Hans Holbein the Younger, Volume 1 (of 2)

Chapter XV: The Return to Basel (1528-1532) (2)

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Footnote 58:

W., 108. G., 151-2. Reproduced by Glaser, Pl. xxxvi.

Footnote 59:

Woltmann, 284.

Footnote 60:

Glaser, p. 133.

Footnote 61:

_Burlington Magazine_, October 1908, pp. 37-43.

Footnote 62:

Berlin, 2558. Glaser, 216. Woltmann, 158.

Footnote 63:

The portrait and both drawings reproduced by Mr. Dodgson in his
article; and the portrait in the _Illustrated Catalogue of the
Burlington Fine Arts Club Exhibition_, 1906, Pl. xxxi.

Footnote 64:

In May of the present year (1913) the “Fountain of Life” picture was
removed from the Palacio das Necessidades to the Museu Nacional de
Arte Antiga in Lisbon.

Footnote 65:

See page 254.

Footnote 66:

Published in 1868.

Footnote 67:

Woltmann, i. p. 101.

Footnote 68:

Woltmann, 14-17.

Footnote 69:

Reproduced by Glaser, Pl. xxix.

Footnote 70:

Glaser, p. 85.

Footnote 71:

Reproduced by Davies, p. 16.

Footnote 72:

This band of ornament, which is different in each panel, recalls the
very similar scroll-work by the younger Hans used in the upper part of
the organ shutters at one time in the cathedral church of Basel.

Footnote 73:

“IVSSV. VENER. PIENTQVE MATRIS VERONI . . W . . . E. H. HOLBAIN IN
AVG. ÆT. SVÆ XVII.” Wornum, p. 88. Woltmann, ii. p. 4.

Footnote 74:

_Kunstwerke und Künstler in Deutschland_, 1845.

Footnote 75:

Already mentioned, see p. 11. Glaser, 153. Woltmann, 107.

Footnote 76:

See page 5.

Footnote 77:

See Hes, p. 12, and footnote giving Woltmann’s various surmises as to
the date and figures inscribed on the drawing.

Footnote 78:

Woltmann, 160. Glaser, 218. Reproduced by Woltmann, _H. H. des Ä.
Silberstiftzeichnungen_, &c., Pl. lxiv.; Hes, Pl. i.

Footnote 79:

Woltmann, 43. Glaser, 203. Reproduced by His in his publication of the
elder Holbein’s drawings, Pl. lxxiv.; Hes, Pl. iii.

Footnote 80:

Woltmann, 58. Glaser, 265. Reproduced by His, Pl. lvii.; Hes, Pl. iv.

Footnote 81:

Reproduced by Glaser, Pl. xiii.; Hes, Pl. v.

Footnote 82:

Reproduced by Glaser, Pl. xvii.

Footnote 83:

See Hes, p. 15.

Footnote 84:

Parthey, No. 1418.

Footnote 85:

Or possibly from such miniatures as those in the Duke of Buccleuch’s
collection. See vol. ii. pp. 230-1.

Footnote 86:

Woltmann, i. 477. Dr. Paul Ganz suggests that one of these portraits
may have been the small roundel belonging to Lord Spencer,
traditionally known as a portrait of Holbein, but considered by him to
represent the jeweller, Hans of Antwerp. See Ganz, _Holbein_
(Klassiker der Kunst), p. 253. This large miniature is described more
fully in vol. ii. pp. 14-15.

Footnote 87:

Walpole, _Anecdotes_, ed. Wornum, 1888, i. p. 93.

Footnote 88:

See vol. ii. pp. 230-1.

Footnote 89:

This small roundel is now considered to be a portrait of Hans of
Antwerp. See vol. ii. p. 14.

Footnote 90:

Davies, p. 14.

Footnote 91:

Ganz, _Hdz. Schwz. Mstr._, note to i. 10.

Footnote 92:

His name does not appear in the Augsburg rate-books after 1509, and
after 1512, the date on one of his brother’s portrait-studies of him,
no further trace of him is to be found in his native city.

Footnote 93:

Reproduced by Davies, p. 33; Knackfuss, fig. 1; Ganz, _Holbein_, p. 3.

Footnote 94:

Woltmann, 359.

Footnote 95:

S. Vögelin, “Ein wiedergefundenes Meisterwerk Holbeins,” in
_Frankfurter Zeitung_, 1871 (Nos. 236-7, 244, 248), and _Der
Holbein-tisch auf der Stadtbibliothek in Zürich_, Wien, 1878.
Reproduced as a whole and in detail, together with a reconstruction,
by Ganz in _Holbein_ (_K. der K._) pp. 6-9.

Footnote 96:

Woltmann, 7, 8. Reproduced by Knackfuss, figs. 2, 3; Ganz, _Holbein_,
pp. 19, 20.

Footnote 97:

Woltmann, 168. Reproduced by Ganz, _Holbein_, p. 4; and in outline by
Reinach, _Répertoire de Peintures_, i. p. 401 (as by H. H. the Elder).

Footnote 98:

Reproduced by Reinach, _Répertoire_, i. p. 4.

Footnote 99:

Reproduced by Ganz, _Holbein_, p. 5. Wrongly described in Reinach,
_Répertoire_, as “The Flagellation.”

Footnote 100:

Dr. Willy Hes considers this portrait to be by Herbster himself. See
p. 60.

Footnote 101:

Woltmann, 27. Reproduced by Knackfuss, fig. 4; Ganz, _Holbein_, p. 21.

Footnote 102:

Woltmann, 24. Reproduced by Ganz, _Holbein_, p. 22.

Footnote 103:

Woltmann, 25. Reproduced by Davies, p. 38; Ganz, _Holbein_, p. 23.

Footnote 104:

Woltmann, 26. Reproduced by Davies, p. 40; Ganz, _Holbein_, p. 25.

Footnote 105:

Woltmann, 28. Reproduced by Davies, p. 42; Knackfuss, fig. 5; Ganz,
_Holbein_, p. 24.

Footnote 106:

Davies, p. 40.

Footnote 107:

Ganz, _Holbein_, p. 233.

Footnote 108:

Woltmann, 51. Reproduced by Ganz, _Handzeichnungen Schweizerischer
Meister_, iii. 8; Knackfuss, fig. 66.

Footnote 109:

See Appendix (A).

Footnote 110:

Ganz, _Hdz. Schwz. Mstr._, note to iii. 8.

Footnote 111:

Woltmann, Woodcuts, 193. Reproduced by Knackfuss, fig. 67.

Footnote 112:

Woltmann, 234. Reproduced by Davies, p. 186; A. F. Butsch, _Die
Bücher-Ornamentik der Renaissance_, 1878, Pl. 41; Wornum, dedication
page.

Footnote 113:

Woltmann, 111.

Footnote 114:

This inscription, however, is now regarded as a rather doubtful one,
and it is possible that the book was never permanently in the
possession of Erasmus. See Hes, _Ambrosius Holbein_, pp. 83-94, where
the history of the book and the various theories as to its ownership
and the authorship of the drawings are very fully discussed.

Footnote 115:

See Ganz, _Hdz. Schweiz. Mstr._, note to i. 52.

Footnote 116:

Dr. Hes subjects the drawings to careful analysis, and gives a
complete list, together with the suggested authorship of each of them,
in _Ambrosius Holbein_, pp. 90-94 and 161-166.

Footnote 117:

Twelve of them reproduced by Ganz, _Hdz. Schweiz. Mstr._, i. 52; the
whole set by Mantz, but so badly engraved that they are of little
service for purposes of comparison; the whole of the drawings now
attributed to Ambrosius by Hes, Pls. xvi.-xx., and p. 139.

Footnote 118:

Dr. Hes points out the similarity of this figure to that of the
schoolmistress in the “Schoolmaster’s Signboard,” and considers that
Ambrosius had a share in the painting of the latter. See _Ambrosius
Holbein_, p. 93.

Footnote 119:

By Ambrosius Holbein.

Footnote 120:

The name, however, was not written by Erasmus, but is a later
addition.

Footnote 121:

Woltmann, under H. H. the Elder, 182. Reproduced by Knackfuss, fig. 6;
Ganz, _Holbein_ (_K. der K._), p. 203; Hes, Pl. xxxiv.

Footnote 122:

Dr. Hes regards this portrait as the work of Herbster himself. See
_Ambrosius Holbein_, p. 145.

Footnote 123:

Woltmann, under H. H. the Elder, 106, but he afterwards attributed it
to the younger Hans. Reproduced by Ganz, _Handzeichnungen
Schweizerischer Meister_, &c., ii. 2; Hes, Pl. xxiv.

Footnote 124:

Woltmann, 5, 6. Reproduced by Knackfuss, figs. 10, 11; Ganz, _Holbein_
(_K. der K._), pp. 10, 11.

Footnote 125:

Woltmann, 11. Reproduced by Davies, pp. 44, 46; Knackfuss, figs. 14,
15; Ganz, _Holbein_, pp. 12, 13.

Footnote 126:

On the back of the portrait of Meyer, Holbein painted, four years
later, the sitter’s coat of arms, surmounted by a scroll inscribed
“I.M. 1520.” (Reproduced by Ganz, _Holbein_, p. 30.) There is a good
old copy of the wife’s portrait in the collection of Mr. Ralph
Brocklebank, Haughton Hall, Tarporley, which was previously in the
William Graham collection; and a copy of both portraits in the Basel
Gallery, No. 350, from the Faesch collection.

Footnote 127:

According to Stödtner, these portraits show the influence of
Burgkmair.

Footnote 128:

Woltmann, 33, 34. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 18 and
iii. 7, and the “Meyer” in _Hdz. von H. H. dem Jüng._, Pl. 2; the
“Dorothea” by Davies, p. 46; both by Knackfuss, figs. 12, 13.

Footnote 129:

“—ogen schwarz—baret rot mosfarb—brauenn gelber dan das har—grusen wit
brauenn.”

Footnote 130:

Woltmann, 9. Reproduced by Knackfuss, fig. 16; Ganz, _Holbein_ (_K.
der K._) p. 14.

Footnote 131:

Ganz, _Holbein_ (_K. der K._), p. 233.

Footnote 132:

Reproduced by Law, _Royal Gallery of Hampton Court_, p. 154.

Footnote 133:

This theory is held by Herr Th. von Liebenau. See his _H. H. des Jüng.
Fresken am Hertensteinhause zu Luzern_, &c., 1888.

Footnote 134:

Woltmann, 16. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 52; Hes,
Pl. xxx.

Footnote 135:

E. His, “Die Baseler Archive über H. H.,” in Zahn’s _Jahrbuch_, 1870,
p. 113. Woltmann, i. p. 135; Hes, p. 16.

Footnote 136:

Woltmann, 5. Reproduced by Hes, Pl. xxxvi.

Footnote 137:

Woltmann, Woodcuts, 18-21. See Hes, p. 23, who reproduces all four
woodcuts, Pls. xiv.-xv.

Footnote 138:

Woltmann, 2, 3. No. 294 reproduced in the Basel Catalogue, 1908, and
both by Hes, Pl. xxxi., xxxii.

Footnote 139:

Woltmann, 24. Reproduced by Hes, Pl. xxix.

Footnote 140:

Reproduced by Hes, Pl. xxviii.

Footnote 141:

Woltmann, 23. See Hes, pp. 124-6. Reproduced by him, Pl. xxxiii.

Footnote 142:

Woltmann, 1. Reproduced by Hes, Pl. xxiii.

Footnote 143:

Woltmann, 4.

Footnote 144:

Woltmann, under Hans the Younger, 203. Reproduced by Hes, Pl. xxxvii.;
Ganz, _Holbein_, p. 204.

Footnote 145:

See Hes, pp. 144-6.

Footnote 146:

Woltmann, 6. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 6; Hes, Pl.
xxvi.

Footnote 147:

Woltmann, 7. Reproduced by Hes, Pl. xxvii.

Footnote 148:

Woltmann, 8. Reproduced by Ganz, _Holbein_, p. xvi.; Hes, Pl. xxv.

Footnote 149:

Woltmann, 10. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 22;
Knackfuss, fig. 39; Hes, Pl. xxii.

Footnote 150:

Woltmann, 22. Reproduced by Hes, Pl. xxxv.

Footnote 151:

This picture was included in the Exposition de la Toison d’Or, Bruges,
1907, No. 130.

Footnote 152:

Woltmann, Woodcuts, 7. Reproduced by Butsch, _Die Bücher-Ornamentik
der Renaissance_, Pl. 46; Hes, Pl. x.

Footnote 153:

Woltmann, Woodcuts, 17.

Footnote 154:

Woltmann, Woodcuts, 16.

Footnote 155:

See Woltmann, ii. pp. 205-214; Hes, pp. 27-80, and Pls. vi.-xv.; also
Butsch.

Footnote 156:

Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 39; Hes, Pl. xxi.

Footnote 157:

See Hes, p. 148. Reproduced by Vasari Society, No. 17, Pt. i., 1905-6.

Footnote 158:

Woltmann, 103. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 40; and in
_Hdz. von H. H. dem Jüng._, Pl. 4; and _Holbein_, p. 154.

Footnote 159:

Woltmann, 216.

Footnote 160:

Woltmann, i. p. 143. Reproduced by Ganz, _Holbein_, p. 16.

Footnote 161:

Woltmann, 53. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 3; and in
_Holbein_, p. 154; the left-hand half by His, _Dessins d’Ornaments de
Hans Holbein_, Pl. ii.

Footnote 162:

Ganz, _Hdz. Schwz. Mstr._, note to ii. 3.

Footnote 163:

For completer details, see Th. von Liebenau, _Hans Holbeins d. J.
Fresken am Hertenstein Hause in Luzern_, 1888; P. Ganz, “Hans Holbeins
Italienfahrt,” in _Süddeutsche Monatshefte_, 1909, vol. vi. p 596.

Footnote 164:

Parthey, 1548. Woltmann, ii. p. 166, who doubts that the original was
by Holbein.

Footnote 165:

Eight of them reproduced by Ganz, together with a reconstruction of
the façade by A. Landerer, in _Holbein_, pp. 153-158.

Footnote 166:

Reproduced in the _Bulletin of the Metropolitan Museum of New York_,
vol. i. No. 12 (Nov. 1906); _Burlington Magazine_, Oct. 1906, p. 53;
Ganz, _Holbein_, p. 15.

Footnote 167:

Woltmann, 58. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 41 (_a_).

Footnote 168:

See _Süddeutsche Monatshefte_, 1909, p. 599.

Footnote 169:

See pp. 140-3, 150, &c.

Footnote 170:

Woltmann, 16. Reproduced by Knackfuss, fig. 19; Ganz, _Holbein_, p.
55.

Footnote 171:

See p. 40.

Footnote 172:

According to Dr. Ganz, the architectural motives are derived from the
loggia of the Cathedral of Como. See _Holbein_, p. 236.

Footnote 173:

See chapter vii.

Footnote 174:

Ganz, _Hdz. Schwz. Mstr._, notes to ii. 3, 51, iii. 9, 35; _Holbein_,
pp. xvi.-xviii.

Footnote 175:

Woltmann, 83, who calls the figure St. Pantalus. Reproduced by Ganz,
_Hdz. Schwz. Mstr._, iii. 35.

Footnote 176:

For further proofs, see Appendix (B).

Footnote 177:

Gauthiez, _Holbein_, p. 52, and the same writer’s “Holbein sur la
route d’Italie,” in _Gazette des Beaux-Arts_, Dec. 1897, Feb. 1898.

Footnote 178:

One is to be seen in the “Fountain of Youth” decoration for the
Hertenstein house.

Footnote 179:

Woltmann, 29. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 53.

Footnote 180:

Woltmann, 107. Reproduced by Knackfuss, fig. 34.

Footnote 181:

For two others, see Appendix (B).

Footnote 182:

Woltmann, 99. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 10; and in
_Hdz. von H. H. dem Jüng._, Pl. 5; Knackfuss, fig. 27.

Footnote 183:

See Ganz, _Hdz. Schwz. Mstr._, note to iii. 10.

Footnote 184:

Reproduced by His, _Jahrbuch der Kgl. Preussischen Kunstsammlungen_,
1894, p. 208.

Footnote 185:

Gauthiez, p. 56.

Footnote 186:

_Index Operum Holbenii_, appendix to _Moriæ Encomium_, 1676, Nos.
47-51. Walpole, _Anecdotes_, ed. Wornum, p. 77.

Footnote 187:

Ganz, _Holbein_, p. 187, and note upon it, p. 249, from which this
information is taken.

Footnote 188:

Reproduced in _Hdz. Schwz. Mstr._, iii. 45, with note by Meyenburg.

Footnote 189:

See Ganz, _Holbein_, p. xviii.

Footnote 190:

Woltmann, i. 145.

Footnote 191:

Reproduced by Ganz, _Holbein_, p. xl.

Footnote 192:

Woltmann, i. 145.

Footnote 193:

Woltmann, i. 183.

Footnote 194:

From Pantaleon, _Heldenbuch_, vol. iii.

Footnote 195:

For an exhaustive account of the formation and history of the Amerbach
Collection, which contains transcripts from the earliest inventory,
prepared by Basilius Amerbach, down to the one drawn up when the
collection was taken over by the city, see _Die Entstehung des
Amerbach’schen Kunstkabinets und die Amerbach’schen Inventare_, by Dr.
Ganz and Dr. Emil Major, in the 59th annual report (1907) of the Basel
Gallery.

Footnote 196:

Woltmann, 10. Reproduced by Davies, p. 60; Knackfuss, fig. 20; Ganz,
_Holbein_, p. 29.

Footnote 197:

Wornum, _Holbein_, p. 117.

Footnote 198:

See Ganz, _Holbein_, p. xvi.

Footnote 199:

See Ganz, _Holbein_, p. xix.

Footnote 200:

See p. 138.

Footnote 201:

See Appendix (E).

Footnote 202:

Ganz, _Holbein_, pp. 188-191.

Footnote 203:

Woltmann, 155, 156. Reproduced by Knackfuss, figs. 58, 59; Ganz,
_Holbein_, pp. 56-59.

Footnote 204:

There is considerable likeness between this group of the Infant Christ
and the boy angels surrounding him, and the one in the beautiful “Holy
Family” by Gaudenzio Ferrari at Dorchester House, more particularly in
the figure of the angel with small wings and close-fitting dress, who,
in Holbein’s picture, kneels in front of the Child with his back to
the spectator, and in the other is shown in profile, supporting him.
According to Miss Halsey (_Gaudenzio Ferrari_, p. 86), the Dorchester
House picture was “probably painted about 1521.”

Footnote 205:

Knackfuss, p. 83.

Footnote 206:

Woltmann, i. 178.

Footnote 207:

Woltmann, i. 176. Wornum, p. 112 (quoting from Hegner, _Hans Holbein
d. J._ 1827, and Schreiber, _Geschichte des Münsters zu Freiburg_,
&c.).

Footnote 208:

Woltmann, 20. Reproduced by Knackfuss, figs. 54, 55, and 56; Ganz,
_Holbein_, pp. 46-54; Mrs. Fortescue, Pl. 9.

Footnote 209:

According to Peter Ochs, it was painted for the Council Chamber of the
Basel Town Hall. Boisserée (1829) was of opinion that the damaged
panel of “The Last Supper,” already described, originally formed the
central panel of this altar-piece.

Footnote 210:

Sandrart, _Teutsche Akademie_, ii. p. 82.

Footnote 211:

Wornum, pp. 68-71.

Footnote 212:

That the restorer made changes, more particularly in the colour, can
be seen from two old copies of the “Betrayal” and the “Crucifixion”
subjects, now in the depot of the Basel Gallery, which indicate the
picture’s original state.

Footnote 213:

Woltmann, Eng. trans., p. 128.

Footnote 214:

See Ethel Halsey, _Gaudenzio Ferrari_, pp. 58, 69, &c.; Ganz,
_Holbein_, p. xxii., &c. The technique, also, closely resembles that
of the Milanese school, differing considerably from Holbein’s earlier
practice.

Footnote 215:

Ganz, _Holbein_, p. 235.

Footnote 216:

Reproduced by Ernest Law, _Holbein’s Pictures at Windsor Castle_, Pl.
x.; Davies, p. 98; Knackfuss, fig. 57; Ganz, _Holbein_, p. 80.

Footnote 217:

Knackfuss, p. 81.

Footnote 218:

Davies, p. 98.

Footnote 219:

_Holbein’s Pictures at Windsor Castle_, p. 32.

Footnote 220:

Woltmann, 19. Reproduced by Davies, p. 76; Knackfuss, figs. 60, 61;
Ganz, _Holbein_, p. 45.

Footnote 221:

See Ganz, _Holbein_, p. 235.

Footnote 222:

_Jahrbuch der preuss. Kunsts._, 1907, vol. 28.

Footnote 223:

Woltmann, 62. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 51;
Knackfuss, fig. 65.

Footnote 224:

_Ganz, Hdz. Schwz. Mstr._, note to ii. 51. A photograph of the
sculptures on this doorway is reproduced by Dr. Ganz in his _Holbein_,
p. xix.

Footnote 225:

Woltmann, 52. Reproduced by Davies, p. 224; Knackfuss, fig. 64.

Footnote 226:

Woltmann, 172. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 6.

Footnote 227:

See also Appendix (B).

Footnote 314:

Woltmann, 92. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 36;
Knackfuss, fig. 37; His, Pl. i.

Footnote 315:

Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 7.

Footnote 316:

Woltmann, 119. Reproduced by Knackfuss, fig. 36 (in colours); His, Pl.
xv.

Footnote 317:

Woltmann, 96. Reproduced by Knackfuss, fig. 35.

Footnote 318:

Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 7.

Footnote 319:

Appendix (B).

Footnote 320:

Woltmann, 121.

Footnote 321:

Woltmann, 49. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 24.

Footnote 322:

_Hdz. Schwz. Mstr._, note to iii. 24.

Footnote 323:

See Appendix (D).

Footnote 324:

Reproduced by Ganz, _Holbein_, p. xxi.

Footnote 325:

Woltmann, 112. Reproduced by His, Pl. v.; Ganz, _Holbein_, p. 30.

Footnote 326:

Woltmann, 102. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 38; His,
Pl. iv.

Footnote 327:

See Ganz, _Hdz. Schwz. Mstr._, note to iii. 38.

Footnote 328:

British Museum, 13, Binyon Catg., ii. p. 329. Woltmann, 209.

Footnote 329:

Woltmann, 95. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 53 (see
note to the plate by Meyenburg).

Footnote 330:

Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 54, and in _Hdz. von H.
H. dem Jüng._, Pl. 13. See his notes to both plates.

Footnote 331:

See Ganz, _Hdz. Schwz. Mstr._, note to iii. 54.

Footnote 332:

See Ganz, _Hdz. Schwz. Mstr._, note to iii. 54.

Footnote 333:

Woltmann, 90. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 35; His,
Pl. vii.

Footnote 334:

Woltmann, 91. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 42, and in
_Hdz. von H. H. dem Jüng._, Pl. 15; Knackfuss, fig. 26; His, Pl. vi.

Footnote 335:

Woltmann, 66. Reproduced by Knackfuss, fig. 28; Mantz, p. 44 (No. 1).

Footnote 336:

Woltmann, 67. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 22;
Davies, p. 72; Knackfuss fig. 29; Mantz, p. 44 (No. 2).

Footnote 337:

Woltmann, 68. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 39;
Knackfuss, fig. 30; Mantz, p. 44 (No. 3).

Footnote 338:

See Ganz, _Hdz. Schwz. Mstr._, note to iii. 39.

Footnote 339:

Woltmann, 69. Reproduced by His, Pl. x.; Mantz, p. 44 (No. 4).

Footnote 340:

Woltmann, 70. Reproduced by Knackfuss, fig. 31; His, Pl. xi.;
Woltmann, i. p. 173; Mantz, p. 44 (No. 5).

Footnote 341:

Woltmann, 71. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 17;
His, Pl. xii., Mantz, p. 44 (No. 6).

Footnote 342:

See Ganz, _Hdz. von H. H. dem Jüng._, p. 36.

Footnote 343:

Woltmann, 72. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 50;
Knackfuss, fig. 32; His, Pl. xiii.; Mantz, p. 44 (No. 7).

Footnote 344:

Woltmann, 73. Reproduced by Mantz, p. 44 (No. 8).

Footnote 345:

Woltmann, 74. Reproduced by Davies, p. 68; His, Pl. xiv.; Mantz, p. 44
(No. 9).

Footnote 346:

Woltmann, 75. Reproduced by Davies, p. 70; Knackfuss, fig. 33;
Woltmann, i. p. 174; Mantz, p. 44 (No. 10).

Footnote 347:

Woltmann, 177-183; British Museum, 1-7, Binyon Catg., ii. pp. 327-8.
See Appendix (D).

Footnote 348:

Woltmann 76-81. All six reproduced by Mantz, eng. by Edouard Lièvre,
p. 128.

Footnote 349:

Woltmann, 76. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 11, and in
_Hdz. von H. H. dem Jüng._, Pl. 3; Knackfuss, fig. 42.

Footnote 350:

Woltmann, 80. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 37;
Davies, p. 136; Knackfuss, fig. 44.

Footnote 351:

Woltmann, 78. Also wearing a gauze cap.

Footnote 352:

Woltmann, 77. Reproduced by Knackfuss, fig. 43.

Footnote 353:

Woltmann, 79.

Footnote 354:

See pp. 245-6.

Footnote 355:

Ganz, _Hdz. Schwz. Mstr._, note to iii. 11.

Footnote 356:

Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 26; and see his
note, p. 44.

Footnote 357:

Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 55, and in _Hdz. von H.
H. dem Jüng._, Pl. 12.

Footnote 358:

Woltmann, 104. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 36, and in
_Hdz. von H. H. dem Jüng._, Pl. 28; Knackfuss, fig. 68.

Footnote 359:

And the Lachner glass design. See Appendix (B).

Footnote 360:

Woltmann, 63. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 10;
Knackfuss, fig. 69.

Footnote 361:

This drawing is only the central part of the design, the left-hand
half being in the Albertina, Vienna (Woltmann, 259). For the drawing
at Frankfurt of the transport ship with landsknechte, see Vol. ii. p.
264.

Footnote 362:

Woltmann, 105. Reproduced by Knackfuss, fig. 17.

Footnote 363:

Woltmann, 106. Reproduced by Knackfuss, fig. 18.

Footnote 364:

Ægidius was thirty-one when the portrait was painted, and had been
appointed town-clerk seven years previously.

Footnote 365:

_Archæologia_, xliv. pp. 435 _et seq._

Footnote 366:

Reproduced by Sir Claude Phillips, _Art Journal_, 1897, p. 101;
Arundel Club, 1905; Catalogue of the Pictures in the Earl of Radnor’s
Collection, 1909, vol. i. No. 80; A. Machiels, _Gaz. des Beaux-Arts_,
Nov. 1911, heliotype.

Footnote 367:

Inscribed “Viro Literatissimo Petro Egidio Amico Charissimo
Antuerpiæ.”

Footnote 368:

Eng. by F. Leuwers, 1873. For a description and history of the two
pictures, see H. Barclay Squire, in Lord Radnor’s Catalogue, note to
No. 80, vol. i. pp. 44, 45.

Footnote 369:

Law, _Royal Gallery of Hampton Court_, 1898, p. 215.

Footnote 370:

A poor reproduction of this portrait—which Wornum (p. 143) regarded as
a fine, genuine work by Holbein, but in some of its details recalling
Metsys—accompanies M. Henri Hymans’ article “Quentin Metsys et son
Portrait d’Erasme,” in the _Bulletin des Commissions Royales d’Art et
d’Archéologie_, 1882; reproduced also by J. R. Haarhaus, “Bildnisse
des Erasmus,” _Zeits. für bild. Kunst_, Nov. 1898.

Footnote 371:

See André Machiels, “Les Portraits d’Erasme,” _Gazette des
Beaux-Arts_, November 1911, pp. 349-61, who reproduces the Rome
portrait; also W. Barclay Squire, _Lord Radnor’s Catalogue_, addit.
note to No. 80.

Footnote 372:

One of these drawings is in the collection of M. Léon Bonnat, Paris,
and is reproduced in the _Gaz. des Beaux-Arts_, 1879, i. p. 269.

Footnote 373:

Reproduced by A. Machiels, _Gaz. des Beaux-Arts_, Nov. 1911, p. 355.

Footnote 374:

See Appendix (E).

Footnote 375:

According to Walpole, _Anecdotes_, ed. Wornum, 1888, i. p. 344, the
pictures were “altered” by Von Steenwyck for King Charles.

Footnote 376:

Wornum, p. 140.

Footnote 377:

Law, _Holbein’s Pictures at Windsor Castle_, 1901, p. 28.

Footnote 378:

Reproduced by Ganz, _Holbein_, p. 207.

Footnote 379:

See Appendix (E).

Footnote 380:

See A. Horawitz, _Zeitschrift für bildende Kunst_, viii. p. 128.
Quoted by Woltmann, i. p. 286.

Footnote 381:

F. M. Nichols, _Proceedings of the Society of Antiquaries_, second
series, xvii. No. I., pp. 132-145.

Footnote 382:

Woltmann, 214. Reproduced by Davies, frontispiece; Sir Claude
Phillips, _Art Journal_, 1897, p. 102; Earl of Radnor’s Catalogue, No.
81; Ganz, _Holbein_, p. 37; Machiels, _Gaz. des Beaux-Arts_, Nov.
1911, p. 357. Exhibited Royal Academy Winter Exhib., 1873, No. 178.

Footnote 383:

In _Jahrbücher des Vereins von Alterthumsfreunden im Rheinlande_,
1868, p. 269, quoted by Woltmann, i. p. 288. For other readings by
Grimm, &c., see W. Barclay Squire in Lord Radnor’s Catalogue, note to
81.

Footnote 384:

See Sir Claude Phillips, _Art Journal_, 1897, p. 103. Also Waagen,
_Galleries and Cabinets_, 1857, p. 356, who says that it is “alone
worth a pilgrimage to Longford Castle.”

Footnote 385:

Woltmann, 232. Reproduced by Davies, p. 110; Ganz, _Holbein_, p.
xxiii.

Footnote 386:

Woltmann, 231. Reproduced by Davies, p. 110; Ganz, _Hdz. von H. H. dem
Jüng._, Pl. 16.

Footnote 387:

It is possibly the portrait noted by Evelyn in his _Diary_, August 10,
1655—“I went to Alburie to visit Mr. Howard.... He shew’d me many rare
pictures, particularly ... _Erasmus_ as big as the life, by Holbein.”
This could hardly refer to the small Greystoke portrait.

Footnote 388:

Reproduced by Ganz, _Holbein_, p. 206. Mr. Barclay Squire notes copies
of Mr. Gay’s version in the Bodleian Library, Oxford, presented by Sir
James Thornhill in 1728, and one in Archbishop Tenison’s School,
Leicester Square (note to No. 81, Lord Radnor’s Catalogue).

Footnote 389:

See Colvin, _Burlington Magazine_, vol. xvi. Nov. 1909, p. 71.

Footnote 390:

Woltmann, 224. Reproduced by Davies, p. 108; Knackfuss, fig. 52; Sir
C. Phillips, “Picture Gallery of Charles I,” _Portfolio Monograph_,
1896, p. 23; Ganz, _Holbein_, p. 39.

Footnote 391:

The study for this hand, in the Louvre, has aleady been mentioned (see
Pl. 55).

Footnote 392:

Reproduced by Cust, _Royal Collection of Paintings, Windsor Castle_,
Pl. 47.

Footnote 393:

Or perhaps the small roundel at Basel mentioned below.

Footnote 394:

Vol. xxix., 1884, p. 423.

Footnote 395:

Woltmann, 12. Reproduced by Woltmann, vol. i. p. 315, fig. 57; Ganz,
_Holbein_, p. 38.

Footnote 396:

Woltmann, ii. p. 99.

Footnote 397:

Woltmann, i. p. 290.

Footnote 398:

Ganz, _Holbein_, p. xxvi.

Footnote 399:

See Ganz, _Holbein_, pp. xxv.-vi.

Footnote 400:

See Appendix (F).

Footnote 401:

He may have gone, of course, as Lützelburger’s representative.

Footnote 402:

Woltmann, 44 and 45.

Footnote 403:

Reproduced by Ganz, _Hdz. Schwz. Mstr._ iii. 25; Knackfuss, fig. 53.

Footnote 404:

See Chapter xxi., Vol. ii. p. 138 _et seq._

Footnote 405:

See Vol. ii. p. 162.

Footnote 406:

Reproduced in the _Burlington Magazine_, vol. xvi., November 1909,
frontispiece; Ganz, _Holbein_, p. 91.

Footnote 407:

_Burlington Magazine_, vol. xvi., November 1909, pp. 67-71.

Footnote 408:

Only one of these has Holbein’s name attached to it in the Arundel
inventory of 1655. The two are entered as “Erasmo di Holbein” and
“Ritratto d’Erasmo Roterodamo.” See above, p. 171, note 4.

Footnote 409:

Reproduced in _Burlington Magazine_, vol. xvi., November 1909.

Footnote 410:

Woltmann, 240. Reproduced by Ganz, _Holbein_, p. 86.

Footnote 411:

The much inferior version in the Besançon Museum (reproduced by Ganz,
_Holbein_, p. 215) is an almost exact replica of the Parma picture.

Footnote 412:

See M. Curtze, _Beiblatt der Zeitschrift für bildende Kunst_, 1874,
ix. 537 ff.; Woltmann, vol. ii. p. 15; and Colvin, _Burlington
Magazine_, vol. xvi. p. 68.

Footnote 413:

Woltmann, 13. Reproduced by Davies, p. 112; Knackfuss, fig. 114; Ganz,
_Holbein_, p. 90.

Footnote 414:

Woltmann, 23.

Footnote 415:

Reproduced by Ganz, _Holbein_, p. 214; the hands and body follow the
Longford picture, while the head is like the Parma version.

Footnote 416:

Woltmann, 250. Reproduced by André Machiels, _Gaz. des Beaux-Arts_,
November 1911, p. 359, who regards it as an original work by Holbein.

Footnote 417:

Woltmann, 171.

Footnote 418:

Woltmann, 207. Reproduced by Knackfuss, fig. 51.

Footnote 419:

Woltmann, 206. Reproduced by Woltmann, i. 357, fig. 63; Knackfuss,
fig. 112; Machiels, _Gaz. des Beaux-Arts_, November 1911, p. 358; and
elsewhere.

Footnote 420:

Reproduced by Law, _Holbein’s Pictures in Windsor Castle_, viii. p.
27, and in _Royal Gallery of Hampton Court_, p. 220; Sir C. Phillips,
“The Picture Gallery of Charles I,” _Portfolio Monograph_, 1896, p.
111; Davies, p. 28; Ganz, _Holbein_, p. 207.

Footnote 421:

Reproduced by Ganz, _Holbein_, p. 208.

Footnote 422:

Law, _Holbein’s Pictures_, &c., p. 28.

Footnote 423:

Woltmann, i. p. 289.

Footnote 424:

Knackfuss, p. 78.

Footnote 425:

Woltmann, 164. Reproduced by Knackfuss, fig. 113; Ganz, _Holbein_, p.
92.

Footnote 426:

Reproduced by Ganz, _Holbein_, p. 92.

Footnote 427:

On this point see Koegler, _Jahrbuch d. Pr. K.-S._, 1911, and Ganz,
_Holbein_, p. 239.

Footnote 428:

Woltmann, ii. p. 359.

Footnote 429:

Woltmann, 43. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 50
(in colours), and _Holbein_, frontispiece; Davies, p. 100; Knackfuss,
fig. 21; Wornum, frontispiece, eng. by C. W. Sharpe.

Footnote 430:

According to Dr. Ganz, _Holbein_, p. 232, this cutting-out was in all
probability done in the eighteenth century, when at the same time the
hat and mantle were freshened with water-colours.

Footnote 431:

Dr. Ganz points out (_Holbein_, p. 232), that it was not until after
his journey into France, in 1523-4, that he made use of coloured
chalks in his drawings.

Footnote 432:

Another drawing of this period in the Basel Gallery, the Young Man
with the big hat, is described in Vol. ii. pp. 259-60.

Footnote 433:

Including Woltmann, in the first edition of his book, Eng. trans., p.
205.

Footnote 434:

The same initials occur on the title-page to Hall’s _Chronicle_, 1548.
See Vol. ii. p. 79.

Footnote 435:

Woltmann, Eng. trans., p. 205.

Footnote 436:

See Campbell Dodgson, _Burlington Magazine_, vol. x., Feb. 1907, pp.
319-22; also the same writer’s Catalogue of Early German and Flemish
Woodcuts in the British Museum, vol. ii., 1911, p. 295, &c.

Footnote 437:

See His, “Hans Lützelburger,” &c., in _Gazette des Beaux-Arts_, 2^e
Période, vol. iv. pp. 481-9 (December 1871).

Footnote 438:

Mr. Frederic Lees, however, mentions as clearly by Holbein, “a drawing
for the celebrated _Dance of Death_ series, and the only one of the
forty which now exists,” which is in the collection of M. Emile
Wauters in Paris.—_The Studio_, vol. li. No. 213, p. 213 (December
1910).

Footnote 439:

See pp. 44-5 and Pl. 11.

Footnote 440:

Woltmann, 223. Reproduced by Butsch, _Die Bücher-Ornamentik der
Renaissance_, Pl. 45; and by Mantz, _Hans Holbein_, p. 26.

Footnote 441:

_Calendars of Letters and Papers, Hen. VIII_, vol. ii. pt. i. 2540.

Footnote 442:

Woltmann, A. H., 4. Reproduced by Butsch, Pl. 43. Already used by
Froben in more than one book in the previous year (1517).

Footnote 443:

Woltmann, 217, 218. See p. 111.

Footnote 444:

Woltmann, 227. Reproduced by Butsch, Pl. 54; Knackfuss, fig. 50;
Mantz, p. 43.

Footnote 445:

Woltmann, 215. Reproduced by Butsch, Pl. 57.

Footnote 446:

Woltmann, 216.

Footnote 447:

Woltmann, 184-7.

Footnote 448:

Woltmann, 188-91.

Footnote 449:

Woltmann, 192. Reproduced in _Holbein_, “Great Engravers” Series (A.
M. Hind), 1912.

Footnote 450:

Woltmann, 213.

Footnote 451:

Woltmann, 150-70.

Footnote 452:

See Woltmann, i. 218-20.

Footnote 453:

Woltmann, 171.

Footnote 454:

Woltmann, 226.

Footnote 455:

Woltmann, 212.

Footnote 456:

Woltmann, 195, 196. Reproduced by Woltmann, i. pp. 237-38.

Footnote 457:

Woltmann, 231. Reproduced by Butsch, Pl. 64; Woltmann, i. p. 200.

Footnote 458:

Woltmann, 232. Reproduced by Butsch, Pl. 64; Wornum, p. 13, &c.

Footnote 459:

Woltmann, 233.

Footnote 460:

Woltmann, 253. Four of the letters reproduced by Woltmann, Eng.
trans., p. 218.

Footnote 461:

Woltmann, 254.

Footnote 462:

Woltmann, 255-9.

Footnote 463:

Woltmann, 251.

Footnote 464:

Woltmann, 266-8.

Footnote 465:

Woltmann, 238_a_, 238_b._

Footnote 466:

Woltmann, 239-41.

Footnote 467:

Woltmann, 242, 243.

Footnote 468:

Woltmann, 244, 245.

Footnote 469:

Woltmann, 246-8.

Footnote 470:

Woltmann, 249. A number of these marks reproduced by Butsch, Pls. 50,
51.

Footnote 471:

See Appendix (G).

Footnote 472:

Woltmann, 209.

Footnote 473:

Woltmann, 205.

Footnote 474:

See Vol. ii. pp. 76-9.

Footnote 475:

See Woltmann, i. chap. xi.; Chatto, _Treatise on Wood Engraving_, ed.
Bohn, chap. vi.; Douce, _Dance of Death_, 1858, pp. 30-37.

Footnote 476:

Woltmann, 92-149.

Footnote 477:

See p. 190.

Footnote 478:

Chatto, _A Treatise on Wood Engraving_, ed. 1861, pp. 330-1.

Footnote 479:

See Woltmann, i. 269.

Footnote 480:

See Campbell Dodgson, _Catalogue of Early German and Flemish
Woodcuts_, &c., vol. ii. p. 207. The cut of “The Duchess” has the date
1542, and that of “The Advocate” the engraver’s monogram, HVE, from
which it appears that Jost de Negker did not cut the blocks himself,
but was only the publisher.

Footnote 481:

See introductory note by Austin Dobson to the edition published by
George Bell & Sons, 1898. The whole set reproduced by Mantz, pp.
83-87; and by Davies, pp. 196-200, from the proofs in the British
Museum; and in Heinemann’s “Great Engravers” Series, _Holbein_, ed. A.
M. Hind, 1912, which includes the cuts of the 1562 edition.

Footnote 482:

Chatto, _Treatise_, &c., pp. 324-5.

Footnote 483:

Chatto, _Treatise_, &c., p. 365; Woltmann, i. p. 240; Wornum, p. 25.

Footnote 484:

Woltmann, 252. The set reproduced by Davies, p. 194; Knackfuss, fig.
71; and elsewhere. They are used as the initial letters in this book.

Footnote 485:

Woltmann, 1-91. The whole series reproduced by Mantz, pp. 92-108; and,
with the exception of seven, by A. M. Hind, in _Holbein_, “Great
Engravers” series, 1912; thirteen by Davies, p. 188.

Footnote 486:

Chatto, _Treatise_, &c., p. 366.

Footnote 487:

Woltmann, 1st ed., Eng. trans., p. 233.

Footnote 488:

A considerable number of the subjects appear to have been suggested to
Holbein by the small woodcuts in the Malermi Bible, published in
Venice in 1490, which, in turn, had been more or less adapted from the
Cologne Bible of 1480; but the material so used by Holbein was
completely transformed by the magic of his pencil. See A. M. Hind,
_Holbein_, in “Great Engravers” series, p. 10.

Footnote 489:

See pp. 160-1.

Footnote 490:

Woltmann, 251.

Footnote 491:

Woltmann, i. 316.

Footnote 492:

Woltmann, 143. Reproduced by Knackfuss, fig. 89; Ganz, _Holbein_, p.
65; and elsewhere.

Footnote 493:

Dr. Ganz points out the resemblance between this picture and
Mantegna’s “Madonna of Victory” in the Louvre. In the latter the
kneeling suppliants are also protected by the Virgin’s cloak, and the
movement of her hand, outstretched in benediction over Gonzaga’s head,
is just the same as that of the Infant Christ in the Meyer votive
picture (_Holbein_, p. xxviii.).

Footnote 494:

Woltmann, 40-42.

Footnote 495:

Reproduced by Davies, p. 90; Knackfuss, fig. 86.

Footnote 496:

Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 18 (in colour);
Davies, p. 92; Knackfuss, fig. 87.

Footnote 497:

Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 56; Davies, p. 94;
Knackfuss, fig. 88.

Footnote 498:

Reproduced by Davies, p. 88; Knackfuss, fig. 90; Ganz, _Holbein_, p.
209.

Footnote 499:

See Wornum, p. 166; Woltmann, i. pp. 300-14.

Footnote 500:

December 1871, iv., 2nd period, pp. 516-19.

Footnote 501:

Woltmann, ii. pp. 49-50. See Appendix (E).

Footnote 502:

Woltmann, i. p. 296.

Footnote 503:

Wornum, p. 171.

Footnote 504:

_Anzeiger für Schweiz. Altertumskunde_, N. F. xii. 4. Sarburgh painted
a portrait of Remigius Faesch. See Appendix (E).

Footnote 505:

Sainsbury, _Original unpublished Papers, illustrative of the Life of
P. P. Rubens_, &c., 1859, Appendix, No. liii. p. 290. Quoted by
Wornum, p. 170.

Footnote 506:

Woltmann, i. p. 298; ii. p. 56.

Footnote 507:

The history of the Dresden copy, given below, bears out this
supposition.

Footnote 508:

Elsewhere he speaks of it as the sixth.

Footnote 509:

Walpole, _Anecdotes_, &c., ed. Wornum, 1888, i. 93.

Footnote 510:

Ruskin, “Sir Joshua and Holbein,” _Cornhill Magazine_, March 1860, p.
328; reprinted in _On the Old Road_, vol. i. pt. i., pp. 221-236.

Footnote 511:

Davies, p. 94-5.

Footnote 512:

See p. 158.

Footnote 513:

She was, however, born in 1508, and so would be too young for the lady
of these pictures.

Footnote 514:

Woltmann, 17. Reproduced by Knackfuss, fig. 91; Ganz, _Holbein_, p.
40.

Footnote 515:

Woltmann, 18. Reproduced by Davies, p. 102; Knackfuss, fig. 92; Ganz,
_Holbein_, p. 41.

Footnote 516:

Woltmann, 1st ed., Eng. trans., p. 289. Omitted in 2nd ed.

Footnote 517:

Wornum, p. 163.

Footnote 518:

Mrs. G. Fortescue, _Holbein_, p. 105-6.

Footnote 519:

T. de Wyzewa, “À propos d’un Livre nouveau sur Holbein le Jeune,”
_Revue des Deux Mondes_, 15th Jan. 1912.

Footnote 520:

See pp. 79 and 137-8.

Footnote 521:

Knackfuss, p. 115.

Footnote 522:

Wornum, pp. 162-4.

Footnote 523:

Davies, pp. 102-3.

Footnote 524:

_Burlington Magazine_, vol. iv. No. xi. (Feb. 1904) p. 187.

Footnote 525:

See p. 233.

Footnote 526:

_Calendars of Letters and Papers, &c., Hen. VIII_, iv. Pt. i. 1547.

Footnote 527:

See p. 22.

Footnote 528:

Woltmann, 1st ed., Eng. trans., p. 292.

Footnote 529:

_Erasmi Opera_, iii. 951.

Footnote 530:

_Calendars of Letters and papers, &c., Hen. VIII_, i. preface, p. xxv.

Footnote 531:

_C. L. P._, i. 2053.

Footnote 532:

_C. L. P._, i. 5720.

Footnote 533:

_C. L. P._, ii. Pt. ii., Revels Accounts, p. 1499.

Footnote 534:

_C. L. P._, i. 4954.

Footnote 535:

18th April 1520. _C. L. P._, iii. Pt. i. 750.

Footnote 536:

21st May 1520. _C. L. P._, iii. Pt. i. 825.

Footnote 537:

_C. L. P._, iii. Pt. ii., Revels Accounts, p. 1551.

Footnote 538:

_Memoir of Henry FitzRoy, Duke of Richmond and Somerset_, Camden
Society, 1855, p. 87.

Footnote 539:

_C. L. P._, iii. Pt. ii. 3517.

Footnote 540:

_C. L. P._, iv. Pt. i. 965.

Footnote 541:

_C. L. P._, iv. Pt. ii. 3564.

Footnote 542:

J. Gough Nichols, _Archæologia_, xxxix. pp. 23-25 (1862).

Footnote 543:

See _Archæologia_, xxxix. p. 25.

Footnote 544:

Walpole, _Anecdotes of Painting_, ed. Wornum, 1888, i. 64.

Footnote 545:

_C. L. P._, v. 1139 (30).

Footnote 546:

_C. L. P._, v., Privy Purse Expenses of Hen. VIII, Feb. 1532.

Footnote 547:

_C. L. P._, v. 952.

Footnote 548:

_C. L. P._, x. 914.

Footnote 549:

_C. L. P._, xiv. Pt. ii. 238.

Footnote 550:

_C. L. P._, xiv. Pt. ii. 782 (p. 336).

Footnote 551:

_C. L. P._, xvi. 1489 (f. 188).

Footnote 552:

J. Gough Nichols, _Archæologia_, xxxix. p. 27.

Footnote 553:

See p. 276.

Footnote 554:

J. Gough Nichols, _Archæologia_, xxxix. p. 34.

Footnote 555:

Walpole, _Anecdotes of Painting_, ed. Wornum, 1888, p. 62.

Footnote 556:

_Archæologia_, xxxix. p. 30.

Footnote 557:

Wornum, p. 22.

Footnote 558:

Lionel Cust, _Introductory Notes to the Catalogue of the Burlington
Fine Arts Club Exhibition of Early English Portraiture_, 1909, pp. 47,
48.

Footnote 559:

See Nichols, _Archæologia_, xxxix. p. 29.

Footnote 560:

Lionel Cust, _Introductory Notes, Catg. Burl. Fine Arts Club Exhib.
Early English Portraiture_, 1909, p. 48.

Footnote 561:

_C. L. P._, vii. 922 (14 and 15).

Footnote 562:

Wornum, p. 32.

Footnote 563:

_C. L. P._, iv. Pt. ii. 3169.

Footnote 564:

_C. L. P._, iv. Pt. i. 2152.

Footnote 565:

_C. L. P._, iv. Pt. ii. 4435, 4572, 4574-77, 4652.

Footnote 566:

_C. L. P._, iv. Pt. iii. 5163.

Footnote 567:

_C. L. P._, iv. Pt. ii. 5117.

Footnote 568:

_C. L. P._, v. 978 (15).

Footnote 569:

_Loseley Manuscripts._

Footnote 570:

_C. L. P._, xiii. Pt. ii. 1280, f. 55 b.

Footnote 571:

_C. L. P._, i. 5604.

Footnote 572:

See Vol. ii. pp. 238-9.

Footnote 573:

_C. L. P._, xvi. 305 (25).

Footnote 574:

Burl. Fine Arts Club Exhib., 1909, No. 29.

Footnote 575:

Lionel Cust, _Introductory Notes_, _Burl. Fine Arts Club Exhib.
Catg._, 1, 1909, pp. 45, 46.

Footnote 576:

See also Scharf, _Archæologia_, xxxix. pp. 47-9.

Footnote 577:

See _Burlington Magazine_, vol. xiv., March 1909, pp. 366-8.

Footnote 578:

See Cust, _Catg. Burl. Fine Arts Club Exhib._, 1909, p. 60.

Footnote 579:

_C. L. P._, i. 775.

Footnote 580:

See M. Digby Wyatt, “On the Foreign Artists employed in England during
the Sixteenth Century,” _Transactions of the Royal Institute of
British Architects_, 1868, p. 220.

Footnote 581:

Cust, _Catg. Burlington Fine Arts Club Exhibition_, 1909, p. 61.

Footnote 582:

Cust, p. 61.

Footnote 583:

_C. L. P._, i. 5720.

Footnote 584:

_C. L. P._, i. 4954.

Footnote 585:

_C. L. P._, ii. Pt. ii. p. 1461.

Footnote 586:

_C. L. P._, ii. Pt. ii. p. 1472.

Footnote 587:

_C. L. P._, ii. Pt. ii. 3862.

Footnote 588:

_C. L. P._, iii. Pt. i. 826. See p. 259.

Footnote 589:

_C. L. P._, iv. Pt. i. 366.

Footnote 590:

_C. L. P._, iv. Pt. ii. 3104.

Footnote 591:

_C. L. P._, v., Privy Purse Expenses.

Footnote 592:

_C. L. P._, v. 686.

Footnote 593:

_Archæologia_, xxxix. p. 28.

Footnote 594:

_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 305.

Footnote 595:

See above, p. 273.

Footnote 596:

_Transactions of the Royal Institute of British Architects_, p. 227.

Footnote 597:

Lewis Einstein, _The Italian Renaissance in England_, 1902, p. 196,
and Cust, _Catg. Burl. Fine Arts Club Exhib._, 1909, p. 64.

Footnote 598:

_C. L. P._, v., 952 (p. 446).

Footnote 599:

_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 307.

Footnote 600:

Mr. Cust gives his salary as £20 per annum, but the entry in the
accounts is always 33_s._ 4_d._ a quarter, not a month, though this,
of course, may be an error of book-keeping.

Footnote 601:

See M. Digby Wyatt, _Transactions_, &c., p. 225.

Footnote 602:

_Transactions_, &c., p. 225.

Footnote 603:

_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 319.

Footnote 604:

_C. L. P._, v., Privy Purse Expenses, March 1531. “To Anthony Pene and
Bartilmew Tate, paynters, for ther lyveray at 22_s._ 6_d._ a pece,
45_s._”

Footnote 605:

Vol. c. 6, 12. Quoted by Wornum, p. 204, note.

Footnote 606:

_Hampton Court Accounts_, Wornum, p. 205, note.

Footnote 607:

_C. L. P._, v., Privy Purse Expenses.

Footnote 608:

_C. L. P._, xiii. Pt. i. 1309 (35).

Footnote 609:

_C. L. P._, xiv. Pt. ii. 782 (p. 335).

Footnote 610:

_C. L. P._, xiii. Pt. ii. 967 (46).

Footnote 611:

_C. L. P._, xiii. Pt. ii. 1280 (f. 53_b_).

Footnote 612:

_C. L. P._, xvi. 1489 (f. 165).

Footnote 613:

_C. L. P._, xvi. 779 (18).

Footnote 614:

_C. L. P._, xvii. 1251 (13).

Footnote 615:

_Loseley Manuscripts_, edit. Kempe, pp. 81, 84, 89.

Footnote 616:

_Archæologia_, xii. pp. 381, 391.

Footnote 617:

_C. L. P._, iii. Pt. ii. 2486.

Footnote 618:

See J. Gough Nichols, _Archæologia_, xxxix. p. 38: and Cust, _Catg.
Burl. Fine Arts Club Exhib._, 1909, p. 63.

Footnote 619:

See Dimier, _French Painting in the Sixteenth Century_, pp. 115, 116.

Footnote 620:

_C. L. P._, xvi. 1308 (4).

Footnote 621:

_C. L. P._, iii. Pt. i. 1355.

Footnote 622:

_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 305.

Footnote 623:

_Catg. Burl. Fine Arts Club Exhib._, 1909, p. 65.

Footnote 624:

See Dimier, _French Painting in the Sixteenth Century_, pp. 60, 86.
Also the same writer’s _Le Primatice_, 1900. The name was sometimes
spelt Belin.

Footnote 625:

p. 75.

Footnote 626:

Quoted in _Burlington Gazette_, II. i. May 1903, p. 55.

Footnote 627:

_C. L. P._, xiii., Pt. ii. 1280 (f. 47b).

Footnote 628:

_C. L. P._, xiv. Pt. ii. 781 (f. 68).

Footnote 629:

_C. L. P._, xvi. 37.

Footnote 630:

_C. L. P._, xvi. 59.

Footnote 631:

_C. L. P._, xvi. 60.

Footnote 632:

_C. L. P._, xvi. 82.

Footnote 633:

_C. L. P._, xvi. 115.

Footnote 634:

_C. L. P._, xvi. 163, 168.

Footnote 635:

_C. L. P._, xvi. 182.

Footnote 636:

_C. L. P._, xvi. 276. See also Appendix (H).

Footnote 637:

See Appendix (H).

Footnote 638:

_C. L. P._, xvi. 308 (f. 119b).

Footnote 639:

_C. L. P._, xvi. 1308 (5).

Footnote 640:

_Archæologia_, xxxix. p. 37.

Footnote 641:

Loseley Manuscripts, “Revels at Hampton, 16 July to 6 Sep., 38 Hen.
VIII.”

Footnote 642:

Loseley Manuscripts, “Coronation of Ed. VI.”

Footnote 643:

Loseley Manuscripts, “Shrovetide Revels, 2 Ed. VI.”

Footnote 644:

Quoted by Nichols, _Archæologia_, xxxix. p. 37.

Footnote 645:

_Archæologia_, xxxix. p. 55.

Footnote 646:

Cust, _Cat. Burl. F.A. Club Exhib._, 1909, p. 64; National Gallery
Catalogue.

Footnote 647:

Vasari, as quoted by Scharf, _Archæologia_, xxxix. pp. 53, 54.

Footnote 648:

See above, p. 245.

Footnote 649:

Davies, p. 115.

Footnote 650:

See page 245. Davies, p. 94.

Footnote 651:

See below, p. 315.

Footnote 652:

See p. 169.

Footnote 653:

_C. L. P._, iv. pt. i. 1826; _Erasmi Opera_, iii. 951.

Footnote 654:

_Proceedings of the Society of Antiquaries_, Second Series, xvii. No.
i. pp. 132-145.

Footnote 655:

_Proceedings_, Second Series, xvi. No. iii. pp. 321-327.

Footnote 656:

Walpole, _Anecdotes_, &c., ed. Wornum, 1888, i. 90. The sixth picture
to which he refers is the Meyer Madonna.

Footnote 657:

Woltmann, 35. Reproduced by Ganz, _Holbein_, p. 192, _Hdz. Schwz.
Mstr._, i. 55, and _Hdz. von H. H. dem Jüng._, Pl. 23; Davies, p. 116;
Knackfuss, fig. 93.

Footnote 658:

Engraved by Dean for _The Bijou_, 1829.

Footnote 659:

One of the versions of the picture was in the Earl of Arundel’s
collection, and is entered in the 1655 inventory as “Tomaso Moro con
la sua famiglia.” In the same collection there was a portrait of
More’s son, entered as “Il figliolo de Tomaso Moro,” but without the
name of the artist. See Appendix (I) for the history of the Nostell
picture.

Footnote 660:

Roper’s _Life and Death of Sir Thomas More_, &c., ed. Rev. J. Lewis,
1731, p. 169.

Footnote 661:

The heads in the Windsor Collection.

Footnote 662:

Walpole, _Anecdotes_, &c., ed. Wornum, 1888, p. 92.

Footnote 663:

Wornum, p. 244.

Footnote 664:

Woltmann, 1st ed., Eng. trans, p. 322. For Vertue’s account, see
Appendix (I).

Footnote 665:

Nos. lviii. and lix., “Nostell Priory, Wakefield,” _Athenæum_, Sept.
18, 25, 1880.

Footnote 666:

See pp. 311-16.

Footnote 667:

Woltmann, i. 350, note.

Footnote 668:

Wornum, pp. 231-246.

Footnote 669:

See Appendix (I).

Footnote 670:

Wornum, pp. 245-6.

Footnote 671:

Reproduced by Ganz, _Holbein_, p. 193.

Footnote 672:

According to Mr. W. Roberts, _Memorials of Christie’s_, 1897, vol. i.
p. 81, the measurements of the picture, as given in the sale catalogue
of 1808, are 10 ft. by 15 ft.

Footnote 673:

Reproduced in the catalogue, p. 214.

Footnote 674:

Walpole, _Anecdotes_, &c., ed. Wornum, 1888, p. 92.

Footnote 675:

Vol. iii. pt. i. p. 490.

Footnote 676:

Woltmann, 275; Wornum, i. 6; Sir R. Holmes, i. 4.

Footnote 677:

Woltmann, 276; Wornum, i. 42; Sir R. Holmes, i. 7.

Footnote 678:

Wrongly inscribed “The Lady Barkley.” Woltmann, 278; Wornum, ii. 34;
Sir R. Holmes, i. 5.

Footnote 679:

Woltmann, 279; Wornum, ii. 12; Sir R. Holmes, i. 6.

Footnote 680:

Woltmann, 277; Wornum, ii. 35; Sir R. Holmes, i. 8.

Footnote 681:

Wrongly inscribed “Mother Jak.” Woltmann, 280; Wornum, ii. 40; Sir R.
Holmes, i. 9.

Footnote 682:

Woltmann, 273, 274; Wornum, i. 3, 4; Sir R. Holmes, i. 3 and ii. 18.

Footnote 683:

Woltmann, 207. Reproduced by Davies, p. 118; _Catalogue of the Tudor
Exhibition_, 1890, p. 44; A. F. Pollard, _Henry VIII_, p. 114;
_Burlington Fine Arts Club Exhib. Catg._, Pl. xviii.; Ganz, _Holbein_,
p. 69. The portrait is now in America. See Appendix (I).

Footnote 684:

_Catg. Burl. Fine Arts Club Exhib._, 1909, p. 95. The entry in the
Lumley inventory is—“Of Sir Thomas Moore, Lo. Chancello^r, drawne by
Haunce Holbyn.”

Footnote 685:

One of these copies was in 1867 in the possession of Mr. Charles J.
Eyston, of East Hendred (Wornum, p. 246), and a second in the
collection of the Marquis of Lothian. There was a small circular
portrait of More, on wood, 4 in. in diameter, in Charles I’s
collection (No. 48), in a black cap, furred gown, and red sleeves.
Evelyn notes in his Diary, under the date Feb. 15th, 1649:—“Sir
William Ducy shew’d me some excellent things in miniature, and in oyle
of Holbein’s _Sir Tho. More’s_ head.” Among the numerous copies in
existence is one by Rubens in the Prado, Madrid. A portrait of More,
“invested with the collar of the Garter, by Holbein; upon a pedestal
is inscribed the date, MDXXVII,” was included in the sale of the Duke
of Bedford’s pictures from Woburn Abbey, on 30th June 1827, and
fetched 70 guineas.

Footnote 686:

See p. 335.

Footnote 687:

Mr. W. F. Dickes, however, reproduces it in his book, _Holbein’s
“Ambassadors” Unriddled_, p. 80, as a portrait by Holbein of the Count
Palatine Philipp! Engraved by Vorsterman as a portrait of More by
Holbein. Reproduced by Ganz, _Holbein_, p. 225.

Footnote 688:

_Athenæum_, June 19, 1886, No. 3060, p. 820.

Footnote 689:

Quoted by Wornum, p. 248.

Footnote 690:

Wornum, pp. 248, 249.

Footnote 691:

_Il Microcosmo della Pittura_, 1657, ii. 265.

Footnote 692:

_History of Portrait Miniatures_, 1904, vol. i. p. 8.

Footnote 693:

Reproduced in Dr. Williamson’s book, Pl. iii. No. 2, and in colours in
the _édition de luxe_ of Mr. Pierpont Morgan’s Catalogue, No. 5; and
by Ganz, _Holbein_, p. 227 (1), who includes it among the copies after
Holbein.

Footnote 694:

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Hans Holbein the Younger, Volume 1 (of 2)Chapter XV: The Return to Basel (1528-1532) (2)

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