holbein ,castle7 #ia ,thomas ,howard1 #crd ,duke of 8 8 ,norfolk4 ,panel1 #cj0 #bd0 #ib ,christina1 ,duchess of 8 ,duke of ,norfolk1 ,k4,g4 ,milan4 ,panel1 #gj0 #cb0 #ic ,charles ,brandon1 ,duke of ,unknown ,c4 ,w4 ,chute1 ,esq4 ,suffolk1 ,k4,g4 ,panel1 #cd0 #bg0 #id ,sir ,thomas ,more4 ,panel1 #bi0 ,hans ,edward ,huth1 ,esq4 #bc0 ,holbein #ie ,sir ,john ,cheke1 ,kt4 ,panel1 8 ,duke of ,manchester1 ,k4,p4 #ac0 #i0 #if ,william1 ,lord ,paget1 ,k4,g4 8 8 ,panel1 #ac0 #i0 #ig ,henry ,,viii4 ,panel1 #ce0 8 8 #be0 #ih ,katherine of ,aragon4 ,panel1 8 8 #ac0 #i0 #ii ,portrait of a ,spanish 8 8 ,nobleman4 ,panel1 #ac0 #aj0 #ajj ,sir ,john ,more4 ,panel1 #bi0 8 ,earl of ,pembroke #bd0 #aja ,henry ,,viii and his ,family4 ,guillim ,her ,majesty 7,hampton ,court7 ,canvas1 #ff0 #ach0 ,stretes 787 #ajb ,queen ,anne ,boleyn4 ,panel1 ,after ,g4 ,milner-,gibson-,cullum1 #i0 #g0 ,vercolie ,esq4 #ajd ,queen ,katherine ,parr4 8 8 ,panel1 #i0 #g0 #ajf ,queen ,katherine ,parr4 ,hans ,richard ,booth1 ,esq4 ,canvas1 #gb0 #db0 ,holbein #ajg ,william ,warham1 ,archbishop 8 ,viscount ,dillon of ,canterbury4 ,dated #aebg4 ,panel1 #cb0 #bf0 #ajh ,queen ,anne of ,cleves4 8 ,miss ,morrison ,panel1 #bh0 #ba0 #aji ,cardinal ,wolsey4 ,panel1 #ba0 8 ,t4 ,l4 ,thurlow1 ,esq4 #ag0 #aaj ,henry ,,viii4 ,panel1 #ac0 ,unknown ,sir ,henry ,bedingfeld1 ,bt4 #aa0 #aaa ,queen ,katherine ,parr4 ,unknown ,marquis of ,hertford ,panel1 #ag0 #ac0 #aab ,erasmus4 ,parchment 7874 ,hans ,her ,majesty 7,hampton ,court7 #ba0 #ab0 ,holbein #aac ,sir ,thomas le ,strange1 ,kt4 8 ,hamon le ,strange1 ,esq4 ,dated #aecf4 ,panel1 #ae0 #aj0 #aad ,charles ,brandon1 ,duke of 8 ,earl ,brownlow ,suffolk1 ,k4,g4 ,panel1 #g0 #f0 #aae ,erasmus4 ,panel1 #aa0 #g0 8 ,earl of ,portarlington #aaf ,mary ,boleyn1 ,lady ,carey4 ,unknown ,earl of ,warwick ,canvas #ad0 #ab0 #aag ,queen ,jane ,seymour4 ,panel1 8 ,sir ,rainald ,knightley1 ,bt41 #aj0 #h0 ,m4,p4 #abj ,henry ,,viii 8with ,scroll40 ,paris ,merchant ,taylors' ,company ,panel1 #bi0 #bb0 ,bordone #abb ,queen ,anne ,boleyn4 ,panel1 ,lucas ,earl of ,romney circular1 #aj0 ,cornelisz #abe ,portrait of an ,englishman4 ,hans ,g4 ,p4 ,boyce1 ,esq4 ,panel1 #ag0 #ac0 ,holbein #abf ,henry ,,viii4 ,panel1 #cf0 8 ,earl of ,warwick #be0 #abg ,sir ,thomas ,more4 ,no 8 ,t4 ,l4 ,thurlow1 ,esq4 measurements given #abh ,henry ,,viii4 ,panel1 #hh0 8 ,trinity ,college1 ,cambridge #dh0 #abi ,nicholas ,kratzer4 ,panel1 8 ,viscount ,galway #cd0 #bf0 #acj ,portrait of a ,man4 ,panel1 ,school of ,duke of ,manchester ,k4,p41 #aj0 #h0 ,holbein #aca ,sir ,thomas ,wyat1 ,kt4 ,panel1 ,lucas ,earl of ,romney circular1 #aa0 ,cornelisz #acb ,queen ,anne ,boleyn4 ,panel1 ,unknown ,mrs4 ,s4 ,s4 ,gwyllim #h0 #f0 #acc ,queen ,anne of ,cleves4 ,dated ,barth4 ,henry ,willett1 ,esq4 #aecd4 ,panel1 #ae0 #aa0 ,bruyn #acd ,john ,frobenius4 ,canvas1 #ba0 ,unknown ,sir ,h4 ,b4 ,st4 ,john ,mildmay1 #ac0 ,bt4 #acf ,edward ,stafford1 #crd ,duke ,hans ,lord ,donington of ,buckingham1 ,k4,g4 ,holbein ,panel1 #bb0 #ah0 #acg ,erasmus4 ,panel1 #be0 #ba0 ,unknown ,charles ,butler1 ,esq4 #ach ,cardinal ,fisher1 ,bishop of ,hans ,st4 ,john's ,college1 ,rochester4 ,panel1 #bh0 ,holbein ,cambridge #bd0 #aci ,margaret ,roper4 ,panel1 #cd0 ,attributed,f4 ,l4 ,devitt1 ,esq4 #b0 787 to ,sir ,a4 ,more #adj ,queen ,anne ,boleyn4 ,panel1 ,hans ,earl of ,denbigh #aa0 #h0 ,holbein #ada ,queen ,jane ,seymour4 ,panel1 ,unknown ,duke of ,northumberland1 #ad0 #aa0 ,k4,g4 #adb ,henry ,,viii4 ,panel1 #ch0 ,hans ,hon4 ,h4 ,tyrwhitt-,wilson #bi0 ,holbein #ade ,henry ,,viii1 ,anne ,boleyn1 ,unknown ,major-,general ,f4 ,e4,sotheby and ,others4 8,the ,dancing ,picture40 ,panel1 #eb0 #db0 #adf ,sir ,henry ,guideford1 ,k4,g4 8 ,hon4 ,h4 ,tyrwhitt-,wilson ,panel1 #be0 #bj0 #adg ,sir ,william ,petre1 ,kt4 ,hans ,right ,rev4 ,monsignor ,lord ,dated #aede4 ,no ,holbein ,petre measurements given4 #adh ,henry ,,viii4 ,panel1 #bd0 8 8 #bb0 #adi ,henry ,,viii4 ,panel1 #cc0 8 ,t4 ,l4 ,thurlow1 ,esq4 #be0 #aej ,sir ,thomas ,more and his 8 ,sir ,henry ,vane1 ,bt4 ,father1 ,dated #aecj4 ,canvas1 #ee0 #de0 #aea ,henry ,,viii4 ,dated #aedg4 ,unknown ,viscount ,galway ,panel1 #ce0 #bg0 #aeb ,henry ,,viii granting the ,hans ,barber-,surgeons' ,company ,charter to the ,holbein ,barber-,surgeons' ,company4 ,panel1 #abb0 #ga0 #aec ,francis1 ,prince of ,thurn 8 ,baroness ,burdett-,coutts and ,taxis4 ,dated #aead4 ,panel1 #ba0 #ah0 #aee ,henry ,,viii4 ,panel1 #cj0 ,unknown ,christ ,church1 ,oxford #bd0 #aeg ,henry ,,viii4 ,panel1 #cc0 8 ,governors of ,bridewell #bg0 ,hospital #aeh ,henry ,,viii4 and his ,family4 ,sir ,a4 ,mrs4 ,dent of ,sudeley ,panel1 #ea0 #ga0 ,more #afj ,thomas ,cromwell1 ,earl of ,unknown ,corpus ,christi ,college1 ,essex1 ,k4,g4 ,panel1 #bb0 ,cambridge #ag0 #afa ,sir ,thomas ,more4 ,panel1 8 ,baroness ,burdett-,coutts #ag0 #ac0 #afb ,thomas ,cromwell4 ,panel1 #ah0 8 ,charles ,penruddocke1 ,esq4 #af0 #afc ,thomas ,cromwell4 #ad0 #aa0 ,hans ,duke of ,manchester1 ,k4,p4 ,holbein #afd ,charles ,brandon4 ,panel1 ,unknown ,sir ,henry ,bedingfeld1 ,bt4 #ab0 #h0 #afe ,portrait of a ,gentleman4 ,hans ,right ,rev4 ,monsignor ,lord ,panel1 #ah0 #ac0 ,holbein ,petre #afg ,margaret ,tudor1 ,queen of ,unknown ,charles ,butler1 ,esq4 ,scotland4 ,panel1 #af0 #ab0 #afh ,queen ,katherine ,parr4 ,hans ,earl of ,denbigh ,canvas1 #gj0 #ej0 ,holbein #afi ,sir ,thomas ,wyat the ,elder4 ,unknown ,bodleian ,library1 ,oxford ,panel1 #ag0 #ac0 #agj ,elizabeth1 wife of ,lord ,hans ,her ,majesty 7,hampton ,court7 ,vaux4 ,panel1 #ad0 #aa0 ,holbein #aga ,head of an ,old ,man4 ,panel1 8 ,duke of ,devonshire1 ,k4,g4 #ac0 #aj0 #agb ,henry ,grey1 #crd ,marquis of ,school of ,g4 ,p4 ,boyce1 ,esq4 ,dorset4 ,panel1 #ae0 #aa0 ,holbein #agc ,henry ,,viii4 ,circular panel1 ,hans ,duke of ,sutherland1 ,k4,g4 #bi0 ,holbein #agc99,robert ,cheseman4 ,dated 8 ,rev4 ,charles ,shepherd #aecc4 ,panel1 #cj0 #bb0 #agd ,edward ,,vi as a ,child4 8 ,earl of ,yarborough ,panel1 #bb0 #af0 #age ,edward ,,vi1 aged #aj4 ,panel1 ,unknown ,w4 ,more ,molyneux1 ,esq4 #bg0 #bj0 #agf ,edward ,,vi as a ,boy4 ,canvas1 ,f4 ,sir ,p4 ,pauncefort ,duncombe1 #ai0 #ae0 ,zucchero ,bt4 #agh ,edward ,,vi4 ,panel1 #ba0 #ae0 ,unknown ,lord ,castletown #ahj ,edward ,,vi4 ,panel1 #af0 8 ,duke of ,portland #aj0 #aha ,edward ,,vi presenting the ,guillim ,governors of ,bridewell ,charter to ,bridewell ,stretes8 ,hospital 7#aeec74 ,canvas1 #aae0 #ajh0 #ahb ,edward ,,vi4 ,panel1 #bd0 #bb0 ,hans ,right ,rev4 ,monsignor ,lord ,holbein ,petre #ahc ,edward ,,vi4 ,panel1 #bh0 #ba0 ,unknown ,duke of ,manchester1 ,k4,p4 #ahd ,edward ,,vi4 ,panel1 #cb0 8 ,t4 ,l4 ,thurlow1 ,esq4 #ba0 #ahf ,edward ,,vi4 ,panel1 #ag0 #ae0 ,hans ,a4 ,h4 ,frere1 ,esq4 ,holbein #ahg ,edward ,,vi4 ,panel1 #ah0 #ac0 ,unknown ,malcolm ,wagner1 ,esq4 #ahh ,edward ,,vi4 ,panel1 #ag0 8 8 #ab0 #ahi ,edward ,,vi4 as a ,child4 ,hans ,duke of ,northumberland1 ,panel1 #ej0 #bi0 ,holbein ,k4,g4 #aij ,edward ,,vi4 ,panel1 #df0 #cd0 8 ,earl of ,denbigh #aif ,edward ,seymour1 ,duke of ,unknown ,mrs4 ,dent of ,sudeley ,somerset4 ,dated #aece4 ,panel1 #ce0 #bf0 #aii ,edward ,seymour1 ,duke of ,hans ,duke of ,northumberland1 ,somerset4 ,panel1 #h0 #g0 ,holbein ,k4,g4 #bjj ,queen ,mary4 ,panel1 #da0 ,unknown ,earl of ,ashburnham #ca0 #bjc ,queen ,mary4 ,canvas1 #ic0 ,after ,sir ,her ,majesty 7,st ,james's #eg0 ,a4 ,more ,palace74 #bjd ,queen ,mary4 ,panel1 #ai0 ,sir ,a4 ,dean and ,chapter of ,durham ,more #bjf ,queen ,mary4 ,dated #aeed4 ,lucas ,society of ,antiquaries ,panel1 #dj0 #cj0 d',heere #bjh ,queen ,mary4 ,panel1 #bb0 ,unknown ,trinity ,college1 ,cambridge #af0 #baa ,henry ,fitz-,alan1 #bcrd ,earl ,cornelius ,duke of ,norfolk1 ,k4,g4 of ,arundel4 ,panel1 #cf0 ,ketel #bh0 #bac ,queen ,mary4 ,circular panel4 ,unknown ,sir ,william ,drake1 ,bt4 #f0 #bad ,queen ,mary4 ,dated #aedf4 8 ,lord de ,l',isle and ,dudley ,panel1 #bh0 #bb0 #bae ,queen ,mary4 ,dated #aeef4 8 ,h4 ,p4 ,spencer ,lucy1 ,esq4 ,panel1 #bj0 #af0 #bag ,sir ,richard ,southwell4 t4 8 ,w4 ,h4 ,romaine ,walker1 ,esq4 #ie4 ,panel1 #bi0 #be0 #bbb ,sir ,george ,penruddocke4 ,lucas ,charles ,penruddocke1 ,esq4 ,panel1 #ajd0 #ff0 d',heere #bbd ,sir ,thomas ,wyat the ,unknown ,earl of ,romney ,younger4 ,panel1 circular1 #ae0 #bbi ,queen ,mary4 ,panel1 #ah0 8 ,charles ,butler1 ,esq4 #ae0 #bcj ,queen ,mary4 8,hungad ,lucas ,mrs4 ,stopford ,sackville ,petition40 ,panel1 #dd0 d',heere #ce0 #bcc ,queen ,mary4 ,panel1 #bb0 ,sir ,a4 ,lord ,castletown #af0 ,more #bce ,queen ,mary4 ,panel1 #h0 #f0 ,lucas ,colonel ,wynne ,finch d',heere #bdj ,queen ,mary4 ,panel1 #bh0 ,sir ,a4 ,earl of ,carlisle #bb0 ,more #bdb ,portrait of a ,man4 ,panel1 ,hans ,w4 ,castell ,southwell1 ,esq4 #f0 #e0 ,holbein #bdc ,queen ,mary as a ,child4 ,unknown ,duke of ,norfolk1 ,k4,g4 ,panel1 #ai0 #ac0 #bdf ,thomas ,cranmer1 ,archbishop ,hans ,jesus ,college1 ,cambridge of ,canterbury4 ,dated ,holbein #aedg4 ,panel1 #ag0 #ab0 #bee ,frances ,brandon1 ,duchess of ,lucas ,colonel ,wynne ,finch ,suffolk1 and her ,second d',heere ,husband1 ,adrian ,stokes4 ,dated #aeei4 ,panel1 #ai0 #bg0 #bib ,margaret ,audley1 ,second 8 ,duke of ,norfolk1 ,k4,g4 ,wife of ,thomas1 #dth ,duke of ,norfolk4 ,dated #aefe4 ,canvas1 #ch0 #bi0 #cdh ,william ,paulet1 #ast ,marquis ,hans ,duke of ,northumberland1 of ,winchester1 ,k4,g4 ,holbein ,k4,g4 ,panel1 #ae0 #aa0 #ceg ,thomas ,howard1 #dth ,duke of ,lucas ,duke of ,norfolk1 ,k4,g4 ,norfolk1 ,k4,g4 ,dated #aeff4 d',heere ,panel1 #ab0 #aj0 #cii ,sir ,william ,sidney1 ,kt4 ,hans ,lord de ,l',isle and ,dudley ,dated #aebc4 ,panel1 #dg0 ,holbein #cg0 #dbh ,henry ,,viii4 ,panel1 #ba0 ,unknown ,t4 ,m4 ,whitehead1 ,esq4 #af0 #dbi ,henry ,,viii4 ,panel1 #af0 8 ,duke of ,devonshire1 ,k4,g4 #ab0 #dcj ,queen ,jane ,seymour4 ,panel1 8 ,mrs4 ,s4 ,s4 ,gwyllim #g0 #e0 #dca ,edward ,,vi4 ,copper1 #g0 #f0 8 ,hon4 ,mrs4 ,trollope #dcb ,henry ,,viii4 ,panel1 #bf0 8 ,c4 ,w4 ,chute1 ,esq4 #ai0 #dce ,henry ,,viii4 ,panel1 #ac0 8 ,marquis of ,hertford #aj0 #dch ,edward ,,vi4 ,panel1 #aj0 #h0 8 ,sir ,rainald ,knightley1 ,bt4 #ddb ,henry ,,viii4 ,panel1 #ba0 8 ,sir ,g4 ,d4 ,clerk1 ,bt4 #ag0 #dee ,margaret ,clifford1 ,countess ,lucas ,t4 ,f4 ,c4 ,vernon ,wentworth1 of ,derby4 t4 #di4 ,panel1 d',heere ,esq4 #ch0 #bd0 #dhf ,queen ,mary4 ,canvas1 #ce0 ,unknown ,christ ,church1 ,oford #bg0 #die ,the ,windsor 8,heads0 ,hans ,her ,majesty 7,windsor to ,holbein ,castle7 #egc #ijf ,edward ,,vi4 ,miniature in ,attributed,granville ,e4 ,lloyd ,baker1 wood to ,hans ,esq41 ,m4,p4 ,holbein #ijg ,henry ,,viii4 ,miniature in 8 8 wood #ajff;,henry ,,viii4 ,miniature 7oil7 ,hans ,her ,majesty 7,windsor ,holbein ,castle7 #ajfg,queen ,catherine ,howard4 8 8 ,miniature #ajgj;,a ,man's ,head1 unfinished4 ,ascribed ,right ,hon4 ,sir ,chas4 ,dilke1 ,inscribed1 8,a4,d4 #aeci4 to ,hans ,bt4 tat4 #cj0 ,holbein #ajga,thomas ,cromwell4 ,miniature ,hans ,major-,general ,f4 ,e4 ,sotheby ,holbein #ajgb,thomas ,cromwell4 ,miniature 8 ,lord ,willoughby de ,eresby #ajgc;,henry ,,viii4 ,miniature ,unknown ,albert ,hartshorne1 ,esq4 #ajgd;,henry ,,viii4 ,carving in ,hans ,mrs4 ,dent of ,sudeley honestone ,holbein #ajge;,henry ,,viii4 ,miniature ,unknown 8 #ajgf,queen ,katherine ,parr4 ,hans 8 ,miniature ,holbein #ajgg,thomas1 ,lord ,seymour of 8 8 ,sudeley4 ,miniature #ajgh;,edward ,,vi4 ,miniature ,unknown ,mrs4 ,dent of ,sudeley #ajgi,queen ,jane ,seymour4 ,hans 8 ,miniature ,holbein #ajhj,queen ,anne ,boleyn4 ,unknown 8 ,miniature #ajha;,henry ,,viii4 ,carving in ,hans 8 boxwood ,holbein #ajhb;,edward ,,vi4 ,miniature ,unknown ,lieut4-,general ,w4 ,bulwer #ajhc,thomas ,cromwell4 ,miniature 8 ,duke of ,devonshire1 ,k4,g4 #ajhe;,henry ,,viii4 ,miniature 8 ,mrs4 ,prothero #ajhf,queen ,anne of ,cleves4 8 ,baroness ,burdett-,coutts ,miniature #ajhg;,family ,group of the ,more ,peter ,major-,general ,f4 ,e4 ,sotheby ,family in ,two ,oliver ,generations4 ,miniature #ajhi,queen ,anne ,boleyn4 ,unknown ,countess of ,yarborough ,miniature #ajia;,henry ,,viii and ,family with 8 ,dowager ,duchess of ,will ,somers4 ,panel1 #f0 ,buccleuch #aa0 #ajib,william ,warham4 ,miniature 8 ,henry ,willett1 ,esq4 #ajic,william ,warham4 ,miniature 8 ,henry ,howard1 ,esq41 of ,greystoke #ajid;,erasmus4 ,miniature 8 8 #ajie,sir ,anthony ,denny4 8 8 ,miniature #ajif;,henry ,,viii4 ,miniature 8 ,baroness ,burdett-,coutts #aaag;,henry ,,viii4 ,miniature in 8 ,j4 ,lumsden ,propert1 ,esq4 copper #aaah,queen ,jane ,seymour4 ,hans 8 ,miniature ,holbein #aaai;,charles ,brandon1 ,duke of 8 8 ,suffolk4 ,miniature #aaba;,edward ,,vi4 ,miniature ,levina 8 ,teerlinck 787 #adaa;,henry ,,viii4 ,wax medallion ,unknown ,her ,majesty #adab,sir ,thomas ,more4 ,wax 8 8 medallion #adad,thomas ,cromwell1 ,earl of ,hans ,earl of ,pembroke ,essex4 ,drawing ,holbein ,x4 ,,exhibition ,,of ,,the ,,royal ,,house ,,of ,,tudor4 ,,corporation ,,of ,,manchester ,,art ,,gallery1 #ahig4 ,in this exhibition the greater number of the pictures were the same as those exhibited at the ,tudor ,exhibition in the ,new ,gallery1 #ahij4 ,the following were among those not included in the earlier collection3 #dh ,sir ,nicholas ,poyntz1 ,kt4 ,hans ,right ,hon4 ,evelyn ,ashley ,panel1 #bd0 #ag0 ,holbein #ef ,catherine ,pole1 ,countess of 8 ,trustees of the late ,lord ,huntingdon4 ,panel1 #cd0 ,donington #be0 #ei ,sir ,thomas ,more4 ,dated 8 ,miss ,sumner #aecb4 ,panel1 #ba0 #ag0 #fj ,cardinal ,wolsey4 ,panel1 #ba0 8 8 #ag0 #fa ,henry ,,viii4 ,panel1 #dg0 ,unknown ,martin ,colnaghi1 ,esq4 #ce0 #fi ,queen ,anne ,boleyn4 ,panel1 ,hans ,c4 ,j4 ,radcliffe1 ,esq4 #bb0 #ag0 ,holbein #gj ,sir ,thomas ,more4 ,panel1 #af0 ,unknown ,john ,eyston1 ,esq4 #aa0 #ga ,sir ,thomas ,more and ,family4,attributed8 ,canvas1 #ia0 #aah0 to ,holbein ,,xi4 ,,new ,,gallery1 ,,winter ,,exhibition1 #aija-b4 ,,monarchs ,,of ,,great ,,britain ,,and ,,ireland4 #cd ,the ,three ,children of ,henry ,jan de ,h4 ,dent-,brocklehurst1 ,esq4 ,,vii4 ,panel1 #ac0 #ah0 ,mabuse #da ,the ,three ,children of ,henry ,unknown ,earl of ,pembroke ,,vii4 ,panel1 #ad0 #ah0 #de ,queen ,katherine of ,aragon4 8 ,merton ,college1 ,oxford ,panel1 #bc0 #ag0 #dg ,queen ,anne ,boleyn4 ,panel1 ,lucas ,earl of ,romney circular1 #aj0 ,cornelisz #dh ,henry ,,viii4 ,panel1 #ai0 ,unknown ,society of ,antiquaries #ac0 #di ,queen ,katherine of ,aragon4 8 ,duke of ,devonshire1 ,k4,g4 #ad0 #aj0 #ej ,mary ,tudor1 ,dowager ,queen ,johannes ,h4 ,dent-,brocklehurst1 ,esq4 of ,france4 ,panel1 #bb0 ,corvus #ah0 #ea ,katherine of ,aragon and ,unknown ,charles ,butler1 ,esq4 ,arthur1 ,prince of ,wales4 ,panel1 #ae0 #bj0 #eb ,henry ,,viii1 ,princess ,mary1 8 ,earl ,spencer1 ,k4,g4 and ,will ,somers4 ,canvas1 #fc0 #ej0 #ec ,henry ,,viii4 ,panel1 #ce0 ,hans ,viscount ,galway #bg0 ,holbein #ed ,marriage of ,henry ,,viii with ,unknown ,earl of ,ancaster ,katherine of ,aragon 7#aeja74 ,panel1 #aa0 #bi0 #ee ,henry ,,viii and his ,family4 ,sir ,h4 ,dent-,brocklehurst1 ,esq4 ,panel1 #ea0 #ga0 ,antonio ,more #ef ,edward ,,vi4 ,panel1 #af0 #ab0;,attributed,earl of ,pembroke to ,holbein #eg ,queen ,katherine ,parr4 ,unknown ,archbishop of ,canterbury ,panel1 #ba0 #ag0 #eh ,queen ,anne of ,cleves4 ,hans ,charles ,morrison1 ,esq4 ,panel1 #bh0 #ba0 ,holbein #ei ,queen ,jane ,seymour4 ,panel1 ,unknown ,society of ,antiquaries #af0 #ad0 #fj ,edward ,,vi4 ,panel1 #bj0 ,gwillim ,lord ,aldenham #af0 ,stretes #fa ,queen ,anne ,boleyn4 ,canvas1 ,attributed,lord ,zouche #ae0 #ab0 to ,janet #fb ,cartoon of ,henry ,,vii and ,hans ,duke of ,devonshire1 ,k4,g4 ,henry ,,viii4 #ajc0 #ed0 ,holbein #fc ,edward ,seymour1 ,duke of ,unknown ,h4 ,dent-,brocklehurst1 ,esq4 ,somerset4 ,dated #aece4 ,panel1 #ce0 #bf0 #fd ,charles ,brandon1 ,duke of ,hans ,executors of ,lordc,donington ,suffolk1 ,k4,g4 ,panel1 #cd0 ,holbein #bg0 #gj ,edward ,,vi4 ,panel1 #df0 #cd0 8 ,earl of ,denbigh #gc ,queen ,mary ,i4 ,panel1 #ai0 ,sir ,dean and ,chapter of ,durham ,antonio ,more #ge ,queen ,mary ,i4 ,dated #aeed4 ,lucas ,society of ,antiquaries ,panel1 #dj0 #cj0 d',heere ,miniatures #bja ,charles ,brandon1 ,duke of ,hans ,earl ,brownlow ,suffolk1 ,k4,g4 ,panel1 #g0 ,holbein #f0 #bjb ,mary ,tudor1 ,dowager ,queen 8 8 of ,france4 ,panel1 #g0 #f0 #bjd ,queen ,katherine ,parr 8 ,h4 ,dent-,brocklehurst1 ,esq4 #bje ,queen ,jane ,seymour 8 8 #bjf ,queen ,anne ,boleyn ,unknown 8 #bag ,queen ,catherine ,howard ,hans ,his ,majesty ,holbein #bah ,henry ,,viii4 ,aged #eg 8 8 #bai ,henry ,,viii ,unknown ,h4 ,dent-,brocklehurst1 ,esq4 #bbj ,edward ,,vi 8 8 #beb ,queen ,mary ,i ,lucas ,colonel ,wynne ,finch d',heere #cdb ,henry ,,viii4 ,carving in ,hans ,h4 ,dent-,brocklehurst1 ,esq4 honestone ,holbein #cdh ,henry ,,viii4 ,carving in 8 8 boxwood ,,xii4 ,,loan ,,collection ,,of ,,portraits ,,of ,,english ,,historical ,,personages ,,who ,,died ,,prior ,,to ,,the ,,year #afbe4 ,,oxford1 #aijd #ba ,william ,warham1 ,archbishop ,hans ,viscount ,dillon of ,canterbury4 ,panel1 #cb0 ,holbein #be0 #bb ,william ,warham4 ,panel1 #cb0 ,copy from ,new ,college1 ,oxford #be0 ,holbein #bc ,catherine of ,aragon4 ,panel1 ,unknown ,the ,warden of ,merton #bb0 #ag0 ,college1 ,oxford #bd ,sir ,thomas ,wyat4 ,panel1 ,based upon,curators of the ,bodleian #ag0 #ab0 a drawing ,library by ,holbein #be ,king ,henry ,,viii4 ,panel1 #bd0 ,unknown ,dean of ,christ ,church1 #ai0 ,oxford #bf ,king ,henry ,,viii4 ,panel1 #bg0 8 ,archdeacon of ,oxford #bb0 #bg ,dr4 ,john ,chambre4 ,panel1 ,copy from ,merton ,college1 ,oxford #be0 #ah0 ,holbein #cj ,anne of ,cleves4 ,panel1 ,flemish ,the ,president of ,st4 ,john's arched top1 #ai0 #ad0 ,school ,college1 ,oxford #cc ,sir ,thomas ,pope4 ,panel1 ,school of ,the ,president of ,trinity #de0 #ca0 ,holbein ,college1 ,oxford ,,xiii4 ,,exhibition ,,illustrative ,,of ,,early ,,english ,,portraiture1 ,,burlington ,,fine ,,arts ,,club1 #aiji ,reprinted by kind permission of the ,committee of the ,club4 #ad ,margaret ,wotton1 ,copy of a ,duke of ,portland1 ,k4,g4 ,marchioness of ,dorset4 ,portrait ,panel1 #dj0 #ca0 possibly by ,holbein #ai ,lady of the ,court of ,henry ,school of ,society of ,antiquaries ,,viii4 ,panel1 #af0 #ad0 ,holbein #ba ,king ,henry ,,viii4 ,panel1 ,unknown ,lord ,sackville #cg0 #bh0 #bc ,henry ,,viii4 ,panel1 #df0 8 ,governors of ,st4 #cg0 ,bartholomew's ,hospital #bd ,henry ,,viii 8with ,scroll40 8 ,merchant ,taylors' ,company4 ,canvas1 #bh0 #bb0 #be ,unknown ,lady4 ,panel1 #ad0 ,possibly ,duke of ,norfolk1 ,k4,g4 #aj0 ,h4 ,eworth #bh ,mary ,tudor1 ,sister of ,henry ,johannes ,h4 ,dent-,brocklehurst1 ,esq4 ,,viii4 ,panel1 #bb0 #ah0 ,corvus #cj ,edmund ,butts4 ,panel1 #ba0 ,attributed,prince ,f4 ,duleep ,singh #ae0 to ,j4 ,bettes #cc ,king ,henry ,,viii4 ,panel1 ,unknown ,society of ,antiquaries #ah0 #ac0 #cd ,sir ,w4 ,fitzwilliam1 ,earl of,copy after,duke of ,devonshire ,southampton4 ,panel1 #ac0 ,holbein #i0 #ch ,king ,henry ,,viii4 ,panel1 ,hans ,earl ,spencer1 ,k4,g4 #aj0 #g0 ,holbein #ci ,an ,elderly ,man1 ,unknown4 ,attributed,r4 ,langton ,douglas1 ,esq4 ,panel1 #ae0 #ab0 to ,holbein #dj ,king ,henry ,,vii and ,king ,hans ,duke of ,devonshire ,henry ,,viii4 ,cartoon1 ,holbein #ajc0 #ed0 #da ,sir ,thomas le ,strange1 ,kt4 8 ,hamon le ,strange1 ,esq4 ,panel1 #ae0 #aj0 #db ,sir ,thomas le ,strange4 ,attributed8 ,panel1 #ai0 #ae0 to ,holbein #dc ,sir ,bryan ,tuke4 ,panel1 #ah0 ,hans ,miss ,guest of ,inwood #ad0 ,holbein #dd ,margaret ,roper4 ,panel1 #be0;,copy after,lord ,sackville #ai0 ,holbein #de ,sir ,nicholas ,carew4 ,panel1 ,hans ,duke of ,buccleuch1 ,k4,g4 #cf0 #dj0 ,holbein #df ,queen ,jane ,seymour4 ,panel1 ,copy after,lord ,sackville #bd0 #ai0 ,holbein #dh ,sir ,thomas ,wyat the ,ascribed ,rt4 ,hon4 ,lewis ,fry ,younger4 ,panel1 circular1to ,holbein #ac0 diam4 #di ,thomas ,howard1 #crd ,duke of ,copy after,duke of ,norfolk1 ,k4,g4 ,norfolk4 ,panel1 #cj0 #bc0 ,holbein #ej ,sir ,thomas ,wyat4 ,panel1 8 ,bodleian ,library1 ,oxford #ag0 #ab0 #ea ,william ,west1 #ast ,lord ,attributed,lieut4-,col4 ,g4 ,l4 ,holford1 ,delawarr 7874 ,panel1 #ea0to ,holbein ,c4,i4,e4 #cj0 and to ,g4 ,stretes #eb ,sir ,thomas ,more4 ,panel1 #be0 ,unknown ,lord ,sackville #ai0 #ec ,sir ,thomas ,more4 ,panel1 ,hans ,edward ,huth1 ,esq4 #bi0 #bc0 ,holbein #ed ,henry ,howard1 ,earl of ,attributed,duke of ,norfolk1 ,k4,g4 ,surrey4 ,canvas1 #hf0 #he0 to ,g4 ,stretes #ef ,sir ,anthony ,wingfield4 ,attributed,t4 ,humphry ,ward1 ,esq4 ,panel1 #cd0 #bg0 to ,holbein #fj ,king ,edward ,,vi4 ,panel1 #ah0 ,unknown1 ,lord ,sackville #ab0 after ,holbein #fb ,edward ,,vi as a ,child4 ,ascribed ,earl of ,yarborough ,panel1 #bb0 #af0 to ,holbein #fc ,king ,edward ,,vi4 ,panel1 #ai0;,attributed,lord ,aldenham #af0 to ,g4 ,stretes #fd ,margaret ,wyat1 ,lady ,lee ,hans ,major ,charles ,palmer 7874 ,panel1 #af0 #ab0 ,holbein #fe ,unknown ,lady4 ,panel1 #aa0 ,attributed,p4 ,t4 ,davies ,cooke1 ,esq4 #h0 to ,holbein #ff ,unknown ,lady4 ,signed 8,h4 ,hans ,marquis of ,zetland ,h40 ,panel1 #ab0 #i0 ,holbein #fh ,king ,edward ,,vi4 ,panel1 #af0 ,unknown ,duke of ,portland1 ,k4,g4 #i0 #gj ,george ,nevill1 #crd ,lord ,hans ,earl of ,pembroke ,abergavenny4 ,drawing in ,holbein coloured chalks1 #aj0 #i0 #gb ,an ,english ,lady1 supposed 8 ,george ,salting1 ,esq4 to be ,margaret ,roper4 ,drawing in coloured chalks1 #aj0 #g0 ,miniatures4 ,case ,b4 #a ,king ,henry ,,viii4 ,diam4 #a0 ,hans ,j4 ,pierpont ,morgan1 ,esq4 ,holbein #b ,queen ,jane ,seymour4 ,diam4 8 ,vernon ,watney1 ,esq4 #a0 #c ,mrs4 ,pemberton4 ,diam4 #b0 8 ,j4 ,pierpont ,morgan1 ,esq4 #d ,queen ,anne of ,cleves4 ,diam4 8 ,george ,salting1 ,esq4 #a0 #e ,portraits of ,two ,little ,livina 8 ,girls4 ,oval1 #a-ae_/af0 ,teerlinck #a0 #f ,queen ,jane ,seymour4 ,diam4 ,hans ,h4 ,dent-,brocklehurst1 ,esq4 #a0 ,holbein #g ,queen ,katherine ,parr 7874 8 8 ,diam4 #a0 ,case ,c4 #a ,margaret ,wotton 787 7called 8 ,duke of ,buccleuch1 ,k4,g4 ,queen ,katherine of ,aragon74 ,diam4 #a0 #b ,king ,henry ,,viii4 ,diam4 #b0 8 8 #d ,queen ,catherine ,howard4 8 8 ,diam4 #b0 #e ,queen ,jane ,seymour 7called 8 8 ,katherine of ,aragon74 ,diam4 #a0 #f ,king ,henry ,,viii4 ,diam4 #a0 ,copy after,duke of ,buccleuch1 ,k4,g4 ,holbein #g ,king ,henry ,,viii4 #b0 ,possibly 8 #a-ac_/af0 ,french #h ,eight ,miniatures in one frame1 among them3 ,d4 ,king ,henry ,,viii4 ,diam4 ,hans 8 #a0 ,holbein ,f4 ,queen ,mary4 ,diam4 #b0 ,anthonis 8 ,mor ,g4 ,king ,edward ,,vi4 ,diam4 ,unknown 8 #a0 #ab ,a ,boy 7called ,edward ,,vi74 ,hans 8 ,oval1 #a0 #a0 ,holbein #ac ,king ,edward ,,vi4 ,oval1 ,unknown 8 #a-aa_/af0 #a-g_/af0 #ae ,katherine of ,aragon4 ,attributed8 #a-ae_/af0 #a-ac_/af0 to ,holbein #ag ,sir ,thomas ,more4 ,oval1 ,possibly 8 #a-e_/af0 #a0 by ,holbein #ai ,king ,edward ,,vi4 ,diam4 #a0 ,unknown 8 #bb ,george ,nevill1 #crd ,lord ,hans 8 ,abergavenny4 ,diam4 #a0 ,holbein #bc ,hans ,holbein4 ,diam4 #a-g_/af0 8 8 #be ,king ,henry ,,viii4 ,diam4 #a0 ,unknown 8 ,case ,d4 #a ,hans ,holbein4 ,panel1 diam4 ,hans ,george ,salting1 ,esq4 #d0 ,holbein #b ,katherine ,willoughby1 ,unknown ,earl of ,ancaster ,duchess of ,suffolk4 ,inscribed in later hand 8,h4 ,holbein ,fecit40 ,diam4 #b0 #c ,katherine of ,aragon ,hans ,mrs4 ,joseph ,holbein ,in ,writing-,room4 #ag ,sir ,anthony ,browne1 ,k4,g4 ,unknown ,lord ,vaux of ,harrowden ,canvas1 #cg0 x #cj0 #ah ,king ,edward ,,vi4 ,panel1 #da0 8 ,major ,eley #bi0 ,,xiv4 ,,pictures ,,by ,,or ,,attributed ,,to ,,holbein ,,described ,,by ,,dr4 ,,waagen ,,in ,,his 8,,treasures ,,of ,,art ,,in ,,great ,,britain10 #ahed4 ,vol4 ,i p4 #bjc ,the ,holbein ,drawings in the pp4 ,british ,museum #bcf-g p4 #dbi ,william ,warham ,lambeth ,palace ,vol4 ,,ii p4 #gc ,man with the ,golden ,fleece ,duke of ,sutherland1 ,stafford ,house p4 #hf ,the ,duke of ,norfolk ,duke of ,norfolk pp4 #ic-d,man in a ,furred ,robe ,devonshire ,house p4 #aab ,unnamed ,portrait ,lord ,ashburton p4 #aii ,portrait wrongly called ,duke,r4 ,s4 ,holford1 ,esq4 ,frederick of ,saxony p4 #bda ,henry ,,viii ,henry ,danby ,seymour1 ,esq4 p4 #bdb ,portrait of a 8,plump ,child0 8 p4 #bde ,portrait of a ,woman adorned ,collection of ,mr4 ,neeld with many jewels4 ,dated #aecf p4 #bdf ,a ,man's ,portrait4 ,dated #aedg8 pp4 ,henry ,,viii granting the ,barber-,surgeons' ,hall #cbg-h ,charter to the ,barber-,surgeons' ,company p4 #cbh ,edward ,,vi at ,bridewell ,bridewell ,hospital p4 #cca 8,a ,male ,portrait in a rich ,c4 ,s4 ,bale1 ,esq4 dress40 ,coloured drawing p4 #ccb 8,a ,female ,portrait40 8 ,miniature pp4 ,the ,pictures in ,hampton 8 #cfa-g ,court p4 #dbj ,drawing of a ,female ,saint ,rt4 ,hon4 ,henry ,labouchere at ,stoke pp4 ,the ,pictures and ,drawings in8 #dcj-ej ,windsor ,castle ,vol4 ,,iii p4 #f ,portrait of a ,young ,man ,w4 ,fuller ,maitland1 ,esq41 weighing ,gold ,stanstead ,house p4 #bi ,the ,duchess of ,milan ,duke of ,norfolk1 ,arundel ,castle p4 #cj ,the ,duke of ,norfolk 8 8 ,the ,earl of ,surrey1 8 inscribed 8,william ,strote0 p4 #cc 8,a ,female ,figure with a ,ring,colonel ,egremont ,wyndham1 on one ,finger0 ,petworth p4 #cf ,edward ,,vi standing under a 8 ,canopy p4 #da ,henry ,,viii1 whole length 8 8 ,portrait of a ,man with a 8 ,falcon p4 #db ,portrait of a ,man with a 8 ,letter in his ,hand 7,derich ,berck7 p4 #eb ,henry ,,viii1 bust4 ,university ,galleries1 ,oxford p4 #abc ,a ,man's ,head1 about #aecj ,duke of ,marlborough1 ,blenheim ,palace p4 #ach ,portrait of ,erasmus ,earl of ,radnor1 ,longford ,castle p4 #aci ,peter gidius 8 8 ,two ,male ,portraits1 the size8 of life1 in one picture4 7,two ,ambassadors7 8 ,luther 787 8 8 ,anthony ,denny 8 p4 #adj colampadius 8 8 ,king ,edward ,,vi 8 p4 #aeb ,the ,father of ,sir ,thomas ,earl of ,pembroke1 ,wilton ,more ,house 8 ,william1 #ast ,earl of 8 ,pembroke 8 ,king ,edward ,,vi 8 8 ,lord ,cromwell 7drawing7 8 p4 #aee ,the ,wilton ,porch 8 p4 #agj ,catherine ,howard ,earl of ,suffolk1 ,charlton ,park p4 #ahe 8,a half-length ,undraped ,j4 ,p4 ,miles1 ,esq41 ,leigh ,figure1 here1 in defiance ,court of all probability1 called a ,william ,tell0 p4 #baj ,john ,fisher1 ,bishop of ,lord ,northwick1 ,thirlstane ,rochester ,house p4 #baa ,man's ,head4 ,miniature 8 p4 #bae ,henry ,,viii ,warwick ,castle p4 #bbe ,portrait of a ,man ,praying ,mr4 ,martin1 ,ham ,court1 ,worcestershire p4 #bcf ,the ,prodigal ,son ,liverpool ,institution p4 #beb ,sir ,thomas ,more ,mr4 ,blundell ,weld of ,ince p4 #bfd ,woman with a ,white ,pigeon ,earl of ,lonsdale1 ,lowther ,castle p4 #cac ,sir ,nicholas ,carew ,duke of ,buccleuch1 ,dalkeith ,palace p4 #cbc ,duke of ,norfolk ,earl of ,carlisle1 ,castle ,howard 8 ,henry ,,viii 8 p4 #ccd ,man's ,portrait ,mr4 ,meynell ,ingram1 ,temple ,newsham pp4 ,sir ,thomas ,more and his ,mr4 ,charles ,winn1 ,nostell #ccd-e ,family ,priory p4 #cdb ,portrait of colampadius ,w4 ,v4 ,wentworth1 ,esq41 ,wentworth ,castle p4 #cdf ,henry ,,viii1 full-length ,duke of ,devonshire1 ,chatsworth 8 ,head of an ,old ,man 8 p4 #cei ,the ,drawings at ,chatsworth 8 p4 #chh ,portrait of a ,man ,earl of ,shrewsbury1 ,alton ,towers p4 #cih ,henry ,,viii1 full-length ,duke of ,rutland1 ,belvoir ,castle p4 #djg ,henry ,,viii1 half-length ,marquis of ,exeter1 ,burleigh ,house 8 ,edward ,,vi 8 p4 #dbh ,anne ,boleyn ,sir ,john ,boileau1 ,ketteringham ,hall p4 #ddc ,portrait of a ,woman with ,mr4 ,tomline1 ,orwell ,park folded hands 8 8,a small picture in a 8 circle1 dated #aebg0 p4 #ddi ,william ,fitzwilliam1 ,earl of,fitzwilliam ,museum1 ,southampton ,cambridge p4 #def ,henry ,,viii ,earl ,spencer1 ,althorp 8 ,henry ,,viii1 ,princess ,mary1 8 and ,somers p4 #dfb ,queen ,catherine ,parr ,glendon ,hall p4 #dhb ,james1 ,king of ,scotland1 and,marquis of ,bute1 ,luton ,house his ,wife1 ,margaret1 ,daughter of ,henry ,,vii 8 ,henry ,,viii 7attributed to 8 ,gerard ,horebout7 ,vol4 ,,iv 7,supplemental1 #aheg7 pp4 #ce-h,the ,british ,museum drawings p4 #fg ,edward ,,vi as an ,infant ,lord ,yarborough1 ,arlington ,street 8 ,henry ,,viii 8 p4 #gg 8,portrait of a ,man with ,alexander ,barker1 ,esq4 features resembling the ,house of ,habsburg0 p4 #ig ,johann ,herbster ,mr4 ,baring's ,collection p4 #aai ,princess ,mary1 afterwards ,c4 ,sackville ,bale1 ,esq4 ,queen4 ,miniature p4 #ahh ,the ,ascension4 ,drawing1 ,william ,russell1 ,esq41 #ch design for a painted ,chesham ,place window p #bfi ,edward ,,vi ,duke of ,northumberland1 ,syon ,house 8 ,duke of ,somerset1 the 8 8,protector0 8 ,bust of ,henry ,,vii1 in dark 8 stone1 8by ,pietro ,torregiano1 #aeai0 p4 #bgb ,portrait of ,sir ,thomas ,lord ,jersey1 ,osterley ,park ,gresham4 78,not by ,holbein1 but possibly of the ,lombard ,school07 p4 #cca ,john ,russell ,duke of ,bedford1 ,woburn ,abbey p4 #cci ,henry ,,viii ,earl ,amherst1 ,knole ,park p4 #cee ,sir ,anthony ,denny ,lord ,folkestone1 ,longford ,castle pp4 ,erasmus 8 #cef-g p4 #ceg ,peter gidius 8 p4 #cei ,the ,two ,ambassadors 8 8 ,a ,man in a ,black ,dress 8 called ,luther p4 #cfa ,lady ,carey 8 p4 #cfd ,lady ,jane ,grey ,earl of ,normanton1 ,somerley p4 #cid 8,portrait of ,scanderbeg0 ,lord ,methuen1 ,corsham ,court p4 #dce ,sir ,nicholas ,carew ,duke of ,buccleuch1 ,dalkeith ,palace p4 #dfd ,lord ,cromwell ,the late ,lord ,douglas1 ,bothwell ,castle 8 ,sir ,thomas ,more 8 8 ,erasmus 8 p4 #dih ,henry ,,viii ,william ,drury ,lowe1 ,esq41 ,locko ,park p4 #eji ,portrait of a ,man in a ,black,duke of ,newcastle1 ,clumber ,dress and ,cap ,park p4 #eaa ,portrait of a ,man with a ,cap8 and ,bton1 said to be ,sir ,thomas ,more p4 #eae ,portrait of a ,man in a ,black,duke of ,portland1 ,welbeck ,dress1 holding a ,palm in ,abbey his ,left ,hand p4 #eaf ,portrait of ,nicolas ,kratzer ,viscount ,galway1 ,serlby p4 #eag ,henry ,,viii1 full-length 8 ,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 ,younger4 ,a very complete bibliography of the artist will be found in ,schweiz4 ,knstlerlexikon1 vol4 ii41 ,frauenfeld1 #aijf1 to which the student is referred4 ,additional references will be found in the text and footnotes of this book4 ,,amiet1 ,hans ,holbeins ,madonna von ,solothurn und der ,stifter ,nikolaus ,conrad1 #ahgi4 ,,baldry1 ,a4 ,l41 ,drawings of ,hans ,holbein1 8,drawings of the ,great ,masters0 series4 ,george ,newnes1 ,ltd4 ,not dated4 ,,bell1 ,c4 ,f41 ,f4,s4,a41 ,catalogue of a ,loan ,collection of ,portraits of ,english ,historical ,personages who died prior to the year #afbe4 ,oxford1 ,clarendon ,press1 #aijd4 ,,benoit1 ,,fran,,ois1 ,holbein 78,les ,matres de l',art074 ,paris4 ,not dated4 ,,binyon1 ,,laurence1 ,catalogue of ,drawings by ,british ,artists and ,artists of ,foreign ,origin working in ,great ,britain1 preserved in the ,british ,museum1 ,vol4 ii4 p4 #cbf-bdc4 ,,black1 ,w4 ,h41 ,f4,s4,a41 and ,,franks1 ,a4 ,w41 ,f4,s4,a41 ,discovery of the ,will of ,hans ,holbein4 ,archologia1 vol4 xxxix4 pp4 #a-ah4 ,,black1 ,w4 ,h41 ,f4,s4,a41 ,on the ,date and other ,circumstances of the ,death of ,holbein1 c4 ,archologia1 vol4 xxxix4 pp4 #bgb-f4 ,,blomfield1 ,r41 ,a4,r4,a41 ,history of ,renaissance ,architecture in ,england1 i4 p4 #ah1 #ahig4 ,,brewer1 ,j4 ,s41 ,m4,a41 and ,,gairdner1 ,,dr4 ,,james1 ,c4,b41 ,letters and ,papers1 ,foreign and ,domestic1 of the ,reign of ,henry ,,viii1 #aeji-aedc1 #ahfb-aijb4 ,,burckhardt1 ,a41 ,hans ,holbein4 ,basel1 #ahhe4 ,,burckhardt1 ,a41 ,hans ,holbeins ,ehefrau und ihr erster ,ehemann ,ulrich ,schmid1 ,basler ,zeitschrift fr ,geschichte und ,altertumskunde1 ,bd4 v4 p4 #dbj4 ,,burckhardt-,,werthemann1 ,d41 ,drei wiedergefundene ,werke aus ,holbeins frherer ,basler ,zeit4 ,basler ,zeitschrift fr ,geschichte und ,altertumskunde1 iv4 #bg4 ,,chamberlain1 ,a4 ,b41 ,a ,newly ,discovered ,portrait of ,thomas ,cromwell4 ,burlington ,magazine1 ,no4 cv4 vol4 xx4 7,december1 #aiaa7 p4 #age4 ,,chamberlain1 ,a4 ,b41 ,holbein's ,visit to 8,high ,burgony40 ,burlington ,magazine1 ,no4 cix4 vol4 xxi4 7,april1 #aiab7 pp4 #be-cj4 ,,chatto1 ,w4 ,a41 ,a ,treatise on ,wood ,engraving1 ed4 ,h4 ,g4 ,bohn4 ,chatto and ,windus1 #ahfa4 ,,churchill1 ,s4 ,j4 ,a41 ,two ,unpublished ,portraits by ,hans ,holbein4 ,burlington ,magazine1 ,no4 cvi4 vol4 xx4 7,january1 #aiab7 p4 #bci4 ,,colvin1 ,,sir ,,sidney1 ,the ,ambassadors ,unriddled 7review of ,mr4 ,w4 ,f4 ,dickes' book74 ,burlington ,magazine1 ,no4 vi4 vol4 ii4 7,august1 #aijc7 pp4 #cfg-i4 ,,colvin1 ,,sir ,,sidney1 ,on a ,portrait of ,erasmus by ,holbein4 ,burlington ,magazine1 ,no4 lxxx4 vol4 xvi4 7,november1 #aiji7 pp4 #fg-ga4 ,,conway1 ,,sir ,,martin1 and ,,cust1 ,,lionel1 ,m4,v4,o41 ,portraits of the ,wyat ,family4 ,burlington ,magazine1 ,no4 lxxxi4 vol4 xvi4 7,december1 #aiji7 pp4 #aed-i4 ,,cox1 ,,mary ,l41 ,inventory of ,pictures1 c41 in the possession of ,alethea1 ,countess of ,arundel1 at the time of her ,death at ,amsterdam in #afed4 ,burlington ,magazine1 ,no4 ci4 vol4 xix4 7,august1 #aiaa7 pp4 #bhb-f2 ,no4 cii4 vol4 xix4 7,september1 #aiaa7 pp4 #cbc-e4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,f4,s4,a41 ,lucas d',heere4 ,magazine of ,art1 ,august1 #ahia4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,notice of the ,life and ,works of ,lucas d',heere1 c4 ,archologia1 vol4 liv4 pt4 i4 pp4 #ei-hj4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,the ,national ,portrait ,gallery4 ,illustrated ,catalogue1 #b vols41 ,cassell ,co41 #aija4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,foreign ,artists of the ,reformed ,religion working in ,london from about #aefj to #affj4 ,proceedings of the ,huguenot ,society in ,london1 vol4 vii4 ,no4 i4 pp4 #de-hb1 #aijc4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,the ,royal ,collection of ,paintings1 vol4 ii41 ,windsor ,castle4 ,heinemann1 #aijf4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,john of ,antwerp1 ,goldsmith1 and ,hans ,holbein4 ,burlington ,magazine1 ,no4 xxxv4 vol4 viii4 7,february1 #aijf7 pp4 #cef-fj4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,the ,lumley ,inventory and the ,painter ,h4 ,e4 ,burlington ,magazine1 ,no4 lxxii4 vol4 xiv4 7,march1 #aiji7 pp4 #cff-h4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,a ,portrait of ,queen ,catherine ,howard by ,hans ,holbein the ,younger4 ,burlington ,magazine1 ,no4 lxxxviii4 vol4 xvii4 7,july1 #aiaj7 pp4 #aic-i4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,on a ,portrait ,drawing by ,hans ,holbein the ,younger 7,sir ,charles ,wingfield74 ,burlington ,magazine1 ,no4 xcv4 vol4 xviii4 7,february1 #aiaa7 pp4 #bfi-gj4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,on ,two ,portraits attributed to ,gerlach ,flicke4 ,burlington ,magazine1 ,no4 c4 vol4 xix4 7,july1 #aiaa7 p4 #bci4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,notes on the ,collections formed by ,thomas ,howard1 ,earl of ,arundel and ,surrey1 ,k4,g4 ,burlington ,magazine1 ,no4 ci4 vol4 xix 7,august1 #aiaa7 pp4 #bgh-ha2 ,no4 civ4 vol4 xx 7,november1 #aiaa7 pp4 #ig-ajj2 ,no4 cvi4 vol4 xx4 7,january1 #aiab7 pp4 #bcc-f72 ,no4 cviii4 vol4 xx4 7,march1 #aiab7 pp4 #cda-c2 ,no4 cxiii4 vol4 xxi4 7,august1 #aiab7 pp4 #bef-h4 ,,cust1 ,,lionel1 ,m4,v4,o41 ,a ,newly-discovered ,portrait of ,thomas ,cromwell4 ,burlington ,magazine1 ,no4 ciii4 vol4 xx4 7,october1 #aiaa7 pp4 #e-f4 ,,cust1 ,,lionel1 ,m4,v4,o41 8,the ,family of ,sir ,thomas ,more10 by ,hans ,holbein4 ,burlington ,magazine1 ,no4 cxv4 vol4 xxii4 7,october1 #aiab7 pp4 #dc-d4 ,,cust1 ,,lionel1 ,m4,v4,o41 and ,,bell1 ,c4 ,f41 ,f4,s4,a41 ,burlington ,fine ,arts ,club1 ,catalogue of ,exhibition illustrative of ,early ,english ,portraiture1 #aiji4 ,,davies1 ,,gerald ,s41 ,m4,a41 ,hans ,holbein the ,younger4 ,george ,bell ,sons1 #aijc4 ,,davies1 ,,randall1 ,an ,inventory of the ,duke of ,buckingham's ,pictures in #afce4 ,burlington ,magazine1 ,no4 xlviii4 vol4 x4 7,march1 #aijg7 pp4 #cgf-hb4 ,,develay1 ,v41 ,eloge de la ,folie d',erasme4 #crd ed4 ,paris1 #ahgf4 ,,dickes1 ,w4 ,f41 ,holbein's 8,ambassadors0 ,unriddled4 ,cassell ,co41 ,ltd4 ,not dated4 ,,dimier1 ,l41 ,french ,painting in the ,sixteenth ,century4 7,trans4 by ,harold ,child47 ,duckworth ,co41 #aijd4 ,,dimier1 ,l41 ,le ,primatice4 ,paris1 #aijj4 ,,dodgson1 ,,campbell1 ,neues ber ,holbeins ,metallschnitte zum ,vaterunser4 ,mitteilungen der ,gesellsch4 fr vervielfltig4 ,kunst1 #aijc1 p4 #a1 and #aije1 p4 #aj4 ,,dodgson1 ,,campbell1 ,hans ,ltzelburger and the ,master ,n4 ,h4 ,burlington ,magazine1 ,no4 xlvii4 vol4 x4 7,february1 #aijg7 pp4 #cai-bb4 ,,dodgson1 ,,campbell1 ,an ,alphabet by ,hans ,weiditz4 ,burlington ,magazine1 ,no4 lix4 vol4 xii4 7,february1 #aijh7 pp4 #bhi-ic4 ,,dodgson1 ,,campbell1 ,a ,portrait by ,hans ,holbein the ,elder4 ,burlington ,magazine1 ,no4 lxvii4 vol4 xiv4 7,october1 #aijh7 pp4 #cg-dc4 ,,dodgson1 ,,campbell1 ,das ,holzschnittportrt von ,n4 ,borbonius4 ,gesells4 fr vervielfltigende ,kunst1 ,mitteilungen xxxi4 #aijh1 p4 #cg4 ,,dodgson1 ,,campbell1 ,catalogue of ,early ,german and ,flemish ,woodcuts1 c41 in the ,british ,museum1 vol4 ii4 #aiaa1 p4 #cbj4 ,,dodgson1 ,,campbell1 notes by1 ,vasari ,society1 ,pt4 i4 ,nos4 #ag and #ah2 ,pt4 ii4 ,no4 #ca2 ,pt4 v4 ,no4 #bh4 ,,douce1 ,,francis1 ,holbein's ,dance of ,death4 #aheh edition4 ,h4 ,g4 ,bohn4 ,,earp1 ,f4 ,r41 ,m4,a41 ,descriptive ,catalogue of the ,pictures in the ,fitzwilliam ,museum1 pp4 #ig-h4 ,university ,press1 ,cambridge1 #aijb4 ,,einstein1 ,,lewis1 ,the ,italian ,renaissance in ,england1 #aijb4 ,,fidler1 ,g41 ,holbein's ,porch4 ,the ,art ,journal1 #ahig1 pp4 #de-h4 ,,fortescue1 ,,mrs4 ,g41 ,holbein4 7,little ,books on ,art47 ,methuen ,co41 #aijd4 ,,foster1 ,j4 ,j41 ,british ,miniature ,painters and their ,works4 #ahih4 ,,frisch1 ,a41 and ,,woltmann1 ,a41 ,hans ,holbein des ,aeltern ,silberstiftzeichnungen im kgl4 ,museum zu ,berlin4 ,soldau1 ,nuremberg4 ,,fr,,licher1 ,,elsa1 ,die ,portrtkunst ,hans ,holbeins des ,jngeren und ihr ,einfluss auf die schweizerische ,bildnismalerei im ,,xvi ,jahrhundert 7,studien zur deutschen ,kunstgeschichte1 ,no4 #aag74 ,heitz ,mndel1 ,strasburg1 #aiji4 ,,fry1 ,,roger1 ,e41 ,early ,english ,portraiture at the ,burlington ,fine ,arts ,club4 ,burlington ,magazine1 ,no4 lxxiv4 vol4 xv4 7,may1 #aiji7 pp4 #gc-e4 ,,ganz1 ,,paul1 ,hans ,holbein d4 ,j4 ,einfluss auf4 d4 schweizerische ,glasmalerei4 ,jahrb4 d4 kgl4 preuss4 ,kunstsamml41 xxiv4 7#aijc7 pp4 #aig-bjg4 ,,ganz1 ,,paul1 ,handzeichnungen schweiz4 ,meister des ,,xv-,,xviii ,jahrh4 ,helbing and ,lichtenhahn1 ,basel1 #aijh4 ,,ganz ,,paul1 ,handzeichnungen von ,hans ,holbein dem ,jngeren4 ,julius ,bard1 ,berlin1 #aijh4 ,,ganz1 ,,paul1 ,hans ,holbeins ,italienfahrt4 ,sddeutsche ,monatshefte1 ,may1 #aiji1 p4 #eii4 ,,ganz1 ,,paul1 ,two ,unpublished ,portraits by ,hans ,holbein4 ,burlington ,magazine1 ,no4 ciii4 vol4 xx4 7,october1 #aiaa7 pp4 #ca-b4 ,,ganz1 ,,paul1 ,hans ,holbein d4 ,j43 des ,meisters ,gemlde in #beb ,abbildungen4 7,klassiker der ,kunst in ,gesamtausgaben ,no4 xx47 ,stuttgart1 #aiab4 ,french translation1 ,hachette ,co41 ,paris1 #aiab4 ,,ganz1 ,,paul1 ,die ,handzeichnungen ,hans ,holbeins des ,jngeren4 ,deutscher ,verein fr ,kunstwissenschaft ,e4,v41 ,julius ,bard1 ,berlin4 ,in course of publication4 ,to be completed in #ej parts 7#ejj plates74 ,,ganz1 ,,paul1 and ,,major1 ,,emil1 ,die ,entstehung des ,amerbach'schen ,kunstkabinets und die ,amerbach'schen ,inventare1 in the #bith ,annual ,report of the ,public ,picture ,collection in ,basel1 #aijg4 ,,gauthiez1 ,,pierre1 ,hans ,holbein sur la route d',italie4 ,gazette des ,beaux-,arts1 ,december1 #ahig2 ,february1 #ahih4 ,,gauthiez1 ,,pierre1 ,holbein3 ,biographie ,critique 7,les ,grands ,artistes71 ,laurens1 ,paris4 ,not dated4 ,,glaser1 ,,curt1 ,hans ,holbein der ltere 7,kunstgeschichtliche ,monographien1 ,,xi74 ,k4 ,w4 ,hiersemann1 ,leipzig1 #aijh4 ,,goette1 ,a41 ,holbeins ,totentanz und seine ,vorbilder4 ,strasburg1 #ahig4 ,,heath1 ,,dudley1 ,two ,new ,portrait ,miniatures by ,hans ,holbein4 ,the ,connoisseur1 ,july1 #aijg1 pp4 #adc-d4 ,,hegner1 ,u41 ,hans ,holbein der ,jngere4 ,reimer1 ,berlin1 #ahbg4 ,,heitz1 ,p41 ,basler ,bchermarken4 ,heitz1 ,strasburg1 #ahie4 ,,hervey1 ,,mary ,f4 ,s41 ,holbein's 8,ambassadors03 the ,picture and the ,men4 ,george ,bell ,sons1 #aijj4 ,,hervey1 ,,mary ,f4 ,s41 ,a ,portrait of ,jean de ,dinteville1 one of ,holbein's ,ambassadors4 ,burlington ,magazine1 ,no4 xvi4 vol4 v4 7,july1 #aijd7 p4 #dac4 ,,hervey1 ,,mary ,f4 ,s41 ,notes on ,some ,portraits of ,tudor ,times4 ,burlington ,magazine1 ,no4 lxxv4 vol4 xv4 7,june1 #aiji7 pp4 #aea-fj4 ,,hervey1 ,,mary ,f4 ,s41 ,notes on a ,tudor ,painter3 ,gerlach ,flicke4 ,burlington ,magazine1 ,no4 lxxxvi4 vol4 xvii4 7,may1 #aiaj7 pp4 #ga-i2 ,no4 lxxxvii4 vol4 xvii4 7,june1 #aiaj7 pp4 #adg-h4 ,,hervey1 ,,mary ,f4 ,s41 and ,,martin-,,holland1 ,r41 ,a ,forgotten ,french ,painter3 ,flix ,chrtien4 ,burlington ,magazine1 ,no4 xcvii4 vol4 xviii4 7,april1 #aiaa7 pp4 #dh-ee4 ,,hes1 ,,willy1 ,ambrosius ,holbein 7,studien zur deutschen ,kunstgeschichte1 ,no4 #ade74 ,heitz and ,mndel1 ,strasburg1 #aiaa4 ,,hind1 ,a4 ,m41 ,great ,engravers3 ,hans ,holbein the ,younger4 ,heinemann1 #aiab4 ,,his-,,heusler1 ,e41 ,hans ,holbeins des ,aelteren ,feder- und ,silberstiftzeichnungen in den ,kunstsammlungen zu ,basel1 c4 ,soldau1 ,nuremberg4 ,,his-,,heusler1 ,e41 ,die ,basler ,archive ber ,hans ,holbein und seine ,familie1 ,zahns ,jahrbcher fr ,kunst1 iii4 p4 #aac et seq4 ,leipzig1 #ahgj4 ,,his-,,heusler1 ,e41 ,hans ,ltzelburger1 le ,graveur des ,simulacres de la ,mort d',holbein4 ,gaz4 des ,beaux-,arts1 #bnd period1 iv4 7#ahga7 p4 #dha4 ,,his-,,heusler1 ,e41 ,dessins d',ornements de ,hans ,holbein4 ,boussod1 ,valadon1 and ,co41 ,paris1 #ahhf4 ,,his-,,heusler1 ,e41 ,einige ,gedanken ber die ,lehr- und ,wanderjahre ,h4 ,h4 d4 ,j4 ,jahrbuch fr ,k4 ,k4 preuss4 ,kunstsamml41 #ahia1 #bnd fasc41 p4 #ei et seq4 ,,his-,,heusler1 ,e41 ,holbeins ,bergwerkzeichnung im britischen ,museum4 ,jahrbuch fr ,k4 ,k41 c41 #ahid1 iii4 p4 #bjg et seq4 ,,his-,,heusler1 ,e41 ,holbeins ,verhltniss zur ,basler ,reformation4 ,rep4 fr ,kunstwissenschaft1 iii4 p4 #aef4 ,,his-,,heusler1 ,e41 ,ambrosius ,holbein als ,maler4 ,jahrbuch der kgl4 preuss4 ,kunst41 xxiv4 #aijc1 pp4 #bdc-f4 ,,holmes1 ,,sir ,,richard1 ,k4,c4,v4,o41 ,hans ,holbein3 ,portraits of ,illustrious ,personages of the ,court of ,henry ,,viii1 in the ,royal ,library1 ,windsor ,castle1 #b vols4 ,hanfstaengl4 ,not dated4 ,,holmes1 ,,sir ,,richard1 ,k4,c4,v4,o41 ,note on an ,unpublished ,holbein ,miniature in the ,collection of the ,queen of ,holland4 ,burlington ,magazine1 ,no4 ii4 vol4 i4 7,april1 #aijc7 p4 #bah4 ,,holmes1 ,,sir ,,richard1 ,k4,c4,v4,o41 ,a ,miniature by ,holbein 7,mrs4 ,pemberton74 ,burlington ,magazine1 ,no4 xvi4 vol4 v4 7,july1 #aijd7 p4 #ccg4 ,,holmes1 ,,sir ,,richard1 ,k4,c4,v4,o41 ,english ,miniature ,painters3 ,no4 ,i4 ,nicholas ,hilliard4 ,burlington ,magazine1 ,no4 xxxiv4 vol4 viii4 7,january1 #aijf7 pp4 #bbi-cd4 ,,hueffer1 ,f4 ,m41 ,hans ,holbein the ,younger3 a ,critical ,monograph 7,popular ,library of ,art74 ,duckworth ,co4 ,not dated4 ,,huppertz1 ,a41 ,der ,sebastiansaltar in der ,mnchener ,a4 ,pinak4 ,repertorium fr ,kunst41 xxxiv4 #aiaa1 p4 #bee4 ,,iselin1 ,l41 ,holbein1 in ,historisch und geographisches ,lexikon1 ,basel1 #agbf4 ,,kainzbauer1 ,l41 ,holbein der 8,verbesserte40 ,eine neue ,untersuchung der beiden ,madonnen des ,brgermeisters ,mayer in ,basel1 #aijf4 ,,kinkel1 ,g41 ,hans ,holbein 7review of ,woltmann's and ,wornum's books74 ,fine ,arts ,quarterly ,review1 ,june1 #ahfg4 ,,knackfuss1 ,h41 ,hans ,holbein der ,jngere4 ,velhagen ,klasing1 ,bielefeld and ,leipzig1 #ahif2 #dth edition1 ,bielefeld1 #aijb4 ,,knackfuss1 ,h41 ,holbein1 ,english translation by ,campbell ,dodgson4 ,h4 ,grevel and ,co41 #ahii4 ,,koegler1 ,,hans1 ,ergnzungen zum ,holzschnittwerk des ,hans und ,ambrosius ,holbein4 ,jahrb4 d4 preuss4 ,kunstsamml41 xxviii4 7#aijg7 p4 #he4 ,,koegler1 ,,hans1 ,hans ,holbeins ,holzschnitte fr ,sebastian ,mnsters 8,instrument ber die zwei ,lichter10 ,basel1 #aecd4 ,jahrb4 d4 preuss ,kunstsamml41 xxxi4 p4 #bed4 ,,koegler1 ,,hans1 ,der ,hortulus ,anim1 illust4 von ,h4 ,holbein4 ,zeitschrift f4 bildende ,kunst41 xx4 7#aijh7 p4 #ce4 ,,koegler1 ,,hans1 ,die grsseren ,metallschnittillustrationen ,hans ,holbeins d4 ,j4 zu einen 8,hortulus ,anim40 ,monatshefte f4 ,kunstwissenschaft1 iii4 7,january1 #aiaj7 pp4 #ac-ag2 7,june1 #aiaj7 pp4 #cag-cc4 ,,koegler1 ,,hans1 ,kleine ,beitrge zum ,schnittwerk ,hans ,holbein d4 ,j43 ,der ,meister ,c4,s4 ,monatshefte1 c4 7,september1 #aiaa71 pp4 #chi-djh4 ,,koegler1 ,,hans1 ,hans ,holbein d4 ,j4 und ,dr4 ,johann ,fabri4 ,repertorium fr ,kunstwissenschaft1 vol4 #ce1 pts4 #d and #e1 pp4 #cgi-hd1 #aiab4 ,,kugler1 ,handbook of ,painting3 ,german1 ,flemish1 and ,dutch ,schools4 ,remodelled by ,dr4 ,waagen1 and revised by ,sir ,j4 ,a4 ,crowe1 #b vols41 #crd ed4 ,john ,murray1 #ahih4 ,,lappenberg1 ,,dr41 ,urkundliche ,geschichte des ,hansischen ,stahlhofs zu ,london4 ,hamburg1 #ahea4 ,,larpent1 ,s41 ,sur le ,portrait de ,morette4 ,christiania1 #ahha4 ,,law1 ,,ernest1 ,the ,royal ,gallery of ,hampton ,court4 ,george ,bell ,sons1 #ahih4 ,,law1 ,,ernest1 ,holbein's ,pictures at ,windsor ,castle4 ,hanfstaengl1 #aija4 ,,leighton1 ,,lord1 ,addresses to the ,students of the ,royal ,academy4 #bnd edition1 #ahig4 ,,leith,,user1 ,hans ,holbein in seinem ,verhltnisse zur ,antike und zum ,humanismus4 ,hamburg1 #ahhf4 ,,liebenau1 ,,th4 ,,von1 ,das ,alte ,luzern1 #ahha4 ,,liebenau1 ,,th4 ,,von1 ,hans ,holbeins d4 ,j4 ,fresken am ,hertenstein ,haus in ,luzern1 #ahhh4 ,,loftie1 ,w4 ,j41 ,f4,s4,a41 ,whitehall3 ,historical and ,architectural ,notes4 ,portfolio ,monograph1 #ahie4 ,,machiels1 ,a41 ,les ,portraits d',erasme4 ,gazette des ,beaux-,arts1 ,november #aiaa1 pp4 #cdi-fa4 ,,machiels1 ,a41 ,quelques uvres de ,h4 ,holbein en ,angleterre4 ,revue de l',art ,ancien et ,modern1 xx4 p4 #bbg4 ,,major1 ,e41 ,das ,fschische ,museum und die ,fschischen ,inventare4 #fjth ,annual ,report of the ,basel ,public ,picture ,collection1 #aijh4 ,,major1 ,e41 ,basler ,horologienbcher mit ,holzschnitten von ,hans ,holbein4 ,monatshefte1 c41 iv4 #aiaa1 pp4 #gg-ha4 ,,mander1 ,,carel ,,van1 ,het ,schilder-,boeck1 #afjd4 ,french translation1 ed4 ,h4 ,hymans1 #b vols41 #ahhd4 ,,manners1 ,,lady ,,victoria1 ,notes on the ,pictures at ,belvoir ,castle4 ,the ,art ,journal1 ,may1 #aijd1 pp4 #afa-f4 ,,mantz1 ,p41 ,hans ,holbein4 ,a4 ,quantin1 ,paris1 #ahgi4 ,,mantz1 ,p41 ,les ,portraits d',erasme par ,holbein4 ,bull4 de l',art pour ,tous1 xliii4 ,no4 #bbf1 ,october1 #aijd4 ,,mauclair1 ,,camille1 ,les ,dessins de ,hans ,holbein au ,muse de ,ble4 ,l',art et les ,artistes4 ,december1 #aiaa1 pp4 #ii-aab4 ,,mechel1 ,,chr,,tien ,,de1 uvres de ,jean ,holbein1 c4 ,basel1 #aghj4 ,,nichols1 ,f4 ,m41 ,f4,s4,a41 ,observations on a further ,correction of the ,date of the ,birth ,year of ,sir ,thomas ,more4 ,proceedings of the ,society of ,antiquaries1 vol4 xvi4 ,no4 iii4 7,march1 #ahig7 pp4 #cba-g4 ,,nichols1 ,f4 ,m41 ,f4,s4,a41 ,on some ,works executed by ,hans ,holbein during his first ,visit to ,england1 #aebf-aebi4 ,proceedings of the ,society of ,antiquaries1 vol4 xvii4 ,no4 i4 7,march1 #ahih7 pp4 #acb-de4 ,,nichols1 ,j4 ,g41 ,f4,s4,a41 ,notices of the ,contemporaries and ,successors of ,holbein1 ,archologia1 vol4 xxxix1 pp4 #ai-df4 ,,nichols1 ,j4 ,g41 ,f4,s4,a41 ,remarks upon ,holbein's ,portraits of the ,royal ,family of ,england1 c4 ,archologia1 vol4 xl4 pp4 #ga-hj4 ,,nicolas1 ,,sir ,n4 ,h41 ,f4,s4,a41 ,the ,privy ,purse ,expenses of ,king ,henry the ,eighth1 ,pickering1 #ahfg4 ,,norman1 ,,dr4 ,,philip1 ,notes on the later ,history of the ,steelyard in ,london4 ,archologia1 vol4 lxi4 pt4 ii4 7#aiji71 pp4 #chi-dbf4 ,,norman1 ,,dr4 ,,philip1 ,nicholas ,hilliard's ,treatise concerning 8,the ,arte of ,limning10 with introduction and notes4 ,walpole ,society1 #ast annual vol41 #aiaa-ab1 pp4 #a-ed4 ,,ochs1 ,p41 ,geschichte von ,basel1 ,stadt und ,landschaft1 #h vols4 ,berlin1 #aghf-ahba4 ,,parthey1 ,,gustav1 ,verzeichniss der ,kupferstiche ,wenzel ,hollars4 ,berlin1 #ahec4 ,,patin1 ,,charles1 ,relations hist4 et curieuses de ,voyages1 c4 ,basel1 #afgc1 pp4 #baa et seq42 ,lyon1 #afgd2 ,amsterdam1 #afie4 ,,patin1 ,,charles1 ,index operum ,holbenii1 appendix ad ,morias ,encomium4 ,basel1 #afgf4 ,,peltzer1 ,r4 ,a41 ,portrt des ,d4 ,tybis von ,duisburg3 ,inschriften4 ,bltter f4 ,gemldek41 iii4 #aijg1 p4 #afa4 ,,phillips1 ,,sir ,,claude1 ,the ,picture ,gallery of ,charles ,i4 ,portfolio ,monograph1 #ahif4 ,,phillips1 ,,sir ,,claude1 ,the ,collection of ,pictures at ,longford ,castle4 ,the ,art ,journal1 #ahig1 pp4 #ig-ajd4 ,,pollard1 ,a4 ,f41 ,henry ,,viii4 ,goupil ,co41 #aijb4 ,,raczynski1 ,les ,arts en ,portugal1 #ahdf1 p4 #bie4 ,,rawnsley1 ,,canon ,h4 ,d41 ,the ,revival of the ,decorative ,arts at ,lucerne4 ,lucerne1 #ahig4 ,,reinach1 ,s41 ,rpertoire de ,peintures du ,moyen ,age et de la ,renaissance1 #abhj-aehj1 #c vols4 ,e4 ,leroux1 ,paris1 #aije-aj4 ,,richardson1 ,architectural ,remains of the ,reigns of ,elizabeth and ,james ,i4 #ahch4 ,,roper1 ,w41 ,the ,life and ,death of ,sir ,thomas ,more1 c4 ,ed4 ,rev4 ,j4 ,lewis1 #agca4 ,,ruskin1 ,,john1 ,sir ,joshua and ,holbein4 ,cornhill ,magazine1 ,march1 #ahfj1 p4 #cbh et seq42 reprinted in 8,on the ,old ,road10 vol4 i4 pt4 i4 pp4 #bba-cf4 ,,ruskin1 ,,john1 ,design in the ,german ,schools of ,engraving1 ,lecture ,v in 8,ariadne ,fiorentina10 pp4 #abg-gj4 ,george ,allen1 #ahgf4 ,,sainsbury1 ,original ,unpublished ,papers illustrative of the ,life of ,sir ,p4 ,p4 ,rubens1 c4 ,london1 #ahei4 ,,sandrart1 ,j4 ,,von1 ,teutsche ,akademie1 #afge4 ,,scharf1 ,,sir ,,george1 ,f4,s4,a41 ,royal ,picture ,galleries1 in 8,old ,london40 ,john ,murray1 #ahfg4 ,,scharf1 ,,sir ,g41 ,additional ,observations on some of the ,painters contemporary with ,holbein4 ,archologia1 vol4 xxxix1 pp4 #dg-ef4 ,,scharf1 ,,sir ,g41 ,remarks on some ,pictures from ,windsor ,castle1 ,hampton ,court1 c4 ,archologia1 vol4 xxxix4 pp4 #bde-ga4 ,,scharf1 ,,sir ,g41 ,notes on several of the ,portraits described in ,mr4 ,j4 ,g4 ,nichols' ,memoir4 ,archologia1 vol4 xl4 pp4 #ha-h4 ,,scharf1 ,,sir ,g41 ,f4,s4,a41 ,remarks on a ,portrait of the ,duchess of ,milan recently discovered at ,windsor ,castle1 c4 ,archologia1 vol4 xl4 pp4 #ajf-ab4 ,,schmid1 ,h4 ,a41 ,hans ,holbein d4 ,j4 ,jugendentwickelung1 #aeae-aebf4 ,basel1 #ahib4 ,,schmid1 ,h4 ,a41 ,die ,gemlde ,hans ,holbeins d4 ,j4 im ,basler ,grossratsaal4 ,jahrbuch der kgl4 preuss4 ,kunsts41 xvii4 7#ahif7 p4 #gc4 ,,schmid1 ,h4 ,a41 ,holbeins ,ttigkeit fr die ,basler ,verleger4 ,jahrbuch der kgl4 preuss4 ,kunstsammlungen1 vol4 xx4 p4 #bcc4 ,,schmid1 ,h4 ,a41 ,die ,darmstdter ,madonna4 ,graphische ,knste4 ,vienna1 #aija4 ,,schneeli1 ,g41 and ,,heitz1 ,p41 ,initialen von ,hans ,holbein4 ,heitz1 ,strasburg1 #aijj4 ,,seeman1 ,a41 ,der ,brunnen des ,lebens von ,h4 ,holbein4 ,zeitschrift f4 bild4 ,kunst1 ,may1 #aijc4 ,,sheppard1 ,,dr4 ,,edgar1 ,the ,old ,royal ,palace of ,whitehall1 pp4 #che-f4 ,longmans1 ,green ,co41 #aija4 ,,simon1 ,k41 ,holbeins ,morusbild4 ,repertorium fr ,kunstwissenschaft1 xxx4 #aijg1 p4 #ccb4 ,,sketchley1 ,r4 ,e4 ,d41 ,holbein as ,goldsmith's ,designer4 ,the ,art ,journal1 ,june1 #aiaj1 p4 #age4 ,,smith1 ,h4 ,,clifford1 ,jewellery4 ,the ,connoisseur's ,library4 ,,squire1 ,w4 ,,barclay1 and ,,helen ,,matilda1 ,,countess ,,of ,,radnor1 ,catalogue of the ,pictures in the ,collection of the ,earl of ,radnor1 #b vols4 ,chiswick ,press1 #aiji4 ,,stephens1 ,f4 ,g41 ,the ,private ,collections of ,england3 ,nos4 lviii4 and lix41 ,nostell ,priory1 ,wakefield4 ,the ,athenum1 ,nos4 #bgfj-a1 ,september #ah and #be1 #ahhj4 ,,stoddart1 ,,jane ,t41 ,girlhood of ,mary ,queen of ,scots1 chap4 xxi4 p4 #cdf et seq4 #aiji4 ,,st,,dtner1 ,,franz1 ,hans ,holbein der ,aeltere4 ,berlin1 #ahif4 ,,stow1 ,,john1 ,summarie of ,englysh ,chronicles1 c41 #aefe4 ,,stow1 ,,john1 ,the ,annales of ,england1 c41 #aeib4 ,,stow1 ,,john1 ,a ,survay of ,london1 c41 #aeih4 ,,strong1 ,s4 ,,arthur1 ,reproduction of ,drawings by the ,old ,masters at ,chatsworth4 ,duckworth ,co41 #aijb4 ,,strong1 ,s4 ,,arthur1 ,critical ,studies and ,fragments4 ,duckworth ,co41 #aije4 ,,stryienski1 ,c41 8,pedigree0 d'un ,holbein3 ,portrait de ,g4 ,gisze4 ,chronique des ,arts1 #aiaa4 ,,strype1 ,,rev4 ,,john1 ,annals of the ,reformation in ,england1 #agji-ca4 ,,tonjola1 ,basilea ,sepulta1 #affa1 p4 #chb4 ,v,,gelin1 ,s41 ,ein wiedergefundenes ,meisterwerk ,holbeins4 ,frankfurter ,zeitung1 #ahga 7,nos4 #bcf-g1 #bdd1 #bdh74 ,v,,gelin1 ,s41 ,ergnzungen und ,nachweisungen zum ,holzschnittwerk ,h4 ,h4 d4 ,j4 ,repertorium f4 ,kunstwissenschaft1 ii4 7#ahgg7 pp4 #afb1 #cab2 v4 p4 #agi4 ,v,,gelin1 ,s41 ,der ,holbeintisch auf der ,stadtbibliothek in ,zrich4 ,vienna1 #ahgh4 ,v,,gelin1 ,s41 ,holbeins ,fassadenmalereien zu ,basel4 ,anzeiger fr schweiz4 ,altertumskunde1 xiii41 #ahhj1 p4 #ej4 ,v,,gelin1 ,s41 ,fassadenmalerei in der ,schweiz4 ,anzeiger fr schweiz4 ,altertumskunde1 #ahhd4 ,v,,gelin1 ,s41 ,wer hat ,holbein die ,kenntnis des klassischen ,altertums vermittelt8 ,repertorium fr ,kunstwissenschaft1 x4 p4 #cde4 ,,voll1 ,,karl1 ,meisterwerke der ,gemldegalerie im ,haag4 ,hanfstaengl1 #aijc4 ,,voll1 ,,karl1 ,holbein und ,bcklin4 ,sddeutsche ,monatshefte1 #aije1 ii4 #h1 p4 #agg4 ,,voss1 ,h41 ,holbein und ,raphael4 ,monatshefte fr ,kunst41 iii4 7#aiaj7 p4 #aei4 ,,waagen1 ,g4 ,f41 ,kunstwerke und ,knstler in ,deutschland1 #ahde4 ,,waagen1 ,g4 ,f41 ,treasures of ,art in ,great ,britain1 #d vols4 ,translated by ,lady ,eastlake4 ,john ,murray1 #ahed-g4 ,,walpole1 ,,horace1 ,anecdotes of ,painting in ,england1 with some ,account of the ,principal ,artists4 ,additions by the ,rev4 ,james ,dallaway1 revised by ,ralph ,n4 ,wornum1 #c vols4 ,swan1 ,sonnenschein1 ,lowrey ,co41 #ahhh4 ,,weale1 ,w4 ,h4 ,,james1 ,simon ,binnink1 ,miniaturist4 ,burlington ,magazine1 ,no4 xxxv4 vol4 viii4 7,february1 #aijf7 pp4 #cee-f4 ,,weale1 ,w4 ,h4 ,,james1 ,livina ,teerlinc1 ,miniaturist4 ,burlington ,magazine1 ,no4 xl4 vol4 ix4 7,july1 #aijf7 p4 #bgh4 ,,werner1 ,,anton1 ,die ,holbein in ,augsburg4 ,der ,sammler1 ,no4 #adc1 #aijg4 ,,williamson1 ,g4 ,c41 ,the ,history of ,portrait ,miniatures1 #aeca-ahfj1 #b vols4 ,george ,bell ,sons1 #aijd4 ,,williamson1 ,g4 ,c41 ,mr4 ,j4 ,pierpont ,morgan's ,catalogue3 ,the ,miniatures4 ,privately printed4 ,,williamson1 ,g4 ,c41 ,portrait ,miniatures4 ,the ,studio1 ,spring ,number1 #aiaj4 ,,woltmann1 ,,alfred1 ,holbein und seine ,zeit1 #b vols41 second edition4 ,e4 ,a4 ,seeman1 ,leipzig1 #ahgd-f4 ,,woltmann1 ,,alfred1 ,holbein and his ,time4 ,translation of vol4 i4 first edition1 by ,f4 ,e4 ,bunnett4 ,richard ,bentley ,son1 #ahgb4 ,,woltmann1 ,,alfred1 ,holbein at the ,national ,portrait ,gallery4 ,fortnightly ,review1 vol4 vi4 7#ahff7 p4 #afj4 ,,woltmann1 ,,alfred1 ,holbein und ,q4 ,metsys in ,longford ,castle4 ,zeitschrift fr bild4 ,kunst41 i4 p4 #aih4 ,,wornum1 ,,ralph ,n41 ,some ,account of the ,life and ,works of ,hans ,holbein1 ,painter1 of ,augsburg4 ,chapman ,hall1 #ahfg4 ,,wornum1 ,,ralph ,n41 ,hans ,holbein and the ,meier ,madonna4 ,arundel ,society1 #ahga4 ,,wurstisen1 ,epitome ,histori ,basiliensis4 ,basel1 #aegg4 ,,wyatt1 ,m4 ,,digby1 ,f4,r4,i4,b4,a41 ,on the ,foreign ,artists employed in ,england during the ,sixteenth ,century1 and their influence on ,british ,art4 ,transactions of the ,royal ,institute of ,british ,architects4 ,session #ahfg-h 7,may #ah1 #ahfh71 pp4 #bji-eh4 ,,wyzewa1 ,t4 ,,de1 propos d'un ,livre nouveau sur ,holbein le ,jeune 7review of ,dr4 ,ganz' ,holbein74 ,revue des ,deux ,mondes1 ,january #ae1 #aiab4 ,,zahn1 ,a4 ,,von1 ,hans ,holbein d4 ,j4 und seine ,familie4 ,jahrbcher fr ,kunstwissenschaft1 iii4 7#ahgj7 p4 #aae4 ,,zahn1 ,a4 ,,von1 ,die ,augsburger ,steuerbcher ber ,hans ,holbein d4 ,aeltern4 ,jahrbcher fr ,kunstwissenschaft1 iv4 #ahga1 p4 #bfg4 ,,zetter-,,collin1 ,f4 ,a41 ,die ,zetter'sche ,madonna von ,solothurn4 ,festschrift des ,kunst-,vereins der ,stadt ,solothurn1 #aijb4 ,a ,drawing by ,holbein in the ,collection of the ,duke of ,devonshire4 ,burlington ,magazine1 ,no4 ii4 vol4 i4 7,april1 #aijc7 pp4 #bbc-d4 ,drawings attributed to ,holbein in the ,collection of the ,duke of ,devonshire4 ,burlington ,magazine1 ,no4 iii4 vol4 i4 7,may1 #aijc7 p4 #ced4 ,a ,portrait of a ,man by ,holbein recently acquired by the ,metropolitan ,museum of ,new ,york4 ,burlington ,magazine1 ,no4 xliii4 vol4 x4 7,october1 #aijf7 pp4 #dh-ec4 ,a ,portrait by ,holbein4 ,bulletin of the ,metropolitan ,museum of ,art1 ,new ,york1 vol4 i4 ,no4 #ab 7,november1 #aijf7 p4 #aej-c4 ,catalogue of the ,exhibition of the ,royal ,house of ,tudor4 ,new ,gallery1 #ahij4 ,illustrated4 ,catalogue of the ,exhibition of ,works by ,hans ,holbein the ,younger at ,basel1 #ahig-h4 ,katalog der ,oeffentlichen ,kunstsammlung in ,basel1 #aijh4 ,illustrated4 ,cust1 ,lionel1 ,m4,v4,o41 ,the ,painter ,,he 78,hans ,eworth074 ,walpole ,society1 #bnd annual vol41 #aiab-ac1 pp4 #a-dd4 ---------------------------------------- -------------------------------- ,,index,,tn 7,the ,lists of ,pictures by or attributed to ,holbein1 c41 exhibited at various exhibitions between #ahdf and #aiab1 ,vol4 ii4 p4 #cei-chi1 are not included in the ,index47 ,abbate1 ,niccolo dell'1 of ,modena1 i4 #bha1 #bhg note 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#bgh-bgi1 #bhb1 #caj1 #cac1 #ccc1 #cch ---- ---- his collection and inventory of pictures1 i4 #ig2 ii4 #aji1 #abg1 #acc-acd1 #acg1 #adi1 #agj ---- ---- portraits of1 i4 #bff-bfg2 ii4 #ic-aji ---- ---- his tomb1 i4 #bgb1 #bhj-bha1 #bhg note ,henry ,,viii 7,shakespeare71 ii4 #baa 8,henry ,,viii and his ,family0 7,hampton ,court71 ii4 #ig ,henry ,grace ,dieu 7ship71 see ,great ,harry3,great-,harry ,henry1 ,prince of ,wales1 ii4 #bd-bf ,henshaw1 ,charles1 ii4 #ccd ,hentzner1 ,paul1 ii4 #id-ie1 #ig1 #bfg ,heralds1 ,college of1 i4 #bfb1 #bgi ,herbert1 ,sir ,william1 ii4 #bfh ,herbster1 ,hans1 i4 #ci1 #dj1 #eh1 #fj-fa1 #cdj ,hereford 7town71 i4 #cec2 ii4 #bab ,heresius1 see ,harris1 ,john ,herlins1 ,hans1 i4 #ai ,hermitage ,gallery1 ,st4 ,petersburg1 i4 #fa2 ii4 #fb1 #bde-bdf ,heron1 ,cecilia1 daughter of ,sir ,thomas ,more1 i4 #bid1 #big1 #cjc1 #ceg2 ii4 #bej1 #ccd-ccf ---- ,essex1 i4 #cjj2 ii4 #ccd-cce ---- ,giles1 ii4 #ccd1 #ccf ---- ,margaret1 ii4 #cce ---- ,sir ,william1 of ,heron1 ,kt41 ii4 #cce ,herrault1 ,christopher1 jeweller of ,paris1 ii4 #bhh ,hert1 illuminator1 i4 #bfg ,hertenstein1 ,benedikt von1 i4 #gj1 #gb-gd1 #afb2 ii4 #bgh ---- ,caspar von1 i4 #fe ---- ,house decorations1 ii #eg-eh1 #fd-gb1 #abb ---- ,jakob von1 ii #eg1 #fe-fg1 #fi1 #gj1 #gd1 #gi ---- ,leodegar von1 i4 #gj ---- ,peter von1 ,canon of ,basel1 i4 #gi ,hertford1 ,earl of1 ii4 #bjj ,hervey1 ,miss ,mary ,f4 ,s41 ,holbein's ,ambassadors1 ii4 #e1 #ci-da1 #gj1 #de note1 #df-dg1 #di1 #ej1 #eb1 #fi note1 #beg1 #cje1 #cbg1 #cid ,herwart1 ,margreth1 sister of ,hans ,holbein the ,elder1 i4 #c2 ii4 #afb ,hes1 ,dr4 ,willy1 i4 #be-bf1 #de1 #dg1 #fj1 #fc2 ii4 #cid ,heseltine1 ,mr4 ,j4 ,p4 7collection71 i4 #cah note1 #cbd2 ii4 #ga note1 #c ,hess1 ,hieronymus1 painter1 i4 #ha1 #abg-acj ,hesse1 ,grand ,duke of1 i4 #bcb ,hesse-,darmstadt1 ,prince ,charles of1 i4 #bdb ,hethe 7or ,heath71 ,john1 painter-stainer1 i4 #bfa-bfc ---- ,lancelot1 painter-stainer1 i4 #bfc ---- ,lawrence1 painter-stainer1 i4 #bfc ,het ,schilder ,boek 7,carel van ,mander71 see ,van ,mander3,mander ,hewen1 ,von1 family1 i4 #ade2 ii4 #cbf ---- ---- ,wolfgang von1 rector of ,freiburg ,university1 i4 #ade ,heymans1 ,mynheer1 ii4 #ahg ,higham ,park1 ,northamptonshire1 ii4 #bbh 8,high ,burgony10 see ,upper ,burgundy ,hilliard1 ,laurence1 ii4 #bcd ---- ,nicholas1 i4 #cjb2 ii4 #ij-ia1 #aab-aac1 #bah-bai1 #bcd-bce1 #bcg1 #bdf1 #ha-cji ,himmel1 ,zunft zum 7,basel ,painters' ,guild71 i4 #eh-ei1 #hb-hc1 #ig1 #aba1 #bcb ,hind1 ,mr4 ,a4 ,m41 i4 #bcj note1 ii4 #cid ,hirth1 publisher1 of ,munich1 i4 #bad ,his-,heusler1 ,dr4 ,edouard1 i4 #ej1 #hj1 #aij1 #cch2 ii4 #aeg1 #bii1 #cid ,history of ,portrait ,miniatures 7,g4 ,c4 ,williamson71 ii4 #bbj1 #bcj ,hoby1 ,sir ,philip1 i4 #agf2 ii4 #aai-abe1 #acj-aca1 #adj-ada1 #adc-add1 #eh1 #adh-aea1 #aec-aef1 #cdc-cdd ---- ,sir ,thomas1 ii4 #afh ---- ,william1 of ,leominster1 ii4 #aai ,hoefnagel1 ,joris1 engraver1 i4 #bgg ,holbein family1 i4 #a-d ,holbein1 ,ambrosius1 elder son of ,hans ,holbein the ,elder1 i4 #d1 #e2 his portrait by his father in the 8,st4 ,paul0 altar-piece and in drawings1 #aa1 #bj1 #be-bg2 training in his father's workshop1 #bi2 sets out for ,switzerland with his brother1 and settles in ,basel1 #cb2 his share in the 8,virgin and ,child0 picture of #aead1 #cd-ce2 his drawings1 #cd2 date of his arrival in ,basel1 #cg2 his share in the 8,passion0 series of paintings1 #ci-db2 designs for ,basel printers1 #dd-de2 his share in the 8,praise of ,folly0 drawings1 #dg-dh2 portrait of a man at ,darmstadt 7#aeae71 #ej-ea2 probable visit to ,lucerne1 #eh2 citizen of ,basel1 and joins ,painters' ,guild1 #eh-ei2 portrait of ,schweiger1 and probable date of his death1 #ei2 his paintings1 and portrait of ,herbster1 #fj-fa2 his drawings and designs1 #fa2 portrait at ,st4 ,petersburg1 #fa-fb2 woodcut designs1 #ei1 #fb-fc2 his art1 #fc1 #hb1 #ahe1 #ahi1 #aib1 #bed2 ii4 #fe ,holbein1 ,ambrosius-- ,pictures and ,drawings ,portraits of ,two ,boys 7,basel71 i4 #cd1 #ea1 #ei1 #fj1 #fc ,portrait of a ,little ,girl 7,vienna71 i4 #fj ,portrait of ,hans ,herbster 7,basel71 i4 #ci1 #ej1 #fj-fa ,portrait of a ,young ,man1 dated #aeae 7,darmstadt71 i4 #ej-ea ,portrait of ,jrg ,schweiger 7,basel71 i4 #ei ,portrait of a ,young ,man 7,hermitage71 i4 #fa-fb ,the ,saviour as the 8,man of ,sorrows0 7,basel71 i4 #fj ,study of ,two ,death's ,heads 7,basel71 i4 #fj ,drawing of a ,girl1 8,anne0 7,basel71 i4 #cd1 #fa1 #fc ,drawing1 ,head of an ,unknown ,man 7,basel ,kunstverein71 i4 #ea ,silver-point studies for ,portraits of ,two ,boys 7,vienna and ,paris71 i4 #fj ,drawing1 ,head of a ,young ,woman 7,basel71 i4 #fa ,drawing1 ,head of ,young ,man turned to left1 #aeag 7,basel71 i4 #fa ,drawing1 coloured1 of a member of the ,von ,rdiswiler family 7,basel71 i4 #eh1 #ahe ,drawing1 ,head and ,body of a ,baby 7,british ,museum71 i4 #fc ,glass design1 8,foundation of ,basel0 7,basel71 i4 #fa ,drawings1 8,pyramus and ,thisbe0 and 8,hercules and ,antus10 two roundels 7,karlsruhe71 i4 #fc ,woodcut designs for ,t4 ,murner's ,geuchmatt1 i4 #ei ,woodcut designs for ,more's ,utopia1 i4 #fb1 #aib ,woodcut designs for title-pages1 initial letters1 c41 i4 #fb-fc ,woodcut design for title-page1 8,tarquin and ,lucrece10 i4 #aic ,holbein1 ,anna1 sister of ,hans ,holbein the ,elder1 see ,eichinger1 ,anna ---- ,barbara1 sister of ,hans ,holbein the ,elder1 see ,oberhausen1 ,barbara von ---- ,bruno1 mythical brother of ,ambrosius and ,hans ,holbein1 i4 #d1 #e ---- ,elsbeth 7,schmid71 wife of ,hans ,holbein the ,younger1 i4 #hc-hd1 #aje-aji1 #bbb1 #bde1 #bdh1 #beb-bec1 #cci1 #cdc-cdg2 ii4 #fc1 #fe1 #afj-afb1 #afh1 #cjj ---- ,felicitas1 wife of ,conrad ,volmar1 ii4 #cja ---- ,hans1 supposed grandfather of ,hans ,holbein the ,younger1 i4 #c1 #d1 #g ---- ,hans1 the ,elder1 i4 #b2 his family1 #c1 #d2 forged signatures on his pictures1 #c2 his birth and earliest works1 #d2 his art1 #e-g2 settles in ,ulm1 #h2 visits ,frankfurt1 #i2 work for the ,monastery of ,kaisheim1 #i-aa2 portraits of himself and sons in 8,baptism of ,st4 ,paul10 #aa-ab2 drawings of his sons1 #aa1 #bj1 #be-bg2 work for the ,church of ,st4 ,moritz1 ,augsburg1 #ac2 financial troubles1 #ac2 the 8,st4 ,sebastian0 altar-piece1 #ad-af1 #cj2 8,fountain of ,life10 #af-ah2 portrait-studies of heads in silver-point1 #ah-ba2 portrait of a ,lady1 ,sir ,f4 ,cook's ,collection1 #bj-bb2 his last years1 #bb2 letter claiming his painting materials left at ,isenheim1 i4 #bb1 #bed2 his death1 i4 #bb2 #cd1 #ch1 #dj1 #ea2 legend that he lived in ,lucerne with his sons1 #eh1 #ib1 #ajh1 #adh1 #ahf1 #bed ,holbein1 ,hans1 the ,elder-- ,pictures and ,drawings ,the ,virgin with the ,infant ,christ in her ,arms 7,augsburg71 i4 #c ,basilica of ,santa ,maria ,maggiore 7,augsburg71 i4 #d1 #g ,joachim's ,sacrifice1 ,birth of ,mary1 ,presentation of ,mary1 and ,presentation of ,christ1 four altar panels 7,augsburg71 i4 #g ,the ,death of ,mary1 ,afra altar-piece 7,basel71 i4 #g note ,crowning of the ,virgin1 ,vetter altar-piece 7,augsburg71 i4 #h1 #ch ,genealogy of ,christ and of the ,dominicans1 c4 7,frankfurt71 i4 #i ,kaisheim ,altar-piece 7,munich71 i4 #i1 #bg ,transfiguration of ,christ 7,augsburg71 i4 #aj ,basilica of ,st4 ,paul 7,augsburg71 i4 #aj1 #aa1 #bg1 #ahf ,martyrdom of ,st4 ,sebastian 7,munich71 i4 #ad-ag1 #cj1 #cc1 #ajd ,the ,fountain of ,life 7,lisbon71 i4 #e1 #af-ah1 #bb1 #cd ,portrait of a ,lady 7,sir ,f4 ,cook's ,collection71 i4 #bj-ba ,martyrdom of ,st4 ,catherine1 ,legend of ,st4 ,ulrich1 ,the ,virgin and ,st4 ,anne ,teaching the ,infant ,christ to ,walk1 c41 altar panels 7,augsburg71 i4 #bc-be1 #cj ,the ,death of ,mary 7,basel71 i4 #bf-bg ,passion ,series 7,donaueschingen71 i4 #ch1 #dj ,drawing1 ,study of his ,own ,head 7,chantilly71 i4 #aa ,drawing of a ,lady's ,head1 perhaps his wife 7,munich71 i4 #ab ,studies for ,st4 ,sebastian 7,copenhagen71 i4 #af ,studies for ,sir ,f4 ,cook's portrait of a ,lady 7,british ,museum and ,berlin71 i4 #ba-bb ,portrait-,studies of his ,sons1 i4 #aa1 #bj1 #be1 #bg1 #ahf ,portrait-,studies in silver-point1 i4 #ah-ba ,study for the 8,death of ,mary0 7,basel71 i4 #bf ,holbein1 ,hans1 the ,younger1 his portrait by his father in the 8,st4 ,paul's0 altar-piece 7#aejd71 i4 #aa2 and in his father's drawings1 i4 #aa1 #be-bg2 personal appearance1 i4 #aa2 works of his father wrongly ascribed to him1 #ad-ae2 his supposed share in the 8,st4 ,sebastian0 altar-piece1 #ae1 #af1 #cj2 place and date of his birth1 #bc-bi2 miniatures of himself1 #bh2 house where born1 #bi2 training in his father's workshop1 #bi-cj2 influence of ,burgkmair1 #cj1 of the ,italian ,renaissance1 #cj-ca1 and of ,grien and ,grnewald1 c41 #ca2 sets out with his brother ,ambrosius for ,switzerland1 #cb2 date of arrival in ,basel1 #cg2 early works in ,basel1 #cb-de2 possibility that he worked for a time in ,hebster's studio1 #ci2 work for printers and 8,praise of ,folly0 drawings1 #dd-di2 legends as to his character1 #di-ej2 double portrait of ,jakob ,meyer and his wife1 #eb-ee2 his methods of work at that time1 #ec2 work in ,lucerne and decoration of the ,hertenstein ,house1 #eg-gb2 his visit to ,lombardy and its influence on his art1 #gd-gh2 other work in ,lucerne1 #gh-ha2 returns to ,basel1 enters ,painters' ,guild1 and becomes a burgher1 #hb-hc2 his marriage1 #hc-hd2 portrait of ,bonifacius ,amerbach1 #hd-hg2 sacred pictures and drawings of this period1 #hh-aja2 ,italian influences in his work1 and growing mastery of technique1 c41 #hf1 #id-ie1 #ih2 ,dead ,christ in the ,tomb1 #aja-ajc2 ,solothurn ,madonna1 #ajc-aaa2 portraits of his wife1 #ajf-aji2 wall-paintings for the ,house of the ,dance1 and other buildings1 #aag-abc2 his wall-paintings in the ,council ,chamber of the ,basel ,town ,hall1 #abc-acd2 work as a designer for glass-painters1 #ace-aeg2 costume studies and other drawings1 #aeg-afa2 his various portraits of ,erasmus1 #afd-agd2 his journey though the ,south of ,france1 #agd-agf2 portraits of ,froben1 #aff-afh1 #ahc-ahd1 of ,melanchthon1 #ahd-ahe1 and of himself1 #ahe-ahf2 designs for woodcuts and book illustrations1 #ahg-bjc2 the ,dance of ,death woodcuts1 #bjd-bbd2 the happy partnership of ,holbein and ,ltzelburger in these cuts1 #bbc-bbe2 ,alphabet of ,death and ,old ,testament woodcuts1 #bbd-bcj2 the ,meyer ,madonna1 #bcb-beb2 resolves to visit ,england1 #beb-bec2 attempts to get his father's painting materials from ,isenheim1 #bed2 ,erasmus' letter of introduction to gidius1 #bee2 leaves ,basel for ,england1 #bhh2 his relationships with ,sir ,thomas ,more1 #bij-bia2 painting of the ,more ,family ,group1 #bia-cjb2 other portraits of ,more and his family1 #cjc-caj2 his work in connection with the temporary ,banqueting ,house at ,greenwich 7#aebg71 #caa-caf2 portraits of ,sir ,henry ,guldeford1 ,warham1 ,fisher1 ,thomas and ,john ,godsalve1 ,kratzer1 and others1 #cag-ccg2 returns to ,basel and purchases two houses1 #cch-cci2 portrait of his wife and two children1 #cdc-cdf2 finishes his wall-paintings in the ,basel ,town ,hall1 #cdg-cej2 paints a new portrait of ,erasmus1 #cea2 lack of work caused by severe iconoclastic outbreaks sends him back to ,england1 #ceb ii4 ,second residence in ,london1 and connection with the ,german merchants of the ,steelyard1 #a-cb2 portraits of ,gisze1 ,hans of ,antwerp1 ,wedigh1 ,born1 ,tybis1 ,fallen1 ,berck1 c41 #d-bc2 his decorative paintings of the ,triumphs of ,riches and ,poverty1 #bc-cj2 triumphal arch designed for ,anne ,boleyn's ,coronation1 #cj-cb2 painting of 8,the ,two ,ambassadors10 #cd-ec2 portraits of ,cheseman1 ,thomas ,cromwell1 ,morette1 ,poyntz1 ,nicolas ,bourbon1 #ed-ge2 woodcuts of the ,english period1 #gf-gi2 portraits of members of the ,wyat family1 ,sir ,richard ,southwell1 and others1 #gi-hi2 enters the service of ,henry ,,viii1 #ij-ib2 the ,whitehall fresco of ,henry ,,vii and ,henry ,,viii1 c41 #ic-ajj1 and other portraits of the ,king and of ,jane ,seymour1 #ajj-aac2 goes to ,brussels to paint the ,duchess of ,milan 7#aech71 #aai-acg2 goes to ,havre in ,june and to ,joinville and ,nancy in ,august 7#aech71 to take likenesses of ladies of the ,guise and ,lorraine families1 #aci-aee1 #cdc-cdd2 revisits ,basel1 and is entertained at a banquet1 #aef2 offer of a pension from ,basel ,town ,council1 #aeh-afa2 death and will of his uncle ,sigmund1 #afa-afb2 returns to ,england1 #afb-afd2 portraits of the infant ,prince of ,wales1 #afd-afh2 goes to ,dren 7#aeci7 to paint ,anne of ,cleves1 #age-ahb2 his work in ,whitehall ,palace1 #ahe-ahg2 residing in parish of ,st4 ,andrew ,undershaft1 #ahh-ahi2 payments in advance of his salary1 #aij-aia2 possibility of a visit to ,basel in #aedj1 #aia-aib2 portraits of ,queen ,catherine ,howard1 the ,duke of ,norfolk1 the ,earl of ,surrey1 the ,earl of ,southampton1 ,dr4 ,john ,chamber1 ,sir ,william and ,lady ,butts1 and others of unknown men and ladies1 #aib-bab2 various miniatures and portraits of himself1 #bac2 his work as a miniature painter1 #bag-bdb2 his drawings of the heads of the men and women of ,henry's court1 now in the ,royal ,library1 ,windsor1 #bdc-bei2 similar drawings in ,berlin1 ,basel1 c41 #bei-bfa2 comparison between his portrait-drawings and those of the two ,clouets1 #bfa-bfb2 his work as a practical designer for craftsmen and jewellers1 and architectural designs1 #bfe-bhf2 his connection with various ,london goldsmiths1 #bhg-bhh2 his last large picture1 for the ,barber-,surgeons' ,company1 left unfinished1 #bhi-bid2 his death and will1 and executors1 #bid-bih2 earlier mistakes as to the date of his death1 #bih-bii2 his wife1 children1 and descendants1 #bii-cja2 some of his contemporaries and successors at the ,english ,court1 #cjb-caa2 destruction or loss of all his larger decorative works1 #cab-cad2 fertility of his invention and power of dramatic composition1 #cad-cae2 influence of the ,italian ,renaissance on his art1 #cae-caf2 the brilliance of his draughtsmanship1 #caf-cah2 comparison of his art with ,drer's1 #cah-cbj2 ,lord ,leighton and ,ruskin upon his art1 #cai-cba2 his early drawings and glass designs1 #cbc-cbg2 his connection with ,dr4 ,johann ,fabri1 #ccj-ccb2 his return to ,england in #aecb1 #cdj-cda2 his studio in ,whitehall1 #cdd-cdf ,holbein1 ,hans1 the ,younger--,pictures1 ,drawings1 ,woodcuts1 c4-- ,pictures ,virgin and ,child1 #aead 7,basel71 i4 #cb-ce1 #cg2 ii4 #ccb1 #cef ,christ bearing the ,cross1 #aeae 7,karlsruhe71 i4 #ch1 #dc1 #aja2 ii4 #ced ,crowning with ,thorns1 #aeae 7,karlsruhe71 i4 #ci2 ii4 #ced ,painted ,table 7,zrich71 i4 #ce-cg1 #ec1 #gg2 ii4 #ceh ,heads of the ,virgin ,mary and ,st4 ,john 7,basel71 i4 #cg-ch1 #ef2 ii4 #cef ,scenes from ,christ's ,passion1 on canvas 7,basel71 i4 #ci-db1 #fh1 #ic1 #ii1 #ajd1 #aef2 ii4 #cef #a4 ,the ,last ,supper1 i4 #ci1 #dj1 #db1 #gf2 ii4 #cef #b4 ,christ on the ,mount of ,olives1 i4 #dj1 #db2 ii4 #cef #c4 ,the ,arrest in the ,garden1 i4 #dj1 #db1 #hg2 ii4 #cef #d4 ,the ,scourging of ,christ1 i4 #ci1 #dj-db1 #ef2 ii4 #cef #e4 ,pilate ,washing his ,hands1 i4 #da-db2 ii4 #cef ,schoolmaster's ,signboard1 #aeaf 7,basel71 i4 #dh note1 #ea-eb2 ii4 #cef ,adam and ,eve1 #aeag 7,basel71 i4 #ch1 #ee-ef1 #aab2 ii4 #ic1 #cef ,passion of ,christ ,altar-piece 7,basel71 i4 #dc-dd1 #hg1 #ia-if1 #aej1 #cej2 ii4 #cab4 #caf1 #ceg ,the ,last ,supper 7,basel71 i4 #ge-gf4 #hh1 #ia note1 #cdj2 ii4 #ceg ,coat of ,arms for the ,painters' ,guild ,chamber1 ,basel1 i4 #hc ,christ as the ,man of ,sorrows1 i4 #ih-ii2 ii4 #ceg ,mary as ,mater ,dolorosa1 i4 #ih-ii2 ii4 #ceg ,the ,nativity 7,freiburg71 i4 #hg-ia1 #ih2 ii4 #ced ,the ,adoration of the ,kings 7,freiburg71 i4 #hg-ia1 #ih2 ii4 #ced ,dead ,christ in the ,tomb1 #aeba 7,basel71 i4 #gg1 #afj2 ii4 #cef ,st4 ,george1 #aebb 7,karlsruhe71 i4 #aaa-aac1 #afj2 ii4 #ced ,st4 ,ursula1 #aebb 7,karlsruhe71 i4 #aaa-aac1 #bdi2 ii4 #ced ,solothurn ,madonna1 #aebb 7,solothurn71 i4 #hd1 #ajc-aac1 #adi1 #afj1 #bce1 #bde1 #bdi1 #cde-cdf2 ii4 #caf1 #cbd1 #ceh ,meyer ,madonna 7,darmstadt71 i4 #cc1 #ajc1 #adi1 #bcb-bdf1 #bdi-bej1 #bic note1 #bdc2 ii4 #bfj1 #cab1 #caf1 #cbh1 #ccj1 #cda1 #ced ,meyer ,madonna 7,dresden71 i4 #bcf-bci1 #bda-bdd2 ii4 #cbh-cbi1 #ced ,magdalena ,offenburg as ,las1 #aebf1 i4 #ge1 #aeh1 #afb1 #bde-beb1 #bhi2 ii4 #ceg ,magdalena ,offenburg as ,venus1 #aebf1 i4 #ge1 #aeh1 #afb1 #bde-beb1 #bhi2 ii4 #ceg 8,noli ,me ,tangere0 7,hampton ,court71 i4 #gf1 #ie-ih2 ii4 #gg1 #cdi ,organ ,doors1 ,basel ,minster 7,basel71 i4 #hg1 #aac-aae1 #aed1 #bdi1 #cdj2 ii4 #ceg 8,triumph of ,riches10 i4 #aei2 ii4 #bc-cj1 #bfb-bfc1 #cac-cad 8,triumph of ,poverty10 ii4 #bc-bf1 #bh-cj1 #bfb1 #cac ,various copies and engravings of the ,triumphs of ,riches and ,poverty1 by ,zuccaro1 ,vorsterman1 ,bisschop1 ,merian1 c41 ii4 #bf-bg ,coats of arms painted for the borough of ,waldenburg1 i4 #bcc ,lost ,pictures and ,pictures ,attributed to ,holbein ,head of ,christ 7,altorf71 attributed to ,holbein1 i4 #gg ,crucifixion 7,altorf71 attributed to ,holbein1 i4 #gg ,christ in the ,tomb 7,altorf71 copy of the #aeba painting1 i4 #gg-gh ,five pictures mentioned by ,patin as in ,lucerne churches in his day1 i4 #hj-ha ,taking ,down from the ,cross 7,palermo71 copy of lost original1 i4 #ha ,christ on the ,cross between ,mary and ,john 7,basel71 copy of lost original1 i4 #hg ,christ taken ,prisoner 7engraving only71 copy of lost original1 i4 #hg ,lamentations over ,christ1 c4 7etching71 copy of lost original1 i4 #hg-hh ,st4 ,barbara 7etching71 copy of lost original1 i4 #hh ,series of ,prophets1 on canvas 7,basel71 by ,sarburgh after lost originals1 i4 #hh2 ii4 #cbh1 #ccj ,siege of ,terouenne1 painting for the ,greenwich ,banqueting ,hall1 #aebg1 i4 #cae-caf2 ii4 #fd1 #cac ,painting of 8,adam and ,eve10 for a royal cradle 7#aecd71 ii4 #ib-ic ,death of ,virginia 7,dresden71 copy of a lost picture1 ii4 #bfc-bfd ,death's ,head and ,cross ,bones 7,arundel ,collection1 #afee71 ii4 #fe ,a ,picture with 8divers figure ,jocatori1 c40 7,arundel ,collection1 #afee71 ii4 #fe ,arms of ,england in water-colours 7,arundel ,collection1 #afee71 ii4 #fe 8,legge ,vecchio ,nove0 7,arundel ,collection1 #afee71 ii4 #fe ,jupiter and ,io1 water-colour 7,buckingham,inventory1 #afce71 ii4 #bae ,wall-,paintings ,hertenstein ,house wall-paintings1 i4 #eg1 #fd-gb1 #aag1 #abg1 #adb ,tarquin and ,lucrece1 original fragment of above 7,lucerne71 i4 #fh2 ii4 #ceh ,house of the ,dance wall-paintings1 i4 #aag-aba1 #abg1 #bjj2 ii4 #aeg1 #cae ,basel ,town ,hall wall-paintings1 i4 #abc-acd1 #adb1 #bcb1 #beb1 #cdc1 #cdg-ceb2 ii4 #aeg1 #ceg ,charondas1 i4 #abg-abh ,curius ,dentatus1 i4 #abg-abh1 #acj-aca ,zaleucus1 i4 #abg-acj2 ii4 #bhd ,sapor and ,valerian1 i4 #abh-abi1 #aca-acb ,rehoboam rebuking the ,elders1 i4 #abf-abh1 #cdg-cdi2 ii4 #bfc1 #cad ,samuel and ,saul1 i4 #abf-abh1 #cdg1 #cdi2 ii4 #cad ,hezekiah breaking the ,idols1 i4 #abh1 #cdg ,single figures of ,christ1 ,david1 c41 i4 #abh1 #acb-acc ,original fragments of 8,curius ,dentatus10 i4 #abg1 #acj2 ii4 #ceg ,original fragments of 8,rehoboam10 i4 #abg1 #cdg-cdi2 ii4 #ceg ,copies of some of the remains by ,h4 ,hess1 i4 #abg-abi ,whitehall fresco--,henry ,,vii and ,elizabeth of ,york1 ,henry ,,viii and ,jane ,seymour1 i4 #bhf2 ii4 #ia1 #ic-ig1 #ajj1 #ajc1 #aje1 #aji1 #aac1 #ahe1 #ahg-ahh1 #bga1 #cac ,portraits 7arranged alphabetically7 ,amerbach1 ,bonifacius1 #aeai 7,basel71 i4 #gd1 #hd-hg1 #ij1 #abb1 #afb1 #agj2 ii4 #bef1 #cef ,amelie of ,cleves 7lost portrait71 ii4 #agd-agf ,anne of ,cleves1 #aeci 7,louvre71 ii4 #fe1 #aae1 #aga1 #agd-agf1 #aha-ahb1 #bcf-bcg1 #bee1 #caa1 #cec2 other portraits1 ii4 #ahc-ahd ,antwerp1 ,hans von1 #aecb 7,windsor71 ii4 #h-ad1 #af1 #bae1 #cej ,antwerp1 ,hans of1 roundel 7,salting ,collection71 ii4 #ad-ae1 #cej ,antwerp1 ,hans of 7871 roundel 7,lord ,spencer71 after ,holbein 7871 ii4 #ad-ae1 #ceb ,berck1 ,derich1 #aecf 7,petworth71 ii4 #bb-bc1 #hc1 #cea2 copy at ,munich1 ii4 #bc1 #cee ,born1 ,derich1 #aecc 7,windsor71 ii4 #ag-bj1 #fe1 #cej ,born1 ,derich 7,munich71 ii4 #bj1 #cee ,bourbon1 ,nicolas 7lost portrait71 ii4 #gb-gc ,butts1 ,sir ,william 7,mrs4 ,gardner1 ,boston71 ii4 #bje1 #bji-baj1 #bhi1 #cdg ,butts1 ,lady 7,mrs4 ,gardner1 ,boston71 i4 #ced2 ii4 #hc1 #bje1 #bji-baj1 #cdg ,carew1 ,sir ,nicholas 7,dalkeith71 i4 #ccg2 ii4 #fe1 #hg-hi1 #acd1 #bee1 #cea ,chamber1 ,dr4 ,john 7,vienna71 ii4 #fe1 #aab1 #bjh-bji1 #bee1 #bhi1 #cdi2 copy at ,oxford1 ii4 #bji ,cheseman1 ,robert1 #aecc 7,hague71 ii4 #df1 #ed-eg1 #bjc1 #bjf1 #bee1 #cee ,cromwell1 ,thomas1 #aecd 787 7,tyttenhanger ,park71 i4 #cbh2 ii4 #eh-fj1 #fe1 #hh1 #bee1 #caa1 #cea2 other versions of ,cromwell portrait1 ii4 #fj-fa ,denny1 ,sir ,anthony 7lost portrait871 ii4 #bad ,dinteville1 ,jean de1 and ,george de ,selve1 #aecc 7,the ,ambassadors71 7,national ,gallery71 i4 #cbg1 #ccj2 ii4 #e1 #ag note1 #ai1 #ce-ec1 #fd1 #aeh1 #bee1 #cci1 #cdi ,edward ,,vi 7,hanover71 ii4 #ab note1 #fe1 #afd-afe1 #aga1 #bje1 #bhh1 #ced ,edward ,,vi 7,lord ,yarborough71 ii4 #afe1 #cec2 other versions1 after ,holbein1 and by ,stretes and others1 ii4 #aff-agj1 #afe ,erasmus1 #aebc 7,longford ,castle71 i4 #afd1 #afg-agb1 #agg1 #agi1 #ahj-ahb1 #bai1 #bec1 #cbb-cbc2 ii4 #bef1 #ceb ---- #aebc 7,louvre71 i4 #afh-afi1 #agb-agc1 #aha-ahb2 ii4 #cec ---- #aebc 7,basel71 study for ,louvre portrait1 i4 #agb-agd2 ii4 #ceg ---- #aecj 7,parma71 i4 #agg1 #agi-ahj1 #cea2 ii4 #cee ---- roundel 7,basel71 i4 #aga note1 #agg1 #agi-ahj1 #ahd1 #cea ---- 7,pierpont ,morgan ,collection71 i4 #aga note1 #agg-ahj2 ii4 #cdg ---- various copies of above1 i4 #afg-afh1 #aga1 #ahj-aha2 ii4 #cbh-cbi ---- and ,froben1 double portrait1 i4 #aff1 #ahb2 ii4 #cbi ---- 7,arundel ,collection1 #afee71 ii4 #be1 #fe ---- 7,lumley ,inventory1 #aeij71 ii4 #acd ,fallen1 ,cyriacus1 #aecc 7,brunswick71 i4 #gc2 ii4 #ag1 #bb1 #cec ,fisher1 ,john1 ,bishop of ,rochester 7lost portrait71 i4 #bii1 #cbc-cbe1 #ccg ,fitzwilliam1 ,william1 ,earl of ,southampton 7,cambridge71 after ,holbein1 ii4 #dc1 #fe1 #bjd1 #cjd ,froben1 ,johann 7,hampton ,court and ,basel71 i4 #afb1 #aff-afg1 #agb1 #ahc-ahd2 ii4 #bef1 #cdi1 #ceg ,gage1 ,sir ,edward 7,arundel ,collection1 #afee71 ii4 #fe ,george1 ,simon 7,frankfurt71 ii4 #bje1 #bjg1 #ced ,gisze1 ,georg1 #aecb 7,berlin71 i4 #ed2 ii4 #d-h1 #aj and note1 #ad1 #ah1 #dc1 #abi1 #cec ,godsalve1 ,thomas and ,john1 #aebh 7,dresden71 i4 #bii1 #cag1 #cbe-cbf1 #ccg2 ii4 #fe1 #bee1 #ced ,guise1 ,louise of1 #aech 7lost portrait71 ii4 #add1 #adf-adi1 #bii ,guldeford1 ,sir ,henry1 #aebg 7,windsor71 i4 #bii1 #cag-cbj1 #ccg2 ii4 #fe1 #acd1 #caa1 #cej ,guldeford1 ,lady1 #aebg 7,w4 ,c4 ,vanderbilt1 ,new ,york71 i4 #bii1 #cah-cbj1 #ccg2 ii4 #fe1 #acd1 #caa1 #cdh ,henry ,,viii 7,althorp71 ii4 #ic1 #ajg-aji1 #bii1 #ceb ,henry ,,viii 7,rome71 ii4 #ic note1 #aja-ajc1 #aga note1 #cef ,henry ,,viii presenting a ,charter to the ,barber-,surgeons' ,company 7,barber-,surgeons' ,hall71 ii4 #bjh-bji1 #bhi-bid1 #cdf1 #cej ,henry ,,viii1 various portraits after ,holbein or by his contemporaries1 at ,warwick ,castle1 ii4 #ajj-ajb1 #ajd1 #bag1 #bij2 ,windsor ,castle1 ii4 #ajc-ajd1 #bcf2 ,st4 ,bartholomew's ,hospital1 ii4 #aja1 #ajc1 #bcd2 and at ,belvoir1 ,petworth1 ,chatsworth1 and elsewhere1 ii4 #ajj-ajg1 #aja1 #afi1 #bcd1 #bcf ,henneage1 ,sir ,thomas 7,lumley ,inventory1 #aeij71 ii4 #acd ,hertenstein1 ,benedikt von1 #aeag 7,new ,york71 i4 #gb-gd1 #hf1 #afb2 ii4 #bgh1 #cdg ,holbein1 ,elsbeth1 early portrait 7,the ,hague71 i4 #ajf-ajh1 #cde2 ii4 #eg1 #fe1 #cee ,holbein's ,wife and ,children1 #aebh-ebi 7,basel71 i4 #ajf-ajg1 #ahe1 #bej1 #cdc-cdg2 ii4 #afd1 #ahi1 #bee1 #ceg2 other versions1 i4 #cdd-cde ,holbein1 ,hans 7,uffizi71 ii4 #bac1 #bca1 #cee ---- ---- 7,geigy ,collection1 ,basel71 ii4 #bac1 #ceh ,howard1 ,queen ,catherine 7,dunn ,collection1 ,canada71 i4 #ced2 ii4 #aib1 #aie-aif1 #bjg1 #bhc1 #cdh2 copy in ,national ,portrait ,gallery1 ii4 #aid-aif ,kratzer1 ,niklaus1 #aebh 7,louvre71 i4 #bii1 #cag1 #cbe1 #cbg-cbh1 #ccg1 #cej2 ii4 #d1 #hh1 #bda1 #bee1 #cec ,le ,strange1 ,sir ,thomas 7,mr4 ,h4 ,le ,strange71 ii4 #he-hf1 #acd ,lorraine1 ,anne of1 #aech 7lost portrait71 ii4 #add1 #adf-adi1 #aed ,lovell1 ,sir ,thomas 7,lumley ,inventory1 #aeij71 ii4 #ace ,melanchthon1 ,philip1 roundel 7,hanover71 i4 #ahd-ahe1 #cea2 ii4 #ced ,meyer1 ,jakob1 and his ,wife1 #aeaf 7,basel71 i4 #eb-ee1 #gc-gd1 #hf1 #afb2 ii4 #cbh1 #cef ,milan1 ,christina1 ,duchess of1 #aech 7,national ,gallery71 ii4 #be1 #dc1 #ea1 #fe1 #hh1 #aae1 #abe-acj1 #acc-acg1 #adb1 #aej-aea1 #aee1 #aga1 #bee1 #cdi2 copy of the upper half 7,windsor71 ii4 #abe-abg ,more ,family ,group1 i4 #bic1 #cbh1 #ccg1 #ceg2 ii4 #a1 #dc1 #fe1 #bdd1 #bfj1 #bhi1 #cac1 #ccd-cdj ---- ---- ---- 7,nostell ,priory71 i4 #bie-cjj1 #cjh2 ii4 #ccd-cdj ---- ---- ---- 7,east ,hendred71 i4 #cjj2 ii4 #cce-ccf1 #abe1 #ceb ---- ---- ---- 7,thorndon71 i4 #cjj2 ii4 #ccd-ccf ---- ---- ---- 7,burford71 i4 #cja-cjb2 ii4 #de note1 #cjj-ccf1 #cea ---- ---- ---- miniature after the ,burford picture1 by ,r4 ,lockey 787 7,sotheby ,collection71 i4 #cjb ---- ,sir ,thomas and his ,father 7,hutton ,hall71 i4 #cjj ,more1 ,sir ,thomas1 #aebg 7,frick ,collection71 i4 #bic1 #bii1 #cjc-cjg1 #caf-cag2 ii4 #bba1 #bhi1 #cdj1 #cdh ---- ,sir ,thomas 7,lumley ,inventory1 #aeij71 ii4 #acd ---- ,sir ,thomas 7,arundel ,collection1 #afee71 ii4 #be1 #fe ---- ,lady 7,methuen ,collection71 i4 #bii1 #cjc1 #cjg-cjh2 ii4 #bhi ,morette1 ,charles de ,soliers1 ,sieur de 7,dresden71 i4 #cjf2 ii4 #ag note1 #ch1 #di note1 #fc-gj1 #bee1 #cda1 #ced ,musician1 ,portrait of a1 called ,dinteville 7,bulstrode ,park71 ii4 #eb-ec1 #fe1 #hg note1 #ceb ,norfolk1 ,duke of 7,windsor71 i4 #ccj2 ii4 #fe1 #aga1 #aig-aii1 #ccj1 #cej2 other versions1 ii4 #aig-aii ,poyntz1 ,sir ,nicholas 7various versions71 ii4 #fc1 #gb1 #cdb-cdc ,reskimer 7,hampton ,court71 i4 #bii1 #cbj1 #ccc-ccd2 ii4 #cdi ,rich1 ,sir ,richard1 attributed to ,holbein 7,knepp ,castle1 destroyed by fire71 ii4 #caa ,rich1 ,lady 7,america71 ii4 #bab1 #cdh ,roper1 ,margaret 7,knole71 after ,holbein1 i4 #cjc4 #cjg-cji1 #ccg2 ii4 #ceb ,russell1 ,sir ,john1 attrib4 to ,holbein 7,woburn ,abbey71 ii4 #cea ,seymour1 ,queen ,jane 7,vienna71 i4 #ed2 ii4 #fe1 #aji1 #aaa-aac1 #aha1 #bcg1 #bhj1 #cdi2 other versions1 ii4 #aab-aac1 #afi1 #cea-ceb1 #cee ,southwell1 ,sir ,richard1 #aecf 7,florence71 i4 #ccj2 ii4 #bc1 #hc-he1 #cee2 other versions1 ii4 #hc1 #he1 #cec ,surrey1 ,earl of 7lost portrait71 ii4 #fe1 #aga1 #aih1 #bjj1 #cjc-cjd ,tuke1 ,sir ,bryan 7,miss ,guest and ,munich71 i4 #bii1 #cca-ccb1 #ccg2 ii4 #cea1 #cee2 other versions1 i4 #ccb-ccc ,tybis1 ,derich1 #aecc 7,vienna71 ii4 #g1 #aj1 #ag1 #bj-ba1 #cdh ,vaux1 ,lord 7lost portrait71 ii4 #hg and note ---- ,lady 7,hampton ,court and ,prague71 ii4 #hf-hg1 #cdh1 #cdi ,warham1 ,archbishop 7,louvre and ,lambeth71 i4 #bii1 #cag1 #cba-cbc1 #cbh1 #ccg2 ii4 #fe1 #cej1 #cec ---- ---- 7,viscount ,dillon71 i4 #cbc ,wedigh of ,cologne1 #aecb 7,schnborn ,collection71 ii4 #ae-af1 #cdi ,wedigh1 ,hermann ,h41 #aecc 7,berlin71 ii4 #af-ag1 #ag note1 #ah1 #bb1 #di note1 #cec ,wyat1 ,sir ,henry 7,louvre71 i4 #cjd1 #cjf1 #cce-ccg2 ii4 #cec2 other versions 7,dublin and ,countess of ,romney71 i4 #cce2 ii4 #cej ---- ,sir ,thomas 7various portraits71 ii4 #fe1 #gi-ha1 #acd1 #bee ---- ,margaret1 ,lady ,lee 7,altman ,collection1 ,new ,york71 ii4 #hb-hc1 #cdh ,zrich1 ,hans von 7lost portrait71 ii4 #ae1 #fe ,unknown ,young ,woman1 about #aebh 7,basel71 unfinished1 i4 #cdf-cdg2 ii4 #ceg ---- ,young ,man1 #aecc1 roundel 7,goldschmidt-,przibram71 ii4 #eg1 #cdi ---- ,man in ,henry ,,viii's livery1 #aecd1 roundel 7,vienna71 ii4 #fb1 #gj-ga1 #cdh ---- ,lady1 wife of above1 #aecd1 roundel 7,vienna71 ii4 #fb1 #gj-ga1 #cdh ---- ,young ,man in ,henry ,,viii's livery1 roundel 7,f4 ,engel-,gros71 ii4 #ga1 #cec ---- ---- copy of above in ,fitzwilliam ,museum1 ,cambridge1 ii4 #ga ---- ---- aged #bh1 #aeda 7,vienna71 ii4 #bjb-bjc1 #bjf1 #bee1 #cdi ---- ---- aged #cg1 #aeda 7,berlin7 ii #bja-bjb1 #cec ---- ,man with ,falcon1 #aedb 7,hague71 ii4 #ed1 #eg1 #bjc1 #bje1 #bee1 #cee ---- ,lady 7,vienna71 ii4 #bje1 #bjg1 #cdi ---- ,middle-aged ,man 7,berlin71 ii4 #bje-bjf1 #bee1 #cec ---- ,man 7,basel71 ii4 #baa1 #bee1 #ceg ---- ,english ,lady 7,lanckoronski ,collection1 ,vienna71 ii4 #baa-bab1 #cdi ---- ,english ,lady 7,mr4 ,a4 ,h4 ,buttery71 i4 #cec-ceh2 ii4 #cea ---- ,elderly ,man 7,prado71 formerly attributed to ,holbein1 i4 #ccd-cce2 ii4 #cef ,portrait of a ,lady1 8con gli mani giunti0 7,arundel ,collection1 #afee71 ii4 #fe ,portrait of a ,lady aged forty1 with motto 8,in all things10 c4 7,arundel ,collection1 #afee71 ii4 #fe ,portraits of various unknown men1 ladies1 and boys1 only known from ,hollar's etchings after ,holbein1 ii4 #bad-bae ,miniatures 7by or attributed to ,holbein7 ,abergavenny1 ,lord 7,duke of ,buccleuch71 ii4 #fb1 #bbb1 #cea ,anne of ,cleves 7,salting ,bequest71 ii4 #aha-ahb1 #bcb1 #bcf1 #cej ,audley1 ,lady 7,windsor71 ii4 #bbj1 #bbb-bbc1 #cej ,brandon1 ,charles1 ,duke of ,suffolk 7,morgan ,collection71 not by ,holbein1 ii4 #bda ---- ,charles1 son of the ,duke 7,windsor71 ii4 #bja1 #bbj1 #bbb-bbe1 #bbg1 #cej ---- ,henry1 son of the ,duke 7,windsor71 ii4 #fc1 #bbj1 #bbb-bbe1 #bbg1 #cej ,cromwell1 ,thomas 7,morgan ,collection71 ii4 #fa1 #bca-bcb1 #cdh ,edward ,,vi1 various miniatures1 ii4 #bch ,franz1 ,arnold 7,morgan ,collection71 ii4 #bai1 #bdj-bda ,henry ,,viii 7,morgan ,collection71 ii4 #ahb1 #bce-bcf1 #cdh ---- ---- 7,duke of ,buccleuch71 ii4 #aji1 #bcd2 other miniatures of ,henry ,,viii not by ,holbein1 ii4 #bcd-bce1 #cea ,holbein1 ,hans 7,wallace ,collection71 ii4 #bcj1 #cej ,holbein1 ,hans 7,duke of ,buccleuch71 ii4 #bcj-bca1 #cea ---- ---- other versions1 ii4 #bae1 #bcj-bca ,howard1 ,queen ,catherine 7,windsor71 ii4 #aib-aic1 #bbj1 #bbb1 #bch1 #cej ---- ---- ---- 7,duke of ,buccleuch71 ii4 #aic-aid1 #bbj1 #bbb ,kratzer1 ,niklaus 7,morgan ,collection71 i4 #bda1 #cbh ,mielich1 ,hans1 or ,maynert1 ,harry 787 7,munich71 ii4 #bda-bdb1 #cee ,more1 ,sir ,thomas 7,morgan ,collection71 i4 #cjf-cjh2 ii4 #bbj-bbb1 #cdh ---- ---- ---- 7,duke of ,buccleuch71 ii4 #bba-bbb1 #cea ,pemberton1 ,mrs4 ,robert 7,morgan ,collection71 ii4 #bbh-bbi1 #cdh ,seymour1 ,queen ,jane1 various miniatures1 ii4 #bcg-bch1 #cea ,unknown ,youth 7,queen of ,holland71 ii4 #bbj1 #bbi-bcj1 #cee ---- ,man in ,black 7,queen of ,holland71 ii4 #bcj ,drawings and ,designs ,calvary1 early drawing 7,augsburg71 ii4 #cbc ,bearing the ,cross 7,basel71 i4 #db-dd 8,praise of ,folly0 marginal drawings 7,basel71 i4 #de-ej1 #fc1 #he1 #bbi ,study for 8,lena and her ,judges10 for ,hertenstein ,house 7,basel71 i4 #fh ,architectural design1 ,hertenstein ,house 7,basel71 i4 #fe-ff1 #fi1 #abb ,dagger sheath with a ,roman ,triumph 7,basel71 i4 #gc ,the ,archangel ,st4 ,michael 7,basel71 i4 #gi1 #hj1 #aab1 #bdh ,miners at ,work 7,british ,museum71 i4 #hj ,the ,holy ,family 7,basel71 i4 #ii1 #ajj ,virgin and ,child 7,basel71 i4 #ii1 #ajj ,virgin and ,child 7,leipzig71 i4 #ajj ,virgin and ,child 7,brunswick71 #aebj1 ii4 #cbf ,design for ,basel organ case 7,basel71 i4 #aac-aae ,study for ,dancing ,peasants1 ,house of the ,dance 7,berlin71 i4 #aai-aba ,various tracings and copies of studies for same house 7,basel71 i4 #abj-aba ,design for a painted house-front with figure of ,emperor 7,basel71 i4 #aba-abb ,design for a painted framework of a window 7,basel71 i4 #abb ,design for 8,sapor and ,valerian10 ,basel ,council ,chamber 7,basel71 i4 #aca-acb2 ii4 #bfd ,contemporary copies of the designs for the ,council ,chamber paintings 7,basel71 i4 #acb-acc ,studies of ,ladies' ,costumes 7,basel71 i4 #ach1 #aeg-aei1 #bde1 #bdh ,coat of arms for ,petrus ,fabrinus 7,basel ,university71 i4 #ade-adf2 ii4 #ceg ,costume ,study 7,dessau71 i4 #aei ,costume study of a ,lady1 full-length 7,british ,museum71 i4 #cef-ceg ,st4 ,adrian 7,louvre71 i4 #aei-afj ,study of a ,nude ,woman 7,basel71 i4 #afj ,fight of ,landsknechte 7,basel71 i4 #afj-afa1 #bcj2 7,albertina71 i4 #afa note ,lamb1 ,lamb's ,head1 and ,bat 7,basel71 i4 #afa ,duke of ,berry1 copy of a sepulchral figure 7,basel71 i4 #age-agf ,duchess of ,berry1 copy of a sepulchral figure 7,basel71 i4 #age-agf ,designs for painted glass-- ,virgin and ,child1 with ,lucerne ,bridge 7,basel71 i4 #gh-gi ,three ,peasants with ,holdermeier arms 7,basel71 i4 #gi ,design for ,hans ,fleckenstein 7,brunswick71 i4 #gi2 ii4 #cbc-cbd ,design with arms of ,lachner family 7,stockholm71 ii4 #cbe-cbf ,the ,banner-,bearer of the ,urseren ,valley 7,berlin71 ii4 #cbd-cbe ,martyrdom of ,st4 ,richardis 7,basel71 ii4 #cbf-cbg ,design with figure of a ,bishop 7,basel71 i4 #gg ,st4 ,barbara 7,basel71 i4 #hh ,eight panels of ,saints 7,basel71 i4 #acg-aci1 #bdh ,the ,prodigal ,son 7,basel71 i4 #aci-ada ,two ,unicorns 7,basel71 i4 #adj-ada ,various designs with figures of ,landsknechte 7,basel1 ,berlin1 ,berne1 c471 i4 #adj-add ,scroll-work with helmets and coat of arms of ,von ,hewen family 7,basel71 i4 #add-ade2 ii4 #cbf ,design with coat of arms of ,von ,andlau family1 i4 #ade2 ii4 #cbf ,terminus1 for ,erasmus 7,basel71 i4 #adf ,wild ,man of the ,woods 7,british ,museum71 i4 #adf-adg ,christ on the ,cross between the ,virgin and ,st4 ,john 7,basel71 i4 #adg-adh ,the ,annunciation 7,paris71 i4 #adg-adh ,st4 ,elizabeth 7,basel71 i4 #adh-adi2 ii4 #cbe ,virgin and ,child with kneeling donor 7,basel71 i4 #adi-aej1 #bdi ,ten designs illustrating the ,passion of ,christ 7,basel71 i4 #dc-dd1 #aae1 #acf1 #aej-aeg2 ii4 #cbg2 replicas in ,british ,museum1 i4 #aef-aeg2 ii4 #cbg ,rehoboam rebuking the ,elders1 study for ,basel ,council ,chamber wall-painting 7,basel71 i4 #cdg-cdh ,meeting of ,samuel and ,saul1 study for ,basel ,council ,chamber wall-painting 7,basel71 i4 #cdg1 #cdi-cej2 ii4 #bfd ,design for ,dagger ,sheath1 dated #aebi 7,basel71 i4 #cej ,design for a ,cup for ,hans of ,antwerp 7,basel71 ii4 #aa1 #bge1 #bhf ,triumph of ,riches 7,louvre71 ii4 #bf-bi1 #bfd ,apollo and the ,muses on ,mount ,parnassus1 ii4 #ca-cc ,satirical drawings of the 8,passion0 for woodcuts1 ii4 #gg1 #cdb ,queen of ,sheba and ,king ,solomon 7,windsor71 ii4 #bfb-bfd1 #cej ,a ,transport ,ship 7,frankfurt71 i4 #afa note2 ii4 #bfd ,design for a royal fireplace 7,british ,museum71 ii4 #bfi-bgj ,queen ,jane ,seymour's ,cup 7,oxford and ,british ,museum71 ii4 #aac1 #bgd-bge1 #bhf ,sir ,anthony ,denny's ,clock 7,british ,museum71 ii4 #bgf1 #bhf ,designs for cups1 tankards1 sword and dagger hilts1 jewellery1 hat-badges1 c4 7,british ,museum1 ,basel1 ,chatsworth1 c47 i4 #gc1 #afa1 #cej2 ii4 #aie-aif1 #bge-bhf ,drawings3 ,portrait-,studies 7arranged alphabetically7 7,except where indicated1 the drawings are all in the ,windsor ,castle ,collection47 ,abergavenny1 ,marquis of 7,wilton ,house71 ii4 #fb1 #bbb1 #bdh1 #bee ,audley1 ,lady1 ii4 #bee1 #beh ,boleyn1 ,queen ,anne1 so-called1 ii4 #aaj ,boleyn1 ,thomas1 ,earl of ,wiltshire1 ii4 #bef ,borough1 ,lady1 ii4 #bef ,bourbon1 ,nicolas1 ii4 #fc1 #gc-gd ,butts1 ,lady1 ii4 #baj1 #bee ,carew1 ,sir ,george1 ii4 #bef ---- ,sir ,nicholas 7,basel71 ii4 #hg-hh1 #bdh1 #bef1 #bfj ,clement1 ,margaret1 i4 #cjc ,cleves1 ,anne of1 so-called1 ii4 #ahc ,clinton1 ,edward1 ,lord1 ii4 #bef ,cobham1 ,george ,brooke1 ,lord1 ii4 #bef-beg ,cresacre1 ,anne1 i4 #cjc ,dancy1 ,elizabeth1 i4 #bif1 #cjc ,dorset1 ,marchioness of1 ii4 #bef1 #beh ,edward ,,vi41 three drawings1 ii4 #aff-afh1 #bje1 #bee ---- ---- with meerkat 7,basel71 ii4 #afg-afh ---- ---- roundel in ,basel ,sketch-,book1 ii4 #afh1 #bch ,elyot1 ,sir ,thomas1 i4 #ccf ,elyot1 ,lady1 i4 #ccf2 ii4 #beh ,erasmus1 study of hands for #aebc portraits 7,louvre71 i4 #aga ,fisher1 ,john1 ,bishop of ,rochester1 i4 #cbd2 other versions in ,british ,museum1 c41 i4 #cbd2 ii4 #bed ,fitzwilliam1 ,william1 ,earl of ,southampton1 ii4 #bjd-bje ,george1 ,simon1 ii4 #bjg-bjh1 #beb1 #bee ,godsalve1 ,sir ,john1 i4 #cbe-cbf2 ii4 #abe1 #bea1 #bee ,guldeford1 ,sir ,henry1 i4 #cah-cai1 #cba2 ii4 #bej-beb1 #bee2 version formerly in ,heseltine ,collection1 i4 #cah note2 ii4 #bed ---- ,lady 7see below1 ,unknown ,lady7 ,hemingham1 ,lady1 i4 #caj note2 ii4 #bcg1 #bef1 #beh ,henry ,,vii and ,henry ,,viii1 c41 study for ,whitehall wall-painting 7,chatsworth71 ii4 #ic1 #ie1 #ig-ii1 #cah note1 #aje1 #ajg1 #acd1 #bcf1 #cea ,henry ,,viii 7,munich71 ii4 #ic1 #ii-aja1 #ajd-aje1 #ajg-ajh1 #bcf1 #bdh ,heron1 ,cecilia1 i4 #cjc2 ii4 #bej ,hoby1 ,sir ,philip1 ii4 #aai ,holbein1 ,hans 7,basel71 i4 #ahe-ahf ,holbein's ,wife as a ,girl 787 7,louvre71 i4 #ajh1 #aab1 #add ,howard1 ,queen ,catherine1 ii4 #aid1 #bed-bee ,le ,strange1 ,sir ,thomas1 ii4 #hf1 #bef ,lister1 ,lady1 ii4 #beh 8,mary1 ,lady1 after ,queen10 ii4 #aaj1 #bae1 #beh ,melanchthon1 ,philip1 ii4 #bjj1 #bej ,mewtas1 ,lady1 ii4 #adj1 #bef-beg ,meyer1 ,jakob1 and ,wife1 study for double portrait of #aeaf 7,basel71 i4 #bb1 #ee2 ii4 #bef1 #cbh ,meyer1 ,jakob1 ,wife1 and ,daughter1 studies for the ,meyer ,madonna 7,basel71 i4 #bcf-bcg2 ii4 #bef1 #bfj ,monteagle1 ,lady1 ii4 #bef ,more ,family ,group1 study for 7,basel71 i4 #bia-bif1 #bih-cja1 #cjc1 #cje1 #cjh-caj1 #cch1 #cda-cdb2 ii4 #bee1 #cca1 #cce-cci ,more1 ,john1 i4 #cjc ,more1 ,sir ,john1 i4 #cjc ,more1 ,sir ,thomas1 i4 #cjc2 ii4 #bej-bea1 #bee ,morette1 ,charles de ,soliers1 ,sieur de 7,dresden71 ii4 #ff-fg1 #fi1 #bdh1 #bef ,parker1 ,lady1 ii4 #bef1 #beh ,parr1 ,william1 ,marquis of ,northampton1 ii4 #bef ,parry1 ,sir ,thomas1 ii4 #bef ,poyntz1 ,sir ,nicholas1 ii4 #ga-gb ,poyntz1 ,john1 ii4 #ga2 another version formerly in ,heseltine ,collection1 ii4 #ga note1 #bed ,ratcliffe1 ,lady1 ii4 #bef ,reskimer1 i4 #ccc-ccd2 ii4 #bee ,rich1 ,sir ,richard1 ii4 #bab1 #bef ,rich1 ,lady1 ii4 #bab1 #bef1 #beh ,richmond1 ,mary1 ,duchess of1 ii4 #aaj-aaa1 #beg ,roper1 ,margaret 787 7,salting ,bequest71 i4 #cji2 ii4 #bdh1 #beb ,russell1 ,sir ,john1 ii4 #bef ,seymour1 ,queen ,jane1 ii4 #aab1 #bea1 #bee ,sherrington1 ,sir ,william1 ii4 #bef ,southwell1 ,sir ,richard1 ii4 #he1 #bee ,stanley1 ,edward1 ,earl of ,derby1 ii4 #bef ,suffolk1 ,catherine1 ,duchess of1 ii4 #bbf2 replica in ,british ,museum1 ii4 #bbf1 #bed ,surrey1 ,henry ,howard1 ,earl of--three drawings1 ii4 #bjj-bja ,surrey1 ,lady1 ii4 #bja ,tuke1 ,sir ,bryan1 ii4 #bee ,vaux1 ,lord1 ii4 #eb1 #hg1 #beb1 #bef-beg ---- ,lady1 ii4 #hg1 #beb1 #bee ,warham1 ,william1 ,archbishop of ,canterbury1 i4 #cba2 ii4 #bej-bea1 #bee ,wentworth1 ,sir ,thomas1 ii4 #bef ,wingfield1 ,sir ,charles1 ii4 #bed ,wyat1 ,sir ,thomas1 ii4 #gi1 #bej1 #beb ,zouch1 ,mary1 ii4 #bef1 #bei ,unknown ,man 7called ,dinteville71 ii4 #dc1 #fi and note1 #beg ---- ,englishman 7,berlin71 ii4 #bdh1 #bei ---- ---- 7,chatsworth71 i4 #ccf2 ii4 #bdh ---- ---- ---- i4 #ccg2 ii4 #bdh ---- ---- and ,wife 7,basel71 i4 #cba2 ii4 #bdh1 #bfj ---- ,english ,lady 7,lady ,guldeford87 7,basel71 i4 #cba2 ii4 #hg note1 #bdh1 #bfj ---- ,young ,man with ,broad ,hat 7,basel71 i4 #ahf note2 ii4 #bei-bfj ---- ---- ---- profile1 to right1 ii4 #beg ---- ,lady in ,white ,cap1 ii4 #beh ---- ---- ii4 #gj1 #bbg ---- ---- full-face1 ii4 #bad ---- ,boy1 dated #aebj 7,louvre71 ii4 #bad ,portrait group of a ,lady and ,children 7,british ,museum71 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#bee ---- ,sir ,nicholas1 i4 #bei1 #cai ,vauzelles1 ,jean de1 poet and scholar of ,lyon1 i4 #baj-bab1 #bbb ,velazquez1 i4 #cdi2 ii4 #cah note ,vendme1 ,margaret of1 ii4 #aci1 #add-adf1 #aed-aee ---- ,marie of1 ii4 #add1 #aed-aee ,venice1 i4 #f1 #bcj note1 #bdb-bdc1 #bhf2 ii4 #cg ,venturi1 ii4 #ff ,vernon1 ,mr4 ,john1 ii4 #ajg ,versailles ,gallery1 ii4 #ci ,vertue1 ,george1 i4 #bif1 #cbj2 ii4 #bf1 #ace1 #afi1 #aid1 #aih1 #bje note1 #baf note1 #bdi1 #bec1 #bfg1 #cji1 #ccd1 #ccf-cch1 #cdf ---- ,robert1 the ,king's master mason1 i4 #bga ,vetter1 ,christina1 i4 #h ---- ,veronica1 i4 #h ---- ,walburg1 i4 #h ,vetusta ,monumenta1 ii4 #bfg ,vic1 ,m4 de1 garde de sceaux1 ii4 #db ,vicary1 ,t41 barber-surgeon1 ii4 #bia ,victoria and ,albert ,museum1 ii4 #afg1 #bcb1 #cej ---- ,queen1 ii4 #bej ,vienna1 i4 #bj1 #fj1 #afa note1 #aga1 #ahj-aha1 #ahi2 ii4 #ae-af1 #eg1 #baa1 #bcf1 #cjj1 #cca ---- ,albertina1 i4 #e1 #fj1 #cdd note ---- ,imperial ,gallery1 i4 #fj2 ii4 #g1 #ag1 #bj1 #fb1 #fe1 #gj-ga1 #aji1 #aaa-aab1 #bja-bjc1 #bje-bji1 #baa1 #bcg1 #bee1 #bhj1 #cdh-cdi ,vierwaldstttersee1 i4 #adc 8,vincence of ,naples10 see ,volpe ,vinci1 ,leonardo da1 see ,leonardo ,vischer1 ,cornelius1 i4 #afe ---- ,peter1 ii4 #bgj ,vittadini1 ,signor1 ,arcorre1 i4 #aje note ,vgelin1 ,professor ,salomon1 i4 #cg2 ii4 #cii ,voll1 ,professor ,karl1 i4 #ae2 ii4 #cii ,volmar1 ,conrad1 ii4 #cja ,volpe1 ,vincent1 i4 #beh1 #bgc-bgf1 #cad-cae ,von ,hertenstein1 see ,hertenstein ---- ,hewen1 see ,hewen ---- ,hutten1 see ,hutten ---- ,mechel1 see ,mechel ---- ,sandrart1 see ,sandrart ---- ,slingelandt1 see ,slingelandt ---- ,steenwyck1 see ,steenwyck ---- ,sybel1 see ,sybel ,vorsterman1 ,lucas1 engraver1 i4 #bg-bh1 #agi1 #cje note2 ii4 #bf-bh1 #aih1 #bca1 #bdf ,vosges ,mountains1 ii4 #aef ,voss1 ,h41 ii4 #cii ,vries1 ,joan de1 ,sale 7#agch71 i4 #ajg ,vulp1 see ,volpe ,waagen1 ,dr41 i4 #ad1 #bd1 #bdb1 #bej1 #bff1 #bhi1 #big2 ii4 #hf1 #aja-ajb1 #ajg1 #bfi1 #cjc1 #chf-chi1 #cii ,wagner1 ,leonhard1 i4 #bj ,wagynton1 ,william1 painter-stainer1 i4 #bfa ,wake1 ,sir ,isaac1 ii4 #fe-ff1 #fh ,wakefield1 i4 #bie ,waldenburg1 i4 #bcc ,wales1 ,dowager ,princess of1 widow of ,frederick1 ,prince of ,wales1 ii4 #aii ---- ,frederick1 ,prince of1 ii4 #aii ---- ,henry1 ,prince of1 son of ,james ,i1 ii4 #bdd ,walker1 ,sir ,edward1 ii4 #bdf ---- ,humphrey1 metal founder1 i4 #bga ---- ,mary ,ann1 portrait by ,franois ,quesnel1 ii4 #ada ---- ,mr4 ,w4 ,h4 ,romaine1 ii4 #he ,wallace ,collection1 ii4 #bcj and note1 #cej ,wallop1 ,sir ,john1 i4 #bhc-bhd2 ii4 #ei1 #aci1 #ccc ,wall-paintings in ,augsburg1 i4 #fe ---- in ,basel1 i4 #aag-abc ---- in ,lucerne1 i4 #fe ---- and decorations in ,westminster ,palace1 i4 #bfa-bfb ,walpole1 ,collection and ,sale 7#ahdb71 ii4 #bf1 #bcj1 #bcg1 #bgj1 #bgf1 #ccg ---- ,horace1 i4 #afg1 #ahd1 #bdc1 #bej1 #bfc1 #bic1 #bif-big1 #cjj-cjb1 #cbb1 #cbe1 #cbh and note2 ii4 #bf1 #bh1 #id1 #acc1 #ace1 #afi-agj1 #agi1 #aha1 #ahi1 #aic-aid1 #aii1 #bcj1 #bcg1 #bdg note1 #bdi-bea1 #bff1 #cja1 #cjh1 #ccd-cce1 #cdd-cde1 #cii ---- ,society1 ii4 #bah1 #bai note ,walther1 ,anna1 i4 #aj ---- ,johann1 ,geystliche ,gesangbchlein1 ii4 #ej ---- ,maria1 i4 #aj ---- ,ulric1 i4 #aj ,wannewetsch1 ,hans ,jrg1 of ,basel1 painter1 i4 #ha ,warberge1 ,von1 family1 i4 #bdb ,ward1 ,mr4 ,t4 ,humphry1 i4 #bhg ,wardell1 ,joan1 ii4 #bjh ,ware1 ,abbot ,richard1 ii4 #ea ,warham1 ,william1 ,archbishop of ,canterbury1 i4 #afi1 #bec1 #bee1 #bhi1 #bii1 #cba-cbc1 #ccg2 ii4 #a1 #ei1 #fe1 #bej1 #bee ,warner1 ,robert1 ii4 #acc ,wartburg1 near ,eisenach1 i4 #af ,warwick ,castle1 i4 #bff2 ii4 #ajj-ajd1 #bag ---- ,countess of1 i4 #cbh note ,wassy1 ii4 #adg ,watney1 ,mr4 ,vernon ,j41 ii4 #afi1 #bcg1 #ceb ,wauters1 ,mr4 ,a4 ,j41 i4 #cje ,weale1 ,mr4 ,w4 ,h4 ,j41 ii4 #bci-bdj1 #cii ,weaver1 ,mr4 ,lawrence1 ii4 #cc ,wedigh family1 of ,cologne1 ii4 #ae-af ---- ,hermann ,hillebrandt4 ii4 #af-ag1 #ag note1 #di note ,weggis1 near ,lucerne1 i4 #ff1 #gj ,wegmann1 ,hans ,heinrich1 of ,lucerne1 painter1 i4 #ha ,weigel1 ,rudolph1 ,collection1 ,leipzig1 i4 #ajf2 ii4 #ca ,weingarten1 ,abbey of1 i4 #g 8,weisskunig0 7,h4 ,burgkmair71 i4 #ca ,well ,hall1 ,eltham1 i4 #bie2 ii4 #cdd ,wells ,cathedral1 ii4 #cja ,welser1 ,bartholomaeus1 i4 #aj ,welser1 ,veronica1 i4 #aj1 #ab1 #bd ,wenck1 ,petrus1 i4 #de ,wentworth1 ,sir ,thomas1 ii4 #bef ,wentz1 ,j41 i4 #acj ,werden1 ,gerard van1 ,steelyard merchant1 ii4 #f1 #aj ,werner1 ,anton1 ii4 #cii ,west1 ,william1 ,lord ,de la ,warr1 ii4 #cjd ,westbury1 ,dean of1 ii4 #agg ,westminster1 parish of ,st4 ,margaret1 i4 #bfe2 hermitage of ,st4 ,katherine1 i4 #bfe2 ,st4 ,peter's1 i4 #bga ---- ,abbey1 i4 #bgb1 #bhg note ---- ,palace1 i4 #bge1 #cad2 ii4 #abg1 #adb ---- ,marquis and ,marchioness of1 i4 #ccb ,westmorland1 ,earl of1 ,sale 7#ahib71 ii4 #bbb ,wettingen ,cloisters1 i4 #gi1 #acg ,weybridge1 ii4 #baf ,weyden1 ,rogier1 vander1 see ,van der ,weyden ,wheel of ,fortune 7picture at ,chatsworth71 ii4 #dg ,whitehall ,palace1 i4 #ig1 #beg1 #bhf1 #cja1 #cje2 ii4 #be1 #ia1 #id-ie1 #ig and note1 #ajg1 #aaj1 #acg1 #agj1 #ahe-ahh1 #bdc1 #bfc1 #bff-bfi1 #bib1 #cdd-cdf ---- ---- ,fire at 7#afih71 ii4 #be1 #id-ie1 #ahf1 #bic ---- ---- 8,holbein's ,gate10 ii4 #ahe1 #bff-bfi1 #cde-cdf ---- ---- ,matted ,gallery1 ii4 #ie1 #ahf1 #bga ---- ---- ,privy ,chamber wall-painting1 ii4 #ia1 #ic-if1 #ig1 #bga1 #cjb1 #cac ,whitehall1 ,historical and ,architectural ,notes 7,w4 ,j4 ,loftie71 ii4 #cdf ---- ,old ,royal ,palace of 7,sheppard71 ii4 #cdf ,whitley1 ,surrey1 i4 #beh ,whorstley1 ,english sculptor1 i4 #bfe ,wicklow1 ,earl of1 ,collection1 ii4 #bgg ,wieland1 ,daniel1 i4 #df ,wight1 ,isle of1 ii4 #afe ,willems1 ,marc1 ii4 #agj ,willett1 ,mr4 ,henry 7,collection71 ii4 #ajd ,william ,,iii of ,england1 i4 #ajg2 ii4 #eg1 #ahg1 #bjc ,william ,v of ,orange1 i4 #ajg2 ii4 #eg ---- of ,prussia1 ,prince1 i4 #bcg1 #bdb ,williams1 ,lewes1 painter1 i4 #bgh ,williamson1 ,dr4 ,g4 ,c41 i4 #cjf2 ii4 #bai note1 #bbj1 #bbh1 #bcj1 #bca and note1 #bce1 #bdj-bda and note1 #cjd1 #cji1 #cii ,wilson1 ,hon4 ,h4 ,tyrwhitt1 i4 #cai1 #cbe ---- ,thomas1 ,secretary of ,state to ,queen ,elizabeth1 ii4 #bbe ,wilton ,house1 ii4 #fb1 #acg1 #bdh1 #bff1 #bfh-bfi ,wiltshire and ,ormonde1 ,earl of1 see ,boleyn1 ,sir ,thomas ,winchester1 ,bishop of1 see ,foxe1 ,richard ,windesore1 ,thomas1 ii4 #ee ,windsor 7town71 ii4 #bjh ---- ,castle and ,collections1 i4 #ig1 #aga1 #agh1 #cjb1 #cag1 #cai1 #cbd1 #ccc1 #ccg1 #ceg2 ii4 #h1 #ad1 #ag1 #ai1 #dd1 #eb1 #fb-fc1 #gc1 #ij-ia1 #ajc1 #aaj1 #aab1 #abe1 #afg1 #afi1 #ahc1 #aia-aic1 #aig1 #bjj-bja1 #bjd-bje1 #bjg1 #baj1 #bab1 #bad-bae1 #bbb-bbc1 #bbf-bbg1 #bcc-bcd1 #bcf-bcg1 #bdc1 #bfb1 #cjg1 #cci1 #cej ---- ,park1 ,ranger of 7,duke of ,cumberland71 ii4 #bfg ---- ---- ,long ,walk1 ii4 #bfg ---- ,st4 ,george's ,chapel1 i4 #bhj ,wingfield1 ,sir ,anthony1 i4 #bhg ---- ,sir ,charles1 ii4 #bed ---- ,sir ,richard1 i4 #bfh2 ii4 #acg ,winn family1 i4 #bie ---- ,mr4 ,charles1 ii4 #ccd-ccg ---- ,sir ,rowland1 i4 #bie2 ii4 #ccd1 #ccg ,winstanley1 ,mr41 i4 #ccb ,wise1 ,ulric1 ,steelyard merchant1 ii4 #aj ,witt1 ,anna de1 ii4 #cdb ,wittelsbach ,collection 7#aeig71 i4 #ccb ,wittemberg1 i4 #bad1 #cbh2 ii4 #ej ,wit's ,treasury 7,f4 ,meres71 ii4 #cjh-cji ,woburn ,abbey1 i4 #cjd note2 ii4 #aab1 #cea ,wocher1 ,marquard1 painter1 i4 #ha ,wolf1 ,hans1 of ,lucerne1 i4 #ff ---- or ,wolffe1 ,john1 painter1 i4 #bgd2 ii4 #a1 #b1 #f1 #g note ---- 7,fenwolf or ,phillip71 ,morgan1 ii4 #aj1 #bhh ,wolfe1 ,reinhold1 printer1 i4 #bjb2 ii4 #gi1 #ccb ,wolff1 ,thomas1 i4 #fb1 #ahg1 #aif1 #bjb ,wolhusen1 ,christof ,truchsess von1 i4 #aeh ,wolleb1 ,conradt1 magistrate of ,basel1 i4 #acb ,wolsey1 ,cardinal1 i4 #afi1 #bei1 #bfg1 #bhj-bha1 #cba1 #cbg1 #cbi1 #cca1 #ccd2 ii4 #af1 #ee1 #ei1 #acg1 #ahg1 #aii1 #bhh1 #ccc ,woltmann1 ,dr41 i4 #d1 #e1 #ad-ae1 #ai1 #bc-be1 #ch1 #ea1 #fb1 #ic1 #if1 #ajb1 #ajf-ajg1 #aji1 #aab1 #aba1 #abc1 #afe1 #afi1 #agd1 #ahd1 #ahg-ahh1 #baa1 #bbb1 #bbh1 #bcg1 #bdg1 #bhh1 #bib1 #big1 #bii1 #cai1 #cbf1 #ccb1 #ccd1 #ccf1 #cdd note1 #cef2 ii4 #e1 #i1 #aj1 #ac1 #af1 #bb1 #bf1 #cb1 #cg-ch1 #eg1 #fj1 #gb1 #gg1 #gi1 #ig1 #aja1 #aje1 #ajh1 #abe-abf1 #aej1 #aeh1 #afa-afb1 #age1 #aii1 #bjc1 #baa1 #bbc1 #bbe1 #bcj1 #bfj1 #bfi1 #bhd1 #cbc-cbe1 #cbg1 #cbi1 #cdb1 #cdg1 #cic1 #cii ,woodburne1 ,samuel1 ,sale 7#ahfj71 ii4 #fg ,wooley1 ,henry1 jeweller1 ii4 #bhg ,wooley1 ,nicholas1 jeweller1 ii4 #bhg ,wootton1 ,dr4 ,nicholas1 ii4 #agc-agh1 #ahj ,worcester1 i4 #bfe ,worksop ,manor1 ii4 #ace ,wrlitz1 ,gothic ,house1 i4 #cjj ,wornum1 ,r4 ,n41 i4 #ad1 #ib1 #afe note1 #afg1 #ahd1 #bcg1 #bdg1 #bfc1 #bff1 #big1 #cjj1 #cjf1 #cbh1 #cca-ccc2 ii4 #cg1 #df1 #di1 #fj1 #gb1 #hf1 #aja1 #aje1 #abe1 #acj1 ii4 #aej1 #afe-afg1 #afi1 #bab1 #bbe1 #bcc1 #bfi-bgj1 #bib-bic1 #bih1 #cde1 #djj ,worsley1 ,sir ,richard1 ii4 #afe ,woulpe1 see ,volpe ,wright1 coach builder1 ii4 #bfg ---- ,andrew1 serjeant-painter1 i4 #bfa-bfb1 #bgc ---- ,christopher1 painter-stainer1 i4 #bfa-bfb ---- ,richard1 painter-stainer1 i4 #bfa ,wriothesley1 ,thomas1 ii4 #aag1 #aca-acc1 #baa ,wurstisen1 ,epitome ,histori ,basiliensis 7#aegg71 i4 #abf2 ii4 #djj ,wyat1 ,sir ,henry1 i4 #cjd1 #cjf1 #cac1 #cbg1 #cce-ccg2 ii4 #gi1 #bee ---- ,margaret1 ,lady ,lee1 ii4 #hb-hc ---- ,sir ,thomas1 i4 #bjc1 #ceh2 ii4 #cg-ch1 #fe1 #ga1 #gi-hc1 #aah1 #bje1 #bej1 #beb1 #bhj ---- ,sir ,thomas the ,younger1 ii4 #ha-hb 8,wyat1 ,mr410 i4 #ceg ,wyat's1 ,sir ,t41 8,maze10 ii4 #ha ---- rebellion1 ii4 #hb1 #cjf ,wyatt1 ,mr4 ,m4 ,digby1 i4 #bge1 #bgg2 ii4 #djj ,wyndham1 ,elizabeth1 ii4 #bcg ---- ,sir ,thomas1 portrait by ,eworthe1 ii4 #cjg ,wysdom family1 painter-stainers1 i4 #bfa ,wyzewa1 ,mons4 ,t4 de1 i4 #ajg note1 #bdh note1 #cde-cdf2 ii4 #cah note1 #djj ,yarborough1 ,earl of1 ii4 #ajd1 #afd-aff1 #cec ,yattendon1 ,berkshire1 i4 #agh ,york1 ,queen ,elizabeth of1 wife of ,henry ,,vii1 see ,elizabeth of ,york ---- ,house1 ii4 #ad1 #bae1 #cjh ,younge1 ,mr4 ,john1 ,master of the ,rolls1 i4 #bgb ,zahn1 ,a4 von1 i4 #bcg2 ii4 #eg1 #hf1 #djj ,zasius1 ,ulrich1 i4 #hd1 #aaa ,zeitblom1 ,bartolomaeus1 i4 #f ,zetter1 ,herr ,franz ,anton1 i4 #aaj-aaa ,zetter-,collin1 ,herr ,f4 ,a41 i4 #aje note1 #aaa note2 ii4 #djj ,zeuxis1 i4 #bbg2 ii4 #ge ,zimmerman1 ,grg1 tailor of ,berne1 ii4 #afa ,zouch 7,souch71 ,lord1 of ,haringworth1 ii4 #bei ---- ,richard1 ii4 #bei ---- ,mary1 ii4 #bef1 #bei ,zuccaro1 ,federigo1 ii4 #bd1 #bf and note1 #bg1 #acd1 #ccf ,zrich1 i4 #ce1 #df1 #ej1 #bjb1 #bbd1 #bbh2 ii4 #gf1 #aef and note1 #bac1 #ceh ---- ,state ,library1 i4 #cf-cg ,zrich1 ,hans von1 goldsmith1 ii4 #ae1 #fe ,zwinger1 ,theodor1 i4 #aah ---------------------------------------- -------------------------------- ,printed by ,ballantyne1 ,hanson ,co4 at ,paul's ,work1 ,edinburgh ---------------------------------------- -------------------------------- ,transcriber's ,notes3 ,the first volume of this work can be found here3 ,gutenberg4org book number #fdbjh ,this book's index includes links to both volume i and volume ii4 ,missing or obscured punctuation was silently corrected4 ,typographical errors were silently corrected4 ,inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book4 ,text that3 was in italics is enclosed by underscores 7italics72 was in bold by is enclosed by 8equal0 signs 7bold74 ,the use of a caret 77 before a letter1 or letters1 shows that the following letter or letters was intended to be a superscript1 as in ,st ,bartholomew or #ajth ,century4 -