ii. Second residence in London, and connection with the German

merchants of the Steelyard, 1-32; portraits of Gisze, Hans of Antwerp, Wedigh, Born, Tybis, Fallen, Berck, &c., 4-23; his decorative paintings of the Triumphs of Riches and Poverty, 23-30; triumphal arch designed for Anne Boleyn’s Coronation, 30-32; painting of “The Two Ambassadors,” 34-53; portraits of Cheseman, Thomas Cromwell, Morette, Poyntz, Nicolas Bourbon, 54-75; woodcuts of the English period, 76-79; portraits of members of the Wyat family, Sir Richard Southwell, and others, 79-89; enters the service of Henry VIII, 90-92; the Whitehall fresco of Henry VII and Henry VIII, &c., 93-100, and other portraits of the King and of Jane Seymour, 100-113; goes to Brussels to paint the Duchess of Milan (1538), 119-137; goes to Havre in June and to Joinville and Nancy in August (1538), to take likenesses of ladies of the Guise and Lorraine families, 139-155, 343-344; revisits Basel, and is entertained at a banquet, 156; offer of a pension from Basel Town Council, 158-161; death and will of his uncle Sigmund, 161-162; returns to England, 162-164; portraits of the infant Prince of Wales, 164-168; goes to Düren (1539) to paint Anne of Cleves, 175-182; his work in Whitehall Palace, 185-187; residing in parish of St. Andrew Undershaft, 188-189; payments in advance of his salary, 190-191; possibility of a visit to Basel in 1540, 191-192; portraits of Queen Catherine Howard, the Duke of Norfolk, the Earl of Surrey, the Earl of Southampton, Dr. John Chamber, Sir William and Lady Butts, and others of unknown men and ladies, 192-212; various miniatures and portraits of himself, 213; his work as a miniature painter, 217-242; his drawings of the heads of the men and women of Henry’s court, now in the Royal Library, Windsor, 243-259; similar drawings in Berlin, Basel, &c., 259-261; comparison between his portrait-drawings and those of the two Clouets, 261-262; his work as a practical designer for craftsmen and jewellers, and architectural designs, 265-286; his connection with various London goldsmiths, 287-288; his last large picture, for the Barber-Surgeons’ Company, left unfinished, 289-294; his death and will, and executors, 294-298; earlier mistakes as to the date of his death, 298-299; his wife, children, and descendants, 299-301; some of his contemporaries and successors at the English Court, 302-311; destruction or loss of all his larger decorative works, 312-314; fertility of his invention and power of dramatic composition, 314-315; influence of the Italian Renaissance on his art, 315-316; the brilliance of his draughtsmanship, 316-318; comparison of his art with Dürer’s, 318-320; Lord Leighton and Ruskin upon his art, 319-321; his early drawings and glass designs, 323-327; his connection with Dr. Johann Fabri, 330-332; his return to England in 1532, 340-341; his studio in Whitehall, 344-346

Holbein, Hans, the Younger—_Pictures, Drawings, Woodcuts, &c._—

_Pictures_

Virgin and Child, 1514 (Basel), i. 32-35, 37;