CHAPTER XXIX

CONCLUSION

Holbein’s many-sided art—The destruction of all his larger decorative works—The fertility of his invention and his power of dramatic composition—The influence of the Italian Renaissance upon his art, both in his mural and historical paintings and in his designs for jewellery and the decorative arts—His sacred paintings—His genius in portraiture and his perfection as a draughtsman—A comparison between the art of Dürer and Holbein.

HOLBEIN’S art was many-sided, but, through the cruel caprice of Fate, he is known to-day to most people merely as a great portrait-painter, and, in a lesser degree, as a designer of woodcut illustrations of remarkable power and imagination. It is true, of course, that during the latter part of his life, after he had settled more or less permanently in England, his time was almost entirely occupied with portraiture, and that, beyond portraits, little or nothing of his work remains in this country upon which to form a judgment of the versatility of his genius; and it is true also that his stupendous gifts in this field of art were bound to find free expression. That portrait-painting, however, became in the end his chief occupation was due much more to his environment than to his own personal choice. There was little demand in this country for any other form of art, and the painter, as was only natural, supplied what his patrons asked of him. It is not to be supposed that the master who was capable of producing such great works as the “Meyer Madonna,” or the various altar-pieces and glass designs illustrating the “Passion,” would have abandoned painting such compositions had he received any encouragement to continue; but such encouragement came to a more or less abrupt conclusion during the stormy days of the Reformation in Basel, and for the remainder of his life Holbein produced little or nothing in the field of sacred art. The few examples of this nature from his brush which remain place him in the front rank of sixteenth-century painters, and had his birthplace been south instead of north of the Alps, and his life spent amid surroundings more sympathetic to this side of his genius, there can be little doubt that he would have given to the world a series of sacred works as fine as those of any of the great Italians of the Renaissance.

[Sidenote: DISAPPEARANCE OF DECORATIVE WORKS]

It is with respect to those larger decorative works, however, upon which he was engaged from time to time throughout his life, both in Switzerland and England—works for which in his own day he was so justly celebrated—that Fate has treated him most unkindly. The total disappearance of his great wall-paintings and monumental decorations is not only an immense loss to art, but has rendered it difficult for all but close students of his work to appreciate to the fullest extent the wide range of his artistic powers. Not a single example of his skill as a mural decorator remains. The passage of time, the carelessness of those whose duty it was to preserve them, and the ravages of fire and of the weather, gradually obliterated these paintings, while such of their faded glories as endured until more modern days were finally swept away by the clumsy hand of the restorer or the building schemes of private owners and civic authorities. Just as it seems practically certain that some at least of his sacred pictures were destroyed by the fury of the rioters in the religious disturbances which finally drove Holbein to Henry’s court, so the mural paintings and pictured stories with which he covered the outer and inner walls of a number of houses in Basel and Lucerne have vanished through causes which, though different, have been equally effective in their powers of destruction. Damp, dirt, and neglect brought about the gradual fading away of his great series of wall-paintings in the Council Chamber of the Basel Town Hall; while similar works of his English period, the wonderful “Triumphs” painted for the banquet-hall of the German Steelyard, and the great fresco of Henry VIII with his parents and Jane Seymour in Whitehall, have disappeared, the former on the final breaking up of the German trade monopoly in this country, and the dispersal of the contents of the Steelyard buildings, and the latter in the fire of 1698. Gone, too, is the large canvas of “The Battle of Spurs,” painted for the festivities at Greenwich in 1527, one of the first of Holbein’s important undertakings in England. No trace of this painting now remains, and a similar fate has befallen the great picture of Sir Thomas More and his family, though in this case it is not absolutely certain that Holbein himself ever completed it. Finally, death cut him down as he was engaged upon the most elaborate portrait group he ever undertook, which was not half finished when he fell a victim to the plague. This list of lost or ruined masterpieces is a long one. Unfortunately, the tale is by no means uncommon in the history of art, but Holbein has suffered in this way more severely than most. Of their beauty and their imaginative power it is now only possible to judge from a few fragments of some of the original frescoes, some inferior copies of certain of them, and a number of masterly sketches and preliminary studies from Holbein’s own hand preserved in the Basel Gallery, the British Museum, the Louvre, and elsewhere. These latter, scanty as they are, remain priceless treasures, for only by means of them is it possible to gain some idea, though it is a pale reflection at the best, of the greatness of Holbein’s achievement in the higher branches of art, the loftiness of his ideals in his monumental paintings, and the wide range of his genius.

In all these large decorative works Holbein displayed the greatest fertility of invention, and a power of dramatic composition of a very high order. The extraordinary energy of conception, the sense of life and movement in all his figures, the truth and expressiveness of their gestures, are all alike admirable. This dramatic power is at its finest in his wall-paintings for the Basel Town Hall—the “Rehoboam” and the “Samuel and Saul”; while in dignity and grandeur of composition, and the noble rhythm of its stately movement, the “Triumph of Riches” panel for the Steelyard is unsurpassed. The extraordinary fertility and exuberance of his imagination is to be seen in the architectural details and decorative settings in which these mural paintings and designs were placed. These settings show how quickly and completely he made the new ideas and decorative motives of the Renaissance his own, while the pictures themselves, for which they formed the background and the frame, breathe the lofty spirit of Raphael and Mantegna. Though there is no slavish copying of the art and architecture of Northern Italy, their influence is to be seen so plainly in the work of his younger days that, as pointed out in earlier chapters, at least a short visit to Lombardy on his part seems to have been absolutely certain.

[Sidenote: HIS FERTILE IMAGINATION]

The same qualities and the same influences are to be discerned in his designs for painted windows and the decoration of books; though smaller in scale, they are conceived with an equal grandeur and dramatic intensity. Indeed, in his “Dance of Death” woodcuts and illustrations to the Old Testament his imaginative and dramatic powers reached their highest manifestation. Minute as they are in execution, they produce the same effects of largeness and dignity of composition as his great wall-paintings must have done. In the “Dance of Death” in particular the wideness of Holbein’s range of vision, the greatness of his style in design, and the intense vitality of his art are seen to the best advantage. These little pictures, a few inches square, express within their borders almost the whole range of the emotions, from the tender sympathy of the lovely “Death and the Ploughman,” and the poignant grief of “Death and the Little Child,” down to the terror, horror, and violence which is encountered in others of the series in which Death suits his coming to the character of his victims. Such works as these show the greatness of Holbein as an imaginative artist. Another side of his nature and his art appears in such a design as his “Peasants’ Dance” on the façade of the Haus zum Tanz in Basel, in which the Teutonic element in his character finds full play. The boisterous, even brutal, merriment of these fellow-countrymen of his, as they fling themselves into the pleasures of the dance with the utmost abandon, made an undoubted appeal to him, and in depicting them he expressed the joy of living which animates every movement with the utmost frankness and realism.

In this wide field of mural decoration and historical painting Holbein was the first and the greatest of those painters north of the Alps who came under the influence of the Italian revival of art. In him the Renaissance found very complete expression. This is also to be seen in his innumerable designs for jewellery and the smaller decorative arts, of which, happily, there still remain many examples. Both in book ornamentations and illustrations, in work for the goldsmith and silversmith, the jeweller, and the maker of stained and coloured glass, he showed himself to be in closest sympathy with the new movement. In his earlier works the effect of this influence appears in the exuberant use he made of the models which he had recently studied, some of the glass designs being overloaded with fantastic reminiscences of the details of Lombardic architecture. Later on, when he had completely grasped the full beauty of the Renaissance forms, his taste became purer, and he adapted them to his uses with the happiest results. In his drawings for personal ornaments and jewellery, most of the best of which were done in London, the earlier exuberance is restrained, and the design is of the purest Renaissance taste, in the practice of which he became an absolute master. These working drawings show infinite invention kept within the true limitations of the materials to be used, frequently combined with very skilful adaptation of the human figure to decorative purposes. It would be difficult to find a more beautiful design in the Renaissance style than the one of the so-called Jane Seymour Cup, in which Holbein more than holds his own with the best Italian workers in this field.

[Sidenote: BRILLIANCE OF HIS DRAUGHTSMANSHIP]

His sacred paintings, in so far as can be judged from those which remain, most, if not all, of which were done before he had reached the age of thirty, possess similar qualities to those of his mural and historical works, and had he but received some little encouragement from the English court, he was capable of producing even finer masterpieces than the “Meyer Madonna” during the seventeen or eighteen remaining years of his life. In his “Passion” and kindred pictures the composition is usually admirable, and the subject treated with that strong dramatic sense which has been noted already as one of the chief characteristics of his frescoes, while in depth and earnestness of feeling they fall but little short of the work of the greatest of the Italians. In the Meyer and the Solothurn Madonnas there is an air of divine tranquillity, and a loftiness and purity in the expression of spiritual beauty, which are combined in the happiest and most exquisite way with remarkable truth to nature, and vividness of accurate and sympathetic portraiture in the figures both of the Virgin and the Divine Child, and those, in the one case, of the kneeling donor and his family, and, in the other, of the attendant saints. Added to these qualities, the rich, subdued, and harmonious colour gives a still greater truth and beauty to the whole. In the panel at Darmstadt, indeed, the painter has reached the full perfection of his art, and that he painted nothing more of this nature must always be a source of deep regret to all who admire him.

In portraiture Holbein’s genius reached its highest manifestations. This gift was largely inherited from his father, but was carried to a much greater pitch of excellence by the son. His technical methods, too, were those of his father, and here again were developed by him to a far greater refinement of touch and skill in modelling; and to these methods he remained constant throughout his life. There is a striking contrast between the rapidity and brilliance of the draughtsmanship of the preliminary studies for his portraits and the patient, concentrated, minute, and delicate brush-work of the finished portraits themselves. In all his completed work he spared himself no pains in the painting of the accessories and details, though in none of it, brilliant and absolutely truthful as it is, is there any sense of mere display, any boastful attempt to show the world how clever he was. He painted all such details with a loving care and an evident delight in their beauty, and wrought them with a perfection and fidelity which has rarely if ever been surpassed. This finish is carried in some of his pictures to a point beyond which no Dutchman or Fleming of his own or succeeding generations ever reached. Yet the elaboration of subordinate things is never overdone; his portraits are never overcrowded with details of this nature in a way to draw the spectator’s attention from the main purpose of the work. This manipulative skill delights and attracts, but is forgotten when the portrait itself is examined. Without any apparent effort on the part of the painter, the sitter looks out from the panel just as he did in life, set down without flattery, with no harsh features softened, and with his character, seized with such penetrative and imaginative power by Holbein, fixed for ever with unerring truth and errorless draughtsmanship for succeeding generations to see and to admire. This effect of absolute truth of portraiture and revelation of character, the one due to the wonderful delicacy, subtlety, and expressiveness of his line, and the other to his sympathetic insight, is obtained by what appear to be the simplest and most straightforward methods. There is a dignity and reticence about the portraits which is admirable. Without thought of self, he occupies himself entirely with the truth as he sees it, and with his desire to realise it as completely as possible; no brilliance of technical skill mars the self-restraint with which he approaches his sitter. He puts little of himself into his portraits, and leaves out little that is worth knowing about the subjects of them. No great subtleties of light and shade are attempted, and his colour, beautiful and true as it is, helps but does not overpower his chief purpose—the complete realisation of the man both in body and soul. Holbein was a painter whose keenness of observation was extraordinary; he missed little or nothing, and saw much that lesser painters would have ignored. With his smooth, fusing methods of painting he reached to most marvellously delicate and accurate modelling of form, which in its expressiveness is beyond all words.[757]

Footnote 757:

The writer finds it impossible to agree with a recent critic, M. de Wyzewa, who, in a review of Dr. Ganz’s _Holbein_, in the _Revue des Deux Mondes_, January 15, 1912, speaks of the “half-confidences” of Holbein’s portraiture, and holds that although the painter himself sees clearly the inmost depths of his sitters’ characters, he yet refrains from revealing them to us. When the moment comes for laying bare their deepest feelings “the prudent Swabian workman, through his instinctive reserve, holds back.” In this respect, therefore, he compares him unfavourably with such masters as Dürer, Rembrandt, and Velazquez, “who abandon themselves to their genius for psychological divination,” whereas Holbein refuses us access to the souls of his sitters, though at the same time indicating that he himself has penetrated to the mysterious depths. He speaks of this as his “professional hypocrisy,” and says that he cannot be excused for thus concealing the exact truth of the characters of the great personages who sat to him. He sees similar traits in Holbein’s sacred paintings, and this insensibility he regards as not real, but feigned, springing from the intelligence rather than from the heart. Lovers of Holbein’s art, however, will find it difficult to follow him in his contention.

As a draughtsman pure and simple he stands among the very highest; in some of the qualities of his line he has never been surpassed or even equalled. In the Windsor and kindred drawings, preliminary studies for his portraits, his genius finds its most perfect expression, and these are, in many ways, the greatest of his works. Slight as most of them are, they contain all the elements of great art. Every fine quality, except colour, that is to be found in his finished portraiture is to be found here also, and more plainly to be seen, and produced without apparent effort or hesitation. The swiftness yet sureness of his touch, the wonderful delicacy yet strength of his supple, forceful line, its subtlety and flexibility, the penetrative insight, the freedom from all traces of mannerism, and the perfect unity of brain, eye, and hand shown in these drawings, combine to produce the most vivid effect of truthful, living portraiture. His complete mastership is revealed in every touch.

[Sidenote: HOLBEIN AND DÜRER]

In the German school of painting Dürer was the last and the greatest of the mediævalists; Holbein was the first and the greatest of those who came completely under the sway of the new influences in art and life which reached Germany from beyond the Alps. The art of these two great masters is, in consequence, in many ways so divergent that it is difficult to make any comparison between them. Holbein was the first of the painters of northern Europe who was modern in the sense of the term as we understand it to-day. Dürer was steeped in the spirit of the older schools, both of thought and of art, a dreamer of dreams, a weaver of fantasies, and much of his work had a spiritual passion which Holbein’s lacked, while his art was imbued through and through with the feeling of the Middle Ages. On the other hand, one of the characteristic features of Holbein’s work was its serenity and saneness. As already pointed out, he had great imaginative power, which he could use at times with dramatic intensity. Realism in his painting reached a very high and at the same time a very noble development. His delight in nature is evident in all that he did; he observed her minutely, and took the utmost pleasure in reproducing her manifold beauties down to the smallest details, while his work was filled with a frank delight in life and close sympathy with all things, animate and inanimate, in the world around him. Philosophical thought or theological subtleties left him untroubled. That he was on the side of the Reformation is made clear by more than one of his woodcut designs, but his share in the controversy was after all a minor one, and marked by little or none of that passion which swayed the more eager partisans on either side.

True child of the Renaissance as Holbein was, he was yet one of the most original of artists. His strong individuality stamped everything that he touched; for though the influences under which he was trained can be traced throughout his career, they in no way dominated his genius, which found its own true expression. Circumstances combined to give this originality the fullest play. Both in Basel and in London there was no school of painting worthy of the name, and the artists who worked there had little or nothing to teach him. In both these cities it was he who was the master who towered head and shoulders above his fellow-painters. In this way his art developed upon personal and original lines until it attained that greatness of style which is so marked a feature of everything that he touched.

The art and character of these two great masters of the German school is very happily contrasted by the late Lord Leighton in one of his published addresses to the students of the Royal Academy. “Albert Dürer,” he says, “may be regarded as _par excellence_ the typical German artist—far more so than his great contemporary, Holbein. He was a man of a strong and upright nature, bent on pure and high ideals, a man ever seeking, if I may use his own characteristic expression, to make known through his work the mysterious treasure that was laid up in his heart; he was a thinker, a theorist, and, as you know, a writer; like many of the great artists of the Renaissance, he was steeped also in the love of Science. His work was in his own image; it was, like nearly all German Art, primarily ethic in its complexion; like all German Art it bore traces of foreign influence—drawn, in his case, first from Flanders and later from Italy. In his work, as in all German Art, the national character asserted itself above every trammel of external influence. Superbly inexhaustible as a designer, as a draughtsman he was powerful, thorough, and minute to a marvel, but never without a certain almost caligraphic mannerism of hand, wanting in spontaneous simplicity—never broadly serene. In his colour he was rich and vivid, not always unerring as to his harmonies, not alluring in his execution—withal a giant.... In Holbein we have a complete contrast to the great Franconian of whom I have just spoken; a man not prone to theorise, not steeped in speculation, a dreamer of no dreams; without passion, but full of joyous fancies, he looked out with serene eyes upon the world around him; accepting Nature without preoccupation or afterthought, but with a keen sense of all her subtle beauties, loving her simply and for herself. As a draughtsman he displayed a flow, a fullness of form, and an almost classic restraint which are wanting in the work of Dürer, and are, indeed, not found elsewhere in German Art. As a colourist, he had a keen sense of the values of tone relations, a sense in which Dürer again was lacking; not so Teutonic in every way as the Nuremberg master, he formed a link between the Italian and the German races. A less powerful personality than Dürer, he was a far superior painter. Proud may that country be indeed that counts two names so great in art.”[758]

Footnote 758:

Leighton, _Addresses delivered to the Students of the Royal Academy_, 2nd edition, 1897, pp. 305-6. (Dec. 9, 1893.)

[Sidenote: RUSKIN ON HOLBEIN]

It is quite true that he was a better painter than Dürer, for his mastery of the technical side of his art was complete, while his artistic temperament found expression in many different branches of the decorative arts and crafts. He was thus much more than a great painter: he was a great artist and a great craftsman as well, for though he did not actually cut the wood blocks he designed, or fashion the actual cups of gold and silver for which he made the working drawings, he had so perfect a knowledge of the practical side of the crafts, and of the artistic capabilities and the limitations of the mediums in which his designs were to be carried out, that he was indeed the “notable workman” which Erasmus called him. In all that he did, the greatness and the individuality of his style, his power of dramatic composition, the versatility of his imagination and his restraint in the use of it, his serene outlook upon life, and the perfect and unerring unison of his eye and hand, combine with his insight into character and technical skill of the rarest quality to make him one of the few great masters of the world.

Ruskin’s judgment of him, when comparing him with Sir Joshua Reynolds, is so true and so just, that, although so well-known, a sentence from it may be quoted here in conclusion. “The work of Holbein,” he says, “is true and thorough, accomplished in the highest, as the most literal sense, with a calm entireness of unaffected resolution which sacrifices nothing, forgets nothing, and fears nothing. Holbein is complete; what he sees, he sees with his whole soul; what he paints, he paints with his whole might.”[759]

Footnote 759:

Ruskin, “Sir Joshua and Holbein,” in _Cornhill Magazine_, March 1860.

APPENDIX

(A) EARLY DRAWING BY HOLBEIN IN THE MAXIMILIANS MUSEUM, AUGSBURG. (Vol. i. p. 43)

THE drawing of “Calvary” in the Maximilians Museum, Augsburg (Woltmann, 3), is probably the earliest one by Holbein of which we have any knowledge. It is a silver-point drawing, touched with the brush in brown, white being used for the high lights and red for the representation of Christ’s wounds. It is a carefully wrought, youthful piece of work, at the same time showing considerable feeling in its rendering of the sacred subject. The Cross rises on the left, turned away from the spectator, so that the body of Christ is seen almost in profile against the sky. Mary and John stand below on the right, the former with hands clasped in prayer and head bent in grief. Lower down the rock, in the centre, kneels Mary Magdalen with uplifted arms, and on the left of the Cross a man is standing with his back to the spectator, wearing a tall hat of “beaver” pattern. In the background beyond him is a second cross with one of the thieves, the ladder still placed against it. Down below the heights there is a glimpse of a mountain and buildings. This interesting early example has been recently reproduced in the important publication of facsimiles of the complete series of Holbein’s drawings, now in the course of appearing under the editorship of Dr. Ganz—_Die Handzeichnungen Hans Holbeins des Jüngeren_, viii. 1.

(B) DESIGNS FOR PAINTED GLASS OF THE LUCERNE PERIOD. (Vol. i. p. 79)

[Sidenote: EARLY GLASS DESIGNS]

The design for painted glass with the arms of Hans Fleckenstein, of Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is the earliest in date of the series of designs for this purpose in which Holbein made such fine decorative use of the landsknechte with their picturesque costumes as supporters of the shield bearing the coat of arms of the patron for whom the glass was ordered. In the Fleckenstein design the warrior on the left is bearded, and wears a hat with very large feathers, and a great sword, while a long lance is held aloft in his right hand, his left resting on the top of the shield, towards which he leans, and behind which his left leg is hidden. The man on the right is younger and beardless. His head is turned over his shoulder towards the right, and his flat black cap is worn jauntily over one ear and covers one side of his face, while a large hat with a huge mass of feathers is slung upon his back. His right hand rests on his sword-hilt, and his left on the top of the shield. The background is one of plain architecture, in striking contrast to the highly elaborated ones to be seen in most of Holbein’s glass designs produced after his visit to Italy. A barrel-roof is supported by flat columns with a round arch, across which two iron bars run, as in the Solothurn Madonna picture. On either side of this arch, on the top of the columns, stand figures of St. Barbara and St. Sebastian. The shield contains in two of the quarterings the Fleckenstein “house-sign” surmounted by a bar, the other two being filled with lozenge-shaped divisions. On the band at the bottom, left empty for an inscription, is written “hans Fleckenstein, 1517,” and “J. Holbain,” the signature not being in the artist’s own handwriting. It is reproduced by Dr. Ganz in _Die Handzeichnungen Hans Holbeins des Jüngeren_, v. 4.

The fact that the landscape backgrounds in several of Holbein’s glass designs afford evidence of a journey across the Alps has been touched upon in the text (see vol. i. p. 77), and further proof of this is to be found in another design of this period, made, in all probability, during a leisurely journey from Lucerne to Lombardy in 1518. This is the striking design representing the Banner-bearer of the Urseren Valley, in the Uri district—the valley watered by the Reuss, in which Andermatt is the chief village. This drawing, which is in the Royal Print Room, Berlin, is mentioned by Woltmann, ii. p. 120, as, in his opinion, not by Holbein, but by some “good Swiss master.” The landsknecht, a bearded man, stands full-face, with legs stretched wide apart, and the banner held aloft in his right hand. His left rests on his hip, and he carries a great sword. This animated, vigorously drawn figure is evidently a portrait. The banner, an important part of the design, bears on the left the figure of a bishop with crozier in the act of benediction, and on the right a church, with the bull of Uri in the sky above it, one hoof resting on the steeple. In the background is represented the old pack-horse road over the St. Gotthard, up which men are climbing with horses and mules loaded with barrels and bales. On the summit rises the small church which is depicted on the banner. The landscape is evidently one actually seen by the artist. The setting is a very effective one, consisting of plain pillars and an arch, the former with vine branches and bunches of grapes trained round them in spirals, the leaves forming the capitals and bases, while other branches stretch across the archway. Above the latter is a representation of the Judgment of Paris, with the three nude goddesses on the right, and Paris reclining on the ground on the left. Mercury, holding the apple, and Venus, the outer figures of this group, are placed upon the tops of the pillars on either side. The outlines have been put in with a pen in brown, while the banner-bearer’s face has been finished in water-colours, and the background slightly washed with green. Reproduced in _Handzeichnungen Hans Holbeins des Jüngeren_, iv. 4.

The glass design containing the coat of arms of the Lachner family, of Basel, in the Print Room of the National Museum, Stockholm (not in Woltmann), is a year or two later in date, the elaborately imagined architectural background indicating that it must have been made shortly after Holbein’s return from Italy, when the recollections of the Lombardic buildings he had studied with such keen interest were still fresh in his memory. On one side stands a young, beardless warrior as shield-bearer, his face in profile to the right, his lance over his shoulder, and his right hand on his hip. Opposite to him is the completely nude figure of a woman, her face turned towards the spectator, and both hands resting on the shield. Her hair hangs down her back in two great plaits, which are fastened together at the ends with a long loop. This is a realistic study from the life, and one of the very few drawings of the nude by Holbein which remain. The coat of arms on the curved Italian shield consists of a pair of outstretched wings, and these are repeated on the helmet which forms the crest, from which masses of finely designed scroll-work fall on either side. The two figures stand on a platform, below which are two crouching fauns holding a tablet for an inscription. The background, as already stated, is very elaborate, consisting of an open loggia with a roof like the later “St. Elizabeth” glass design (see vol. i. p. 149 and Pl. 44), and friezes and a semicircular arch supported by pairs of columns with grotesque capitals, the arch being decorated with a band of ox-heads and foliage. Other friezes are covered with carved leaf and scroll-work, and above them are grotesque sculptured figures and roundels with heads. Through the openings at the back only the sky is indicated. This is a fine design, more particularly in the figure of the man, and in the helmet with its scroll-work. It is a washed drawing, with the knight’s face and hands and the body of the woman put in with water-colour. Reproduced in _Handzeichnungen Hans Holbeins des Jüngeren_, iv. 6.

(C) EARLY DRAWINGS FOR WALL-PAINTINGS. (Vol. i. p. 101)

In addition to the studies for wall-paintings made by Holbein shortly after his return from Lucerne to Basel, described in vol. i. pp. 98-101, there is another in the Ducal Gallery, Brunswick (Woltmann, 127), representing the Virgin Mary, as Queen of Heaven, with the Infant Christ in her arms, which is signed and dated “1520, H. H.” Her long hair falls in curls over her shoulders, and a plain circular halo is placed behind her crown. She is looking down upon the Child, whom she holds with both hands, and he is smiling back at her. She is placed in a perfectly plain architectural niche, with two empty circles for medallions on either side. According to an inscription on the back, this drawing, which is in black chalk washed with grey, was, towards the end of the sixteenth century, in the possession of Daniel Lindtmeyer, the glass painter of Schaffhausen. Reproduced in _Handzeichnungen Hans Holbeins des Jüngeren,_ iv. 3.

(D) GLASS DESIGNS WITH THE COATS OF ARMS OF THE VON ANDLAU AND VON HEWEN FAMILIES. (Vol. i. p. 145)

A third design for painted glass, representing the martyrdom of the Holy Richardis, wife of the Emperor Carl the Big, is of about the same date, and very probably belongs to the same series, as the two designs bearing the coats of arms of the Von Andlau and Von Hewen families, the second of which is dated 1520. St. Richardis, wrongfully accused of unfaithfulness, proved her innocence by submitting herself to the ordeal by fire. She was the patron saint of the convent of Andlau in Alsace, which, according to the legend quoted by Dr. Paul Ganz, was erected upon ground which had been scraped up by a bear. It is most probable, therefore, that Holbein’s design was commissioned for the decoration of this particular religious house. The drawing, which is in the Basel Gallery (Woltmann, 50), shows the saint kneeling on the funeral pyre, her hands clasped in prayer, her head bent, and her long curls falling below her waist. She wears a large cross at her breast, and has a circular halo inscribed “S. RIGARDIS VIRGO.” On the right is a small kneeling figure of an abbess or nun, with open prayer-book, and on the left the bear of the legend. Two flying angels, with draperies very effectively arranged, hold the martyr’s crown above her head. The ordeal takes place beneath a cupola, with an opening in the centre, supported by pillars of fantastic design, the bases of the nearer ones being decorated with medallions hanging from chains. Below is the customary blank tablet for an inscription, held by two grotesque sea-monsters with human heads. At the back, seen through the open arcading of the building, there is a view of a small walled town in a hilly country, with church and cloisters and watch-towers, and, lower down, the red roofs of a cluster of houses. This is one of the most charming of the numerous landscape backgrounds which Holbein introduced into his glass designs and book illustrations. The drawing is washed with grey, and the background lightly touched in with water-colours. It is reproduced in _Handzeichnungen Hans Holbeins des Jüngeren_, xi. 8.

THE GLASS DESIGNS OF “THE PASSION OF CHRIST” (Vol. i. p. 156)

Miss Mary F. S. Hervey, in her _Holbein’s Ambassadors_ (p. 22, _note_), draws attention to some cartoons for tapestry representing scenes from the Passion designed by Holbein. The reference occurs in a letter from Carlos de la Traverse, written from St. Ildefonse in Spain in 1779 to M. d’Angeviller, in which he proposes that the latter should buy the cartoons. The offer, however, was declined on the ground that Holbein was “un peintre sec et demi-gothique” (See _Nouvelles Archives de l’Art Français_, 2nd series, vol. i. pp. 258-62). It is possible that these designs were not for tapestry but for glass, and they may even have been the set in Sir Thomas Lawrence’s collection, now in the British Museum.

(E) THE FAESCH MUSEUM. (Vol. i. pp. 88, 166-8, 180, and 239-41)

[Sidenote: THE FAESCH MUSEUM]

Among the miscellaneous contents of the Faesch Museum, formed by Dr. Remigius Faesch, or Fäsch, the most important are the few works by and after Holbein. Most of these came to him by inheritance from his grandfather, the earlier Remigius Faesch, burgomaster of Basel, who married Rosa Irmi, the granddaughter of Jakob Meyer zum Hasen, and so became possessed, not only of the double portrait of Meyer and his wife, Dorothea Kannengiesser, painted in 1516, and the two fine silver-point studies for the same, but also the famous Meyer Madonna now at Darmstadt. This last picture, unfortunately for the Basel Public Picture Collection, he sold to Lucas Iselin in 1606. Dr. Faesch’s father, Johann Rudolf Faesch (1574-1660), also burgomaster of Basel, became in turn the owner of the Meyer portraits and drawings, and he added a number of other pictures to the collection. He was acquainted with the painter Bartholomäus Sarburgh, who from 1620 to 1628 was busily occupied in painting portraits in Basel, and to whom, in 1621, he gave a commission for a likeness of his son Remigius, an excellent work now in the Basel Gallery. (Reproduced by Dr. Emil Major in the sixtieth annual report of the Basel Picture Collection, 1908.) From Sarburgh, when that painter was in Holland, Johann Rudolf Faesch obtained the copies of Holbein’s series of Prophets, nine pairs (see vol. i. p. 88). The originals were in water-colour, but were copied by Sarburgh in oil. He is said to have taken the originals with him to the Netherlands, since which time all traces of them have disappeared. These copies are in the depot of the Basel Gallery; two of the pairs are reproduced by Dr. Ganz in _Holbein_, p. 191.

[Sidenote: THE FAESCH MUSEUM]

Remigius Faesch the second (1595-1667) became a doctor of law and a professor in the Basel University. He was an ardent collector throughout his life, not only of pictures, but of books, medals, examples of goldsmiths’ art, and antiquities. On the death of his father he became the possessor of the Meyer portraits and the Sarburgh “Prophets.” To these he added a small square portrait of Erasmus of the Holbein school, and in 1630, Johannes Lüdin, a pupil of Sarburgh, then in Belgium, copied for him the heads of Jakob Meyer’s son and daughter from the Meyer Madonna picture; apparently not from the original, but from the copy now in the Dresden Gallery, which, according to Dr. Major, was most probably the work of Sarburgh (see vol. i. pp. 239-41). In 1648 Johann Sixt Ringlin copied for him one of the versions of the double portrait of Erasmus and Froben (see vol. i. pp. 166-8). Again, in 1667, the year of Faesch’s death, Lüdin presented him with a small portrait of Holbein which he had painted from Hollar’s etching dated 1641. Faesch also possessed a second small portrait of Erasmus, copied from the roundel in the Basel Gallery, several drawings of the Holbein school, and, among other things, the original wood-block of the “Erasmus im Gehäuse.” On his death Faesch left his collections and the mansion containing them in trust as a Museum, with usufruct to his descendants for so long as there should be a doctor of law among the members of his family, failing which everything was to become the property of the Basel University. The last of these doctors of law was Johann Rudolf Faesch, who died in 1823, when the Museum and its contents were handed over to the University, the pictures, drawings, and engravings eventually finding a permanent home in the Basel Public Picture Collection.

Dr. Remigius Faesch spent many years in the compilation of a manuscript, in Latin, now in the University Library of Basel, which he called “Humanæ Industriæ Monumenta.” One section of this deals briefly with the life of Holbein and with his chief works then in Basel in the Amerbach Cabinet and Faesch’s own possession, to which reference has been made more than once in these pages. The original text is given by Woltmann, ii. pp. 48-51, and extracts from it in _Das Fäschische Museum und die Fäschischen Inventare_, by Dr. Emil Major, which forms part of the Annual Report (1908) of the Basel Gallery, already mentioned. It is from this exhaustive and highly interesting account of the Faesch collections and the various inventories and lists, printed in full, that the facts in this note have been taken.

The reference to the double portrait of Erasmus and Froben in the “_Humanæ Industriæ Monumenta_” is as follows:

“Erant 2 tabulæ junctæ, ligamentis ferreis ut aperiri et claudi potuerint, in tabula dextra Effigies Johan. Frobenii Typographi, in altera Erasmi sine dubio ab ipso Erasmo in gratiam et honorem Frobenii, quem impense amabat, curatæ, et eidem ab Erasmo oblatæ, unde et eidem dextram cessit: Ex his tabulis nobis exempla paravit pictor non imperitus Joh. Sixtus Ringlinus Basil, An. 1648, quæ extant inter effigies nostras.”

Faesch’s account of the sale of the Meyer Madonna runs thus:—

[Sidenote: THE FAESCH MUSEUM]

“An. 163 . . . suprad. pictor Le Blond hic à vidua et hæredibus Lucæ Iselii ad S. Martinum emit tabulam ligneam trium circiter ulnarum Basiliensium tum in altitud. tum longitud. in qua adumbratus prædictus Jac. Meierus Consul ex latere dextra una cum filiis, ex opposito uxor cum filiabus omnes ad vivum depicti ad altare procumbentes, unde habeo exempla filii et filiæ in Belgio à Joh. Ludi pictore ex ipsa tabula depicta. Solvit is Le Blond pro hac tabula 1000 Imperiales, et postea triplo majoris vendidit Mariæ Mediceæ Reginæ Galliæ viduæ Regis Lud. 13 matri, dum in Belgio ageret, ubi et mortua: Quorsum postea pervenerit incertum. Tabula hæc fuit Avi nostri Remigii Feschii Consulis, unde Lucas Iselius eam impetravit pro Legato Regis Galliarum, uti ferebat, et persolvit pro ea Centum Coronatos aureos solares. An. circ. 1606.”

In this paragraph Faesch speaks of Johannes Lüdin as Ludi, but in an earlier one, describing the portrait of Holbein after Hollar which Lüdin sent him, apparently as a new year’s gift, he calls the painter Joh. Lydio.

In an inventory drawn up early in the nineteenth century by the last keeper of the Museum, Johann Rudolf Faesch, the Sarburgh “Prophets” are described as follows:

“13 a 21. Ferners befinden sich in dem Faeschischen Museo noch hienach-folgende Neun Gemählde auf Tuch, welche von Bartholomäus von Saarbrücken nach Holbeinischen Original Gemählden copirt worden sind, solche werden von Patin in dem Eingangs gemeldten Indice also beschrieben:

“‘Prophetæ omnes majores & minores, in novem tabulis bicubitalibus, ita ut binos quævis illarum exhibeat, coloribus aqueis nullo admixto oleo depicti. Has tabulas Bartholomæus Sarbruck, Pictor eximius, in Belgium Basilea detulit, atque hic illarum apographa manu sua depicta reliquit, quæ servantur in Musæo Feschiano.’

“Nach dieser Beschreibung wären also die Originalien mit Wasserfarb, die Copien von Barth. v. Saarbrücken aber, so sich im Faeschischen Museo befinden, sind in Oehl gemahlt. Die sämtl. Propheten sind ganze Figuren u. die Tableaux sind 3 Schuh 1¼ Z. hoch u. 2 S. 3½ Z. breit.”

(F) HANS HOLBEIN AND DR. JOHANN FABRI. (Vol. i. p. 175)

[Sidenote: HOLBEIN AND DR. J. FABRI]

It is very probable that Holbein’s absences from Basel in search of work during his second sojourn in that city (1519-1526) were more frequent than has been generally supposed. It is not to be expected that many records of such journeys should remain, and for this reason the recent discovery, by Dr. Hans Koegler, of such an absence during 1523 is of exceptional interest. His article, describing this discovery, entitled “Hans Holbein d. J. und Dr. Johann Fabri,” was published by him in _Repertorium für Kunstwissenschaft_, vol. xxxv. pts. 4 and 5, (1912), pp. 379-84. Fabri was Vicar-General of Constance, and afterwards Bishop of Vienna, and a friend and correspondent of Erasmus. During the autumn of 1523, at some place not yet identified, but evidently in the neighbourhood of Constance, Holbein and Dr. Fabri became acquainted, or renewed an earlier intercourse, for the Vicar-General made use of him as the bearer of some letter, message of greeting, or gift to Erasmus, and from the latter’s reply in acknowledgment it is to be gathered that the relationships between the painter and the author of _The Praise of Folly_ were very friendly ones. The letter from Erasmus to Fabri, written in November or December 1523, begins:

“Reverendo Domino, Joanni Fabro, Canonico et Vicario Constantien. domino plurimum observando.—Salutem, vir amantissime, ex tua salutatione quam mihi per Olpeium misisti, melius habui. Erat enim accurata, et veniebat ab amico, et per hominem amicum. Spongiarum rursus tria milia sunt excusa, sic visum est Frobenio...,” &c.

In this letter Fabri’s messenger is spoken of as “Olpeius,” and the point for decision is whether this refers to Hans Holbein, or to a second Olpeius occasionally mentioned in the correspondence of Erasmus—one Severinus Olpeius, who acted as letter-carrier for Erasmus more than once, and appears to have been in the employ of the bookseller Koberger of Nuremberg. In one or two of the letters of Erasmus the name “Olpeius” is undoubtedly intended for Holbein, as in the one conveying his thanks to Sir Thomas More for the drawing of the Family Group which More had sent to him by the hands of the painter. In this letter, which is dated from Freiburg, September 1529 (see vol. i. p. 341), Erasmus says:

“Utinam liceat adhuc semel in vita videre amicos mihi charissimos, quos in pictura quam Olpeius exhibuit, utcunque conspexi summa cum animi mei voluptate. Bene vale cum tibi charissimis omnibus.”

[Sidenote: HOLBEIN AND DR. J. FABRI]

Again, in a second letter from Erasmus to Bonifacius Amerbach written from Freiburg on April 10, 1533 (wrongly dated 1535 in the manuscript), first published by Dr. C. Chr. Bernoulli in 1902 (see below, Appendix (J)), the “Olpeius” of whom the sage speaks so severely was almost certainly Holbein. Dr. Koegler brings forward convincing arguments to prove that the artist was also the “Olpeius” of the letter to Dr. Fabri, and that the place of encounter was somewhere in the Lake of Constance district. He also suggests that as Dr. Fabri was connected in his official capacity with the Maria-Wallfahrts Church in Rickenbach, for which Holbein’s earliest known picture, the Virgin and Child of 1514, was painted, and as he was also the personal friend of the orderer of that little work, Canon Johann von Botzheim of Constance, he must have been already acquainted with Holbein. In any case, it seems certain that, thanks to Dr. Kœgler, we have here definite, though scanty, information of one more of the painter’s wanderings in search of work.

(G) THE TRADE-MARK OF REINHOLD WOLFE. (Vol. i. p. 202)

The charming device of boys throwing sticks at an apple tree, which Holbein made for the publisher Reinhold Wolfe, seems to have been familiar to most English schoolboys in the sixteenth and seventeenth centuries, as it was to be found in a Latin Grammar much in use. There is an amusing reference to it in Henry Peacham’s _Compleat Gentleman_ (reprint of the 1634 edition, Clarendon Press, 1906, pp. 126-7). He says:

“Painting is a quality I love (I confesse) and admire in others, because ever naturally from a child, I have beene addicted to the practice hereof: yet when I was young I have beene cruelly beaten by ill and ignorant Schoolemasters, when I have been taking, in white and blacke, the countenance of some one or other (which I could doe at thirteene and foureteene yeeres of age: beside the Mappe of any Towne according to Geometricall proportion, as I did of _Cambridge_ when I was of _Trinity Colledge_, and a Junior Sophister), yet could they never beate it out of me. I remember one Master I had (and yet living not farre from _S. Albanes_) tooke me one time drawing out with my penne that peare-tree and boyes throwing at it, at the end of the Latine Grammar: which hee perceiving, in a rage strooke me with the great end of the rodde, and rent my paper, swearing it was the onely way to teach me to robbe Orchards; beside, that I was placed with him to be made a Scholler and not a Painter, which I was very likely to doe; when I well remember he construed me the beginning of the first _Ode_ in _Horace_, _Edite_, set ye forth, _Maecenas_, the sports, _atavis Regibus_, of our ancient Kings: but leaving my ingenious Master, to our purpose.”

(H) NICOLAS BELLIN OF MODENA. (Vol. i. pp. 282-4)

(i.) _Extract from a Letter from Sir John Wallop, ambassador to France, to Henry VIII, respecting the extradition of “Blanche Rose” from France, and of Nicolas Bellin from England, dated Mantes, 27 September 1540._ (_State Papers_, vol. viii. pt. v. cont., No. dcxxviii., p. 439.)

[Sidenote: NICOLAS BELLIN OF MODENA]

“... Which the Cardynall of Tornon confessed to be true, saying, ‘his (_i.e._ Blanche Rose) mother was Englissh, and duelled in Orleance, and in the Cardynalles tyme of Yorke being brought uppe in England’; and with stayed, saing that the said fellowe shoued hym many other thinges, that he cauled not to remembraunce: and so left that pourposse, and axed me why Your Majestie delivered not Modena, when he was send for, showing me what was the cause why they desired hym so much, being uppon acompte of a houndreth thousand crownes, that the President Jentill had begiled the King, not yet ended. ‘Whye,’ quod I, ‘then, if ye dyd extyme hym so moch, wherfore dyd ye not kipe hym (_i.e._ Blanche Rose), that I demaunded, in prison, till ye had knowledge, what aunswar should be made for the said Modena; whom if ye had extymed, ye would have so doon? but I perceyve,’ quod I, ‘that ye thinke to have a greate personnaige of the said noughty fellowe, who I ensure you to be of as ill qualities as canbe, and his father a poore man; and fourthre ye considre not howe gentelly the King my maister deliverd you of late Adryan Cappes.’”

(ii.) _Extract from a Letter from Sir John Wallop to Henry VIII, referring to the work done at Fontainebleau by Nicolas Bellin, dated Mélun, 17th November 1540._ (_State Papers_, vol. viii. pt. v. cont., No. dcxlii., p. 484.)

“... and from thense browght me into his (_i.e._ Francis I) gallerey, keping the key therof Hym self, like as Your Majestie useth, and so I shewed Hym, wherewith He toke plesur. And after that I had wel behold the said gallerey, me thought it the most magnifique, that ever I sawe, the lenght and bredthe _no man canne better shewe Your Majestie then Modon, who wrought there in the begynnyng of the same_, being at that tyme nothing in the perfection, as it is nowe. The rowff therof ys seeled with walnott tree, and made after an other forme then Your Majestie useth, and wrought with woode of dyvers cullers, as before I have rehersed to Your Majestie, and is partly gilt; the pavement of the same is of woode, being wrought muche after that sort; the said gallerey is seeled rownde abowte, and fynely wrowght three partes of it; _upon the fourthe parte is all antique of such stuff as the said Modon makith Your Majesties Chemenyes_; and betwixt every windowe standes grete anticall personages entier, and in dyvers places of the said gallerey many fayre tables of stories, sett in, very fynely wrowgth, as Lucretia, and other, _as the said Modon can muche better declare the perfytnes of the hole to Your Majestie, then I_. And in the gallerey at St. James the like wold be wel made, for it is bothe highe and large. Yf your pleasure be to have the paterne of this here, I knowe right wel the Frenche King woll gladly geve it me.”

(I) THE MORE FAMILY GROUP. (Vol. i. pp. 291-302)

[Sidenote: THE MORE FAMILY GROUP]

There is a very interesting manuscript book, dated 1859, in the possession of Lord St. Oswald, which contains a descriptive catalogue of the pictures at Nostell Priory, together with “Some brief Notices of the sundry pictures of the Family of Sir Thomas More, Knt., Lord High Chancellor of England, Temp. Henry VIII,” from which, through the courtesy of the owner, the writer is enabled to give some extracts. It was written by Lord St. Oswald’s grandfather, Mr. Charles Winn, whose chief purpose seems to have been to controvert Horace Walpole’s adverse criticism, based on George Vertue’s manuscript notes, of the Nostell picture. Mr. Winn gives a short history and description of the various versions of the Family Group. Speaking of the Nostel Priory version, called throughout his notes the “Roper” picture, he says:

“This picture formerly belonged to William Roper, Esqre., son of William Roper, Esqre., Prothonotary of the Court of King’s Bench, temp. Henry VIII, who married Margaret, the oldest, and favourite daughter of the celebrated Sir Thos. More, Knt., Lord High Chancellor of England; and was painted for him by that renowned artist Hans Holbein in the year 1530, as appears from the monogram and date on the picture. It remained in this family till the death of Edwd. Roper, the last in the direct male line of the Ropers of Well Hall, nr. Eltham, Co. of Kent, and of St. Dunstans, nr. Canterbury; he had only one child, a daughter, who married Charles Henshaw, Esqre., who on her father’s death inherited all his property. The issue of this marriage was three daughters, the eldest of whom married Sir Edward Dering, Bart., of Surrenden Dering in the County of Kent; the second married Col. Strickland of Beverly, in the East Riding of the Co. of York; and the third, Susannah, married my great-grandfather, Sir Roland Winn, Bart., of Nostel, in the West Riding of the Co. of York. Mrs. Strickland died without leaving issue, and on the death of Mr. Henshaw, his two surviving daughters succeeded to his real, as well as personal property. The Holbein picture was valued at £3000, and Sir Edward Dering preferring to have his share in money, my ancestor paid him a moiety of the valuation, and thus became possessed of the picture, which was conveyed to Nostel, where it still remains.”

[Sidenote: THE MORE FAMILY GROUP]

Mr. Winn was of opinion that the version, with life-size figures, painted in distemper, which belonged to Andries de Loo, was not the picture at Nostell, the latter being painted in oil. He considered that the De Loo version was the one formerly at Heron in Essex (afterwards at Thorndon—see vol. i. p. 300), and that it was purchased at De Loo’s death by Giles Heron, who married Sir Thomas More’s second daughter,

Cecilia. Heron Hall was the seat of his family, and the property passed into the possession of the Tyrrell family by the marriage of Sir John Tyrrell with Margaret, daughter and heiress of Sir William Heron, of Heron, Kt. Quoting Walpole’s statement that the Heron picture “having been repainted, it is impossible to judge of its antiquity,” he goes on to say that this “appears to me to go very far in proof of the correctness of the opinion I have hazarded, as to who was the purchaser of the De Loo picture, for it is hardly to be credited that had this (Heron) picture been painted in oil colour it would have become so injured as to require its being repainted to an extent to render it _impossible to judge of its antiquity_.” Mr. Winn thought that Holbein himself must have sold the distemper version to De Loo—though why he should do so it is not easy to imagine, as it is natural to suppose that Sir Thomas More or some member of his family would have retained it—and that the East Hendred picture, in Mr. Winn’s time at Barnborough Hall (see vol. i. p. 300), was the actual work painted by Holbein for the Chancellor, either from the Basel sketch or the De Loo example. It is not likely, he says, that Sir Thomas

“would have allowed the picture in _Distemper_ to be disposed of to De Loo, ‘till he had secured a copy of it. I can hardly therefore entertain a doubt that Sir Thomas _did_ possess one of these large Family pieces, and that the picture at Barnborough Hall is the identical one. John More had this picture conveyed to Barnborough, when he took up his abode there on the death of Mr. Cresacre, his wife’s father.”

The inference is that John More, as head of the family, inherited the version of the Group expressly painted for his father. Mr. Winn says of this picture that it is

“in the _number_ and _arrangement of the persons represented_ a _facsimile_ of the _original sketch_, or drawing, and I deem it far from improbable that it may be the picture which was painted, by Holbein, for Sir Thomas; for although it is now in a very deplorable state, caused by most unpardonable neglect, yet there are parts which shew that the picture, in its original state, was painted by no ‘prentice hand.’ It is now in a low room panelled with oak, and has unfortunately been curtailed, both in width, and depth, to fit it into the panel where it is placed, and this may probably account for the absence of the monogram of the painter, and the date. The present size of the picture is length, ten feet; height, eight feet. The figures represented are the size of life.”

Of the Burford picture (see vol. i. pp. 301-2 and Pl. 76) he says:

“This picture was formerly in the possession of a branch of the More family, who resided at Gobions, or Gubbins, not far from Barnet, in Hertfordshire, for whom I have no doubt it was painted, and probably by Zuccaro, as it bears the date 1593—some of the figures are copied from one of the pictures already alluded to (most likely from that at Barnborough); these are Sir John More, Knt., Sir Thomas More, Knt., John More, Margaret Roper, Cecilia Heron, Elizabeth Dancey, and Anne Cresacre. The other figures (four in number, whose names I have given at page 12) are represented in the costume of the period in which the picture was painted, viz. temp. Eliz. How this picture came into the possession of the Lenthall family is not certain, but the last possessor of it, of that name, told a relative of mine that it had been purchased by their ancestor the Speaker Lenthall, on the sale of Gobions and its contents.”

After pointing out the differences between the Roper picture, the other versions, and the Basel sketch, Mr. Winn concludes by saying:

“There are other differences observable between the Sketch and the Roper picture which though unimportant in themselves, yet when considered in connection with those I have named, do I think afford most satisfactory proof that the Roper picture is _no copy_, but that it is, as Vertue asserts, an _original_ production by _Hans Holbein_.”

It is not possible, however, to follow Mr. Winn in every one of his conclusions, which would necessitate the belief that Holbein himself painted no less than three versions of the Family Group—the one in distemper, which was sold by the artist to De Loo, and afterwards purchased by Giles Heron, now so injured that “it is impossible to judge of its authenticity”; the one in oil painted for Sir Thomas, which remained at Barnborough in the possession of John More and his descendants, and has been cut down and subjected to “unpardonable neglect”; and the Roper picture now at Nostell Priory. It seems almost certain that Holbein had no hand in the painting of the two first, and that they are merely early copies or adaptations from the Nostell picture, though at the same time it should be pointed out that they follow the Basel sketch more closely than the latter, and do not show, as it does, various alterations in the design, such as the introduction of the figure of the secretary Harris. This affords some support to the contention that they are of earlier date, or copied from some earlier version, than the Roper canvas. The Basel sketch would not be available for the purpose, as it was taken with him by Holbein when he left England in 1528. Still, in spite of this, the fact remains that the Nostell Priory version is the only one that has any pretensions to be regarded, even in a small part, as an original work by Holbein, and until further proof is forthcoming it is safest to conclude that

[Sidenote: THE MORE FAMILY GROUP]

Holbein, after making his preliminary studies, began a large canvas which for some unknown reason was left by him in a very incomplete state, and that Sir Thomas More had it finished by some other hand in 1530, and that this picture was the one which came into De Loo’s possession, and is now at Nostell Priory.

One other point remains to be touched upon. Mr. Winn asserts that in Vertue’s opinion the Roper picture is an original work by Holbein, and he quotes in support of this statement from a manuscript by Vertue in his possession which he bought at the Walpole sale. He gives several extracts from it, among them the following, upon which, apparently, he bases his contention:

“But the original painting by Holbein of this family (More) has long been preserved by the family of Roper at Eltham in Kent, and was till of late years there to be seen, but of late at Greenwich in the King’s House in the Park inhabited by Sir John Jennings, the family of Roper having desired leave to place it there till their house at Eltham was rebuilt.”

There is, however, a second account of this picture by Vertue in his diaries preserved in the British Museum (Add. MSS. 25071, f. 4), first published by Mr. Lionel Cust in the _Burlington Magazine_, October 1912, pp. 43-4; and in this memorandum, in which the picture is described in greater detail, there is no suggestion made that it is an original work. Mr. Winn’s manuscript appears to be rather earlier in date. In it Vertue speaks of his examination as having been made at Greenwich (“I compared the first sketch and the large picture together at Greenwich”—the “first sketch” he speaks of being Caroline Patin’s engraving of the Basel drawing), but in the British Museum memorandum he states that he examined it, at the request of the Earl of Oxford, after it had been removed from Greenwich to Sir Roland Winn’s house in Soho Square, when he “in a more particular manner observd that the picture differs from the others, this seeming to be the most compleated.” He goes on to say:

“First that design at Basil, presented to Erasmus by Sr. Th. More, I conceive to be the first sketch on lines on a sheet of paper, or Holbein’s first draught, and in this large painting of the Family containd the picture of Sir John Mores wife, a young Lady to whom he was then lately married (and there is left out Margaret Giggs) as in the design of the first, she only being a companion to his daughters and a favorite of Mrs. More Sr. Thomas Lady. Then there is also another person comeing in the room with srole in his hand—whose name is ... Harisius ... famulus, and behind a person setting reading on a desk—at bottom are _two dogs_ favorites, probably put in afterwards by another hand.... There really does not appear to be that certainty of drawing, strength of colouring, as in many other pictures of Holben. Therefore in the oppinion of several judges & professors of painting it is doubtfull.”

He goes on to say:

“Upon another review of the Family peice of Sr. Thomas More—I observe that the light & shade of the persons represented are various, which is not consistent to nature nor practice in the art of painting, for as it is a view of this Family represented at once, the light ought to proceed from one point throughout the whole picture, which it doth not but some of the figures there represented, the light proceeds from the right side and others from the left side. And the light on the face of Sr. Thomas proceeds from the left and his father Sr. John is from the right. And also the Lady of Sr. Tho. the light on her face proceeds from the left so in several there is a disagrement of light and shade.”

Vertue’s explanation of the painting of the picture is that Holbein, after taking various portraits of members of the More family, drew, at Sir Thomas’s request, a design for a big Family Group, but that before a start could be made on the picture by the artist Henry VIII paid a visit to Chelsea, and was at once so captivated by the examples of Holbein’s art which he saw there that he carried the painter off to Court at once, and gave him so much to do that More’s commission had to be abandoned. Sir Thomas, therefore, “after 1530” employed someone else to paint the picture from the original design and the finished family portraits, “perhaps, and not unlikely, some scholar of Holbein’s with his knowledge and consent,” this pupil “so forwarding it with as much skill as he was able ready for Holbein to go over again and review and finish it.” This would be a matter of time, and during the progress of the work several alterations and additions were made, such as the introduction of the figure of Harris, which figure, in Vertue’s opinion, showed “most visible difference in painting and drawing,” so that it could not be copied from any painting by Holbein, but was the original work of the assistant, who in this “ventured to show all his skill with full liberty.” In conclusion he remarks that “Raphael made many designs in small which were executed in large by his scholars, some before his death and some after,” and suggests that Holbein made the design for this Family Group with the same intention—“Especially as it may be observd none of these faces, hands coppyd from Holben’s painted pictures are not labouriously finishd, but left broad and light, fitly disposed to receive any improvments by Holbens hand—when, on the contrary, all the still life in the picture, the jewells, ornaments, gold are highly finished.”

[Sidenote: THE MORE FAMILY GROUP]

Since the Nostell Priory picture was photographed, thanks to the kindness of Lord St. Oswald, for the purposes of this book, it has undergone a thorough and very careful cleaning, with the result that many details, previously almost obscured, can now be seen quite clearly, while the general effect of the work as a whole has been greatly enhanced. As noted in the text (see vol. i. pp. 295-6), the chief points in which this picture differs from the Basel sketch is in the change of position in the figures of Elizabeth Dancey and Margaret Gigs, and the introduction of John Harris. Elizabeth Dancey, who now stands next to Sir John More, is in exactly the same position and dress as in the sketch, whereas Margaret Gigs, who now forms the outer figure of the group on the left, is wearing a plain white head-dress, as in the preliminary study at Windsor, in place of the angular hood with black fall of the sketch; and she now stands upright, instead of stooping, with her right hand resting on the book, indicating a passage with her forefinger. The secretary, John Harris, on the opposite side of the picture, has been brought from within the inner room, in which he was indicated with another person in the sketch, and now leans against one of the posts of the “porch” within the larger chamber, having a roll with seals in his right hand; while his companion is shown standing at the distant window, his back to the spectator, reading a book he holds in both hands. The cleaning of the picture has made clear the details of the furniture and various objects placed about the room. The chief changes in these have been already noted. The most important occurs in connection with the large fitting or buffet on the left, which in the sketch appears as a sideboard reaching to the ceiling, with panels of linen-work surmounted by a carved canopy. In the picture this has been changed to a more simple fitting or table, such as is shown in “The Two Ambassadors,” covered with a Turkish cloth or carpet, the lower part of which forms a cupboard, with a bottle and glass visible through one of the open doors. Upon this, some of the plate, including the dish and the jug with the cloth over it, have been retained, but pushed into the background, with the two musical instruments placed in front of them, while to the single vase with flowers another has been added. One of these holds lilies and carnations, and the other iris and columbines, while the window-ledge on the extreme right, behind Lady More, has now a large vase with flowers, instead of the jug, book, and flickering candle. The clock is seen to be an astronomical one.

In the foreground, where rushes are roughly indicated, the small footstool and the scattered books have been removed, their place being taken by the two feebly-painted dogs. Happily, during the recent cleaning, the larger and more painful of these has been carefully removed, to the very great advantage of the picture. Finally, Lady More no longer kneels at a _prie-dieu_, but is seated, and the chained monkey, instead of scrambling against her skirts, is placed on its perch at her feet, looking at the spectator. The name and age of each sitter is written over the head or across the dress, the one over Margaret Gigs being in a different style of lettering from the others. This last-named is merely “Uxor Johannes Clements,” whereas in the East Hendred version, which seems to have been based more directly on the original design than that at Nostell Priory, it is “Margareta Giga Mori Filiabus condiscipula et cognata, A^o 22.” This has been taken to indicate that the East Hendred picture was painted first, before the lady married John Clements.

THE PORTRAIT OF SIR THOMAS MORE. (Vol. i. pp. 303-4)

This celebrated portrait, which has been in the possession of the Huth family for so many years, is no longer in England. It was purchased last year (1912) by Messrs. Knoedler, of Old Bond Street, London, and is now in the collection of Mr. H. C. Frick, of New York. It is deeply to be regretted that this fine example of Holbein’s art, and one of such great historical importance, has not found a final resting-place in the National Gallery. According to report, the purchase price was £50,000.

(J) HOLBEIN’S RETURN TO ENGLAND IN 1532. (Vol. i. p. 352)

[Sidenote: LORD ARUNDEL AND REMBRANDT]

A letter from Erasmus to Bonifacius Amerbach, preserved among the Basel manuscripts, appears to have reference to Holbein’s second journey to England, and at the same time to show that the relationships between the philosopher and the painter were not, at that period at least, entirely amicable ones. This letter, already referred to in Appendix (F), was first published by Dr. C. Chr. Bernoulli in the Basel _Nachrichten_, No. 296, 1902, and is dated Freiburg, 10th April 1535, but the year-date, it is stated, is wrong, and should be 1533. The exact meaning of the letter is not quite clear, but in it Erasmus complains somewhat bitterly of foolish behaviour and needless delay of more than a month in Antwerp on the part of “Olpeius,” and of reprehensible conduct on his part towards certain people in England to whom Erasmus had given him letters of introduction. It seems almost certain that in the “Olpeius” of this letter Holbein is intended. The long stay in Antwerp of which Erasmus complains must have been in 1532, and apparently it was not until the following spring that he heard of it, after receiving letters of complaint about the painter from one or more of his English correspondents. There is nothing in the letter to indicate in what way Holbein deceived these unnamed friends of Erasmus. The original text of the letter is as follows:

“Subornant te patronum, cui uni sciunt me nihil posse negare. Sic Olpeius per te extorsit litteras in Angliam. At is resedit Antuerpiæ supra mensem, diutius mansurus, si invenisset fatuos. In Anglia decepit eos, quibus fuerat commendatus.”

(K) LORD ARUNDEL AND REMBRANDT AS COLLECTORS OF HOLBEIN’S PICTURES. (Vol. ii. p. 66)

Several important pictures by Holbein appear to have been in the Netherlands during the seventeenth century, and the Earl of Arundel, through his friends and agents, made serious efforts to add them to his collection, though in some instances the price asked was too high for him. In this search for examples of Holbein’s art he received considerable assistance from Sir Dudley Carleton, English minister at the Hague, to whom the Earl wrote, on 17th September 1619: “I hear likewise, by many ways how careful your lordship is to satisfy my foolish curiosity in inquiring for the pieces of Holbein.” Two years later, as already noted (see vol. i. p. 241), Carleton was endeavouring to obtain for him a picture by Holbein which may have been the Meyer Madonna; and in 1628 another fruitless attempt was made to purchase the portrait of Morette (see Vol. ii. p. 65-66). Again, on 25th April 1629, the Earl wrote to Sir Henry Vane respecting “a book of Holbein.” In the course of this letter he says:

“I must likewise give you very many thanks for your care concerning Bloome’s (Bloemaert’s) painting and book of Holbein, and the King protests against any meddling with it, at 600_l._, which he says cost him but 200_l._ For the drawings I hoped to have had them for 30_l._, but rather than fail, as I told you, I would go to 50_l._, but never think of 100_l._, nor 50_l._ offered without sure to have it; if he would let it come, upon security to send it back, I should be glad, if not, let it rest.”

[Sidenote: SIR NICHOLAS POYNTZ]

What this book was it is now impossible to say, but it cannot have been the one containing the Windsor drawings, which came to the Arundel Collection from the Earl of Pembroke at about this time (see Sainsbury’s _Original Unpublished Papers_, &c., 1859, Nos. 44, 53, 55, and 57 in Appendix). It may have been the little book of twenty-two designs of the Passion of Christ which Lord Arundel showed to Sandrart (see Vol. ii. p. 77).

Another seventeenth-century collector of pictures, the great painter Rembrandt, was an admirer of Holbein’s work, and at the end of his life, when his fine collection had been sold and scattered for the benefit of his creditors, and his monetary troubles were thick upon him, we find him, nevertheless, offering the large sum of one thousand gulden for some picture by the master. The document referring to this offer, dated 15th October 1666, three years before Rembrandt died, is quoted by Dr. Bode in his _Complete Works of Rembrandt_, 1906, vol. viii. pp. 296-7. It is a letter written by Anna de Witt, of Dordrecht, in the course of which she says: “Whereas the picture is by one of the greatest painters of his time, Holbein, who also painted the picture of their ancestor; for this Rembrandt offered 1000 gulden.” This ancestor was Willem Schijverts van Merode, and the picture appears to have been a votive one, in which he was represented as the kneeling donor. Dr. Bode, however, suggests that in all probability the picture which Rembrandt was said to be so anxious to possess was not by Holbein at all.

THE PORTRAITS OF SIR NICHOLAS POYNTZ. (Vol. ii. p. 71-72)

Holbein’s original painting of Sir Nicholas Poyntz, from which various copies were made, appears to be the picture in the collection of the Earl of Harrowby, at Sandon Hall, Stafford. This picture is in close agreement with the one described by Woltmann, which was exhibited in Paris, at the Exposition du Palais Bourbon, in 1874, by the Marquis de la Rosière, and photographed on that occasion by Braun, but has since disappeared. Lord Harrowby’s picture, which bears the same inscription and three-line motto in French as the examples mentioned in the text, is a good and undoubtedly genuine work.

(L) HOLBEIN’S VISIT TO JOINVILLE AND NANCY IN 1538. (Vol. ii. p. 148-149)

[Sidenote: VISIT TO JOINVILLE]

_Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter Marie, Queen of Scotland, respecting the visit of Hoby and Holbein to Joinville, dated 1st September (1538)._ _Balcarres MSS._, _Advocates’ Library_, _Edinburgh_, vol. ii., No. 20.

(_Kindly transcribed by Mr. James Melville_)

“A la royne descosse.

“Madame Rouvray a este ycy quelque tans pour meyder a pourvoir aus affaire de vous et de vostre filz ou fesons le myeux que povons Depuis que vous ay escrit par vostre argentier franceis ny a ryens change fors la mort du bailly de Dunoys Son filz a eu sa place du grant conseil et pourchast fort pour avoir le dit baillyage Mons. vostre pere men a escrit affin je lavertyse comme il en pouret faire Mon avys a este en escrire au presydent a Chateaudum affin quil luy manda son avys et sy le dit filz estet capable pour lestre ou syl en connest aultre pleus propre Je luy ay mende ansy que je ne connests le dit filz mais que javes fort oŭy louer lavocat de Chateaudum savent et de bon conseil et quyl conet pourpos Je _retires_ (?) ailleurs qui seret gros daumage pour la meson et que se pouret arestet par sete offyce de bailly penses seret le proufit du lieu et des juges veu quy ly est resydent et le filz du trespase nen et que laustre partission que lon recommendet pour mestre au servyce de la meson que lon dit ausy homme de bien et de savoir et demeurant a Chateaudum fut avocat set ung pour quy le presydent vous parllet mais jen ay houblie le non Je ne ses encore quyl en ara este feit ledit Rouvray sen retourne paser par Paris quy sara se quy ara este feit et vous escrira de tout bien au long Sy croie il ne vous sara dire chose quy vous soit plus agreable que la sente de nostre petit filz quy est ausy bonne que ly foystes onques touiours bien rongneus mais il nen leyse a bien dormyr combien que quelquefois il vouldret estre grate mais cella se pase legerement et sy menge fort bien lon le mayne souvent a lesbat quy me senble ly fait grant bien Je le vous souhete souvent il me senble le trouvariez creu et devenu gros quant au reste de nostre menage vostre seur y est touiours mallade de sa fievre et a este sete semayne pasee bien mal dung fleux de ventre quy la fort afeyblie il y a bien huit jours puis elle bouge pleus du lyst depuis hier le dit flux se comense a paser de la fievre je ny seu pas grant amendement combien les mesdesins soyet davys elle sabregera pour se fleux vostre frere Claude a este ausy mallade jusques a la mort dung fleux de sanc avesques la fievre continue dont il lest renchent par deus fois et estant en chemyn pour revenyr ycy ou Mons. son pere le renvoyet a cuyde demeurer pres daultun ou il est encore Je luy ay envoye ma litiere pour lamener lon ma mande il est en tout hors de denger et prest a senvenyr Vostre seur Anthoinette est ausy mallade dune fievre et dung rume sy croie elle se portera bien les aultres se portet bien Je vous avyse que madame vostre tante est mandee pour aller a la court a la venue de la royne de Hongrie quy doit bientost estre a Compiegne ou le roy et toute la court doit estre en pen de jours de moy jen seus _escupee_ pour lamour de mes mallades _il ny a que deus jours que le gentilhomme du roy dengletere quy fut au Havre et le paintre ont este ycy le gentilhomme vynt vers moy fesent senblant venyr de devers lenpereur et que ayent seu Louisse mallade navet voullu paser sens lavoir affin en savoir dire des nouvelles au roy son mestre me priant il la puisse voir se quy fit et estet le jour de sa fievre il luy tint pareil pourpos qua moy puys ma dit questant sy pres de Lorrayne avet envye daller jusques a Nency voir le paiys Je me doute incontynent il y allet voir la demoyselle pour la tirer comme les aultres et pour se envoye a leur logis voir quy y estet et trouve le dit paintre y estet et de fait ont este a Nency et y ont seiourne ung jour et ont este fort festus et venet tous les repas le mestre dostel menger avesques luy avesque force presans et bien trestes Volla se que jen ay encore seu au pis alle sy navyes pour voysine vostre seur se pouret estre vostre cousine_ il se tient quelque pourpos lenpereur offre reconpence pour la duche de Gueldres et que se fesant se pouret faire quelque mariage de la fille de Hongrie et de Mons. le marquys Mons. vostre pere entent bien se fesant avoir sa part en la dite recompence Je vouldreis il en fusset bien recompenses voila tout se que jay seu de nouveau depuis vous escryvys Je vous mes tant de lettres a laventure que croy quelcune vous en pouront venyr Je baille seus ycy a Rouvray pour les bailler au bausquyer de Paris affin les vous faire tenyr Je me doute que ne feres sy bonne diligence den mestre par pays que moy car je ses bien que tenes de Mons. vostre pere et questes pareseuse a escrire sy lair descosse ne vous a change Je nay encore eu que vos premyeres lettres il me tarde bien savoir comme depuis vous seres portee Il me sera grant joye pover oŭyr se set touiours bien Nostre Seigneur le veuille, et vous doint Madame longue et bonne vie (set) se premyer de Sebtenbre de

vostre humble et bonne mere

ANTHOINETTE DE BOURBON

(M) HOLBEIN’S STUDIO IN WHITEHALL. (Vol. ii. p. 185)

[Sidenote: HOLBEIN IN WHITEHALL]

It was probably in Holbein’s painting-room in Whitehall that the incident occurred which set going the story told by Van Mander—a story for which, no doubt, there was some foundation in truth—of Holbein’s violence towards a nobleman who insisted upon forcing his way into the studio when the artist was engaged upon the portrait of a lady, and who was, in consequence, thrown downstairs by the infuriated painter. This story Walpole tells as follows:

The writers of his life relate a story, which Vermander, his first biographer, affirms came from Dr. Isely of Basil and from Amerbach.... The story is, that one day as Holbein was privately drawing some lady’s picture for the king, a great lord forced himself into the chamber. Holbein threw him downstairs; the peer cried out; Holbein bolted himself in, escaped over the top of the house, and running directly to the king, fell on his knees, and besought his Majesty to pardon him, without declaring the offence. The king promised to forgive him if he would tell the truth; but soon began to repent, saying he should not easily overlook such insults, and bade him wait in the apartment till he had learned more of the matter. Immediately arrived the lord with his complaint, but sinking the provocation. At first the monarch heard the story with temper, but broke out, reproaching the nobleman with his want of truth, and adding, ‘You have not to do with Holbein, but with me; I tell you, of seven peasants I can make as many lords, but not one Holbein—begone, and remember, that if ever you pretend to revenge yourself, I shall look on any injury offered to the painter as done to myself.’ Henry’s behaviour is certainly the most probable part of the story.” (See Walpole, _Anecdotes_, &c., ed. Wornum, vol. i. pp. 71-2.)

Wornum gives a more elaborate account of the adventure (_Holbein_, pp. 319-20), and it is also introduced by Richard Lovelace into his poem called “Peinture: a Panegyrick to the Best Picture of Friendship, Mr. Pet. Lilly” (Sir Peter Lely), included in _Lucasta_, first published in 1649. The lines are as follows:

“When to our huffling Henry there complain’d A grieved earl, that thought his honor stain’d: Away (frown’d he), for your own safeties hast! In one cheap hour ten coronets I’l cast: But Holbeen’s noble and prodigious worth Onely the pangs of an whole age brings forth. Henry! a word so princely saving said, It might new raise the ruins thou hast made.” (See _Lucasta_, ed. W. Carew Hazlitt, 1864, pp. 225-6.)

Another seventeenth-century poet who makes reference to Holbein—in this instance it is the Dance of Death which is in question—is Matthew Prior, who, in his _Ode to the Memory of George Villiers_, says:

“Our term of life depends not on our deed, Before our birth our funeral was decreed; Nor aw’d by foresight, nor misled by chance, Imperious Death directs the ebon lance, Peoples great Henry’s tombs, and leads up Holbein’s Dance.”

[Sidenote: BARBER-SURGEONS’ PICTURE]

It has been suggested that Holbein’s painting-room at Whitehall was over the so-called Holbein Gate. Numerous engravings of this gate were made in the seventeenth and eighteenth centuries, and reproductions of several of these will be found in _Whitehall: Historical and Architectural Notes_ (Portfolio Monograph), by W. J. Loftie, F.S.A., 1895, and in _The Old Royal Palace of Whitehall_, by Dr. Edgar Sheppard, 1901. Mr. Loftie reproduces an engraving of Whitehall showing the Gate after a drawing by Hollar in the Pepysian Library, Cambridge; the “Banqueting Hall, Holbein’s Gate, and Treasury,” from the engraving by J. Silvestre, 1640; “Whitehall in 1724,” from the engraving by J. Kip; “Holbein’s Gate,” from an engraving by G. Vertue, 1725; and “Whitehall, from King Street,” from an engraving by R. Godfrey, 1775, after a drawing by T. Sandby, R.A. Dr. Sheppard reproduces the engraving after Hollar, and the Kip and Vertue engravings, and also “Whitehall,” from a picture by Canaletto in the possession of the Duke of Buccleuch; and “A View of Whitehall with the Holbein Gateway,” from a drawing by Paul Sandby in the possession of Mr. E. Gardner.

THE BARBER-SURGEONS’ PICTURE. (Vol. ii. p. 294)

A further proof of the high value placed upon this picture by the Company in earlier days is to be found in John Strype’s additions to John Stow’s _Survey of the Cities of London and Westminster_, in the folio edition published in 1720. He says (Book iii. p. 128), in speaking of “Barber-Chirurgeons’ Hall”:—“In this Hall also is a large and very curious Piece of K. Henry VIII reaching the Chirurgeons their Charter; with many other Persons of the said Company delineated. It is said to be done by _Hans Holben_; and some say, as many Broad Pieces have been offered for the purchase of it as would cover it.”

SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS

(_Alphabetically arranged under the various countries_)

The following list of Holbein’s pictures and portraits in public and private collections in England and abroad consists merely of the title of each work, the date whenever known, and the number in Woltmann’s list, together with a reference to the page or pages and the plates in the present book in which the particular picture is described or reproduced. Holbein’s very numerous drawings, studies, and designs are not included. For these the reader must be referred to the second volume of Dr. Woltmann’s book, and, more particularly, to the important publication, now in course of issue, under the editorship of Dr. Paul Ganz, which is to include a facsimile reproduction of every one of the master’s drawings. Nor does this list include Holbein’s woodcuts and book illustrations, for which the student is referred to Woltmann, Passavant, Butsch, and others.

AMERICA

BOSTON: COLLECTION OF MRS. GARDNER

Portrait of Sir William Butts, 1542-3.

Portrait of Lady Butts, 1542-3.

Until recently in the possession of the Pole-Carew family. W. 204, 205. See Vol. ii. p. 209-210.

NEW YORK: METROPOLITAN MUSEUM

Portrait of Benedikt von Hertenstein, 1517.

See vol. i. pp. 72-4, Pl. 24. Not in Woltmann.

Portrait of Erasmus.

Recently purchased by the late Mr. J. Pierpont Morgan from the Howard of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann.

NEW YORK: COLLECTION OF MR. BENJAMIN ALTMAN

Portrait of a Lady, probably Margaret Wyat, Lady Lee.

Until recently in the collection of Major Charles Palmer, Windsor. See Vol. ii. p. 82-83; Pl. 15, vol. ii. Not in Woltmann.

NEW YORK: COLLECTION OF MR. H. C. FRICK

Portrait of Sir Thomas More, 1527.

Until recently in the possession of Mr. Edward Huth. See vol. i. pp. 303-4, and Vol. ii. p. 340. W. 207.

NEW YORK: COLLECTION OF THE LATE MR. J. PIERPONT MORGAN

Portrait of Mrs. Pemberton.

Miniature. See Vol. ii. p. 228-289; Pl. 33, vol. ii. Not in Woltmann.

Portrait of Henry VIII.

Miniature. See Vol. ii. p. 235-236. W. 157.

Portrait of Sir Thomas More.

Miniature. See vol. i. pp. 306-7. Not in Woltmann.

Portrait of Thomas Cromwell.

Miniature. See Vol. ii. p. 231-232; Pl. 31, vol. ii. Not in Woltmann.

NEW YORK: COLLECTION OF MR. W. C. VANDERBILT

Portrait of Lady Guldeford.

Formerly in the collection of Mr. T. Frewen. See vol. i. pp. 320-1. W. 206.

Portrait of Lady Rich.

Now in an American collection. Until recently in the collection of Captain H. R. Moseley, Buildwas Park, Shropshire. See Vol. ii. p. 212. W. 128.

CANADA: COLLECTION OF MR. JAMES H. DUNN

Portrait of Queen Catherine Howard, 1540-41.

See Vol. ii. p. 194-196. Not in Woltmann.

AUSTRIA-HUNGARY

PRAGUE: RUDOLPHINUM

Portrait of Lady Elizabeth Vaux.

Badly damaged, but possibly an original. See Vol. ii. p. 86-87. W. 243.

VIENNA: IMPERIAL GALLERY

Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533.

See Vol. ii. p. 20-21; Pl. 4, vol. ii. W. 251.

Portraits of an Official of the Court of Henry VIII, and his Wife, 1534.

Two small roundels. See Vol. ii. p. 70-71. W. 256, 257.

Portrait of Queen Jane Seymour, 1536.

Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii. pp. 111-2; Pl. 20, vol. ii. W. 252.

Portrait of a Young Man, aged 28, 1541.

See Vol. ii. p. 202-203; Pl. 27, vol. ii. W. 254.

Portrait of Dr. John Chamber, 1541-3.

See Vol. ii. p. 208-209; Pl. 30, vol. ii. W. 255.

Portrait of an Unknown English Lady.

See Vol. ii. p. 207; Pl. 29, vol. ii. W. 253.

VIENNA: COLLECTION OF COUNT LANCKORONSKI

Portrait of an Unknown English Lady.

See Vol. ii. p. 211-212. W. 260.

VIENNA: COLLECTION OF COUNT SCHÖNBORN

Portrait of a Member of the Wedigh Family of Cologne, and of the London Steelyard, 1532.

See Vol. ii. p. 15-16. W. 262.

BELGIUM

BRUSSELS: COLLECTION OF FRAU L. GOLDSCHMIDT-PRZIBRAM

Portrait of a Young Man holding a Carnation, 1533.

See Vol. ii. p. 57. W. 261.

BRITISH ISLES

LONDON: NATIONAL GALLERY

The Two Ambassadors: Jean de Dinteville and George de Selve, 1533.

See vol. ii. chap. xvii.; Pl. 9, vol. ii. W. 215.

Portrait of the Duchess of Milan, 1538.

See vol. ii. chap. xx.; Pl. 21, vol. ii. W. 2.

HAMPTON COURT PALACE

Portrait of John Reskimer of Cornwall.

See vol. i. pp. 333-4. W. 162.

Christ appearing to Mary Magdalen (“Noli Me Tangere”).

See vol. i. pp. 95-8, Pl. 32. Not in Woltmann.

Portrait of Johann Froben, printer of Basel.

Probably only a good old copy. See Vol. ii. p. 183-184. Not in Woltmann.

Portrait of Lady Elizabeth Vaux.

Probably only a good old copy. See Vol. ii. p. 86-87. W. 163.

WINDSOR CASTLE

Portrait of Sir Henry Guldeford, 1527.

See vol. i. pp. 317-20; Pl. 80. W. 264.

Portrait of Hans of Antwerp, 1532.

See Vol. ii. p. 8-14; Pl. 2, vol. ii. W. 265.

Portrait of Derich Born of Cologne, and of the London Steelyard, 1533.

See Vol. ii. p. 18-20; Pl. 4, vol. ii. W. 266.

Portrait of Thomas Howard, Duke of Norfolk, about 1538-9.

See Vol. ii. p. 197-199; Pl. 25, vol. ii. W. 267.

Portrait of Henry Brandon.

Miniature. Date doubtful. See Vol. ii. p. 223-226; Pl. 31, vol. ii. W. 268.

Portrait of Charles Brandon, 1541.

Miniature. See Vol. ii. p. 223-226; Pl. 31, vol. ii. W. 269.

Portrait of Lady Audley.

Miniature. See Vol. ii. p. 222-223; Pl. 31, vol. ii. W. 270.

Portrait of Queen Catherine Howard.

Miniature. See Vol. ii. p. 192-193; Pl. 31, vol. ii. W. 271.

King Solomon and the Queen of Sheba.

Miniature painting in grisaille, touched with colour and gold. See vol. ii. pp. 262-3; Pl. 40, vol. ii. W. 272.

VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON: SALTING COLLECTION

Portrait of Hans of Antwerp.

Small roundel. See Vol. ii. p. 14. Not in Woltmann.

Portrait of Anne of Cleves.

Miniature. See Vol. ii. p. 181-182, and 236. W. 158.

NATIONAL GALLERY OF IRELAND, DUBLIN

Portrait of Sir Henry Wyat.

Replica of the portrait in the Louvre, Paris. See vol. i. p. 335. Not in Woltmann.

LAMBETH PALACE

Portrait of William Warham, Archbishop of Canterbury, 1527.

See vol. i. pp. 322-3. W. 208.

WALLACE COLLECTION, HERTFORD HOUSE

Self-Portrait of Hans Holbein, 1543.

Miniature. See Vol. ii. p. 230; Pl. 33, vol. ii. See Woltmann, vol. ii. pp. 167-8.

BARBER-SURGEONS’ HALL, LONDON

Henry VIII granting a Charter of Incorporation to the Barber-Surgeons, 1543.

See Vol. ii. p. 289-244; Pl. 94, vol. ii. W. 202.

DUKE OF BEDFORD, K.G., WOBURN ABBEY

Portrait of Sir John Russell, afterwards Earl of Bedford.

Attributed to Holbein. W. 358.

Portrait of Queen Jane Seymour.

Old copy. See Vol. ii. p. 112. BERLIN, KAISER FRIEDRICH MUSEUM DUKE OF BUCCLEUCH, K.G., K.T., DALKEITH HOUSE

Portrait of Sir Nicholas Carew.

See Vol. ii. p. 88-89. W. 142.

Portrait of Queen Catherine Howard.

Miniature. See Vol. ii. p. 193-194. Not in Woltmann.

Other fine miniatures of Sir Thomas More, George Nevill, Lord Abergavenny, Self-portrait of Holbein, 1543, Jane Seymour, Henry VIII, &c., attributed to Holbein.

See vol. ii. chap. xxv. BERLIN, KAISER FRIEDRICH MUSEUM MR. AYERST H. BUTTERY, LONDON

Portrait of an Unknown English Lady.

Formerly in the possession of the Bodenham family. See vol. i. Postscript to Chapter xiv. and Pl. 95.

EARL OF CALEDON, TYTTENHANGER PARK

Portrait of Thomas Cromwell, 1532-34.

See Vol. ii. p. 58-61. W. 249.

DUKE OF DEVONSHIRE, G.C.V.O., CHATSWORTH

Henry VII and Henry VIII.

Cartoon for the left-hand half of the Whitehall Wall-painting. Until recently at Hardwick Hall. See Vol. ii. p. 97-99; Pl. 18, vol. ii. W. 167.

MISS GUEST, OF INWOOD

Portrait of Sir Bryan Tuke.

Formerly in the Collection of the Duke of Westminster. See vol. i. pp. 331-3. W. 213.

According to report, this picture is no longer in Miss Guest’s possession, having been sold during the present year (1913).

LORD LECONFIELD, PETWORTH

Portrait of Derich Berck of Cologne, and of the London Steelyard, 1536.

See Vol. ii. p. 22-23; Pl. 5, vol. ii. W. 241.

MR. HAMON LE STRANGE

Portrait of Sir Thomas le Strange, 1536.

See Vol. ii. p. 85-86. Not in Woltmann.

DUKE OF NORTHUMBERLAND, K.G., SYON HOUSE

Portrait of Edward, Prince of Wales.

Attributed to Holbein. See Vol. ii. p. 166. W. 246.

MESSRS. PARKENTHORPE, LONDON

The More Family Group.

The Burford version, recently in the possession of Sir Hugh P. Lane. Copy, with later additions, of the original painting. See vol. i. pp. 301-2; Pl. 76.

EARL OF RADNOR, LONGFORD CASTLE

Portrait of Erasmus, 1523.

See vol. i. pp. 169-71; Pl. 54. W. 214.

SIR JOHN RAMSDEN, BT., BULSTRODE PARK

Portrait of a Musician.

Formerly regarded as a portrait of Sir Nicholas Vaux. Considered by Dr. Ganz to represent Jean de Dinteville. See Vol. ii. p. 52-53; Pl. 10, vol. ii. Not in Woltmann.

LORD SACKVILLE, KNOLE PARK

Portrait of Margaret Roper.

Inscribed “Queen Cathrine.” Old copy of a lost original by Holbein, or of the figure in the More Family Group. See vol. i. pp. 308-9.

Portrait of Queen Jane Seymour.

Good old copy of the portrait in Vienna. See vol. i. p. 112.

LORD ST. OSWALD, NOSTELL PRIORY

The More Family Group, 1527-30.

This picture, among the various existing versions of the More Family Group, has the greatest claims to be regarded, at least in parts, as the original work by Holbein. See vol. i. pp. 295-8; and vol. ii, pp. 334-40; Pl. 75.

EARL SPENCER, G.P.V.O., ALTHORP PARK

Portrait of Henry VIII, about 1537.

See Vol. ii. p. 107-109; frontispiece, vol. ii. W. 1.

Portrait of Hans of Antwerp (?)

Small roundel. Attributed to Holbein. See Vol. ii. p. 14-15. Not in Woltmann.

MR. VERNON WATNEY

Portrait of an English Lady.

Miniature. Said to represent Queen Jane Seymour. See Vol. ii. p. 237. Not in Woltmann.

EARL OF YARBOROUGH

Portrait of Edward, Prince of Wales.

Fine old copy of the portrait at Hanover. See Vol. ii. p. 165; Pl. 22, vol. ii.

FRANCE

PARIS, THE LOUVRE

Portrait of Erasmus, 1523.

See vol. i. pp. 172-3; Pl. 56. W. 224.

Portrait of William Warham, Archbishop of Canterbury, 1527.

See vol. i. p. 322; Pl. 83. W. 225.

Portrait of Niklaus Kratzer, the Astronomer, 1528.

See vol. i. pp. 327-30; Pl. 86. W. 226.

Portrait of Sir Henry Wyat, 1527-28.

See vol. i. pp. 335-6; Pl. 88. W. 227.

Portrait of Anne of Cleves, 1539.

See Vol. ii. p. 181-182; Pl. 24, vol. ii. W. 228.

Portrait of Sir Richard Southwell, 1536.

Attributed to Holbein, but probably only a fine old copy. See vol. ii. p. 85. Not in Woltmann.

F. ENGEL-GROS COLLECTION, CHÂTEAU DE RIPAILLE, THONON, SAVOY

Portrait of a Man wearing the livery of Henry VIII.

Small roundel. See Vol. ii. p. 71. Not in Woltmann.

GERMANY

BERLIN, KAISER FRIEDRICH MUSEUM

Portrait of Georg Gisze, member of the London Steelyard, 1532.

See Vol. ii. p. 4-8; Pl. i. vol. ii. W. 115.

Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London Steelyard, 1533.

See Vol. ii. p. 16-17; Pl. 3, vol. ii. W. 116.

Portrait of an Unknown Man, aged 37, 1541.

Possibly a Member of the Dutch family of Vos van Steenwyck. See vol. ii. p. 202. W. 117.

Portrait of an Unknown Man, aged 54.

Formerly in the Collection of Sir J. E. Millais, Bt. See Vol. ii. p. 205-206; Pl. 29, vol. ii. W. 211.

BRUNSWICK, ROYAL MUSEUM

Portrait of Cyriacus Fallen, member of the London Steelyard, 1533.

See Vol. ii. p. 22. W. 126.

DARMSTADT, GRAND-DUCAL PALACE

The Madonna and Child with the Family of Jakob Meyer, Burgomaster of Basel, about 1526.

Commonly known as the Meyer Madonna. See vol. i. pp. 232-45; Pl. 71. W. 143.

DRESDEN, ROYAL PICTURE GALLERY

Double Portrait of Thomas and John Godsalve, of Norwich, 1528.

See vol. i. pp. 325-7; Pl. 84. W. 144.

Portrait of Charles de Solier, Sieur de Morette, ambassador to the English Court, about 1534.

See Vol. ii. p. 63-70; Pl. 12, vol. ii. W. 145.

The Madonna and Child with the Family of Jakob Meyer.

Long regarded as an original work by Holbein. Fine old copy of the picture at Darmstadt. See vol. i. pp. 232-45. Not in Woltmann.

FRANKFURT, STÄDELSCHES KUNSTINSTITUT

Portrait of Simon George, of Quocote.

See Vol. ii. p. 207. W. 151.

FREIBURG IM BREISGAU, UNIVERSITY CHAPEL, MINSTER

The Adoration of the Shepherds.

The Adoration of the Kings.

Inner sides of the wings of the Oberried altar-piece. See vol. i. pp. 88-91; Pl. 29. W. 155, 156.

HANOVER, PROVINZIAL MUSEUM

Portrait of Philip Melanchthon.

Small roundel. See vol. i. pp. 184-5; Pl. 58. W. 164.

Portrait of Edward, Prince of Wales, 1538-9.

See Vol. ii. p. 165. W. 165.

KARLSRUHE, GRAND-DUCAL PICTURE GALLERY

Christ Bearing the Cross, 1515.

On the back the remains of a “Crowning with Thorns.” See vol. i. pp. 38-9. W. 168.

St. George, 1522.

St. Ursula, 1522.

Wings of an altar-piece. See vol. i. pp. 111-2. W. 169, 170.

MUNICH, ALTE PINAKOTHEK

Portrait of Derich Born, member of the London Steelyard, 1533.

Small oval, almost miniature in size. See Vol. ii. p. 20. W. 220.

Portrait of Sir Bryan Tuke, with Death holding a Scythe and Hour-glass.

Probably a good old copy of the picture until recently in the possession of Miss Guest of Inwood. See vol. i. pp. 331-3. W. 219.

Portrait of Derich Berck, member of the London Steelyard.

Copy of the picture belonging to Lord Leconfield, Petworth. See vol. ii. p. 23. Not in Woltmann.

MUNICH, BAVARIAN NATIONAL MUSEUM

Portrait of a Man, aged 27.

Miniature, with the initials H. M. on either side of the head. See vol. ii. pp. 241-2. Not in Woltmann.

HOLLAND

THE HAGUE, ROYAL PICTURE GALLERY

Portrait of a Young Lady, said to be Holbein’s Wife.

See vol. i. pp. 106-8; Pl. 37. W. 161.

Portrait of Robert Cheseman, 1533.

See Vol. ii. p. 54-57; Pl. 11, vol. ii. W. 159.

Portrait of an Unknown Man with a Falcon, aged 28, 1542.

See Vol. ii. p. 203; Pl. 28, vol. ii. W. 160.

Portrait of Queen Jane Seymour.

Good old copy of the picture at Vienna. See Vol. ii. p. 113. Not in Woltmann.

THE HAGUE, ROYAL PALACE

Portrait of a Boy.

Miniature. See Vol. ii. p. 229-230; Pl. 31, vol. ii. Not in Woltmann.

ITALY

FLORENCE, UFFIZI GALLERY

Portrait of Sir Richard Southwell, 1536.

See Vol. ii. p. 84-85; Pl. 16, vol. ii. W. 149.

Self-portrait of Hans Holbein, 1543.

See Vol. ii. p. 213. W. 150.

PARMA, PICTURE GALLERY

Portrait of Erasmus, 1530.

Probably only a good old copy. See vol. i. p. 179. W. 240.

ROME, NATIONAL GALLERY

Portrait of Henry VIII, about 1539.

See Vol. ii. p. 102-103; Pl. 19, vol. ii. Not in Woltmann.

SPAIN

MADRID, PRADO

Portrait of an Old Man.

Attributed to Holbein by some writers. Not by him according to Dr. Ganz. See vol. i. pp. 334-5. W. 217.

SWITZERLAND

BASEL, PUBLIC PICTURE COLLECTION

Madonna and Child, 1514.

See vol. i. pp. 33-5; Pl. 7. Not in Woltmann.

Head of the Virgin.

Head of St. John.

See vol. i. pp. 37-8; Pl. 8. W. 7, 8.

The Lord’s Supper.

Christ on the Mount of Olives.

Christ taken Prisoner.

The Scourging.

Pilate Washing his Hands.

The above five paintings, on canvas, formed part of a larger “Passion” series, probably for some Basel church, and are among the earliest works upon which Holbein was engaged after he settled in that city. See vol. i. pp. 39-42; Pls. 9 and 10. W. 24-8.

Schoolmaster’s Sign, 1516.

Painted on both sides. See vol. i. pp. 51-2; Pl. 14. W. 5, 6.

Double Portrait of the Burgomaster, Jakob Meyer, and his Wife Dorothea Kannengiesser, 1516.

See vol. i. pp. 52-5; Pl. 15. W. 11.

Adam and Eve, 1517.

See vol. i. pp. 55-6; Pl. 17. W. 9.

Portrait of Bonifacius Amerbach, 1519.

See vol. i. pp. 85-7; Pl. 28. W. 10.

The Dead Christ in the Tomb, 1521.

See vol. i. pp. 101-3; Pl. 35. W. 14.

Seven Fragments of three of the Wall-paintings in the Council Chamber of the Basel Town Hall:—

Heads of the Samnite Ambassadors, 1521-2.

Head of Zaleucus of Locri, 1521-2.

Head of a Spectator in the same painting, 1521-2.

Head of King Rehoboam, 1530.

Hand of King Rehoboam, 1530.

Two groups of Heads in the same painting, 1530.

See vol. i. pp. 129-31 and 348; Pls. 40 and 92. W. 21.

Portrait of Erasmus, in profile, writing, 1523.

See vol. i. pp. 173-4. W. 12.

The Last Supper.

See vol. i. pp. 75-6; Pl. 25. W. 16.

The Passion of Christ.

In eight scenes. The outer sides of the wings of an altar-piece. See vol. i. pp. 91-5; Pl. 30. W. 20.

Christ as the Man of Sorrows.

Mary as Mater Dolorosa.

Diptych, monochrome, with blue backgrounds.

See vol. i. pp. 98-9; Pl. 33. W. 19.

Organ Doors formerly in Basel Minster.

See vol. i. p. 113. W. 4.

Magdalena Offenburg as Laïs Corinthiaca, 1526.

See vol. i. pp. 246-52; Pl. 73. W. 17.

Magdalena Offenburg as Venus, 1526.

See vol. i. pp. 246-52; Pl. 73. W. 18.

Holbein’s Wife and Children, 1528-29.

See vol. i. pp. 343-6; Pl. 90. W. 15.

Portrait of an Unknown Man.

See Vol. ii. p. 211. W. 22.

Portrait of Erasmus.

Small roundel. See vol. i. p. 180; Pl. 58. W. 13.

Portrait of a Young Woman, about 1528.

Unfinished. See vol. i. pp. 346-7; Pl. 91. W. 46.

Printer’s Mark of Johann Froben.

Portrait of Johann Froben.

Old copy. See vol. i. pp. 183-4.

BASEL, UNIVERSITY LIBRARY

Coat of Arms of Petrus Fabrinus, Rector of Basel University, 1523.

Coloured drawing in the University Matriculation Book. See vol. i. pp. 145-6. W. 112.

BASEL, COLLECTION OF DR. RUDOLPH GEIGY-SCHLUMBERGER

Portrait of a Man, said to be Holbein himself.

Water-colour drawing. See Vol. ii. p. 213. Not in Woltmann.

LUCERNE, KUNSTVEREIN

Fragments of the original wall-painting on the façade of the Hertenstein House in Lucerne: part of the subject of the Death of Lucretia, 1517.

See vol. i. p. 68. W. 216.

SOLOTHURN, STADT MUSEUM

Madonna and Child, with St. Nicholas (or St. Martin) and St. Ursus, 1522.

See vol. i. pp. 103-11; Pl. 36. W. 247.

ZÜRICH, SCHWEIZERISCHES LANDESMUSEUM

Table painted with the legend of St. Nobody, hunting and jousting scenes, &c., for Hans Baer, of Basel, 1515.

See vol. i. pp. 35-7. W. 359.

PICTURES BY AND ATTRIBUTED TO HOLBEIN AND OF HIS SCHOOL AND PERIOD

EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912

_In almost all cases the attributions are those of the owners of the pictures_

_The spelling of the names is that of the original Catalogues_

I. THE BRITISH INSTITUTION, 1846

120 │Charles Brandon, Duke of │ Hans │Lord Willoughby d’Eresby │Suffolk d. 1545 │ Holbein │

122 │Henry VIII │ " │Mrs. Nicholl

131 │The Infant Son of Charles │ " │Lord Willoughby d’Eresby │Brandon, Duke of Suffolk │ │

133 │Edward VI when Prince of │ " │Earl of Hardwick │Wales │ │

135 │George Brooke, Lord of │ " │F. L. Popham, Esq. │Cobham d. 1558 │ │

138 │Queen Mary │ " │Hon. C. C. Cavendish M.P.

155 │Thomas Howard, Duke of │ " │Duke of Norfolk │Norfolk, │ │

161 │Ambrose Dudley, Earl of │ " │Marquess of Salisbury, │Warwick, d. 1589 │ │K.G.

162 │William Warham, Archbishop│ " │Archbishop of Canterbury │of Canterbury, d. 1532 │ │

163 │The Family of Henry VII │ " │Lord Willoughby d’Eresby │and Henry VIII, &c. │ │

176 │Catherine de Bore, wife of│ " │Duke of Sutherland, K.G. │Martin Luther │ │

178 │Erasmus, d. 1536 │ " │Duke of Sutherland, K.G.

200 │Lady Elizabeth Gray, wife │ " │Lord Baybrooke │of Thomas, Lord Audley of │ │ │Warden, Lord Chancellor │ │

205 │Henry VIII granting the │ " │Barber-Surgeons’ Company │Charter to the │ │ │Barber-Surgeons │ │

II. ART TREASURES OF THE UNITED KINGDOM COLLECTED AT MANCHESTER IN 1857

_Old Masters_

454 │Portrait of Francis I │ Hans │Her Majesty (Hampton │(considered by some to be│ Holbein │Court) │a Janet) │ │

455 │King Henry VIII │ " │Earl of Warwick

456 │Dr. Stokes (Bishop of │ " │Her Majesty (Windsor │London) │ │Castle)

457 │King Edward VI │ " │A. Barker, Esq.

459 │Portrait of a Young Man │ " │Lord Ward │holding a Book │ │

460 │Portrait of Francis I, │ " │H.R.H. Prince Albert │dated 1509, No. 40 of │ │ │Kensington Palace │ │ │Catalogue │ │

466 │Portrait of Erasmus. A │ Georg │Her Majesty (Windsor │copy of a picture by │ Pentz │Castle) │Holbein │ │

533 │The Root of Jesse │ Gerard │Sir Culling Eardly, Bt. │ │ Lucas │ │ │ Horebout │

_British Portrait Gallery_

10 │Anne Boleyn │ Unknown │Earl of Denbigh

11 │Anne Boleyn │ “ │Earl of Warwick

12 │Mary Boleyn │ “ │“

13 │Lord Darnley and his │ Lucas │Her Majesty (Hampton │Brother, Charles Stuart │ d’Heere │Court)

14 │Mary Tudor and Charles │ Unknown │Duke of Bedford │Brandon, Duke of Suffolk │ │

16 │Queen Katherine Parr │ Holbein │Earl of Denbigh

17 │Earl of Surrey (Henry │ “ │Her Majesty (Hampton │Howard), the poet, in a │ │Court) │red habit │ │

26 │Sir Nicholas Carew, K.G., │ “ │Duke of Buccleuch │in armour │ │

27 │Sir Walter Raleigh │ “ │J. Gibson Craig, Esq., │ │ │M.P.

28 │Lady Raleigh │ “ │“

29 │The Darnley Cenotaph │ “ │Duke of Richmond

30 │Littleton │ “ │Lord Lyttelton

31 │Earl of Southampton (Henry│ “ │Duke of Portland │Wriothesley), │ │ │Shakespeare’s patron, with│ │ │his Cat │ │

32 │Countess of Southampton │ “ │“ │(Elizabeth Vernon), wife │ │ │of above │ │

33 │Bess of Hardwick (Building│ “ │“ │Bess) │ │

34 │William Camden in his │ “ │Painter-Stainers’ Company │dress as Clarencieux │ │

48 │King Henry VIII │ “ │Duke of Manchester

49 │Cardinal Wolsey │ “ │Christ Church, Oxford

50 │Queen Jane Seymour │ “ │Duke of Bedford

51 │The Father of Sir Thomas │ “ │Earl of Pembroke │More holding a legal │ │ │document │ │

52 │Sir Henry Guildford │ “ │Her Majesty (Windsor │ │ │Castle)

SOUTH KENSINGTON, 1862

53 │Lady Grey (Margaret │ Holbein │Duke of Portland │Wooton) │ │

53A │Lady Jane Grey │ “ │Earl of Stamford and │ │ │Warrington

54 │King Edward VI. A │ “ │Her Majesty (Windsor │knee-piece │ │Castle)

55 │King Edward VI at age of │ “ │Earl of Yarborough │six │ │

55A │King Edward VI │ “ │Duke of Northumberland

56 │King Edward VI. Miniature │ “ │Duke of Portland │full-length │ │

57 │The Three Children of King│ Mabuse │Earl of Pembroke │Henry VII │ │

58 │Queen Mary I and Philip │ “ │Duke of Bedford │II. Small full-lengths, │ │ │dated 1558 │ │

59 │Queen Mary I, 1544 │ Lucas │Society of Antiquaries │ │ d’Heere │

62 │Queen Elizabeth. Miniature│ “ │Duke of Portland │full-length │ │

66 │William Warham, Archbishop│ Holbein │Archbishop of Canterbury │of Canterbury │ │

67 │The Princess Elizabeth, │ “ │Her Majesty (Hampton │holding a book │ │Court)

67A │Sir Thomas Gresham │ “ │Earl of Stamford and │ │ │Warrington

173 │Lucius Cary, Viscount │ “ │Earl of Clarendon │Falkland │ │

Frame │Miniatures of the time of │ — │Duke of Buccleuch 7 │Henry VII and Henry VIII, │ │ │&c. │ │

Frame │Henry VIII │ Holbein │Col. Meyrick 17 │ │ │

Frame │Anne of Cleves │ “ │“ 17 │ │ │

III. SPECIAL EXHIBITION OF WORKS OF ART, SOUTH KENSINGTON MUSEUM, JUNE 1862. SECTION XI. PORTRAIT MINIATURES

1901 │Mary Tudor, Queen of │ Sir A. │S. Addington, Esq. │England (oil) │ More │

1905 │Thomas Cromwell, Earl of │ Holbein │“ │Essex │ │

1932 │Edward VI (sculptured in │ Unknown │T. L. Barwick Baker, Esq. │wood) │ │

1933 │Henry VIII “ │ “ │“

1934 │Henry, Duke of Richmond │ “ │C. Sackville Bale, Esq.

1935 │Jane Seymour │ Hans │“ │ │ Holbein │

1936 │Mary Tudor │ “ │“

2018 │Henry VII │ “ │Duke of Buccleuch, K.G.

2021 │Henry VIII │ “ │“

2022 │“ │ “ │“

2023 │“ │ “ │“

2024 │Catherine of Aragon │ “ │“

2025 │“ │ “ │“

2026 │“ │ “ │“

2027 │Mary Tudor │ Sir A. │“ │ │ More │

2029 │Catherine Howard │ Hans │“ │ │ Holbein │

2030 │“ │ “ │“

2039 │Prince Edward │ “ │“

2040 │King Edward VI │ Hans │Duke of Buccleuch, K.G. │ │ Holbein │

2041 │“ │ “ │“

2042 │“ │ “ │“

2061 │Sir Thomas More │ “ │“

2216 │The Three Children of │ Ascribed │J. C. Dent, Esq. │Henry VII │to Mabuse │

2217 │Jane Seymour │ Hans │“ │ │ Holbein │

2218 │Queen Catherine Parr │ “ │“

2219 │Henry VIII, full-length │ — │“ │(carved in honestone) │ │

2220 │Henry VIII (carved in │ Hans │“ │boxwood) │ Holbein │

2265 │An Unfinished Portrait │ “ │Sir Wentworth Dilke, Bt.

2341 │Henry VIII │ Unknown │Earl of Gosford

2405 │Queen Catherine Howard │ Hans │Duke of Hamilton │ │ Holbein │

2458 │Sir Thomas More │Attributed│Sir W. T. Holburne. Bt. │ │to Holbein│

2459 │Erasmus │ “ │“

2477 │Thomas Howard, 3rd Duke of│ Hans │R. S. Holford, Esq. │Norfolk │ Holbein │

2478 │Thomas Howard, 4th Duke of│ Sir A. │“ │Norfolk │ More │

2544 │Henry VIII, 1526 │ Hans │Hollingworth Magniac, Esq. │ │ Holbein │

2545 │Catherine of Aragon │ “ │“

2581 │Henry VIII and Jane │ “ │H. Danby Seymour, Esq., │Seymour │ │M.P.

2598 │Mary Tudor, Queen of │ Luis de │Rev. Walter Sneyd │England │ Vargas │

2599 │Philip II of Spain │ “ │“

2641 │Leonhardus Bur, aged 20, │ Hans │Charles Sotheby, Esq. │1549 │ Holbein │

2651 │Henry VIII (oil on panel) │ “ │Earl Spencer

2652 │Sir John Boling Hatton and│ Lucas │“ │his Mother, 1525 │ d’Heere │

2726 │Catherine, Duchess of │ Hans │Lady Willoughby de Eresby │Suffolk, d. 1580 │ Holbein │

2727 │Thomas Cromwell, Earl of │ Unknown │“ │Essex │ │

IV. SPECIAL EXHIBITION OF PORTRAIT MINIATURES ON LOAN AT THE SOUTH KENSINGTON MUSEUM, JUNE 1865

273 │Henry VIII (oil) │ Unknown │Duke of Richmond

307 │Mary Tudor, Queen of │ Sir A. │S. Addington, Esq. │England (oil) │ More │

601 │Sir Thomas More (enamel) │ H. Bone, │R. G. Clarke, Esq. │ │ R.A. │

629 │Mary, Queen of England │ Luis de │Rev. W. Sneyd │(oil). Dated 1555 │ Vargas │

630 │Philip II of Spain (oil) │ “ │“

648 │Katherine of Aragon (on │ Hans │Hollingworth Magniac, Esq. │vellum) │ Holbein │

652 │Henry VIII. Painted in │ “ │“ │1526 │ │

763 │Sir Nicholas Poyntz │ “ │R. S. Holford, Esq., M.P. │(vellum) │ │

950 │Sir John Boling Hatton and│ Lucas │Earl Spencer, K.G. │his Mother. Dated 1525 │ d’Heere │

1029 │Earl of Kildare (oil on │ Hans │Lord Boston │panel) │ Holbein │

146 │Alicia, wife of Sir Thomas│ “ │J. Heywood Hawkins, Esq. │More (on card) │ │

1282 │Mary Tudor, Queen of │ Unknown │“ │England │ │

1381 │Henry VIII (on ivory) │Copy after│Earl of Gosford │ │ Holbein │

1388 │John Calvin (oil on panel)│ Hans │Earl Spencer, K.G. │ │ Holbein │

1392 │Henry VIII (oil on panel) │ “ │John Jones, Esq.

1554 │Thomas Howard, Duke of │ “ │Philip Henry Howard, Esq. │Norfolk (on panel) │ │

1590 │Katherine of Aragon (on │ “ │Duke of Buccleuch, K.G. │vellum) │ │

1603 │Thomas, Lord Seymour of │ “ │“ │Sudeley (on vellum) │ │

1643 │Henry, Duke of Richmond │ Unknown │C. Sackville Bale, Esq. │(on card) │ │

1645 │Lady Jane Seymour │ Hans │“ │ │ Holbein │

1651 │Queen Mary I of England │ “ │“

1708 │Margaret Tudor, Queen of │ Unknown │Duke of Marlborough │Scotland │ │

1810 │Ann of Cleves. Signed “H. │ Hans │David Laing, Esq. │H.” (oil on panel). │ Holbein │

2082 │Henry VIII (oil) │ “ │Earl Spencer, K.G.

2093 │Portrait of a Gentleman in│ “ │Earl of Shaftesbury, K.G. │a furred gown │ │

2347 │Henry VIII and Edward VI │ Ascribed │Miss Wilson │ │ to N. │ │ │ Hilliard │

2627 │Portrait of a Lady, aged │ Hans │J. Heywood Hawkins, Esq. │23 (on card) (Mrs. │ Holbein │ │Pemberton) │ │

2655 │Hans Holbein, the Painter │ “ │Earl Spencer, K.G. │(oil) │ │

2664 │Edward VI. Dated 1547 │ “ │Henry F. Holt, Esq.

2946 │Charles V, Emperor of │ Ascribed │William Mosely, Esq. │Germany │to Holbein│

2947 │Anne Boleyn │ “ │“

2948 │Henry VIII │ “ │“

V. FIRST SPECIAL EXHIBITION OF NATIONAL PORTRAITS ENDING WITH THE REIGN OF KING JAMES THE SECOND, ON LOAN TO THE SOUTH KENSINGTON MUSEUM, 1866

46 │Richard Fox, Bishop of │ Johannes │Corpus Oxford Christi │Winchester. 30” × 19” │ Corvus │College,

49 │Arthur, Prince of Wales. │ Hans │Her Majesty (Windsor │15” × 11” │ Holbein │Castle)

50 │Richard Fox. 15” × 12” │ Unknown │Richard Cholmondeley, Esq.

52 │Henry VII. 23” × 18” │ Jan de │Hon. Mrs. Greville Howard │ │ Mabuse │

53 │Margaret Tudor, Queen of │ Unknown │Her Majesty (Hampton │Scotland. 94” × 55” │ │Court)

54 │Henry VII and Ferdinand of│ Hans │Henry Musgrave, Esq. │Aragon. 32” × 31” │ Holbein │

55 │Henry VII. 22” × 17” │ Unknown │Her Majesty (Windsor │ │ │Castle)

56 │Henry VII. 20” × 16” │ “ │Christ Church, Oxford

57 │Queen Elizabeth of York. │ Ascribed │Mrs. B. J. P. Bastard. │21” × 16” │to Mabuse │

58 │The Three Children of │ Jan de │Her Majesty (Hampton │Henry VII. 13” × 17” │ Mabuse │Court)

59 │Henry VII. 22” × 25” │ Unknown │Charles Winn, Esq.

60 │John Colet, Dean of St. │ “ │University Library, │Paul’s. 34” × 24” │ │Cambridge

62 │Henry VII. 15” × 11” │ “ │Christ Church, Oxford

63 │James IV of Scotland. 14” │ Hans │Marquis of Lothian │× 11” │ Holbein │

68 │Sir Thomas Wyat the Elder.│ Unknown │Bodleian Library, Oxford │17” × 13” │ │

71 │Edward Stafford, 3rd Duke │ Hans │Marquis of Hastings │of Buckingham. 23” × 18” │ Holbein │

72 │Nicolas Kratzer. 34” × 27”│ " │Viscount Galway, M.P.

73 │Hans Holbein, signed “H. │ " │Her Majesty (Hampton │B., A.D. 1539.” 16” × 11½”│ │Court)

74 │Queen Catherine of Aragon │ " │Walter Moseley, Esq. │(Portrait of Lady Rich). │ │ │17” × 13” │ │

75 │Henry VIII. 35” × 25” │ " │Duke of Manchester

76 │Charles Brandon, Duke of │ " │Mrs. Branfill │Suffolk, and his wife, │ │ │Princess Mary Tudor. 30” ×│ │ │22” │ │

77 │Henry VIII. 35” × 27” │ Unknown │Her Majesty (Windsor │ │ │Castle)

78 │Queen Katherine of Aragon.│ Hans │Countess Delawarr │26” × 20” │ Holbein │

79 │Queen Katherine of Aragon.│ Unknown │National Portrait Gallery │23” × 17” │ │

80 │Charles Brandon, Duke of │ Jan de │Earl of Yarborough │Suffolk, and the Princess │ Mabuse │ │Mary Tudor. 28” × 18” │ │

84 │Henry VIII. 25” × 22” │ Hans │Lady Sophia Des Vœux │ │ Holbein │

86 │William Warham, Archbishop│ " │Archbishop of Canterbury │of Canterbury. 32” × 26” │ │

88 │John Fisher, Bishop of │ " │Major J. H. Brooks │Rochester. 13” × 10” │ │

89 │Sir John More, Kt. 16” × │ " │W. B. Smythe, Esq. │12” │ │

90 │Margaret Tudor, Queen of │ " │Marquis of Lothian │Scotland. 14” × 11” │ │

91 │Sir Thomas Wyat the Elder.│ Unknown │Marquis of Hastings │Circular, diameter 19” │ │

92 │John Fisher, Bishop of │ Hans │St. John’s College, │Rochester, aged 74. 28” × │ Holbein │Cambridge │24” │ │

93 │Thomas Cranmer, Archbishop│ " │Jesus College, Cambridge │of Canterbury. │ │

95 │Henry Howard, Earl of │ " │Bodleian Library, Oxford │Surrey. 8½” × 6½” │ │

96 │Thomas Linacre, M.D., │Holbein or│Her Majesty (Windsor │dated 1527. 18” × 13” │ Metsys │Castle)

97 │Queen Anne Boleyn. 25” × │ Unknown │Hon. Mrs. Greville Howard │10” │ │

98 │Sir Thomas Wyat the Elder.│ “ │John Bruce, Esq. │15½” × 12” │ │

99 │Henry VIII. 36” × 35” │ " │Earl of Warwick

101 │Sir Thomas Boleyn, Earl of│ Hans │W. B. Stopford, Esq. │Ormonde and Wiltshire, │ Holbein │ │K.G., aged 60. 20” × 17” │ │

102 │Henry Howard, Earl of │ " │Her Majesty (Hampton │Surrey, K.G. 76” × 52” │ │Court)

103 │Queen Anne Boleyn. 14” × │ Unknown │Earl of Warwick │12” │ │

104 │Christina of Denmark, │ Hans │Her Majesty (Windsor │Duchess of Milan. 17” × │ Holbein │Castle) │13” │ │

105 │Mary Boleyn. 14” × 12” │ Unknown │Earl of Warwick

106 │James V of Scotland and │ “ │Duke of Devonshire, K.G. │his second Queen, Mary of │ │ │Guise. 57” × 43” │ │

107 │Queen Anne Boleyn, dated │ Hans │Sir Montague J. Cholmeley, │1530, “H. B.” 33” × 23” │ Holbein │Bt., M.P.

108 │Sir Richard Southwell, Kt.│ " │H. E. Chetwynd-Stapylton, │18” × 14” Esq. │ │

109 │Henry VIII. 39” × 29” │ " │Her Majesty (Windsor │ │ │Castle)

110 │Sir William Butts, Kt. 18”│ " │W. H. Pole-Carew, Esq. │× 14” │ │

111 │Sir Nicholas (called │ Unknown │Marquis of Ormonde │“William”) Poyntz, dated │ │ │1535. Canvas. 27” × 18” │ │

112 │Sir Richard Southwell, │ Michell, │Ralph N. Wornum, Esq. │painted in 1835. 22” × 18”│ after │ │Holbein │ │

113 │Thomas Cromwell, Earl of │ Hans │Duke of Manchester │Essex. 14” × 11” │ Holbein │

114 │Queen Anne Boleyn. 10½” × │ " │Earl of Denbigh │8” │ │

115 │Lady Butts. 18” × 14” │ " │W. H. Pole-Carew, Esq.

118 │Henry VIII. 35” × 27” │ " │Viscount Galway, M.P.

119 │Queen Jane Seymour. 14” × │ Unknown │Duke of Northumberland │11” │ │

120 │Mary Tudor, Queen of │ Unknown │Earl Brownlow │France. 6½” × 5½” │ │

121 │Henry Howard, Earl of │ Hans │Countess Delawarr │Surrey. Dated 1546. │ Holbein │ │Canvas, 81” × 51” │ │

122 │Joanna Fitz-Alan, Lady │ " │John Webb, Esq. │Abergavenny. She died │ │ │before 1519. 16” × 22” │ │

123 │Charles Brandon, Duke of │ Unknown │Earl Brownlow │Suffolk. 7” × 6” │ │

124 │Henry VIII. 28” × 22” │ Hans │Her Majesty (Hampton │ │ Holbein │Court)

125 │Queen Jane Seymour. 24” × │ Unknown │Countess Delawarr │19” │ │

126 │Thomas Cromwell, Earl of │ Hans │“ │Essex. 30” × 24½” │ Holbein │

129 │Sir Henry Guildford, Kt. │ " │John Webb, Esq. │34” × 25” │ │

131 │Queen Katherine Parr. 70” │ Hans │Richard Booth, Esq. │× 34” │ Holbein │

132 │Queen Anne of Cleves. 28” │ " │Charles Morrison, Esq. │× 22” │ │

133 │Sir Henry Wyat, Kt. 30” × │ Unknown │Earl of Romney │24” │ │

134 │Henry VII and Henry VIII. │ Hans │Duke of Devonshire, K.G. │Cartoon, 102” × 54” │ Holbein │

135 │Henry VIII and Jane │Van Remée,│Her Majesty (Hampton │Seymour, &c. 39” × 36” │ after │Court) │ │ Holbein │

138 │Will Somers. 28” × 23½” │ Hans │“ │ │ Holbein │

141 │Sir William Sidney, Kt. │ " │Lord De L’Isle and Dudley │“Holbein f. 1523.” 48” × │ │ │38” │ │

142 │Thomas Cranmer. Canvas, │ " │Captain Byng │36” × 29” │ │

143 │Erasmus. Dated 1537. 23” ×│ G. Pencz │Her Majesty (Windsor │18” │ │Castle)

144 │Henry VIII. 92” × 53” │ Hans │H. Danby Seymour, Esq., │ │ Holbein │M.P.

146 │Henry VIII. 24” × 19” │ Unknown │Royal College of Surgeons

149 │Sir Henry Guildford, Kt. │ Hans │Her Majesty (Windsor │32” × 26” │ Holbein │Castle)

150 │Sir John More and Sir │ " │Sir Henry Ralph Vane, Bt. │Thomas More. Dated 1530. │ │ │Canvas, 55” × 48” │ │

151 │Sir Thomas Pope. 47” × 33”│ " │Countess of Caledon

152 │Henry VIII, Princess Mary,│ Unknown │Earl Spencer, K.G. │and Will Somers. Canvas, │ │ │63” × 50” │ │

153 │Edward Stanley, 3rd Earl │ Hans │Earl of Derby, K.G. │of Derby, K.G. 13” × 10” │ Holbein │

154 │Sir John Cheke, Kt. 13” × │ " │Duke of Manchester │9½” │ │

156 │Henry VIII. 30” × 24” │ Unknown │Christ Church, Oxford

157 │Sir Thomas More. 29” × 23”│ Hans │Henry Huth, Esq. │ │ Holbein │

159 │William, 1st Lord Paget. │ " │Duke of Manchester │12½” × 9½” │ │

161 │Sir John Thynne, Kt. Dated│ " │Marquis of Bath │1566. 50” × 39” │ │

162 │Sir Nicholas Carew. 42” × │F. Pourbus│Earl of Yarborough │32” │ │

163 │Sir Thomas More and his │ Hans │Charles Winn, Esq. │Family. Canvas, 138” × 99”│ Holbein │

165 │Thomas Howard, 3rd Duke of│ " │Her Majesty (Windsor │Norfolk, K.G. 30” × 22” │ │Castle)

167 │Henry VIII. Oval, 29” × │ Unknown │Andrew Fountaine, Esq. │24” │ │

170 │Henry VIII and his Family.│ Hans │Her Majesty (Hampton │Canvas, 138” × 66” │ Holbein │Court)

172 │Edward VI. 40” × 32” │ " │"

173 │Sir Thomas Smith, Kt. │ P. │Eton College │1856. 29” × 23½” │ Fischer, │ │ │ after │ │ │ Holbein │

175 │Edward VI. Dated 1546. 11”│ Hans │Earl of Hardwicke │× 11” │ Holbein │

176 │Edward VI. 22½” × 16½” │ " │Earl of Yarborough

177 │Edward VI. Aged 9. 20” × │ " │Christ’s Hospital │16” │ │

179 │Edward VI. 40” × 30” │ " │“

180 │Edward VI. Dated 1547. 28”│ " │Duke of Manchester │× 21” │ │

181 │Thomas, Lord Seymour of │ Hans │Marquis of Bath │Sudeley, K.G. 23” × 17” │ Holbein │

182 │Sir Thomas Wyat the │ Unknown │Earl of Romney │Younger. Circular, 15” │ │ │diam. │ │

187 │Edward VI. Canvas, 26” × │ " │King’s College, Cambridge │21” │ │

192 │Edward VI presenting │ Hans │Bridewell Hospital │Charters. Canvas, 106” × │ Holbein │ │115” │ │

202 │Stephen Gardiner, Bishop │ " │Lord Taunton │of Winchester. 13” × 10” │ │

208 │Princess Mary Tudor, │ " │Marquis of Exeter, K.G. │afterwards Queen Mary. │ │ │Dated at back 1544. 12” × │ │ │9” │ │

236 │Margaret Douglas, Countess│ " │Her Majesty (Hampton │of Lennox. Dated 1572. 92”│ │Court) │× 54” │ │

247 │Queen Elizabeth. Aged 16. │ " │Her Majesty (St. James’s │42” × 31” │ │Palace)

302 │Ambrose Dudley, Earl of │ " │Marquis of Salisbury, K.G. │Warwick. 37” × 28” │ │

364 │Sir William Harris. Dated │ Gerard │Rev. J. M. St. Clere │1596. 34” × 28” │ Lucas │Raymond │ │ Horebout │

371 │Sir John Spencer. Dated │G. Stretes│Earl Spencer, K.G. │1590. Canvas, 35” × 28” │ │

373 │Admiral Sir John Wallop, │ Hans │Earl of Portsmouth │K.G. 24” × 17” │ Holbein │

374 │Lady Harris. 34” × 27” │ Gerard │Rev. J. M. St. Clere │ │ Lucas │Raymond │ │ Horebout │

VI. THIRD AND CONCLUDING EXHIBITION OF NATIONAL PORTRAITS ON LOAN TO THE SOUTH KENSINGTON MUSEUM, APRIL 1868

625 │Sir Brian Tuke, Kt. 19” × │ Hans │Marquis of Westminster │15” │ Holbein │K.G.

626 │Henry Howard, Earl of │ Ascribed │Lord Taunton │Surrey, and a Lady, │to Holbein│ │supposed to be the Fair │ │ │Geraldine. 6½” × 4½” │ │

627 │Edward Seymour, Duke of │ Hans │Duke of Northumberland │Somerset, K.G. 8½” × 7 │ Holbein │

628 │John Reskimer. 18” × 13” │ “ │Her Majesty (Hampton │ │ │Court)

629 │William West, Lord │ “ │R. S. Holford, Esq., M.P. │Delawarr. 52” × 31” │ │

639 │Queen Katherine Parr. 14” │ Ascribed │Sir G. R. Osborn, Bt. │× 10” │ to │ │ │ Amberger │

651 │Edward VI. Aged 2. 52” × │ Hans │Duke of Northumberland │30” │ Holbein │

655 │Sir John Bourchier, 2nd │ “ │Lord Berners │Baron Berners. 24” × 20” │ │

656 │John Stokesley, Bishop of │ “ │Her Majesty (Windsor │London, 20” × 15” │ │Castle)

657 │Edward VI. 51” × 32” │ “ │Sir G. R. Osborn, Bt.

659 │Lady Guildeford. Dated │ “ │Thomas Frewen, Esq. │1527. 34” × 27” │ │

VII. ROYAL ACADEMY OF ARTS: WINTER EXHIBITIONS OF WORKS BY THE OLD MASTERS, 1870-1912

=1870=│ │ │

23 │The First Lord De la Warr.│ Hans │R. S. Holford, Esq. │Panel, 52” × 30½” │ Holbein │

108 │Portrait, with a │ “ │Her Majesty (Windsor │Manuscript. Panel, 24” × │ │Castle) │18” │ │

111 │Portrait of John, Elector │ “ │R. S. Holford, Esq. │of Saxony. Panel, 24” × │ │ │18½” │ │

120 │Portrait of Sir Thomas │ “ │Henry Huth, Esq. │More. Panel, 29” × 23½” │ │

147 │Portrait of Edward VI. │ “ │Duke of Northumberland │Panel, 51” × 29” │ │

152 │Portrait of a Youth. │ “ │Her Majesty (Windsor │Panel, 23½” × 17½” │ │Castle)

=1871=│ │ │

153 │Portrait of Thomas Howard,│ “ │“ │3rd Duke of Norfolk. │ │ │Panel, 31” × 24” │ │

292 │Portrait of Geronimo │ “ │J. H. Anderdon, Esq. │Deodati, murdered at │ │ │Antwerp 1551. Panel, 12” ×│ │ │8½” │ │

296 │Portrait of Francis I. │ “ │Earl of Dudley │Panel, 28” × 23” │ │

=1872=│ │ │

52 │A Portrait of a Man. │ “ │J. E. Millais, Esq., R.A. │Panel, 20” × 15” │ │

66 │Portrait of Lady Heneage, │ “ │J. C. Hanford, Esq. │Cousin of Ann Boleyn. │ │ │Panel, 16½” × 13” │ │

82 │Portrait of Warham, │ “ │Archbishop of Canterbury │Archbishop of Canterbury. │ │ │Panel, 32” × 25¼” │ │

94 │Portrait of Sir William │ “ │W. H. Pole-Carew, Esq. │Butts, Kt., principal │ │ │Physician to Henry VIII. │ │ │Panel, 18” × 14¼” │ │

96 │Portrait of Lady Butts. │ “ │“ │Panel, 18” × 14¼” │ │

138 │Portrait of Sir Henry │ “ │Her Majesty (Windsor │Guildford, K.G., Master of│ │Castle) │the Horse to Henry VIII. │ │ │Panel, 32” × 26” │ │

213 │Portrait of John │ “ │Her Majesty (Hampton │Reskimeer, a Cornish │ │Court) │Gentleman. Panel, 17½” × │ │ │12¼” │ │

214 │Portrait of Dr. Thomas │ “ │W. Fuller Maitland, Esq. │Linacre, Physician to │ │ │Henry VII and Henry VIII. │ │ │Founded the College of │ │ │Physicians, and was its │ │ │First President. Panel, │ │ │10⅞” × 8½” │ │

225 │“Noli Me Tangere.” Panel, │ “ │Her Majesty (Hampton │29½” × 36¾” │ │Court)

=1873=│ │ │

114 │The Two Ambassadors. │ Hans │The Earl of Radnor │Panel, 81” × 83” │ Holbein │

175 │Ægidius, the Friend of │ “ │“ │Erasmus. Panel, 29” × 20” │ │

178 │Portrait of Erasmus, │ “ │“ │signed “Johannes Holbein, │ │ │1523.” Panel, 29” × 20” │ │

198 │Portrait of a Young Man in│ “ │George P. Boyce, Esq. │a Green Striped Dress. │ │ │Panel, 17½” × 13” │ │

=1875=│ │ │

167 │William Tell, an imaginary│ “ │Sir W. Miles, Bt. │Portrait. Panel, 31” × 27”│ │

=1876=│ │ │

66 │Portrait of Mary Queen of │ Lucas │Earl of Radnor │Scots. Panel, 39” × 30” │ d’Heere │

173 │Portrait of the Three │ Mabuse │“ │Children of Christian II │ │ │of Denmark. Panel, 14” × │ │ │18½” │ │

=1877=│ │ │

146 │Portrait of Anne Roper │ Hans │Lord Methuen │(also thought to be a │ Holbein │ │portrait of Margaret, │ │ │Countess of Richmond and │ │ │Derby, mother of Henry │ │ │VII, by Mabuse). Panel, │ │ │14” × 10” │ │

171 │Portrait of Queen Mary. │ Lucas │Society of Antiquaries │Signed and dated 1554. │ d’Heere │ │Panel, 41” × 31” │ │

184 │Portrait of King Edward │ Hans │W. More Molyneux, Esq. │VI. Panel, 27½” × 20” │ Holbein │

232 │Portrait of a Gentleman, │ “ │Sir John Neeld, Bt. │aged 48. Dated 1547. │ │ │Panel, 31” × 25” │ │

249 │Portrait of King Henry │ “ │St. Bartholomew’s Hospital │VIII. Canvas, 46” × 37” │ │

=1878=│ │ │

217 │The Wheel of Fortune. │ Hans │Duke of Devonshire, K.G. │Dated 1533. Distemper on │ Holbein │ │canvas. 28” × 18¾” │ │

224 │Portrait of Geronimo │ “ │J. H. Anderdon, Esq. │Deodati. Panel, 12½” × 8½”│ │

=1879=│ │ │

212 │Portrait of Queen Mary. │Attributed│Lord Chesham │Panel, 8” × 6” │ to Hans │ │ │ Holbein │

Case │Queen Katherine of Aragon.│ Unknown │Duke of Buccleuch, K.G. F. 1 │Miniature │ │

“ 2 │Edward VI. Miniature │ From a │“ │ │picture by│ │ │ Holbein │

“ 5 │Queen Katherine of Aragon.│ Holbein │“ │Miniature │ │

“ 8 │Queen Elizabeth. Miniature│ John │“ │ │ Bettes │

“ 9 │Edward VI as a Boy. │ Hans │“ │Miniature │ Holbein │

Case │Henry VIII. Miniature │ Unknown │Duke of Buccleuch, K.G. F. 10 │ │ │

“ 11 │Henry VII. Miniature │ “ │“

“ 12 │Henry VII. Miniature │ “ │“

“ 13 │Queen Katherine of Aragon.│ “ │“ │Miniature │ │

“ 14 │Queen Mary. Miniature │ Sir │“ │ │ Antonio │ │ │ More │

“ 15 │Henry VIII. Miniature │ Hans │“ │ │ Holbein │

“ 16 │Edward VI. Miniature │ Unknown │“

“ 20 │Queen Catherine Howard. │ “ │“ │Miniature │ │

“ 21 │Queen Katherine of Aragon │ “ │“ │holding a Monkey. │ │ │Miniature │ │

“ 22 │Queen Catherine Howard. │ After │“ │Miniature │ Holbein │

“ 25 │Portrait of the Painter. │ Hans │“ │Signed “H. H., 1543, │ Holbein │ │_ætat._ 45.” Miniature │ │

“ 27 │Henry VIII. Miniature │ From a │“ │ │picture by│ │ │ Holbein │

“ 28 │Queen Katherine of Aragon.│ Hans │“ │Miniature │ Holbein │

“ 29 │Hans Holbein. Miniature │ Unknown │“

“ 30 │Edward VI. Miniature │ “ │“

Case │Catherine Howard. │ Hans │Her Majesty I. 3 │Miniature │ Holbein │

“ 4 │Henry Grey, Duke of │ “ │“ │Suffolk. Miniature │ │

“ 5 │Charles Brandon, Duke of │ “ │“ │Suffolk. Miniature │ │

Case │Sir Thomas More. Miniature│ After │Duke of Buccleuch, K.G. L. 4 │ │ Holbein │

218 │Head of a Man, perhaps │ Hans │Duke of Devonshire, K.G. │Francis North, Earl of │ Holbein │ │Guildford. Drawing signed │ │ │“H. H.” │ │

219 │A Theological or Legal │ “ │Edward J. Poynter, Esq., │Discussion. Eng. by Tobias│ │R.A. │Stimmer. Drawing │ │

231 │Full-length Figures of │ “ │Marquis of Hartington, │Henry VII and Henry VIII. │ │M.P. │Cartoon │ │

217, │The Windsor “Heads” │ │Her Majesty

200-21,│" │ " │

223-30,│" │ " │

232-45│" │ " │

=1880=│ │ │

147 │Head of an Old Man. Panel,│ “ │Duke of Devonshire, K.G. │13½” × 10” │ │

149 │Portrait of Lady Vaux. │ “ │Her Majesty (Hampton │Panel, 14½” × 11” │ │Court)

150 │Portrait of a Man. Panel, │ “ │Duke of Devonshire, K.G. │14” × 9” │ │

152 │Portrait of Henry Howard, │ “ │Charles Butler, Esq. │Earl of Surrey. Dated │ │ │1534. Panel, 15½” × 11” │ │

155 │Portrait of Henry Grey, │School of │G. P. Boyce, Esq. │Duke of Suffolk. Panel, │ Holbein │ │13½” × 10½” │ │

157 │Portrait of Lady Heneage. │ Hans │G. C. Handford, Esq. │Panel, 16” × 11” │ Holbein │

161 │Portrait of Henry VIII. │ “ │Duke of Devonshire, K.G. │Panel, 16½” × 12½” │ │

162 │Portrait of a Child. │ “ │Sir Henry Ainslie Hoare │Panel, 8” × 6” │ │

163 │Portrait of Edward VI when│ “ │Duke of Northumberland │Prince of Wales │ │

165 │Sir Thomas Gresham. Panel,│School of │The Gresham Committee │71” × 42” │ Holbein │

167 │Portrait of William West, │ Hans │R. S. Holford, Esq. │First Lord Delawarr. │ Holbein │ │Panel, 52” × 31” │ │

168 │Portrait of a German Lady.│ “ │Earl Spencer │Panel, 23” × 19” │ │

169 │The Wheel of Fortune. │ “ │Duke of Devonshire, K.G. │Distemper on canvas, 27” ×│ │ │18”. Dated 1533 │ │

170 │Portrait of a Man. Panel, │ “ │J. E. Millais, Esq., R.A. │20” × 14½” │ │

171 │Portrait of Lady │ “ │Edward Frewen, Esq. │Guildford. (Inscribed │ │ │“Anno 1527. Ætatis Suae │ │ │27.”) Panel, 32” × 26” │ │

172 │Portrait of Derek Berck. │ “ │Lord Leconfield │Panel, 20” × 16” │ │

173 │Portrait of Thomas Howard,│Attributed│Duke of Norfolk │3rd Duke of Norfolk. │to Holbein│ │Panel, 30” × 23” │ │

174 │Portrait of Sir Henry │ Hans │Her Majesty (Windsor │Guildford. Panel, 32” × │ Holbein │Castle) │26” │ │

175 │Sir W. Butts. Panel, 18” ×│ “ │W. H. Pole-Carew, Esq. │14” │ │

176 │Portrait of Clement Newce,│School of │W. M. Martin-Edmunds, Esq. │Esq., of Much Hadham. │ Holbein │ │Panel, 32” × 26”. Dated │ │ │1559. │ │

177 │Portrait of Christina of │ Hans │Duke of Norfolk │Denmark, Duchess of Milan │ Holbein │

178 │Portrait of Lady Butts. │ “ │W. H. Pole-Carew, Esq. │Panel, 18” × 14” │ │

179 │Portrait of W. Warham, │ “ │Archbishop of Canterbury │Archbishop of Canterbury. │ │ │Panel, 32” × 26” │ │

180 │Portrait of Thomas Howard,│ “ │Her Majesty (Windsor │Third Duke of Norfolk. │ │Castle) │Panel, 31” × 24” │ │

181 │Portrait of John, Elector │ “ │R. S. Holford, Esq. │of Saxony. Panel, 25” × │ │ │28½” │ │

182 │Portrait of Sir John More.│ “ │Earl of Pembroke │Panel, 29” × 24” │ │

183 │Portrait of a Merchant of │ “ │Her Majesty (Windsor │the Stahlhof or Steelyard.│ │Castle) │Panel, 23½” × 18” │ │

184 │Portrait of a Young Man. │ “ │G. P. Boyce, Esq. │Panel, 17” × 13” │ │

185 │Portrait of John Reskimer.│ Hans │Her Majesty (Hampton │Panel, 17” × 12½” │ Holbein │Court)

186 │Portrait of a Gentleman. │School of │Duke of Buccleuch, K.G. │Panel, 13” × 11” │ Holbein │

187 │“Noli Me Tangere.” Panel, │ Hans │Her Majesty (Hampton │29½” × 37” │ Holbein │Court)

188 │Sir Bryan Tuke. Panel, │ “ │Marchioness of Westminster │18½” × 14½” │ │

190 │Portrait of Anton Fugger │ “ │Francis Cook, Esq. │of Augsburg. Panel, 14½” ×│ │ │11” │ │

191 │Portrait of John Herbster.│ “ │Earl of Northbrook │Panel, 16” × 11” │ │

192 │Portrait of Sir Nicholas │ “ │Duke of Buccleuch, K.G. │Carew. Panel, 36” × 40” │ │

195 │Portrait of the Princess │ “ │Her Majesty (St. James’s │(afterwards Queen) │ │Palace) │Elizabeth. Panel, 42” × │ │ │31½” │ │

198 │Portrait of a Young Man. │ “ │Duke of Marlborough │Panel, 17” × 13” │ │

203 │William Tell (an imaginary│ “ │Sir P. Myles │portrait). Panel, 31” × │ │ │26” │ │

204 │Thomas Cromwell, Earl of │ “ │Duke of Devonshire, K.G. │Essex, Panel, 6” × 5” │ │

205 │Portrait of Thomas Howard,│ “ │“ │Duke of Norfolk. Panel, 6”│ │ │× 5” │ │

237 │Portrait of Edward VI on │ “ │Duke of Buccleuch, K.G. │horseback. Canvas, 66” × │ │ │59” │ │

=1881=│ │ │

194 │Portrait of Sir Thomas │ “ │Mrs. Henry Huth │More. Panel, 29” × 23½” │ │

201 │Portrait of a Lady. Panel,│ “ │Mrs. Herbert Blackburne │14½” × 10” │ │

=1882=│ │ │

198 │Christ Mocked. Panel, 30” │ Holbein │C. Magniac, Esq., M.P. │× 24” │ (?) │

216 │Portrait of a Lady. Panel,│ Hans │Mrs. Charles Fox │7” × 6¼” │ Holbein │

222 │Portrait of Thomas │ “ │Countess of Caledon │Cromwell, Earl of Essex. │ │ │Panel, 30” × 24½” │ │

=1884=│ │ │

288 │The Banker. Panel, 25” × │ “ │Marquis of Lansdowne │19” │ │

=1886=│ │ │

184 │Portrait of Henry VIII. │ “ │H. R. Hughes, Esq. │Panel, 34½” × 25” │ │

=1887=│ │ │

157 │Portrait of one of the │School of │Marquis of Bath │Children of Sir John │ Holbein │ │Thynne. Dated 1582. Panel,│ │ │33” × 26” │ │

166 │Portrait of one of the │ “ │“ │Children of Sir John │ │ │Thynne. Dated 1574. Size │ │ │not given │ │

172 │Sir Thomas More as a Young│ Hans │Ralph Bankes, Esq. │Man. Panel, 13¼” × 12” │ Holbein │

=1893=│ │ │

166 │Portrait of a Man. Panel, │School of │Captain G. L. Holford │17” x 15” │ Holbein │

176 │Portrait of Sir Thomas │ “ │The Gresham Committee │Gresham. 71” x 42” │ │

=1894=│ │ │

175 │Portrait of a Gentleman. │ Hans │Mrs. Percy Macquoid │Panel, 14” x 11” │ Holbein │

=1895=│ │ │

175 │Portrait of a Banker. │School of │Charles L. Eastlake, Esq. │Panel, 12” x 9” │ Holbein │

178 │The Death of the Virgin in│ Hans │Dr. J. P. Richter the │the Presence of the │ Holbein │Elder │Apostles. Panel, 65” x 59”│ │

D. 24 │Design for a Painted Glass│ Hans │Sir J. C. Robinson │Panel, supposed to │ Holbein │ │represent a Meeting of the│ │ │Early Swiss Reformers. │ │ │Dated 1522. │ │

Case G│Pendant, known as the │ — │Her Majesty 51 │“Holbein George.” Made for│ │ │Henry VIII │ │

=1896=│ │ │

138 │Portrait of Sir Thomas │ Hans │Edward Huth, Esq. │More. Dated 1527. Panel, │ Holbein │ │29” x 23½” │ │

=1902=│ │ │

155 │Portrait of John Chamber, │ School │Merton College, Oxford │M.D. Panel, 26” x 18½” │ofHolbein │

157 │Portrait of a Man. Panel, │ Hans │Right Hon. Lewis Fry │18” x 15½” │ Holbein │

160 │Portrait of Edward VI. │Attributed│Sir J. C. Robinson, C.B. │Panel, 37” x 30” │to William│ │ │ Stretes │

168 │Portrait of a Man. Dated │ Hans │Worcester College, Oxford │1566. Panel, 9½” x 10” │ Holbein │

=1907=│ │ │

13 │Portrait of a Lady. Panel,│ “ │Major Charles Palmer │16½” x 12½” │ │

=1908=│ │ │

2 │Portrait of William West, │ William │Major G. L. Holford │1st Lord Delawarr. Panel, │ Stretes │ │52” x 31” │ │

4 │Portrait of Queen Mary │ Lucas │Sir W. Cuthbert Quilter, │Tudor. Panel, 30” x 22½” │ d’Heere │Bt.

=1910=│ │ │

60 │Portrait of William, 1st │ Hans │Lord Gwydyr │Lord Paget, K.G. Panel, │ Holbein │ │18½” x 13” │ │

106 │Portrait of Mrs. Anne │ “ │Lord Methuen │Roper. Panel, 14” x 10”. │ │ │(This picture has also │ │ │been thought to be a │ │ │portrait by Mabuse of │ │ │Margaret, Countess of │ │ │Richmond and Derby, mother│ │ │of Henry VII) │ │

=1912=│ │ │

45 │Portrait of Alderman │School of │Lord De Saumarez │Robert Trappes. Dated │ Holbein │ │1554. Panel, 23½” x 19½” │ │

VIII. GROSVENOR GALLERY, WINTER EXHIBITION OF DRAWINGS BY THE OLD MASTERS, 1878-9

562 │Saturn. Pen drawing │ Hans │Christ Church College, │ │ Holbein │Oxford

563 │Study of a Pilgrim. Pen │ “ │John Malcolm, Esq. │and bistre, touched with │ │ │red chalk │ │

564 │Portrait of a Man. │ Ascribed │“ │Silver-point, touched with│to Holbein│ │red chalk │ │

565 │A Figure of a Wild Man. │ Hans │“ │Pen, shaded with │ Holbein │ │Indian-ink and colour │ │

566 │Design for a Lamp. Pen and│ “ │Christ Church College, │bistre │ │Oxford

567 │Two Whole-length Figures │ “ │John Malcolm, Esq. │of Ladies. Indian-ink │ │ │touched with colour │ │

568 │Portrait Head, in profile,│ “ │“ │of a Young Man wearing a │ │ │Cap. Silver-point │ │

579 │Pieta. Probably a design │ “ │Alfred Seymour, Esq. │for a tomb. Pen and bistre│ │

580 │A Man seated at a Table, │ “ │Christ Church College, │with back to spectator. │ │Oxford │Pen and bistre │ │

581 │Design for a Dagger │ “ │Earl of Warwick │Sheath, representing a │ │ │Battle. Pen-and-wash │ │

IX. EXHIBITION OF THE ROYAL HOUSE OF TUDOR, NEW GALLERY, 1890

5 │Mary Tudor, Dowager Queen │ Johannes │Mrs. Dent of Sudeley Corvus │ of France. Panel, 22½” x │ │ │ 18” │ │

7 │Sir Henry Wyat in Prison, │ Unknown │Earl of Romney │ and the Cat bringing him │ │ │ a Pigeon. Canvas, 29” x │ │ │ 24” │ │

17 │Sir Henry Wyat. Panel, 15” │ “ │“ │ x 12” │ │

19 │The Three Children of Henry│ Jan de │Mrs. Dent of Sudeley │ VII. Panel, 13” x 18” │ Mabuse │

21 │The Cat that fed Sir Henry │ Unknown │Earl of Romney │ Wyat. Panel, 15” x 11½” │ │

30 │Arthur, Prince of Wales. │ “ │Her Majesty (Windsor │ Panel, 14¾” x 10¾ │ │Castle)

38 │Charles Brandon, Duke of │ Hans │Lord Donington │ Suffolk, K.G. Panel, 34” │ Holbein │ │ x 27” │ │

39 │Thomas Cromwell, Earl of │ “ │Duke of Sutherland, K.G. │ Essex. Panel, 20” x 17” │ │

41 │Thomas Howard, 3rd Duke of │ “ │Duke of Norfolk, K.G. │ Norfolk, K.G. Panel, 30” │ │ │ x 23” │ │

42 │Cartoon of Henry VII and │ “ │Marquis of Hartington, M.P. │ Henry VIII. 103” x 54” │ │

43 │Queen Katherine of Aragon. │ Unknown │Merton College, Oxford │ Panel, 23” × 17” │ │

44 │Queen Jane Seymour. Panel, │ “ │Lord Sackville │ 24” × 18” │ │

45 │John, 2nd Lord Braye (d. │ Hans │Lord Braye │ 1557). Panel, 40” × 32” │ Holbein │

46 │Gertrude, Lady Petre (d. │ “ │Right Rev. Monsignor Lord │ 1541) │ │Petre

47 │Embarkation of Henry VIII │ Vincent │F. J. Thynne, Esq. │ from Dover, 31st May │ Volpe │ │ 1520. Canvas, 121” × 63½”│ │

49 │Henry VIII. Dated 1544. │Attributed│St. Bartholomew’s Hospital │ Canvas, 47” × 38” │ to Hans │ │ │ Holbein │

50 │Sir Anthony Browne, K.G. │ Unknown │Lord Vaux of Harrowden │ (d. 1548). Canvas, 37” × │ │ │ 30” │ │

51 │Henry Howard, Earl of │ Guillim │Duke of Norfolk, K.G. │ Surrey. │ Stretes │

52 │Hans Holbein. Canvas, 20½” │ Hans │Her Majesty (Windsor │ × 18½” │ Holbein │Castle)

53 │Elizabeth Schmid, wife of │ “ │“ │ Hans Holbein │ │

54 │Charles Brandon, Duke of │ “ │W. Holman Hunt, Esq. │ Suffolk, K.G. Panel, 8” ×│ │ │ 6½” │ │

55 │Henry VIII. Panel, 38” × │ “ │Earl of Yarborough │ 29” │ │

57 │Meeting of Henry VIII and │ Unknown │Her Majesty (Hampton Court) │ Francis I at Field of │ │ │ Cloth of Gold. Canvas, │ │ │ 66” × 159” │ │

59 │Henry VIII. Panel, 36” × │ Hans │Henry Willett, Esq. │ 30” │ Holbein │

61 │Cardinal Fisher, Bishop of │ Unknown │Hon. H. Tyrwhitt-Wilson │ Rochester Panel, 21½” × │ │ │ 16½” │ │

62 │Portrait of a Man. Panel, │School of │Charles Eastlake, Esq. │ 23” × 15” │ Hans │ │ │ Holbein │

65 │Queen Katherine Parr. │ Unknown │Earl of Ashburnham. │ Panel, 25½” × 20½” │ │

67 │Portrait of a Man. Panel, │ Hans │Sir J. E. Millais, Bt., │ 20” × 14½” │ Holbein │R.A.

69 │Edward Stafford, Duke of │ “ │Sir Henry Bedingfeld, Bt. │ Buckingham, K.G. Panel, │ │ │ 19½” × 13½” │ │

70 │Sir John More. Panel, 33” ×│ “ │William Seward, Esq. │ 26” │ │

71 │Queen Jane Seymour. Panel, │ Unknown │Society of Antiquaries. │ 16½” × 14” │ │

72 │John Reskemeer of Cornwall.│ Hans │Her Majesty (Hampton Court) │ Panel, 17½” × 12½” │ Holbein │

73 │Henry Howard, Earl of │ Unknown │“ │ Surrey. Panel, 75” × 40½”│ │

74 │Henry VIII. Panel, 17” × │ “ │Charles Butler, Esq. │ 13” │ │

75 │Charles Brandon, Duke of │ “ │Duke of Sutherland, K.G. │ Suffolk, K.G. Panel, 24” │ │ │ × 18” │ │

76 │Lady Butts. 35” × 26½” │ Hans │William Seward, Esq. │ │ Holbein │

77 │Thomas Wriothesley, 1st │ “ │Major-General F. E. Sotheby │ Earl of Southampton. │ │ │ Dated 1545. Panel, 24” × │ │ │ 18” │ │

79 │Sir Nicholas Poyntz, Kt. │ “ │Marquis of Bristol │ Dated 1535. Panel, 24” × │ │ │ 17” │ │

80 │Queen Jane Seymour. Panel, │ Unknown │Marquis of Hertford │ 21” × 13½” │ │

81 │Queen Anne Boleyn. Canvas, │ “ │Earl of Warwick │ 14” × 12” │ │

82 │Portrait of a Man. Panel, │ Hans │Duke of Devonshire, K.G. │ 14” × 9” │ Holbein │

83 │Mary Tudor, Dowager Queen │ “ │Earl Brownlow │ of France. Panel, 7” × 6”│ │

84 │Henry Howard, Earl of │ “ │Charles Butler, Esq. │ Surrey. Dated 1534. │ │ │ Panel, 15½” × 11” │ │

85 │Erasmus. Panel, 20” × 12” │ Lucas │Mrs. Du Buisson │ │ Cranach │

86 │Hugo Price, LL.D., Founder │ Hans │Jesus College, Oxford │ of Jesus College, Oxford.│ Holbein │ │ Panel, 18½” × 13” │ │

88 │Sir Anthony Denny, Kt. │ Unknown │Sir Henry Bedingfeld, Bt. │ Panel, 15½” × 11½” │ │

89 │Portrait of a Gentleman. │Attributed│Henry Reeve, Esq., C.B. │ Dated 1555. Panel, 25½” ×│ to Hans │ │ 20½” │ Holbein │

90 │Sir Henry Guldeford, K.G. │ Hans │Her Majesty (Windsor │ Panel, 32” × 25½” │ Holbein │Castle)

91 │Thomas Howard, 3rd Duke of │ “ │“ │ Norfolk. Panel, 30” × 24”│ │

92 │Christina, Duchess of │ “ │Duke of Norfolk, K.G. │ Milan. Panel, 70” × 32” │ │

93 │Charles Brandon, Duke of │ Unknown │C. W. Chute, Esq. │ Suffolk, K.G. Panel, 34” │ │ │ × 27” │ │

94 │Sir Thomas More. Panel, 29”│ Hans │Edward Huth, Esq. │ × 23½” │ Holbein │

95 │Sir John Cheke, Kt. Panel, │ “ │Duke of Manchester, K.P. │ 13” × 9½” │ │

96 │William, Lord Paget, K.G. │ “ │“ │ Panel, 13” × 9½” │ │

97 │Henry VIII. Panel, 35” × │ “ │“ │ 25” │ │

98 │Katherine of Aragon. Panel,│ “ │“ │ 13” × 9½” │ │

99 │Portrait of a Spanish │ “ │“ │ Nobleman. Panel, 13½” × │ │ │ 10½” │ │

100 │Sir John More. Panel, 29” ×│ “ │Earl of Pembroke │ 24” │ │

101 │Henry VIII and his Family. │ Guillim │Her Majesty (Hampton Court) │ Canvas, 66” × 138” │ Stretes │ │ │ (?) │

102 │Queen Anne Boleyn. Panel, │ After │G. Milner-Gibson-Cullum, │ 9” × 7” │ Vercolie │Esq.

104 │Queen Katherine Parr. │ “ │“ │ Panel, 9” × 7” │ │

106 │Queen Katherine Parr. │ Hans │Richard Booth, Esq. │ Canvas, 72” × 42” │ Holbein │

107 │William Warham, Archbishop │ “ │Viscount Dillon │ of Canterbury. Dated │ │ │ 1527. Panel, 32½” × 26” │ │

108 │Queen Anne of Cleves. │ “ │Miss Morrison │ Panel, 28” × 21” │ │

109 │Cardinal Wolsey. Panel, 21”│ “ │T. L. Thurlow, Esq. │ × 17” │ │

110 │Henry VIII. Panel, 13½” × │ Unknown │Sir Henry Bedingfeld, Bt. │ 11½” │ │

111 │Queen Katherine Parr. │ Unknown │Marquis of Hertford │ Panel, 17½” × 13” │ │

112 │Erasmus. Parchment (?). │ Hans │Her Majesty (Hampton Court) │ 21½” × 12½” │ Holbein │

113 │Sir Thomas le Strange, Kt. │ “ │Hamon le Strange, Esq. │ Dated 1536. Panel, 15” × │ │ │ 10½” │ │

114 │Charles Brandon, Duke of │ “ │Earl Brownlow │ Suffolk, K.G. Panel, 7” ×│ │ │ 6” │ │

115 │Erasmus. Panel, 11” × 7” │ “ │Earl of Portarlington

116 │Mary Boleyn, Lady Carey. │ Unknown │Earl of Warwick │ Canvas 14” × 12” │ │

117 │Queen Jane Seymour. Panel, │ “ │Sir Rainald Knightley, Bt., │ 10” × 8” │ │M.P.

120 │Henry VIII “with Scroll.” │ Paris │Merchant Taylors’ Company │ Panel, 29” × 22” │ Bordone │

122 │Queen Anne Boleyn. Panel, │ Lucas │Earl of Romney │ circular, 10” │Cornelisz │

125 │Portrait of an Englishman. │ Hans │G. P. Boyce, Esq. │ Panel, 17¼” × 13” │ Holbein │

126 │Henry VIII. Panel, 36” × │ “ │Earl of Warwick │ 25” │ │

127 │Sir Thomas More. No │ “ │T. L. Thurlow, Esq. │ measurements given │ │

128 │Henry VIII. Panel, 88” × │ “ │Trinity College, Cambridge │ 48” │ │

129 │Nicholas Kratzer. Panel, │ “ │Viscount Galway │ 34” × 26½” │ │

130 │Portrait of a Man. Panel, │School of │Duke of Manchester K.P., │ 10½” × 8” │ Holbein │

131 │Sir Thomas Wyat, Kt. Panel,│ Lucas │Earl of Romney │ circular, 11½” │Cornelisz │

132 │Queen Anne Boleyn. Panel, │ Unknown │Mrs. S. S. Gwyllim │ 8” × 6” │ │

133 │Queen Anne of Cleves. Dated│ Barth. │Henry Willett, Esq. │ 1534. Panel, 15” × 11” │ Bruyn │

134 │John Frobenius. Canvas, 21”│ Unknown │Sir H. B. St. John Mildmay, │ × 13” │ │Bt.

136 │Edward Stafford, 3rd Duke │ Hans │Lord Donington │ of Buckingham, K.G. │ Holbein │ │ Panel, 22½” × 18” │ │

137 │Erasmus. Panel, 25½” × 21½”│ Unknown │Charles Butler, Esq.

138 │Cardinal Fisher, Bishop of │ Hans │St. John’s College, │ Rochester. Panel, 28” × │ Holbein │Cambridge │ 24” │ │

139 │Margaret Roper. Panel, 34” │Attributed│F. L. Devitt, Esq. │ × 2” (?) │to Sir A. │ │ │ More │

140 │Queen Anne Boleyn. Panel, │ Hans │Earl of Denbigh │ 11” × 8½” │ Holbein │

141 │Queen Jane Seymour. Panel, │ Unknown │Duke of Northumberland, │ 14” × 11” │ │K.G.

142 │Henry VIII. Panel, 38½” × │ Hans │Hon. H. Tyrwhitt-Wilson │ 29” │ Holbein │

145 │Henry VIII, Anne Boleyn, │ Unknown │Major-General F. E.Sotheby │ and Others. “The Dancing │ │ │ Picture.” Panel, 52” × │ │ │ 42” │ │

146 │Sir Henry Guideford, K.G. │ “ │Hon. H. Tyrwhitt-Wilson │ Panel, 25½” × 20½” │ │

147 │Sir William Petre, Kt. │ Hans │Right Rev. Monsignor Lord │ Dated 1545. No │ Holbein │Petre │ measurements given. │ │

148 │Henry VIII. Panel, 24” × │ “ │“ │ 22” │ │

149 │Henry VIII. Panel, 33” × │ “ │T. L. Thurlow, Esq. │ 25” │ │

150 │Sir Thomas More and his │ “ │Sir Henry Vane, Bt. │ Father, Dated 1530. │ │ │ Canvas, 55” × 45” │ │

151 │Henry VIII. Dated 1547. │ Unknown │Viscount Galway │ Panel, 35” × 27” │ │

152 │Henry VIII granting the │ Hans │Barber-Surgeons’ Company │ Charter to the │ Holbein │ │ Barber-Surgeons’ Company.│ │ │ Panel, 122” × 71” │ │

153 │Francis, Prince of Thurn │ “ │Baroness Burdett-Coutts │ and Taxis. Dated 1514. │ │ │ Panel, 21½” × 18” │ │

155 │Henry VIII. Panel, 30” × │ Unknown │Christ Church, Oxford │ 24” │ │

157 │Henry VIII. Panel, 33½” × │ “ │Governors of Bridewell │ 27” │ │Hospital

158 │Henry VIII. and his Family.│ Sir A. │Mrs. Dent of Sudeley │ Panel, 51” × 71” │ More │

160 │Thomas Cromwell, Earl of │ Unknown │Corpus Christi College, │ Essex, K.G. Panel, 22½” ×│ │Cambridge │ 17” │ │

161 │Sir Thomas More. Panel, │ “ │Baroness Burdett-Coutts │ 17½” × 13½” │ │

162 │Thomas Cromwell. Panel, 18”│ “ │Charles Penruddocke, Esq. │ × 16” │ │

163 │Thomas Cromwell. 14” × 11½”│ Hans │Duke of Manchester, K.P. │ │ Holbein │

164 │Charles Brandon. Panel, │ Unknown │Sir Henry Bedingfeld, Bt. │ 12½” × 8” │ │

165 │Portrait of a Gentleman. │ Hans │Right Rev. Monsignor Lord │ Panel, 18” × 13½” │ Holbein │Petre

167 │Margaret Tudor, Queen of │ Unknown │Charles Butler, Esq. │ Scotland. Panel, 16½” × │ │ │ 12” │ │

168 │Queen Katherine Parr. │ Hans │Earl of Denbigh │ Canvas, 70” × 50” │ Holbein │

169 │Sir Thomas Wyat the Elder. │ Unknown │Bodleian Library, Oxford │ Panel, 17½” × 13” │ │

170 │Elizabeth, wife of Lord │ Hans │Her Majesty (Hampton Court) │ Vaux. Panel, 14½” × 11” │ Holbein │

171 │Head of an Old Man. Panel, │ “ │Duke of Devonshire, K.G. │ 13½” × 10” │ │

172 │Henry Grey, 3rd Marquis of │School of │G. P. Boyce, Esq. │ Dorset. Panel, 15¾” × 11”│ Holbein │

173 │Henry VIII. Circular panel,│ Hans │Duke of Sutherland, K.G. │ 29” │ Holbein │

173*│Robert Cheseman. Dated │ “ │Rev. Charles Shepherd │ 1533. Panel, 30” × 22” │ │

174 │Edward VI as a Child. │ “ │Earl of Yarborough │ Panel, 22½” × 16½” │ │

175 │Edward VI, aged 10. Panel, │ Unknown │W. More Molyneux, Esq. │ 27½” × 20” │ │

176 │Edward VI as a Boy. Canvas,│ F. │Sir P. Pauncefort Duncombe, │ 19” × 15½” │ Zucchero │Bt.

178 │Edward VI. Panel, 21” × 15”│ Unknown │Lord Castletown

180 │Edward VI. Panel, 16½” × │ “ │Duke of Portland │ 10” │ │

181 │Edward VI presenting the │ Guillim │Governors of Bridewell │ Charter to Bridewell │ Stretes? │Hospital │ (1553). Canvas, 115” × │ │ │ 108” │ │

182 │Edward VI. Panel, 24” × 22”│ Hans │Right Rev. Monsignor Lord │ │ Holbein │Petre

183 │Edward VI. Panel, 28” × 21”│ Unknown │Duke of Manchester, K.P.

184 │Edward VI. Panel, 32½” × │ “ │T. L. Thurlow, Esq. │ 21” │ │

186 │Edward VI. Panel, 17” × 15”│ Hans │A. H. Frere, Esq. │ │ Holbein │

187 │Edward VI. Panel, 18” × 13”│ Unknown │Malcolm Wagner, Esq.

188 │Edward VI. Panel, 17½” × │ “ │“ │ 12” │ │

189 │Edward VI. as a Child. │ Hans │Duke of Northumberland, │ Panel, 50” × 29” │ Holbein │K.G.

190 │Edward VI. Panel, 46” × 34”│ “ │Earl of Denbigh

196 │Edward Seymour, Duke of │ Unknown │Mrs. Dent of Sudeley │ Somerset. Dated 1535. │ │ │ Panel, 35” × 26½” │ │

199 │Edward Seymour, Duke of │ Hans │Duke of Northumberland, │ Somerset. Panel, 8½” × 7”│ Holbein │K.G.

200 │Queen Mary. Panel, 41½” × │ Unknown │Earl of Ashburnham │ 31” │ │

203 │Queen Mary. Canvas, 93” × │After Sir │Her Majesty (St James’s │ 57” │ A. More │Palace).

204 │Queen Mary. Panel, 19½” │ Sir A. │Dean and Chapter of Durham │ │ More │

206 │Queen Mary. Dated 1554. │ Lucas │Society of Antiquaries │ Panel, 40” × 30” │ d’Heere │

208 │Queen Mary. Panel, 22” × │ Unknown │Trinity College, Cambridge │ 16½” │ │

211 │Henry Fitz-Alan, 23rd Earl │Cornelius │Duke of Norfolk, K.G. │ of Arundel. Panel, 36” × │ Ketel │ │ 28” │ │

213 │Queen Mary. Circular panel.│ Unknown │Sir William Drake, Bt. │ 6½” │ │

214 │Queen Mary. Dated 1546. │ “ │Lord de L’Isle and Dudley │ Panel, 28” × 22” │ │

215 │Queen Mary. Dated 1556. │ “ │H. P. Spencer Lucy, Esq. │ Panel, 20” × 16” │ │

217 │Sir Richard Southwell. Æt. │ “ │W. H. Romaine Walker, Esq. │ 95. Panel, 29½” × 25” │ │

222 │Sir George Penruddocke. │ Lucas │Charles Penruddocke, Esq. │ Panel, 104” × 66” │ d’Heere │

224 │Sir Thomas Wyat the │ Unknown │Earl of Romney │ Younger. Panel, circular,│ │ │ 15” │ │

229 │Queen Mary. Panel, 18” × │ “ │Charles Butler, Esq. │ 15” │ │

230 │Queen Mary. “Hungad │ Lucas │Mrs. Stopford Sackville │ Petition.” Panel, 44” × │ d’Heere │ │ 35” │ │

233 │Queen Mary. Panel, 22½” × │ Sir A. │Lord Castletown │ 16½” │ More │

235 │Queen Mary. Panel, 8” × 6½”│ Lucas │Colonel Wynne Finch │ │ d’Heere │

240 │Queen Mary. Panel, 28½” × │ Sir A. │Earl of Carlisle │ 22” │ More │

242 │Portrait of a Man. Panel, │ Hans │W. Castell Southwell, Esq. │ 6” × 5” │ Holbein │

243 │Queen Mary as a Child. │ Unknown │Duke of Norfolk, K.G. │ Panel, 19” × 13½” │ │

246 │Thomas Cranmer, Archbishop │ Hans │Jesus College, Cambridge │ of Canterbury. Dated │ Holbein │ │ 1547. Panel, 17½” × 12” │ │

255 │Frances Brandon, Duchess of│ Lucas │Colonel Wynne Finch │ Suffolk, and her Second │ d’Heere │ │ Husband, Adrian Stokes. │ │ │ Dated 1559. Panel, 19½” ×│ │ │ 27” │ │

292 │Margaret Audley, Second │ “ │Duke of Norfolk, K.G. │ Wife of Thomas, 4th Duke │ │ │ of Norfolk. Dated 1565. │ │ │ Canvas, 38” × 29” │ │

348 │William Paulet, 1st Marquis│ Hans │Duke of Northumberland, │ of Winchester, K.G. │ Holbein │K.G. │ Panel, 15½” × 11½” │ │

357 │Thomas Howard, 4th Duke of │ Lucas │Duke of Norfolk, K.G. │ Norfolk, K.G. Dated 1566.│ d’Heere │ │ Panel, 12” × 10” │ │

399 │Sir William Sidney, Kt. │ Hans │Lord de L’Isle and Dudley │ Dated 1523. Panel, 47” × │ Holbein │ │ 37” │ │

428 │Henry VIII. Panel, 21½” × │ Unknown │T. M. Whitehead, Esq. │ 16” │ │

429 │Henry VIII. Panel, 16” × │ “ │Duke of Devonshire, K.G. │ 12” │ │

430 │Queen Jane Seymour. Panel, │ “ │Mrs. S. S. Gwyllim │ 7” × 5½” │ │

431 │Edward VI. Copper, 7¾” × 6”│ “ │Hon. Mrs. Trollope

432 │Henry VIII. Panel, 26½” × │ “ │C. W. Chute, Esq. │ 19½” │ │

435 │Henry VIII. Panel, 13” × │ “ │Marquis of Hertford │ 10” │ │

438 │Edward VI. Panel, 10” × 8” │ “ │Sir Rainald Knightley, Bt.

442 │Henry VIII. Panel, 21” × │ “ │Sir G. D. Clerk, Bt. │ 17” │ │

455 │Margaret Clifford, Countess│ Lucas │T. F. C. Vernon Wentworth, │ of Derby. Æt. 49. Panel, │ d’Heere │Esq. │ 38½” × 24” │ │

486 │Queen Mary. Canvas, 35” × │ Unknown │Christ Church, O×ford │ 27” │ │

495 │The Windsor “Heads” │ Hans │Her Majesty (Windsor to │ │ Holbein │Castle) 573 │ │ │

906 │Edward VI. Miniature in │Attributed│Granville E. Lloyd Baker, │ wood │ to Hans │Esq., M.P. │ │ Holbein │

907 │Henry VIII. Miniature in │ “ │“ │ wood │ │

1066│Henry VIII. Miniature (oil)│ Hans │Her Majesty (Windsor │ │ Holbein │Castle)

1067│Queen Catherine Howard. │ “ │“ │ Miniature │ │

1070│A Man’s Head, unfinished. │ Ascribed │Right Hon. Sir Chas. Dilke, │ Inscribed, “A.D. 1539. │ to Hans │Bt. │ Ætat. 30” │ Holbein │

1071│Thomas Cromwell. Miniature │ Hans │Major-General F. E. Sotheby │ │ Holbein │

1072│Thomas Cromwell. Miniature │ “ │Lord Willoughby de Eresby

1073│Henry VIII. Miniature │ Unknown │Albert Hartshorne, Esq.

1074│Henry VIII. Carving in │ Hans │Mrs. Dent of Sudeley │ honestone │ Holbein │

1075│Henry VIII. Miniature │ Unknown │“

1076│Queen Katherine Parr. │ Hans │“ │ Miniature │ Holbein │

1077│Thomas, Lord Seymour of │ “ │“ │ Sudeley. Miniature │ │

1078│Edward VI. Miniature │ Unknown │Mrs. Dent of Sudeley

1079│Queen Jane Seymour. │ Hans │“ │ Miniature │ Holbein │

1080│Queen Anne Boleyn. │ Unknown │“ │ Miniature │ │

1081│Henry VIII. Carving in │ Hans │“ │ boxwood │ Holbein │

1082│Edward VI. Miniature │ Unknown │Lieut.-General W. Bulwer

1083│Thomas Cromwell. Miniature │ “ │Duke of Devonshire, K.G.

1085│Henry VIII. Miniature │ “ │Mrs. Prothero

1086│Queen Anne of Cleves. │ “ │Baroness Burdett-Coutts │ Miniature │ │

1087│Family Group of the More │ Peter │Major-General F. E. Sotheby │ Family in Two │ Oliver │ │ Generations. Miniature │ │

1089│Queen Anne Boleyn. │ Unknown │Countess of Yarborough │ Miniature │ │

1091│Henry VIII and Family with │ “ │Dowager Duchess of │ Will Somers. Panel, 6” × │ │Buccleuch │ 11” │ │

1092│William Warham. Miniature │ “ │Henry Willett, Esq.

1093│William Warham. Miniature │ “ │Henry Howard, Esq., of │ │ │Greystoke

1094│Erasmus. Miniature │ “ │“

1095│Sir Anthony Denny. │ “ │“ │ Miniature │ │

1096│Henry VIII. Miniature │ “ │Baroness Burdett-Coutts

1117│Henry VIII. Miniature in │ “ │J. Lumsden Propert, Esq. │ copper │ │

1118│Queen Jane Seymour. │ Hans │“ │ Miniature │ Holbein │

1119│Charles Brandon, Duke of │ “ │“ │ Suffolk. Miniature │ │

1121│Edward VI. Miniature │ Levina │“ │ │Teerlinck │ │ │ (?) │

1411│Henry VIII. Wax medallion │ Unknown │Her Majesty

1412│Sir Thomas More. Wax │ “ │“ │ medallion │ │

1414│Thomas Cromwell, Earl of │ Hans │Earl of Pembroke │ Essex. Drawing │ Holbein │

X. EXHIBITION OF THE ROYAL HOUSE OF TUDOR. CORPORATION OF MANCHESTER ART GALLERY, 1897.

In this exhibition the greater number of the pictures were the same as those exhibited at the Tudor Exhibition in the New Gallery, 1890. The following were among those not included in the earlier collection:

48 │Sir Nicholas Poyntz, Kt. │ Hans │Right Hon. Evelyn Ashley │ Panel, 24” × 17” │ Holbein │

56 │Catherine Pole, Countess of│ “ │Trustees of the late Lord │ Huntingdon. Panel, 34” × │ │ Donington │ 25” │ │

59 │Sir Thomas More. Dated │ “ │Miss Sumner │ 1532. Panel, 21” × 17” │ │

60 │Cardinal Wolsey. Panel, 21”│ “ │“ │ × 17” │ │

61 │Henry VIII. Panel, 47” × │ Unknown │Martin Colnaghi, Esq. │ 35” │ │

69 │Queen Anne Boleyn. Panel, │ Hans │C. J. Radcliffe, Esq. │ 22½” × 17¾” │ Holbein │

70 │Sir Thomas More. Panel, 16”│ Unknown │John Eyston, Esq. │ × 11” │ │

71 │Sir Thomas More and Family.│Attributed│“ │ Canvas, 91” × 118” │to Holbein│

XI. NEW GALLERY, WINTER EXHIBITION, 1901-2. MONARCHS OF GREAT BRITAIN AND IRELAND.

34 │The Three Children of Henry│ Jan de │H. Dent-Brocklehurst, Esq. │ VII. Panel, 13” × 18” │ Mabuse │

41 │The Three Children of Henry│ Unknown │Earl of Pembroke │ VII. Panel, 14” × 18” │ │

45 │Queen Katherine of Aragon. │ “ │Merton College, Oxford │ Panel, 23” × 17” │ │

47 │Queen Anne Boleyn. Panel, │ Lucas │Earl of Romney │ circular, 10” │Cornelisz │

48 │Henry VIII. Panel, 19” × │ Unknown │Society of Antiquaries │ 13½” │ │

49 │Queen Katherine of Aragon. │ “ │Duke of Devonshire, K.G. │ 14” × 10½” │ │

50 │Mary Tudor, Dowager Queen │ Johannes │H. Dent-Brocklehurst, Esq. │ of France. Panel, 22½” × │ Corvus │ │ 18” │ │

51 │Katherine of Aragon and │ Unknown │Charles Butler, Esq. │ Arthur, Prince of Wales. │ │ │ Panel, 15” × 20” │ │

52 │Henry VIII, Princess Mary, │ “ │Earl Spencer, K.G. │ and Will Somers. Canvas, │ │ │ 63” × 50” │ │

53 │Henry VIII. Panel, 35” × │ Hans │Viscount Galway │ 27” │ Holbein │

54 │Marriage of Henry VIII with│ Unknown │Earl of Ancaster │ Katherine of Aragon │ │ │ (1501). Panel, 11” × 29” │ │

55 │Henry VIII and his Family. │ Sir │H. Dent-Brocklehurst, Esq. │ Panel, 51” × 71” │ Antonio │ │ │ More │

56 │Edward VI. Panel, 16” × 12”│Attributed│Earl of Pembroke │ │to Holbein│

57 │Queen Katherine Parr. │ Unknown │Archbishop of Canterbury │ Panel, 21” × 17” │ │

58 │Queen Anne of Cleves. │ Hans │Charles Morrison, Esq. │ Panel, 28” × 21” │ Holbein │

59 │Queen Jane Seymour. Panel, │ Unknown │Society of Antiquaries │ 16½” × 14” │ │

60 │Edward VI. Panel, 20” × │ Gwillim │Lord Aldenham │ 16½” │ Stretes │

61 │Queen Anne Boleyn. Canvas, │Attributed│Lord Zouche │ 15” × 12” │ to Janet │

62 │Cartoon of Henry VII and │ Hans │Duke of Devonshire, K.G. │ Henry VIII. 103” × 54” │ Holbein │

63 │Edward Seymour, Duke of │ Unknown │H. Dent-Brocklehurst, Esq. │ Somerset. Dated 1535. │ │ │ Panel, 35” × 26½” │ │

64 │Charles Brandon, Duke of │ Hans │Executors of LordcDonington │ Suffolk, K.G. Panel, 34” │ Holbein │ │ × 27” │ │

70 │Edward VI. Panel, 46” × 34”│ “ │Earl of Denbigh

73 │Queen Mary I. Panel, 19½” │ Sir │Dean and Chapter of Durham │ │ Antonio │ │ │ More │

75 │Queen Mary I. Dated 1554. │ Lucas │Society of Antiquaries │ Panel, 40” × 30” │ d’Heere │

_Miniatures_

201 │Charles Brandon, Duke of │ Hans │Earl Brownlow │ Suffolk, K.G. Panel, 7” ×│ Holbein │ │ 6” │ │

202 │Mary Tudor, Dowager Queen │ “ │“ │ of France. Panel, 7” × 6”│ │

204 │Queen Katherine Parr │ “ │H. Dent-Brocklehurst, Esq.

205 │Queen Jane Seymour │ “ │“

206 │Queen Anne Boleyn │ Unknown │“

217 │Queen Catherine Howard │ Hans │His Majesty │ │ Holbein │

218 │Henry VIII. Aged 57 │ “ │“

219 │Henry VIII │ Unknown │H. Dent-Brocklehurst, Esq.

220 │Edward VI │ “ │“

252 │Queen Mary I │ Lucas │Colonel Wynne Finch │ │ d’Heere │

342 │Henry VIII. Carving in │ Hans │H. Dent-Brocklehurst, Esq. │ honestone │ Holbein │

348 │Henry VIII. Carving in │ “ │“ │ boxwood │ │

XII. LOAN COLLECTION OF PORTRAITS OF ENGLISH HISTORICAL PERSONAGES WHO DIED PRIOR TO THE YEAR 1625. OXFORD, 1904

21 │William Warham, Archbishop │ Hans │Viscount Dillon │ of Canterbury. Panel, 32”│ Holbein │ │ × 25½” │ │

22 │William Warham. Panel, 32” │Copy from │New College, Oxford │ × 25½” │ Holbein │

23 │Catherine of Aragon. Panel,│ Unknown │The Warden of Merton │ 22½” × 17” │ │ College, Oxford

24 │Sir Thomas Wyat. Panel, │Based upon│Curators of the Bodleian │ 17¼” × 12½” │a drawing │ Library │ │by Holbein│

25 │King Henry VIII. Panel, 24”│ Unknown │Dean of Christ Church, │ × 19½” │ │ Oxford

26 │King Henry VIII. Panel, 27”│ “ │Archdeacon of Oxford │ × 22” │ │

27 │Dr. John Chambre. Panel, │Copy from │Merton College, Oxford │ 25¼” × 18½” │ Holbein │

30 │Anne of Cleves. Panel, │ Flemish │The President of St. John’s │ arched top, 19¾” × 14¼” │ School │ College, Oxford

33 │Sir Thomas Pope. Panel, │School of │The President of Trinity │ 45½” × 31½” │ Holbein │ College, Oxford

XIII. EXHIBITION ILLUSTRATIVE OF EARLY ENGLISH PORTRAITURE, BURLINGTON FINE ARTS CLUB, 1909

_Reprinted by kind permission of the Committee of the Club._

14 │Margaret Wotton, │Copy of a │Duke of Portland, K.G. │ Marchioness of Dorset. │ Portrait │ │ Panel, 40½” × 31½” │ possibly │ │ │by Holbein│

19 │Lady of the Court of Henry │School of │Society of Antiquaries │ VIII. Panel, 16½” × 14¼” │ Holbein │

21 │King Henry VIII. Panel, │ Unknown │Lord Sackville │ 37¾” × 28¼” │ │

23 │Henry VIII. Panel, 46” × │ “ │Governors of St. │ 37¼” │ │ Bartholomew’s Hospital

24 │Henry VIII “with Scroll.” │ “ │Merchant Taylors’ Company. │ Canvas, 28¾” × 22¼” │ │

25 │Unknown Lady. Panel, 14⅞” ×│ Possibly │Duke of Norfolk, K.G. │ 10⅝” │H. Eworth │

28 │Mary Tudor, Sister of Henry│ Johannes │H. Dent-Brocklehurst, Esq. │ VIII. Panel, 22¼”× 18¼” │ Corvus │

30 │Edmund Butts. Panel, 21” × │Attributed│Prince F. Duleep Singh │ 15½” │ to J. │ │ │ Bettes │

33 │King Henry VIII. Panel, │ Unknown │Society of Antiquaries │ 18¼” × 13¼” │ │

34 │Sir W. Fitzwilliam, Earl of│Copy after│Duke of Devonshire │ Southampton. Panel, 13⅛” │ Holbein │ │ × 9¾” │ │

38 │King Henry VIII. Panel, │ Hans │Earl Spencer, K.G. │ 10½” × 7½” │ Holbein │

39 │An Elderly Man, Unknown. │Attributed│R. Langton Douglas, Esq. │ Panel, 15⅝” × 12” │to Holbein│

40 │King Henry VII and King │ Hans │Duke of Devonshire │ Henry VIII. Cartoon, │ Holbein │ │ 103½” × 54” │ │

41 │Sir Thomas le Strange, Kt. │ “ │Hamon le Strange, Esq. │ Panel, 15¼” × 10½” │ │

42 │Sir Thomas le Strange. │Attributed│“ │ Panel, 19¼” × 15½” │to Holbein│

43 │Sir Bryan Tuke. Panel, 18½”│ Hans │Miss Guest of Inwood │ × 14½” │ Holbein │

44 │Margaret Roper. Panel, 25½”│Copy after│Lord Sackville │ × 19½” │ Holbein │

45 │Sir Nicholas Carew. Panel, │ Hans │Duke of Buccleuch, K.G. │ 36” × 40” │ Holbein │

46 │Queen Jane Seymour. Panel, │Copy after│Lord Sackville │ 24” × 19” │ Holbein │

48 │Sir Thomas Wyat the │ Ascribed │Rt. Hon. Lewis Fry │ Younger. Panel, circular,│to Holbein│ │ 13” diam. │ │

49 │Thomas Howard, 3rd Duke of │Copy after│Duke of Norfolk, K.G. │ Norfolk. Panel, 30” × 23”│ Holbein │

50 │Sir Thomas Wyat. Panel, │ “ │Bodleian Library, Oxford │ 17¼” × 12¼” │ │

51 │William West, 1st Lord │Attributed│Lieut.-Col. G. L. Holford, │ Delawarr (?). Panel, 51¾”│to Holbein│ C.I.E. │ × 30¾” │and to G. │ │ │ Stretes │

52 │Sir Thomas More. Panel, 25”│ Unknown │Lord Sackville │ × 19¼” │ │

53 │Sir Thomas More. Panel, │ Hans │Edward Huth, Esq. │ 29¼” × 23¼” │ Holbein │

54 │Henry Howard, Earl of │Attributed│Duke of Norfolk, K.G. │ Surrey. Canvas, 86” × 85”│ to G. │ │ │ Stretes │

56 │Sir Anthony Wingfield. │Attributed│T. Humphry Ward, Esq. │ Panel, 34” × 27¾” │to Holbein│

60 │King Edward VI. Panel, 18” │ Unknown, │Lord Sackville │ × 12¼” │ after │ │ │ Holbein │

62 │Edward VI as a Child. │ Ascribed │Earl of Yarborough │ Panel, 22½” × 16⅝” │to Holbein│

63 │King Edward VI. Panel, 19¾”│Attributed│Lord Aldenham │ × 16½” │ to G. │ │ │ Stretes │

64 │Margaret Wyat, Lady Lee │ Hans │Major Charles Palmer │ (?). Panel, 16½” × 12½” │ Holbein │

65 │Unknown Lady. Panel, 11⅜” ×│Attributed│P. T. Davies Cooke, Esq. │ 8⅞” │to Holbein│

66 │Unknown Lady. Signed “H. │ Hans │Marquis of Zetland │ H.” Panel, 12¾” × 9¾” │ Holbein │

68 │King Edward VI. Panel, 16⅜”│ Unknown │Duke of Portland, K.G. │ × 9⅞” │ │

70 │George Nevill, 3rd Lord │ Hans │Earl of Pembroke │ Abergavenny. Drawing in │ Holbein │ │ coloured chalks, 10¾” × │ │ │ 9½” │ │

72 │An English Lady, supposed │ “ │George Salting, Esq. │ to be Margaret Roper. │ │ │ Drawing in coloured │ │ │ chalks, 10⅞” × 7⅝” │ │

_Miniatures._

Case│ │ │ B. │ │ │

1 │King Henry VIII. Diam. 1¼” │ Hans │J. Pierpont Morgan, Esq. │ │ Holbein │

2 │Queen Jane Seymour. Diam. │ “ │Vernon Watney, Esq. │ 1½” │ │

3 │Mrs. Pemberton. Diam. 2⅛” │ “ │J. Pierpont Morgan, Esq.

4 │Queen Anne of Cleves. Diam.│ “ │George Salting, Esq. │ 1¾” │ │

5 │Portraits of Two Little │ Livina │“ │ Girls. Oval, 1-15/16” × │Teerlinck │ │ 1½” │ │

6 │Queen Jane Seymour. Diam. │ Hans │H. Dent-Brocklehurst, Esq. │ 1⅝” │ Holbein │

7 │Queen Katherine Parr (?). │ “ │“ │ Diam. 1⅞” │ │

Case│ │ │ C. │ │ │

1 │Margaret Wotton (?) (called│ “ │Duke of Buccleuch, K.G. │ Queen Katherine of │ │ │ Aragon). Diam. 1½” │ │

2 │King Henry VIII. Diam. 2⅜” │ “ │“

4 │Queen Catherine Howard. │ “ │“ │ Diam. 2” │ │

5 │Queen Jane Seymour (called │ “ │“ │ Katherine of Aragon). │ │ │ Diam. 1½” │ │

6 │King Henry VIII. Diam. 1¾” │Copy after│Duke of Buccleuch, K.G. │ │ Holbein │

7 │King Henry VIII. 2” × │ Possibly │“ │ 1-13/16” │ French │

8 │Eight Miniatures in one │ │ │ frame, among them: │ │

│D. King Henry VIII. Diam. │ Hans │“ │ 1¾” │ Holbein │

│F. Queen Mary. Diam. 2⅛” │ Anthonis │“ │ │ Mor │

│G. King Edward VI. Diam. │ Unknown │“ │ 1¾” │ │

12 │A Boy (called Edward VI). │ Hans │“ │ Oval, 1¼” × 1⅛” │ Holbein │

13 │King Edward VI. Oval, │ Unknown │“ │ 1-11/16” × 1-7/16” │ │

15 │Katherine of Aragon. │Attributed│“ │ 1-15/16” × 1-13/16” │to Holbein│

17 │Sir Thomas More. Oval, │ Possibly │“ │ 1-5/16” × 1⅛” │by Holbein│

19 │King Edward VI. Diam. 1⅝” │ Unknown │“

22 │George Nevill, 3rd Lord │ Hans │“ │ Abergavenny. Diam. 1¾” │ Holbein │

23 │Hans Holbein. Diam. 1-7/16”│ “ │“

25 │King Henry VIII. Diam. 1¾” │ Unknown │“

Case│ │ │ D. │ │ │

1 │Hans Holbein. Panel, diam. │ Hans │George Salting, Esq. │ 4½” │ Holbein │

2 │Katherine Willoughby, │ Unknown │Earl of Ancaster │ Duchess of Suffolk. │ │ │ Inscribed in later hand │ │ │ “H. Holbein Fecit.” Diam.│ │ │ 2⅛” │ │

3 │Katherine of Aragon │ Hans │Mrs. Joseph │ │ Holbein │

_In Writing-Room._

17 │Sir Anthony Browne, K.G. │ Unknown │Lord Vaux of Harrowden │ Canvas, 37” x 30” │ │

18 │King Edward VI. Panel, 41” │ “ │Major Eley │ × 29” │ │

XIV. PICTURES BY OR ATTRIBUTED TO HOLBEIN DESCRIBED BY DR. WAAGEN IN HIS “TREASURES OF ART IN GREAT BRITAIN,” 1854.

Vol. I │ │

p. 203 │The Holbein Drawings in the │ pp. │ British Museum │ 236-7 │ │

p. 429 │William Warham │Lambeth Palace │ │

Vol. II │ │

p. 73 │Man with the Golden Fleece │Duke of Sutherland, Stafford │ │ House

p. 86 │The Duke of Norfolk │Duke of Norfolk

pp. 93-4│Man in a Furred Robe │Devonshire House

p. 112 │Unnamed Portrait │Lord Ashburton

p. 199 │Portrait wrongly called Duke│R. S. Holford, Esq. │ Frederick of Saxony │

p. 241 │Henry VIII │Henry Danby Seymour, Esq.

p. 242 │Portrait of a “Plump Child” │“

p. 245 │Portrait of a Woman adorned │Collection of Mr. Neeld │ with many jewels. Dated │ │ 1536 │

p. 246 │A Man’s Portrait. Dated 1547│“

pp. │Henry VIII granting the │Barber-Surgeons’ Hall 327-8 │ Charter to the │ │ Barber-Surgeons’ Company │

p. 328 │Edward VI at Bridewell │Bridewell Hospital

p. 331 │“A Male Portrait in a rich │C. S. Bale, Esq. │ dress.” Coloured drawing │

p. 332 │“A Female Portrait.” │“ │ Miniature │

pp. │The Pictures in Hampton │“ 361-7 │ Court │

p. 420 │Drawing of a Female Saint │Rt. Hon. Henry Labouchere at │ │ Stoke

pp. │The Pictures and Drawings in│“ 430-50 │ Windsor Castle │

Vol. III│ │

p. 6 │Portrait of a Young Man │W. Fuller Maitland, Esq., │ weighing Gold │ Stanstead House

p. 29 │The Duchess of Milan │Duke of Norfolk, Arundel │ │ Castle

p. 30 │The Duke of Norfolk │“

“ │The Earl of Surrey, │“ │ inscribed “William Strote”│

p. 33 │“A Female Figure with a Ring│Colonel Egremont Wyndham, │ on one Finger” │ Petworth

p. 36 │Edward VI standing under a │“ │ Canopy │

p. 41 │Henry VIII, whole length │“

“ │Portrait of a Man with a │“ │ Falcon │

p. 42 │Portrait of a Man with a │“ │ Letter in his Hand (Derich│ │ Berck) │

p. 52 │Henry VIII, bust. │University Galleries, Oxford

p. 123 │A Man’s Head, about 1530 │Duke of Marlborough, │ │ Blenheim Palace

p. 138 │Portrait of Erasmus │Earl of Radnor, Longford │ │ Castle

p. 139 │Peter Ægidius │“

“ │Two Male Portraits, the size│“ │ of life, in one picture. │ │ (Two Ambassadors) │

“ │Luther (?) │“

“ │Anthony Denny │“

p. 140 │Æcolampadius │“

“ │King Edward VI │“

p. 152 │The Father of Sir Thomas │Earl of Pembroke, Wilton │ More │ House

“ │William, 1st Earl of │“ │ Pembroke │

“ │King Edward VI │“

“ │Lord Cromwell (drawing) │“

p. 155 │The Wilton Porch │“

p. 170 │Catherine Howard │Earl of Suffolk, Charlton │ │ Park

p. 185 │“A half-length Undraped │J. P. Miles, Esq., Leigh │ Figure, here, in defiance │ Court │ of all probability, called│ │ a William Tell” │

p. 210 │John Fisher, Bishop of │Lord Northwick, Thirlstane │ Rochester │ House

p. 211 │Man’s Head. Miniature │“

p. 215 │Henry VIII │Warwick Castle

p. 225 │Portrait of a Man Praying │Mr. Martin, Ham Court, │ │ Worcestershire

p. 236 │The Prodigal Son │Liverpool Institution

p. 252 │Sir Thomas More │Mr. Blundell Weld of Ince

p. 264 │Woman with a White Pigeon │Earl of Lonsdale, Lowther │ │ Castle

p. 313 │Sir Nicholas Carew │Duke of Buccleuch, Dalkeith │ │ Palace

p. 323 │Duke of Norfolk │Earl of Carlisle, Castle │ │ Howard

“ │Henry VIII │“

p. 334 │Man’s Portrait │Mr. Meynell Ingram, Temple │ │ Newsham

pp. │Sir Thomas More and his │Mr. Charles Winn, Nostell 334-5 │ Family │ Priory

p. 342 │Portrait of Æcolampadius │W. V. Wentworth, Esq., │ │ Wentworth Castle

p. 346 │Henry VIII, full-length │Duke of Devonshire, │ │ Chatsworth

“ │Head of an Old Man │“

p. 359 │The Drawings at Chatsworth │“

p. 388 │Portrait of a Man │Earl of Shrewsbury, Alton │ │ Towers

p. 398 │Henry VIII, full-length │Duke of Rutland, Belvoir │ │ Castle

p. 407 │Henry VIII, half-length │Marquis of Exeter, Burleigh │ │ House

“ │Edward VI │“

p. 428 │Anne Boleyn │Sir John Boileau, │ │ Ketteringham Hall

p. 443 │Portrait of a Woman with │Mr. Tomline, Orwell Park │ folded hands │

“ │“A small picture in a │“ │ circle, dated 1527” │

p. 449 │William Fitzwilliam, Earl of│Fitzwilliam Museum, │ Southampton │ Cambridge

p. 456 │Henry VIII │Earl Spencer, Althorp

“ │Henry VIII, Princess Mary, │“ │ and Somers │

p. 462 │Queen Catherine Parr │Glendon Hall

p. 482 │James, King of Scotland, and│Marquis of Bute, Luton House │ his Wife, Margaret, │ │ Daughter of Henry VII │

“ │Henry VIII (attributed to │“ │ Gerard Horebout) │ │ │

Vol. IV │(_Supplemental_, 1857) │

pp. 35-8│The British Museum drawings │

p. 67 │Edward VI as an Infant │Lord Yarborough, Arlington │ │ Street

“ │Henry VIII │“

p. 77 │“Portrait of a Man with │Alexander Barker, Esq. │ features resembling the │ │ House of Habsburg” │

p. 97 │Johann Herbster │Mr. Baring’s Collection

p. 119 │Princess Mary, afterwards │C. Sackville Bale, Esq. │ Queen. Miniature │

p. 188 │The Ascension. Drawing, │William Russell, Esq., 38 │ design for a painted │ Chesham Place │ window │

p 269 │Edward VI │Duke of Northumberland, Syon │ │ House

“ │Duke of Somerset, the │“ │ “Protector” │

“ │Bust of Henry VII, in dark │“ │ stone, “by Pietro │ │ Torregiano, 1519” │

p. 272 │Portrait of Sir Thomas │Lord Jersey, Osterley Park │ Gresham. (“Not by Holbein,│ │ but possibly of the │ │ Lombard School”) │

p. 331 │John Russell │Duke of Bedford, Woburn │ │ Abbey

p. 339 │Henry VIII │Earl Amherst, Knole Park

p. 355 │Sir Anthony Denny │Lord Folkestone, Longford │ │ Castle

pp. │Erasmus │“ 356-7 │ │

p. 357 │Peter Ægidius │“

p. 359 │The Two Ambassadors │“

“ │A Man in a Black Dress │“ │ called Luther │

p. 361 │Lady Carey │“

p. 364 │Lady Jane Grey │Earl of Normanton, Somerley

p. 394 │“Portrait of Scanderbeg” │Lord Methuen, Corsham Court

p. 435 │Sir Nicholas Carew │Duke of Buccleuch, Dalkeith │ │ Palace

p. 464 │Lord Cromwell │The late Lord Douglas, │ │ Bothwell Castle

“ │Sir Thomas More │“

“ │Erasmus │“

p. 498 │Henry VIII │William Drury Lowe, Esq., │ │ Locko Park

p. 509 │Portrait of a Man in a Black│Duke of Newcastle, Clumber │ Dress and Cap │ Park

p. 511 │Portrait of a Man with a Cap│“ │ and Bâton, said to be Sir │ │ Thomas More │

p. 515 │Portrait of a Man in a Black│Duke of Portland, Welbeck │ Dress, holding a Palm in │ Abbey │ his Left Hand │

p. 516 │Portrait of Nicolas Kratzer │Viscount Galway, Serlby

p. 517 │Henry VIII, full-length │“

A SHORT BIBLIOGRAPHY

The following list includes only a few of the more modern and more important of the many contributions to the literature dealing with the life and art of Hans Holbein the Younger. A very complete bibliography of the artist will be found in _Schweiz. Künstlerlexikon_, vol. ii., Frauenfeld, 1906, to which the student is referred. Additional references will be found in the text and footnotes of this book.

AMIET, _Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus Conrad_, 1879.

BALDRY, A. L., _Drawings of Hans Holbein_, “Drawings of the Great Masters” series. George Newnes, Ltd. Not dated.

BELL, C. F., F.S.A., _Catalogue of a Loan Collection of Portraits of English Historical Personages who died prior to the year 1625_. Oxford, Clarendon Press, 1904.

BENOIT, FRANÇOIS, _Holbein_ (“Les Maîtres de l’Art”). Paris. Not dated.

BINYON, LAURENCE, _Catalogue of Drawings by British Artists and Artists of Foreign Origin working in Great Britain, preserved in the British Museum_, Vol. ii. p. 326-243.

BLACK, W. H., F.S.A., and FRANKS, A. W., F.S.A., _Discovery of the Will of Hans Holbein_. Archæologia, vol. xxxix. pp. 1-18.

BLACK, W. H., F.S.A., _On the Date and other Circumstances of the Death of Holbein_, &c. Archæologia, vol. xxxix. pp. 272-6.

BLOMFIELD, R., A.R.A., _History of Renaissance Architecture in England_, i. p. 18, 1897.

BREWER, J. S., M.A., and GAIRDNER, DR. JAMES, C.B., _Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, 1509-1543_, 1862-1902.

BURCKHARDT, A., _Hans Holbein_. Basel, 1885.

BURCKHARDT, A., _Hans Holbeins Ehefrau und ihr erster Ehemann Ulrich Schmid_, Basler Zeitschrift für Geschichte und Altertumskunde, Bd. v. p. 420.

BURCKHARDT-WERTHEMANN, D., _Drei wiedergefundene Werke aus Holbeins früherer Basler Zeit_. Basler Zeitschrift für Geschichte und Altertumskunde, iv. 27.

CHAMBERLAIN, A. B., _A Newly Discovered Portrait of Thomas Cromwell_. Burlington Magazine, No. cv. vol. xx. (December, 1911) p. 175.

CHAMBERLAIN, A. B., _Holbein’s Visit to “High Burgony.”_ Burlington Magazine, No. cix. vol. xxi. (April, 1912) pp. 25-30.

CHATTO, W. A., _A Treatise on Wood Engraving_, ed. H. G. Bohn. Chatto and Windus, 1861.

CHURCHILL, S. J. A., _Two Unpublished Portraits by Hans Holbein_. Burlington Magazine, No. cvi. vol. xx. (January, 1912) p. 239.

COLVIN, SIR SIDNEY, _The Ambassadors Unriddled_ (review of Mr. W. F. Dickes’ book). Burlington Magazine, No. vi. vol. ii. (August, 1903) pp. 367-9.

COLVIN, SIR SIDNEY, _On a Portrait of Erasmus by Holbein_. Burlington Magazine, No. lxxx. vol. xvi. (November, 1909) pp. 67-71.

CONWAY, SIR MARTIN, and CUST, LIONEL, M.V.O., _Portraits of the Wyat Family_. Burlington Magazine, No. lxxxi. vol. xvi. (December, 1909) pp. 154-9.

COX, MARY L., _Inventory of Pictures, &c., in the possession of Alethea, Countess of Arundel, at the time of her Death at Amsterdam in 1654_. Burlington Magazine, No. ci. vol. xix. (August, 1911) pp. 282-6; No. cii. vol. xix. (September, 1911) pp. 323-5.

CUST, LIONEL, M.V.O., F.S.A., _Lucas d’Heere_. Magazine of Art, August, 1891.

CUST, LIONEL, M.V.O., _Notice of the Life and Works of Lucas d’Heere_, &c. Archæologia, vol. liv. pt. i. pp. 59-80.

CUST, LIONEL, M.V.O., _The National Portrait Gallery_. Illustrated Catalogue, 2 vols., Cassell & Co., 1901.

CUST, LIONEL, M.V.O., _Foreign Artists of the Reformed Religion working in London from about 1560 to 1660_. Proceedings of the Huguenot Society in London, vol. vii. No. i. pp. 45-82, 1903.

CUST, LIONEL, M.V.O., _The Royal Collection of Paintings_, vol. ii., _Windsor Castle_. Heinemann, 1906.

CUST, LIONEL, M.V.O., _John of Antwerp, Goldsmith, and Hans Holbein_. Burlington Magazine, No. xxxv. vol. viii. (February, 1906) pp. 356-60.

CUST, LIONEL, M.V.O., _The Lumley Inventory and the Painter H. E._ Burlington Magazine, No. lxxii. vol. xiv. (March, 1909) pp. 366-8.

CUST, LIONEL, M.V.O., _A Portrait of Queen Catherine Howard by Hans Holbein the Younger_. Burlington Magazine, No. lxxxviii. vol. xvii. (July, 1910) pp. 193-9.

CUST, LIONEL, M.V.O., _On a Portrait Drawing by Hans Holbein the Younger_ (Sir Charles Wingfield). Burlington Magazine, No. xcv. vol. xviii. (February, 1911) pp. 269-70.

CUST, LIONEL, M.V.O., _On Two Portraits attributed to Gerlach Flicke_. Burlington Magazine, No. c. vol. xix. (July, 1911) p. 239.

CUST, LIONEL, M.V.O., _Notes on the Collections formed by Thomas Howard, Earl_ _of Arundel and Surrey, K.G._ Burlington Magazine, No. ci. vol. xix (August, 1911) pp. 278-81; No. civ. vol. xx (November, 1911) pp. 97-100; No. cvi. vol. xx. (January, 1912) pp. 233-6); No. cviii. vol. xx. (March, 1912) pp. 341-3; No. cxiii. vol. xxi. (August, 1912) pp. 256-8.

CUST, LIONEL, M.V.O., _A Newly-discovered Portrait of Thomas Cromwell_. Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 5-6.

CUST, LIONEL, M.V.O., _“The Family of Sir Thomas More,” by Hans Holbein_. Burlington Magazine, No. cxv. vol. xxii. (October, 1912) pp. 43-4.

CUST, LIONEL, M.V.O., and BELL, C. F., F.S.A., _Burlington Fine Arts Club, Catalogue of Exhibition illustrative of Early English Portraiture_, 1909.

DAVIES, GERALD S., M.A., _Hans Holbein the Younger_. George Bell & Sons, 1903.

DAVIES, RANDALL, _An Inventory of the Duke of Buckingham’s Pictures in 1635_. Burlington Magazine, No. xlviii. vol. x. (March, 1907) pp. 376-82.

DEVELAY, V., _Eloge de la Folie d’Erasme_. 3rd ed. Paris, 1876.

DICKES, W. F., _Holbein’s “Ambassadors” Unriddled_. Cassell & Co., Ltd. Not dated.

DIMIER, L., _French Painting in the Sixteenth Century_. (Trans. by Harold Child.) Duckworth & Co., 1904.

DIMIER, L., _Le Primatice_. Paris, 1900.

DODGSON, CAMPBELL, _Neues über Holbeins Metallschnitte zum Vaterunser_. Mitteilungen der Gesellsch. für vervielfältig. Kunst, 1903, p. 1, and 1905, p. 10.

DODGSON, CAMPBELL, _Hans Lützelburger and the Master N. H._ Burlington Magazine, No. xlvii. vol. x. (February, 1907) pp. 319-22.

DODGSON, CAMPBELL, _An Alphabet by Hans Weiditz_. Burlington Magazine, No. lix. vol. xii. (February, 1908) pp. 289-93.

DODGSON, CAMPBELL, _A Portrait by Hans Holbein the Elder_. Burlington Magazine, No. lxvii. vol. xiv. (October, 1908) pp. 37-43.

DODGSON, CAMPBELL, _Das Holzschnittporträt von N. Borbonius_. Gesells. für vervielfältigende Kunst, Mitteilungen xxxi. 1908, p. 37.

DODGSON, CAMPBELL, _Catalogue of Early German and Flemish Woodcuts, &c., in the British Museum_, vol. ii. 1911, p. 320.

DODGSON, CAMPBELL, notes by, Vasari Society, Pt. i. Nos. 17 and 18; Pt. ii. No. 31; Pt. v. No. 28.

DOUCE, FRANCIS, _Holbein’s Dance of Death_. 1858 edition. H. G. Bohn.

EARP, F. R., M.A., _Descriptive Catalogue of the Pictures in the Fitzwilliam Museum_, pp. 97-8. University Press, Cambridge, 1902.

EINSTEIN, LEWIS, _The Italian Renaissance in England_, 1902.

FIDLER, G., _Holbein’s Porch_. The Art Journal, 1897, pp. 45-8.

FORTESCUE, MRS. G., _Holbein_. (Little Books on Art.) Methuen & Co., 1904.

FOSTER, J. J., _British Miniature Painters and their Works_. 1898.

FRISCH, A., and WOLTMANN, A., _Hans Holbein des Aeltern Silberstiftzeichnungen im kgl. Museum zu Berlin_. Soldau, Nuremberg.

FRÖLICHER, ELSA, _Die Porträtkunst Hans Holbeins des Jüngeren und ihr Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert_ (Studien zur deutschen Kunstgeschichte, No. 117). Heitz & Mündel, Strasburg, 1909.

FRY, ROGER, E., _Early English Portraiture at the Burlington Fine Arts Club_. Burlington Magazine, No. lxxiv. vol. xv. (May, 1909) pp. 73-5.

GANZ, PAUL, _Hans Holbein d. J. Einfluss auf. d. schweizerische Glasmalerei_. Jahrb. d. kgl. preuss. Kunstsamml., xxiv. (1903) pp. 197-207.

GANZ, PAUL, _Handzeichnungen schweiz. Meister des XV-XVIII Jahrh_. Helbing and Lichtenhahn, Basel, 1908.

GANZ PAUL, _Handzeichnungen von Hans Holbein dem Jüngeren_. Julius Bard, Berlin, 1908.

GANZ, PAUL, _Hans Holbeins Italienfahrt_. Süddeutsche Monatshefte, May, 1909, p. 599.

GANZ, PAUL, _Two Unpublished Portraits by Hans Holbein_. Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 31-2.

GANZ, PAUL, _Hans Holbein d. J.: des Meisters Gemälde in 252 Abbildungen_. (Klassiker der Kunst in Gesamtausgaben No. xx.) Stuttgart, 1912. French translation, Hachette & Co., Paris, 1912.

GANZ, PAUL, _Die Handzeichnungen Hans Holbeins des Jüngeren_. Deutscher Verein für Kunstwissenschaft E.V., Julius Bard, Berlin. In course of publication. To be completed in 50 parts (500 plates).

GANZ, PAUL, and MAJOR, EMIL, _Die Entstehung des Amerbach’schen Kunstkabinets und die Amerbach’schen Inventare_, in the 29th Annual Report of the Public Picture Collection in Basel, 1907.

GAUTHIEZ, PIERRE, _Hans Holbein sur la route d’Italie_. Gazette des Beaux-Arts, December, 1897; February, 1898.

GAUTHIEZ, PIERRE, _Holbein: Biographie Critique_ (Les Grands Artistes), Laurens, Paris. Not dated.

GLASER, CURT, _Hans Holbein der Ältere_ (Kunstgeschichtliche Monographien, XI). K. W. Hiersemann, Leipzig, 1908.

GOETTE, A., _Holbeins Totentanz und seine Vorbilder_. Strasburg, 1897.

HEATH, DUDLEY, _Two New Portrait Miniatures by Hans Holbein_. The Connoisseur, July, 1907, pp. 143-4.

HEGNER, U., _Hans Holbein der Jüngere_. Reimer, Berlin, 1827.

HEITZ, P., _Basler Büchermarken_. Heitz, Strasburg, 1895.

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HERVEY, MARY F. S., _Notes on Some Portraits of Tudor Times_. Burlington Magazine, No. lxxv. vol. xv. (June, 1909) pp. 151-60.

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HERVEY, MARY F. S., and MARTIN-HOLLAND, R., _A Forgotten French Painter: Félix Chrétien_. Burlington Magazine, No. xcvii. vol. xviii. (April, 1911) pp. 48-55.

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INDEX^{TN}

(_The Lists of Pictures by or attributed to Holbein, &c., exhibited at various exhibitions between 1846 and 1912, Vol. ii. p. 359-389, are not included in the Index._)

Abbate, Niccolo dell’, of Modena, i. 281, 287 _note_

Abergavenny, castle and lordship, ii. 288

—— George Nevill, 3rd Earl of, ii. 222, 248, 255

Acorre, i. 105 _note_

_Adagia_ (Erasmus), i. 45, 49

Addison, Joseph, i. 328 _note_

Advocates’ Library, Edinburgh, ii. 148, 343

Ægidius, Petrus, i. 62, 163, 193, 255, 288-289, 298, 339;