Chapter XXIII: Appendix: B (3)

[392] The collapse of the friendship with Charles V., and the failure to promote a marriage between the Duke of Orleans and the Infanta of Spain which should bring in its train the restitution of Milan to France, were the signal for the fall of the Connétable. Throughout his career attached to the Spanish alliance, the success of these negotiations would have placed the brightest jewel in his crown of fame. They failed; and the position of the great minister trembled in the balance. Madame d’Etampes, jealous of his good understanding with the Dauphin, used her influence against him. Finally, in October, 1540, the Emperor gave the _coup-de-grâce_ to French aspirations by bestowing Milan on his son Philip. Henceforth that territory was lost to French ambition. Montmorency, shortly after deprived of all share in the management of public affairs, lived in complete retirement until the accession of the Dauphin (Henri II.), in 1547, restored to him position and importance.

[393] “Imploring you, Monseigneur, after having done me so many other favours, not to forget me so far as to leave me here any longer.”—“Correspondance de Guillaume Pellicier,” edited by M. Tausserat-Radel for the French Foreign Office. George de Selve to the Connétable, The Hague, 7th August, 1540.

[394] M. de Saveuse, formerly Bailly of Amiens, and M. de Castillon, late ambassador in England.

[395] “Corr. de Pellicier,” edited by M. Tausserat-Radel. George de Selve to the Connétable, Antwerp, 25th August, 1540.

[396] _Ibid._, 1st September, 1540.

[397] _Ibid._, Brussels, 8th September, 1540.

[398] “Corr. de Pellicier,” G. de Selve to the Connétable. Brussels, September, 1540.

[399] Letters and Papers, Henry VIII., vol. xvi. (1540-41), No. 161. Pate to the Privy Council, 14th October, 1540.

[400] Paris, Bibl. Nat., MS. Clairembault, 1215, f. 79.

[401] Bunel writes to justify himself from the accusation (see page 175), that he had influenced the bishop’s decision to retire to his diocese, thus cutting short a brilliant worldly career. It was also believed that Bunel had encouraged his patron to lead a life of exaggerated austerity, which had hurried him to a premature death.

[402] “Petri Bunelli Epistolæ,” Paris, 1551. To P. Danès. Tholosæ, 14 Calend. Sextil., MDXLI. (Latin).—Bayle’s “Dictionary,” Art. Bunel.

[403] Many authorities give the date of Selve’s death as 1542. The inscription on his portrait at Villiers, however (see page 193), and Bunel’s letters, place beyond dispute the fact that it occurred in 1541, as stated above. Several of Bunel’s letters dated in the summer and latter part of this year enlarge upon the grief caused by the bishop’s decease. Bayle’s “Dictionary” (Art. Bunel), the “Nouvelle Biographie Générale,” etc., also give the year correctly.

[404] “Gallia Christiana,” _loc. cit._

[405] “Œuvres de feu révérend Père en Dieu,” etc.

[406] The following is a rough literal translation of the epitaph. It makes no pretence to finish or metre, being merely intended to give the meaning.

“G Greatly fortunate in every enterprise:
E Excelling in virtue, his familiar guide:
O Of countenance at once gentle and proud:
R Rich in all qualities required in a Prelate:
G Governing duly the flocks in his Bishopric
E Enclosed: the light of the people:
S Sin’s enemy: of blameless life the friend:
D Distinguished on all sides for his surpassing merits:
E Esteemed and honoured by virtuous men:
S Submissive to all, even to the undeserving:
E Endued with all that which becomes a man:
L Lieth here the Bishop of la Vaur, who by his
V Virtue will live for ever, in peace
E Eternal. And thus, O Traveller, disturb not his repose.

_The spirit of Selve to those on earth_:

It is not I, but you, who do not live:
It is not you, but I, who am exempt from death:
Nor I, nor you, but God, is the mighty and the strong:
And you, and I, are servants of His Will.”

[407] “Petri Bunelli Epistolæ,” page 94. To Odet de Selve—Tholosæ, prid. Calend. Januar., 1541. (Latin.)

[408] “Petri Bunelli Epistolæ,” page 95. To Peter Danès. Tholosæ, 14 Calend. Sextil., 1541. (Latin.)

[409] Sismondi, “Hist. des Français,” vol. xi., page 380.

[410] Poverty is the probable explanation of Bunel’s inability to give his time to the writing of his patron’s life. See note 2, page 157.

[411] “Petri Bunelli Epistolæ,” page 94. To Odet de Selve.

[412] “Benvenuto Cellini, Life,” translated by J. A. Symonds, vol. ii., p. 187.

[413] H. Green, “Andrea Alciati and his Book of Emblems,” London, 1872. Mr. Green believes that the collection of 1522 was never published, years of laborious research having failed to reveal a single copy. That it should have been reputed published shows, however, the wide fame the emblems at once attained. Pierre Bunel speaks of Alciati’s emblems in a letter dated from Venice in 1530 (“Petri Bunelli Epistolæ,” Lutetiæ, 1551). This must have referred to the Milan collection, as the first edition brought out at Augsburg by Steyner was only published in the following year.

[414] “Robe longue” was worn by lawyers and ecclesiastics; “robe courte” by laymen.

[415] Feathers were not yet as universal in 1533 as they became a few years later, when Brantôme wrote.

[416] The short cape also came into fashion at a rather later period.

[417] Brantôme, “Hommes Illustres François,” Discours xlv. (François I.), Digression contre les ambassadeurs de robe longue. “One thing I should like much to know; if there had been present some brave and valiant knight of the King’s Order, or a captain of gensdarmes, or any other valorous gentleman with a good sword and bravado, whatever the Emperor might have advanced in words, whether he would not have thought twice on seeing the other speak and reply to him bravely; sometimes putting his hand on the hilt of his sword, sometimes to his side as though to draw his dagger, sometimes making a defiant gesture, sometimes drawing himself up proudly, now with his cap drawn down, now raised up with its feather, now placed on one side, now forward, now backward, now letting his cape hang half-way as one who is about to twist it round his arm, in order to draw his sword.... Instead of which M. de Mascon and M. de Vely, although he (_sic_) replied fairly well for his calling and profession, could show no other front than to smooth his square cap from time to time with his fingers; to re-dispose his skull-cap of taffetas, to listen well, with his two hands clasped and his thumbs extended, to gather up the sides of his long gown of velvet or satin: all this could not inspire the smallest terror in the world, nor instil any thought of fear into any soul....”

[418] It may be pointed out that Dinteville’s costume shows many points of similarity with that of Morette, in the portrait by Holbein at Dresden.

[419] Besides the allusion already quoted from Brantôme, the literature of the time has many allusions to “la dague et l’épée,” the ordinary accoutrement at this period of the French gentleman. In 1530, when the children of France were released from captivity on the payment of their father’s ransom, it was ordered that the French and Spanish gentlemen who met on the Bidassoa to effect the exchange, were to be armed only with “dagger and sword,” _i.e._, to wear their every-day dress and not full armour, so as to forestall any possibility of treachery on either side. (Du Bellay, “Mémoires,” ed. Petitot, vol. ii., page 93.) See also for the mention of the same arms, the “Life of Benvenuto Cellini,” translated by Symonds, page 169. In pictures the double weapon is frequently seen: in England more especially among those representing persons who favoured Continental fashions. Thomas Howard, Earl of Surrey, wears dagger, tassel, and sword in the well-known portrait at Hampton Court. Instances could easily be multiplied. Planché (“Cyclopædia of Costume,” vol. ii., page 159) states that Rabelais attributes the origin of this fashion to Spain.

[420] It was a common practice to represent ecclesiastics leaning on or holding a book; sometimes inscribed to show it was the Bible or other work connected with religion.

[421] It resumes normal proportions when viewed downwards from the right-hand side of the picture.

[422] “Some Account of the Life and Works of Hans Holbein.” By Ralph Nicholson Wornum, London, 1867, p. 180.

[423] See illustration, page 196.

[424] And not, as Dr. Woltmann, with singular absence of imagination, suggests, Holbein and his wife! (“Holbein und seine Zeit,” 2nd German edition, vol. i., p. 278.)

[425] Woltmann, “Holbein,” vol. i., p. 279.

[426] See _ante_, page 80.

[427] Page 90.

[428] Page 91.

[429] At the British Museum, Paris, Berlin, etc. See Woltmann, “Holbein,” vol. i., chap. xii., and vol. ii., pp. 174-179.

[430] Mrs. Bury Palliser, “Historic Devices, Badges, and War-cries,” page 4.

[431] The credit of having pointed this out belongs to Mr. C. L. Eastlake, late Keeper of the National Gallery. Mr. Eastlake thought he could discern the letters ASCU, or ASQU, preceded by a doubtful H. The writer confesses to inability to decipher these letters; but fully appreciates the value of the suggestion that some inscription was intended. An alternative reading to that suggested in the text would be that the lettering represents the name or initials of the goldsmith who wrought the sheath (supposing the design to have been actually executed). It was not unusual for armourers to sign any fine piece of work. In this case the letters might possibly be brought into relation with Hans von Antwerpen, a goldsmith residing in London, who had sat to Holbein in 1532, and is known to have executed some of his designs.

[432] Dr. Daniel Burckhardt, director of the Museum, has no doubt that this drawing, though not an original, is copied from one by Holbein, of whose style it indeed bears every mark. The writer is indebted to Dr. Burckhardt’s kindness for all the facts connected with this design. It is not the original of the dagger in the “Ambassadors,” as a glance at the illustration on the opposite page will show; but it furnishes an interesting point of comparison with the one in question.

[433] In 1560, François II., shortly before his death, bestowed the Order of St. Michael simultaneously on eighteen gentlemen, at the instigation of the House of Guise. Down to the death of Henri II., the royal order had always been held in very great esteem, the statutes limiting the number of knights to thirty-six. Continuing the precedent of François II., Charles IX. admitted so many to the order that it became despised and neglected. (See “Mémoires de Castelnau,” with the additions by Le Laboureur, vol. i., pages 11 and 355.) It was not till 1578 that Henri III. founded the Order of the Holy Ghost in consequence of the deterioration of that of St. Michael. The members nominated to the new order were received knights of St. Michael on the eve of their installation as knights of the Holy Ghost. Hence they were called “Chevaliers _des Ordres_ du Roi.” (Lalanne, “Dict. Hist. de la France.”)

[434] Francis I. slightly altered the original arrangement of the connecting chain to make it simulate the rope of the Cordeliers, in allusion to his patron, St. Francis.

[435] “Excepting under arms, when it will suffice to wear only the said image of St. Michael suspended from a small gold chain or silk lace, whoever pleases to do so. And similarly when the said sovereign or one of the said knights shall be travelling, or at their houses in private, or hunting, or in other places where there is no company or considerable assembly, they shall not be obliged to wear the said Grand Collar, but only the said image of the Order, in the manner appointed.”

[436] “Statuts de l’Ordre de St. Michel,” Imprimerie Royale, 1725, article iii. This edition of the statutes was drawn up, as the preface informs us, by collation of all copies then available, whether printed or manuscript. Excepting in one or two trifling verbal details, these statutes are identical, as the writer has proved by comparison, with those contained in the “Livre des Ordonnances des chevaliers de l’ordre du treschrestien roy de france Loys XIᵉ a l’honneur de sainct Michel,” printed at Paris, in 1512, by Guillaume Eustace. The later edition has been quoted in the text only for the sake of the more modern orthography.

[437] Brantôme, “Hommes Illustres français,” Discours lxxxii., art. v., M. de Tavannes.—“Statuts de l’Ordre de St. Michel,” art. iv.

[438] No. 126. It is No. 109 in the Catalogue of the Louvre by M. Frédéric Villot (1880).

[439] Alfonso I. died in 1534; the portrait cannot therefore have been substantially _later_ in date than the “Ambassadors.” He was the father of Ercole d’Este, who in 1527 married Renée of France.

[440] There are two interesting sketches by Holbein, for the Order of St. Michael, in the Basle Museum. They show far more freedom and spirit than the St. Michael of the “Ambassadors.” Possibly the latter was more or less a copy from the actual medallion worn by Dinteville; or it was put in by an assistant.

[441] See illustration, page 210.

[442] Compare illustrations, page 214. The gores found by Mr. Stevens are reproduced here by kind permission of Messrs. Henry Stevens, Son and Stiles.

[443] See the writer’s letter to the “Academy,” February 6th, 1892. The Stevens globe is now the property of Mr. Kalbfleisch of New York.

[444] “Johann Schöner. A reproduction of his globe of 1523, long lost.... By Henry Stevens of Vermont.... Edited by C. H. Coote. London, 1888.” Schöner was a distinguished mathematician, astronomer, and geographer. Born in 1477 at Carlstadt, his name is chiefly associated with Nuremberg, where, at various intervals, he spent long periods of his life. He corresponded with Copernicus; and Melanchthon contributed prefaces to several of his books. The latter, which are mainly concerned with astronomy and mathematics, and the then kindred subjects of astrology and medicine, also include treatises on the various celestial and terrestrial globes of which he was the author. Four of Schöner’s earth-globes, if we include that under consideration, have come down to the present day. A specimen of the earliest, dated 1515, is preserved at Frankfort; of the second (1520) in the Germanic Museum at Nuremberg; the gores found by Mr. Stevens are supposed to represent the third (1523); and the fourth (1534) may be seen in the Grand-Ducal Library at Weimar. Schöner died in 1547. Further information may be found, if desired, in the interesting book named above.

[445] See Mr. Coote’s article on Maximilianus Transylvanus, “Athenæum,” July 16th, 1892.

[446] The late Mr. C. H. Coote, British Museum.

[447] In the illustrations, p. 214, to facilitate comparison with the Stevens’ globe, Holbein’s copy has been placed in the same position as the original gores. To see Holbein’s globe as it is placed in the picture and described above, this book must be turned round, so as to present the globe handle _downwards_.

[448] Pritann. (Britannia), Norma..ia., Avern., Burgund., Languedoc.

[449] Paris, Leon, Baion, Polisy. The rivers Seine and Rhone are also laid down by Holbein, but left unnamed, probably through lack of space.

[450] Castil., Aragon., Navar., Grana.

[451] Roma, Genua.

[452] See page 52, note 2.

[453] Page 54.

[454] Page 55.

[455] The _S_ in Polisy is partially effaced.

[456] See Appendix B.

[457] See _ante_, page 151.

[458] See illustration, page 218.

[459] They are there respectively numbered II. and XIX. In both cases the words in the form given are due to Luther: the first hymn being his translation of the ancient “Veni Creator,” the second his paraphrase of the Ten Commandments. The latter first received the title given to it by him, “Die zehen Gebot kürtzer gefasst” (“A shortened Version of the Ten Commandments”), in the Wittemberg “Gesangbuch” of 1529. In Walther’s “Gesangbuch” it is simply numbered “XIX.”

[460] Brightness, brilliancy.

[461] The first strophe of the “Veni Creator” was, in fact, used as an antiphon in the Roman Catholic Church. (Antiphon: “A short piece of plain song introduced before a psalm or canticle, to the tone of which it corresponds, while the words are selected so as specially to illustrate and enforce the evangelical or prophetic meaning of the text.”—Grove’s “Dictionary of Music and Musicians.”) The suggestion that an antiphon was intended in the picture gains some force from the fact that while a faint “D...” is seen beneath the second hymn (“Mensch wiltu”), pointing to the commencement of the second verse (“Dein Gott allein und Herr bin ich,” representing the First Commandment), no second verse is indicated in the case of “Kom Heiliger Geyst,” which is limited to one strophe. The opening of the “Veni Creator” was actually printed as an antiphon in the “Baseler Plenarium” of the year 1514, beneath a woodcut, by Hans Scheuffelin, representing the Descent of the Holy Ghost. (Winterfeld, “Dr. Martin Luther’s deutsche Geistliche Lieder,” Leipzig, 1840.)

[462] The words between brackets, where the surface of the panel has been injured, are supplied from Winterfeld, “Dr. Martin Luther’s deutsche geistliche Lieder” (Leipzig, 1840), where Walther’s hymns are reproduced. The only exception is in the last line of the second hymn, where the repetition of the word “Gott” is obviously intended. In Walther’s “Gesangbuch,” in place of the repetitions seen above, “Halleluia” is twice sung at the end of “Kom Heiliger Geyst,” and “Kyrioleis” once at the conclusion of the first verse of “Mensch wiltu.” (A stroke over a letter implies a suppressed consonant. Thus, for “gleubgē” read “gleubgen”; for “brūstig,” “brunstig”; for “un̄,” “und,” and so on.) For an English rendering of the first hymn the reader is referred to the numerous translations of the “Veni Creator,” all of which give the sense generally, not literally. The second hymn is a paraphrase of the Ten Commandments, opening with an admonition to obey the behests they contain.

[463] Winterfeld, “Dr. Martin Luther’s Geistliche Lieder.”

[464] See Mr. Barclay Squires’ letter to the “Times,” November 14, 1891. The information there given is based upon Dr. Kade’s reprint of Walther’s “Gesangbuch.”

[465] It will be recollected that this hymn still forms part of the services of the Church of England for the Ordering of Priests and for the Consecration of Bishops.

[466] Spangenberg’s “Kirchengesenge,” Magdeburg, 1545; quoted by Winterfeld, “Der Evangelische Kirchengesang,” p. 306.

[467] “Je receuz ces jours passez voz lettres du premier mars.... J’ay aussy eu le pacquet de celles que m’escripvoit Monsʳ l’Archevesque de Cantorberi auxquelles je faiz response.”—Claude Dodieu, Sieur de Vély, French ambassador with the Emperor, to the Bailly of Troyes. From Paris, 2nd May, 1533. (Paris, Bibl. Nat., Coll. Dupuy, vol. 263, f. 96.)—Throughout the period of Henry VIII.’s divorce and re-marriage with Anne Boleyn Cranmer had probably much to do with the Frenchmen. It will be remembered that in the procession for Anne Boleyn’s coronation he and Dinteville rode side by side. (See _ante_, page 85.)

[468] Cranmer’s second wife, whom he married in Germany in 1532, the year before he became Archbishop of Canterbury, was the daughter of Osiander, the Reformer.

[469] See illustration, page 224, for a comparison of the page painted by Holbein with the corresponding page of the original book.

[470] Peter Apian, or Bienewitz (of which name Apian is the Latinized form), born 1495 at Leisnig in Saxony, became Professor of Mathematics (which included astronomy, etc.) at Ingoldstadt in Bavaria, where he died in 1552. It appears probable enough that he may have been a friend and correspondent of Kratzer, who was himself a native of Munich.—George Apian, mentioned in the colophon, was evidently a member of the same family, and a printer.

[471] The facts given above are taken from a letter to the “Athenæum,” July 30th, 1892, in which the late Mr. C. H. Coote announced his very interesting discovery of a copy of this book in the British Museum, and the identification of the very page seen in the picture.

[472] Now in the Louvre.

[473] See Mr. W. Fred. Dickes in the “Magazine of Art,” November, 1891.

[474] It was formerly of much greater extent than at present, but a portion was removed, and other portions damaged, when “the new altar” was erected early in the eighteenth century. See Dart, “Westmonasterum, or History and Antiquities of the Abbey Church of St. Peter’s, Westminster,” 2 vols. fol., 1724.

[475] Sir G. G. Scott, “Gleanings from Westminster Abbey,” second edition, 1863.

[476] The Hymn-book and Book of Arithmetic.

[477] Published by Steyner at Augsburg in 1531, and reprinted by him in the same year, as well as in 1532, 1533, and 1534. Mr. Henry Green, in his authoritative treatise on “Andrea Alciati and his Book of Emblems” (London, 1872), has shown that in all probability the so-called first edition of Milan, 1522, existed only in manuscript.

[478] Mr. W. Fred. Dickes was the first to point out the probable connection between the lute in Holbein’s picture and this emblem (“Magazine of Art,” November, 1891). The plausibility of the suggestion is happily not invalidated by the fact that Mr. Dickes unfortunately failed to notice the broken string—a circumstance which, on Alciati’s own showing (see the poem cited in the text), exactly reverses the significance of the symbol. This oversight naturally led Mr. Dickes to a wholly fallacious interpretation of the emblem. Had that gentleman read Alciati’s explanation of the device in question, he could not have been so misled.

[479] Mr. Dickes says “a lute and two books” (“Magazine of Art,” November, 1891), which of course brings the emblem much closer to Holbein’s representation. Whether the manuscript collection of Alciati’s “Emblems” of 1522 (see above, note 1) contained “two books,” and whether that collection came under the notice of Holbein and his sitters, it is impossible to say; no copy of it being known to exist. But had Mr. Dickes carefully consulted the only version of Alciati’s “Emblems” which had been _published_ up to 1533—namely, that issued by Steyner—he would have seen that the device there consists of a lute _only_. The two books first appear many years after the picture was painted.

[480] Green, “Andrea Alciati and his Book of Emblems” (London, 1872), pp. 12, 43-45. In later editions of Alciati’s “Emblems,” “Fœdera Italorum” was inscribed “Ad Maximilian Mediolani Ducem.” If it was indeed sent to Maximilian, it must have been composed many years earlier than here suggested, as Maximilian was dethroned on the conquest of the Duchy of Milan by the French, in 1515. It is noteworthy, however, that the name of Maximilian is only appended to this emblem at a considerably later date, when it may have been printed in error for Francesco, who was the reigning duke in 1526. Mr. Green, indeed, appears so satisfied that the League of Cognac gave birth to this emblem, that he excludes it from the possible list of emblems comprised in the Milan collection of 1522, as having been composed at a later date. Internal evidence proves that it was addressed to one of these two Dukes of Milan; to which of them is not very important. The same fair hopes of peace in Italy, which were evoked by the accession of Maximilian, were revived by the League of Cognac, under Francesco. The argument remains the same.

[481] The writer is indebted for this translation to the kindness of Lord Francis Hervey.

[482] See, for an account of all the circumstances, Part II., pp. 90-93. The picture had of course been begun earlier in the year, but it must have taken a considerable time to think out all the elaborate accessories, and still longer to execute them.

[483] This edition was subsequently translated into French by Jean Le Fèvre, a native of Dijon and Canon of Langres (in which diocese Polisy was situated), and was dedicated to the friend of the Dinteville family, Philippe de Chabot, Admiral de Brion.

[484] Andrea Alciati was born in the Milanese in 1492. He studied at Pavia and Bologna, and took his degree as Doctor of Laws in the twenty-second year of his age. In 1518 he was appointed to the Chair of Jurisprudence at Avignon. Returning to Italy in 1521, he remained at Milan till 1529, when he returned to France; this time to lecture on law at Bourges, where he stayed till 1534. He now resided at various Italian centres until his death, which took place in 1550. Erasmus and Paul Jovius were among his friends, and his society was sought on all hands. Charles V. and Francis I. alike protected him. The “Emblems,” which he composed as a recreation from his deeper studies, had extraordinary celebrity, and were printed and reprinted in innumerable editions and languages throughout the sixteenth and seventeenth centuries. One such was given to the world by the printer Gryphius at Lyons in 1548. It is curious that the motto of the Dinteville family, “Virtuti Fortuna Comes,” which, it has been seen, was also that of Gryphius in slightly altered form, was used by Alciati as early as 1522, in conjunction with the spread wings and other symbols of Hermes.

[485] See Part II., page 39.

[486] Hagen, “Deutschlands literarische und religiöse Verhältnisse im Reformations-Zeitalter,” vol. i., chap. vi.

[487] Decrue de Stoutz, “La Cour de France au XVIᵉ̀ᵐᵉ siècle,” page 159. Renée of France also cultivated these sciences at the Court of Ferrara. (Bart. Fontana, “Renata di Francia, Duchessa di Ferrara,” vol. iii., page 360.)

[488] It is a curious thing that Agrippa, whose name has descended to posterity as the incarnation of black magic, enjoyed for a time a European reputation for learning of the highest kind. Ecclesiastics such as the Archbishop of Cologne, Cardinal La Marck, and Cardinal Campeggio, were his special protectors. The freedom with which he expressed his opinion of the monks seems first to have drawn from his enraged enemies those accusations of meddling with black art which afterwards sullied his fame. His talents were universal. Secretary, soldier, knight, doctor of law, physic, and divinity, equally at home in France, Germany, England, and Italy, his life was as varied as the professions he undertook to exercise. But by some fault of tact or temper on his part his career always broke off just when apparently about to prosper, and ended in bitterness and disappointment. Agrippa died at Grenoble in 1535.

[489] As opposed to the black magic which was considered to emanate from the Evil One, and, as such, prohibited with the utmost rigour.

[490] Bayle’s “Dictionary,” ed. 1735, Art. Agrippa. The letters from which these passages are quoted were probably not published until a later date, but their purport appears to have formed the substance of that “Key” which Agrippa was in the habit of explaining to favoured persons.

[491] Letters and Papers, Henry VIII., vol. vi. (1533), No. 1170. Thomas Houth to the Earl of Kildare. In the index to the volume in question Gyes is erroneously identified with one Gee, an altogether different individual, as can be verified by reference to the letters, in the same volume, which refer to the latter person.—The Alderman at this time was probably Barthold Beckman, of Hamburg. (Lappenberg, “Urkundliche Geschichte des Hansischen Stahlhofes zu London,” p. 157.)

[492] In this second form perhaps equivalent to “Gijze.” The “z” would have a hissing sound similar to “ss.”

[493] Lappenberg, “Urkundliche Geschichte,” etc. Urkunden (No. clii., Aus dem Archive zu Cöln), p. 173. Sir Thomas More was one of the representatives of England on this occasion.

[494] _Ibid._, part i., p. 80, No. 11.

[495] _Ibid._, p. 81, Nos. 11 and 57, and part ii. (Urkunden), p. 173. Dr. Lappenberg adds a fourth version, which he brings under the same head: “Hans van der Biesen,” which stands, in his opinion, for “Hans van der Giesen.” (_Ibid._, p. 81, Nos. 39 and 40.)

[496] The entry occurs as “Albert Gissen Kammer” (Albert Gisse’s or Albert Gissen Room). If we may assume “Gissen” to be here in the genitive case, the nominative “Gisse” would show perfect identity with one of Holbein’s versions of the name.

[497] “The Book of Ser Marco Polo, the Venetian,” newly translated and edited, with notes, by Colonel Henry Yule, C.B., vol. i., p. 205, note 3.

[498] “Life and Reign of Henry VIII.” (1532-33, “Ambassador sent to the Pope from the King of Ethiopia”).

[499] See Holbein’s “Ambassadors,” p. 72.

[500] Letters and Papers, Henry VIII., vol. vi. (1533), No. 156.

INDEX

INDEX

Abate, Niccolò dell’, 126.

Act of Supremacy, 100.

Agout, river, 170.

Agrippa, Cornelius, 233, _ibid._, _note_ 3, 234, _ibid._, _note_ 2.

Aigues-Mortes, 166.

Albany, Duke of, 91.

Alchemy, 138, 227, 232-234.

Alciati, Andrea, 46, 131, 198, _ibid._, _note_ 1, 228-231, 231,
_note_ 3.

Alençon, Chancellor of, 42.

Alfonso I. d’Este, Duke of Ferrara, _see_ Este.

Allegory, 197.

“AMBASSADORS,” HOLBEIN’S PICTURE OF THE;
purchased for the National Gallery, 1, 5, 31-32;
personages represented, 1, 10, 11, 19, 20, 77, 200-202;
owned by Le Brun, 5-6, 31-32;
by Jacob, Earl of Radnor, 6, _ibid._, _note_ 2, 31-32;
documents showing history of picture, 11, 18, 20;
notice in Beaujon catalogue, 9-10, 31-32;
description of picture, 200-203;
details of same, 203-236 (_see also under each head_).

Ambassadors _de robe longue_ and _de robe courte_, 143, 199-200, 199,
_note_ 1.

Amboise, Château of, 42, 126, _note_ 3.

Amboise, George d’, Cardinal Legate, 99.

Amyot, Jacques, Bishop of Auxerre, 146, _ibid._, _note_ 1.

Angeviller, Conte d’, 22, _note_ 1.

Angoulême, Charles, Duke of, _see_ Charles.

Angoulême, Duchesse d’, _see_ Louise.

Angoulême, Marguerite d’, _see_ Marguerite.

Anne Boleyn, Queen of England, 62, 72, 79, 82, 83-89, 102, 105.

Antwerp, 186.

Apian, George, 224, _ibid._, _note_ 2.

Apian, Peter, 224-225, 224, _note_ 2.

Aragon, Katherine of, _see_ Katherine.

Arithmetic, 223, 224, 225, 232.

Arithmetic, Book of, in picture of “Ambassadors,” 203, 223-224.

Armagnac, Georges d’, Bishop of Rodez, 156, 167.

“Arms of Death” (design by Holbein), 203-204.

Arms of François II., Bishop of Auxerre, 56, 130.

Arms of Jean de Dinteville, 128-129.

Arts, the Seven Liberal, 39;
in picture of “Ambassadors,” 210, 223, 225, 228, 231-232.

Arundel Collection, 140.

Aspremont, 136.

Asti, county of, 101.

Astrology, 45, 138, 210, _ibid._, _note_ 3, 233-234.

Astronomy, 45, 210, _ibid._, _note_ 3, 225, 232, 233-234.

Audley, Sir Thomas, Lord Chancellor, 85, _ibid._, _note_ 6.

Aumale, 178.

Auxerre, cathedral of, 117, 137, _note_ 1.

Auxerre, François I. de Dinteville, Bishop of, _see_ Dinteville.

Auxerre, François II. de Dinteville, Bishop of, _see_ Dinteville.

Auxerre, Jacques Amyot, Bishop of, _see_ Amyot.

“Avaux, M. d’,” 5, 7, 8, 10, 22,
_see also_ Mesmes.

Avaux, seigneurie in Champagne, 9, _note_ 1.

Avignon, 46, 148, 149, 166, 231, _note_ 3.

Azay-le-Rideau, 125.

Baif, Lazare de, French Ambassador at Venice, etc., 59, 157, _ibid._,
_note_ 2, 174.

Bailly, office of, 38.

Bailly of Troyes, The, _see_ Dinteville.

Balavoyne, steward of Bishop of Auxerre, 59, _ibid._, _note_ 2, 63.

Barbier, Domenico del, _see_ Domenico Fiorentino.

Bar-sur-Seine, 11, 19, 36, 41, 121.

Basle, 75.

Basse-Cour of Polisy, 127, 133.

Basville, _see_ Lamoignon.

Basville, seigneurie, 29.

Bayonne, 176, 213.

Beaujon, Hospice (now Hospital), 30, _ibid._, _note_ 2.

Beaujon, Nicolas, 9, 21, 29, 30-32, 30, _note_ 2.

Beauvais, M. de, French Ambassador in Scotland, 80, _ibid._, _note_
2, 95, 98.

Belgrade, 214.

Bellay, Guillaume Du, Seigneur de Langey, 35, _note_ 1, 44, 47,
_ibid._, _note_ 2, 48, 53, 232.

Bellay, Jean Du, successively Bishop of Bayonne and Paris, and
Cardinal, 42, 44, 45, _note_ 1, 47, _ibid._, _note_ 2, 48, 53,
65, 66, 67, _ibid._, _note_ 3, 80, 89-90, 98, 232.

Bellay, Madame Du, 117.

Bellay, Martin Du, 47, _note_ 2.

Bembo, Pietro, Cardinal, 158, _ibid._, _note_ 2.

Berthereau, secretary to Montmorency, 59.

Bèze, M. de, 59, _note_ 2.

Bèze, Théodore de, 59, _note_ 2.

Bidassoa, river, 146, 176, 201, _note_ 2.

Biez, Oudart Du, Governour of Boulogne, 98.

Black Friars, 68, 69.

Blaigny, Charles le Genevois, Marquis de, 16, 26.

Blaigny, Charlotte Marie de Cazillac, Marquise de, _see_ Cazillac.

Blaigny, Marie Renée Le Genevois de, _see_ Le Genevois.

Blois, Château of, 42, 125.

Boisy, Grand-Maître, 39.

Boleyn, Queen Anne, _see_ Anne Boleyn.

Bologna, 72.

Bomy, Truce of, 163.

Bonhomme, Abbé, 24, _note_ 1.

Bonner, Dr., 82, _ibid._, _note_ 2.

Bonnivet, Admiral, 39.

Bonvalot, François, Abbot of St. Vincent of Besançon, Imperial
Ambassador in France, 177.

Bordeaux, 30, _note_ 2, 144.

Born, Derick, 76, _note_ 1.

Boulogne, 60, 61, 66, 98, 110.

Bourbon, Connétable de, 233.

Bourdaizière, La, 60.

Bourges, Archbishop of, _see_ Tournon, François de.

Bourges, University of, 46, 145, 231, _ibid._, _note_ 2.

Brandon, Charles, Duke of Suffolk, 85, _ibid._, _note_ 3, 87-88, 90.

Brantôme, 199-200, 201, _note_ 2.

Breton, secretary to Francis I., 98.

Brian, Sir Francis, 94, 109-110.

Bridewell, Palace of, 58, _ibid._, _note_ 3, 63, _ibid._, _note_ 3,
67-71, 68, _note_ 1.

Brion, Madame de, 117.

Brion, Philippe de Chabot, Admiral de, 65, 98, 116, 118, 146.

Brittany, 59, 213.

Brittany, Anne of, wife of Louis XII., 45, _note_ 2.

Broglie, Anne Louise de, second Marquise de Cessac, 23, 25, 28.

Brou, Denis Feydeau de, 28.

Brou, Madame de, 118.

Brun, Le, _see_ Le Brun.

Brussels, 177, 186, 187, 188.

Buchanan, picture-dealer, 6, _ibid._, _note_ 2, 32.

Budé, Guillaume, 43, _ibid._, _note_ 2, 46, 47.

Bunel, Pierre, 144, 157, _ibid._, _note_ 2, 159, 160, 174-175, 189,
190, _note_ 1, 191-192.

Burgundy, Charles the Bold, Duke of, 37.

Burgundy, County of (High Burgundy or Franche Comté), 16, 139, _note_
2, 177, 186.

Burgundy, Duchy of, 36, 37, 41, 121, 127, 139, _note_ 2, 213.

Buttes, Dr., physician to Henry VIII., 74, 78.

Buxi, Cécille de, wife of Jean de Selve, 143, 147, _note_ 1, 154.

Buxi, Pierre de, Bishop of Lavaur, 147.

Cahors, 24, _note_ 1.

Calais, 60-63, 66, 109;
meeting of Henry VIII. and Francis I. at (1532), 60-63.

Calvin, 46, 158, _note_ 3.

Campeggio, Cardinal, 69, 233, _note_ 3.

Camusat, Nicolas, Canon of Troyes, 14, 15, 18, 20, 21, 24, _note_ 1,
134, _note_ 1.

Canterbury, Archbishops of, _see_ Cranmer, Warham.

Capello, Carlo, Venetian Ambassador in England, 85, _ibid._, _note_ 6.

Carew, Sir Nicolas, Master of the Horse to Henry VIII., 88.

Carpentras, 174, _note_ 1.

Carpentras, Bishop of, _see_ Sadoleto.

Carpi, Ridolfo Pio, Bishop of Faenza, Cardinal, 162-165.

_Carrelage_ at Polisy (tesselated pavement), 129-130, 197.

Castelnau, Anthoine de, Bishop of Tarbes, French Ambassador in
England and with Charles V., 102-103, 105, _ibid._, _note_ 3,
172, _note_ 2, 174-175.

Castelnau, Louis de, Marquis de Cessac, 15, _note_ 5, 24, _note_ 1.

Castillon, Sieur de, French Ambassador in England, 95, 96.

Catherine de’ Medici (Duchess of Orleans, subsequently Queen of
France), 72, 96, 99.

Cazillac, Charlotte-Marie de, Marquise de Blaigny, 16, 17, 23, 25-27,
31.

Cazillac, Claude de, Baronne de Fontenilles, 15, 26.

Cazillac, Claude de, Marquise de Praslin, 25, _note_ 1.

Cazillac, François I. de, Baron de Cessac, _see_ Cessac.

Cazillac, François II. de, Marquis de Cessac, _see_ Cessac.

Cazillac, seigneurie in Quercy, 24, 27.

Cellini, Benvenuto, 126, _note_ 3, 197.

Cessac, Baronne de, _see_ Dinteville, Claude de.

Cessac, François I. de Cazillac, Baron de, 14, 17, 31.

Cessac, François II. de Cazillac, Marquis de, 15-17, 19-21, 22-25,
_ibid._, _note_ 1, 26, 31.

Cessac, Marquise de, _see_ Broglie, Anne-Louise de.

Cessac, Marquise de, _see_ Choiseul, Marie de.

Cessac, seigneurie in Quercy, 24, 25, 27, 28.

Chabot, Philippe de, Admiral de Brion, 65, 98, 116, 146.

Chambord, 125.

Champagne, 14, _note_ 1, 16, 24, _note_ 1, 36, 46, 52, 127.

“Champagne et de Brie, Revue de,” 10-12, 14, _note_ 1.

Chantilly, 55, 83, 100.

Chapeaufort, Maison du, 21.

Chapuys, Eustace, Ambassador of Charles V. in England, 62, 63, 103,
105-106.

Charles VIII., King of France, 37, 51.

Charles IX., King of France, 207, _note_ 1.

Charles V., Emperor of Germany, 6, 40, 41, 42, 48, 52, _note_ 2, 57,
69, 72, 73, 76, 90-92, 95, 99, 101, 102, 104, 106, 107, 116,
128, 151, 152, 156, 157, 162, 163, 165, 166, 169, 172-182, 182,
_note_ 1, 184-188, 184, _note_ 1, 193.

Charles, Duke of Angoulême, subsequently Duke of Orleans, 40, 42, 43,
44, 53, 59, 60, 62, 98, 99, 100, 106, 112, _note_ 2, 113, 116,
118, _ibid._, _note_ 3, 119, 121-124.

Charles the Bold, Duke of Burgundy, 37.

Chartres, Duchess of, _see_ Renée.

“Chartreuse,” The, 30.

Châtillon, Mme. de, 45, _note_ 1.

Chelsea, More’s house at, 74, 75.

Chenonceaux, 125.

Choiseul, Charles de, Marquis de Praslin, 25, _note_ 1.

Choiseul, Duché-Pairie, 17.

Choiseul, family of, 16.

Choiseul, Isabelle de, 25, _note_ 1.

Choiseul, Marie de, first Marquise de Cessac, 16, 21, 22.

Chrétien, Félix, 137, _note_ 1.

Christina, Duchess of Milan, niece of Charles V., 91, _ibid._, _note_
1.

Chronology of Holbein’s “Ambassadors,” 31.

Cinque Ports, Barons of the, 87, _note_ 4.

Clement VII., Pope, 41, 57, 58, 59, 61, 62, 72, 73, 78, 79, 82, 91,
93, 95-96, 99, 100, _note_ 2, 155.

Clermont, Cardinal, Legate of Avignon, 148-150.

Clermont, M. de, 150.

Clouet, 209.

Cloux, Château, 126, _note_ 3.

Cobham, 102.

Cognac, League of, 41, 90, 92, 228, _ibid._, _note_ 4.

Coligny, Louise de, wife of Gaucher de Dinteville the younger, 51,
_note_ 2.

Collège Royal (Coll. de France), 46, 145.

Cologne, Archbishop of, 233, _note_ 3.

Compass, an oval, 80.

Compasses, in picture of “Ambassadors,” 203, 224, 232, 233.

Concordat, The, 147.

Contarini, Cardinal, 158, _note_ 1, 182, _ibid._, _note_ 1.

Conti, Prince de, Governour of Champagne, 16.

Copernicus, 210, _note_ 3.

Cosins Lane, 75.

Council, The General, 78, 106, 162, 163.

Cranmer, Thomas, Archbishop of Canterbury, 78, 85-87, 222, _ibid._,
_note_ 3, 223, _note_ 1.

Croix, Nicolas de la, 135, 136.

Cromwell, Thomas, minister of Henry VIII., subsequently Earl of
Essex, 74, 76, _note_ 1, 102, 106, 107.

Crucifix, Silver, in picture of “Ambassadors,” 203, 232, 234, 235.

Dagger, in picture of “Ambassadors,” 7, 201, 205-207, 206, _note_ 1.

Dagger-sheath, design for, after Holbein, 206, _ibid._, _note_ 1.

Dagger and sword, worn together, 200, 201, _ibid._, _note_ 2.

“Dance of Death,” Holbein’s, 203, 204.

Dance of Death, The, 198.

Danès, Pierre, 144, 145, 146, 157, 183, _ibid._, _note_ 1, 189, 191.

Dauphin François, The, _see_ François.

Dauphin Henri, The, _see_ Henri.

Death, Agrippa’s Mystical, 234-235.

“Death, Arms of,” 203-204, 207.

Death, Device and Emblems of, in picture of “Ambassadors,” 203-207,
228, 235.

Death, Mottoes concerning, 206.

Death’s-head Brooch, in picture of “Ambassadors,” 201, 203.

Death’s-head, Distorted, in picture of “Ambassadors,” 10, 203-205,
203, _note_ 1, 206, 225, 235.

Derick, _see_ Born _and_ Tybis.

Deschenetz (Echenay), seigneurie, 17, _note_ 1, 36, 37, 40, 113-114.

Deschenetz, Seigneur, _see_ Dinteville, Guillaume de.

Device of Death, in picture of “Ambassadors,” 204-207, 235.

Device or _Devise_, 197-198, 204-207, 235.

Diane de Poitiers, “Grande Sénéchale,” subsequently Duchesse de
Valentinois, 112.

Diet of Hagenau (1540), 172-173, 174.

—— Ratisbon (1541), 174, 175.

—— Spires (1529), 151-153, _ibid._, _note_ 1, 219, 222.

Dijon, Bailly of (M. de Villiers les Potz), 117-118.

Dinteville, Charlotte de, wife of Louis Raguier, Seigneur de la
Mothe, sister of Jean the “Ambassador,” 47, 53, 136, _ibid._,
_note_ 1.

Dinteville, Claude de, Surintendant de Finance to Charles the Bold,
Duke of Burgundy, uncle to Jean the “Ambassador,” 37.

Dinteville, Claude de, wife of François I. de Cazillac, Baron de
Cessac, niece of Jean the “Ambassador,” 14, 15, 17, 31, 134,
_note_ 3.

Dinteville, François I. de, Bishop of Auxerre, uncle of Jean the
“Ambassador,” 37, 38, 51, 53, 56.

Dinteville, François II. de, Bishop of Auxerre, brother of Jean the
“Ambassador,” 15, 38, 39, 51, 53, 55-60, 62-65, 78, 79-81, 111,
113-121, 129-131, 133, 135-138, 214, 233.

Dinteville, Françoise de, sister of Jean the “Ambassador,” 53, 63,
_note_ 4, 134.

Dinteville, Gaucher I. de, father of Jean the “Ambassador,” 37-42,
47, 50-53, 53, _note_ 2, 54.

Dinteville, Gaucher II. de, Seigneur of Vanlay and Thennelières,
brother of Jean the “Ambassador,” 51, _note_ 2, 52, _ibid._,
_note_ 3, 53, 59, 60, 62, 111-116, 137, 213.

Dinteville, Guillaume, Seigneur Deschenetz, brother of Jean the
“Ambassador,” 14, 52, _ibid._, _note_ 2, 53, 59, 107-108,
111-114, 116, 133-138, 167-168, 213.

Dinteville, Jacques de, Grand Veneur de France, uncle of Jean the
“Ambassador,” 37.

DINTEVILLE, JEAN DE, SEIGNEUR OF POLISY AND BAILLY OF TROYES (subject
of Holbein’s portrait).
Birth and lineage, 36;
position at French Court, 39, 40, 42, 52, _ibid._, _note_ 3, 53,
59, 60, 62, 63, 99-101, 111-113, 116-121, 122, 134;
Bailly of Troyes and Governour of Bar-sur-Seine, 41;
Knight of St. Michael, 7-8, 53, _ibid._, _note_ 2, 134, _note_ 2,
201-208;
first embassy to England (1531), 54, 56-57;
second and longest ditto (1533), 66-98;
third ditto (1535), 100-103;
fourth ditto (1536), 105-107;
fifth and last ditto (1537), 108-110;
in disgrace with Francis I., 111-113;
back at Court, 116-121;
paralyzed, 121;
builds Polisy, 125-133;
death, 138.

—— His portrait by Holbein (“Ambassadors”), 1, 10-11, 18-20, 31,
77-78, 200;
_see also under “Ambassadors.”_

—— Supposed portrait amongst the Holbein drawings at Windsor, 139.

Dinteville, Jean de, son of Pierre de Jaucourt, ancestor of Jean the
“Ambassador,” 36.

Dinteville, Jean de, another ancestor, 36-37.

Dinteville, Joachim de, Seigneur of Dinteville in Champagne, 14,
_note_ 1, 24, _note_ 1.

Dinteville, Louis de, Knight Commander of the Order of St. John of
Jerusalem, brother of Jean the “Ambassador,” 39, 53, 54, 60,
213.

Dinteville, Pierre de, Seneschal of the Order of St. John of
Jerusalem, uncle of Jean the “Ambassador,” 37, 54.

Dinteville, seigneurie in Champagne, 14, _note_ 1, 24, _note_ 1, 36.

St. Dizier, 128.

Dodieu, Claude, Sieur de Vély, French Ambassador with Charles V., 98,
_ibid._, _note_ 2, 186-188, 199-200, 222, _note_ 3.

Domenico Fiorentino (Domenico del Barbier), 126-128.

Dossi, Battista, 209.

Dover, 66, 109-110.

Du Bellay, _see_ Bellay, Du.

Du Faur, _see_ Faur, Du.

Du Plessis, _see_ Plessis, Du.

Duprat, Chancellor, 99.

Du Puy, _see_ Puy, Du.

Ecouen, Château of, 125.

Eleanor, sister of Charles V., Queen-Dowager of Portugal, Queen of
France, 50, 59.

Elizabeth, Princess, daughter of Henry VIII. and Anne Boleyn, 94,
102-103.

Emblems, Alciati’s Book of, 198, _ibid._, _note_ 1, 228-231, 228,
_notes_ 1-4, 231, _notes_ 1 _and_ 2.

Embrun, Archbishop of, _see_ Tournon, François de.

Epitaph of Gaucher I. de Dinteville, 51.

Epitaph of George de Selve, 190.

Erasmus, 43, _ibid._, _note_ 3, 231, _note_ 3.

Ercole II. d’Este, _see_ Este.

Escars, Susanne d’, wife of Charles de Cazillac, Baron de Cessac, 15.

Esmon, Mademoiselle de, 136.

Este, Alfonso I. d’, Duke of Ferrara, 209.

Este, Ercole II. d’, Duke of Ferrara, 45, 115, _note_ 3, 159, _note_
1, 168.

Este, Leonora d’, 45.

Etampes, Duchesse d’ (Anne de Pisseleu), 112-113, 117-121, 184,
_note_ 1.

Evelyn, John, 15, _note_ 5.

Evreux, Hotel d’, 30, _ibid._, _note_ 3.

Falconry, 55, 56, 80.

Falier, Lodovico, Venetian Ambassador in England, 66.

Farnese, Alessandro, Cardinal, 164.

Faur, Du, 157, _note_ 2.

Ferdinand, King of Hungary, 41.

Ferrara, 67, 115, 116, 158, _note_ 3, 159.

Ferrara, Dukes of, _see_ Este.

Ferrara, Duchess of, _see_ Renée.

Fisher, John, Bishop of Rochester, 100-101, 104.

Fitzwilliam, Sir William, Treasurer of the Household to Henry VIII.,
71, 74.

Flanders, 109, 176, 177, _ibid._, _note_ 1, 178, 186.

Fleece, Order of the, 207.

Fleet, the river, 67-69.

Flutes, Case of, in picture of “Ambassadors,” 203, 232.

Fontainebleau, 120, 125, 126, 127, 135, 197.

Fontaines, page of Louis de Dinteville, 60.

Fontenilles, _see_ Roche, De la.

Forestmontier, 11, 123.

Fortespice, vassal of the Comte de Vaudemont, 37.

Fortune, emblems of, at Polisy, 130-132.

Four, Rue du (at Paris), 21.

France, Collège de, _see_ Collège Royal.

France, Kings of, _see_ Charles, Francis, Henri, Louis.

Franche-Comté, 16, _ibid._, _note_ 2, 139, _note_ 2.

Francis I., King of France, 10, 11, 19, 40-47, 50, 52, 53, _note_
2, 54-62, 64, 65, 72, 73, 76, 78-81, 89-98, 99-102, 104, 105,
107-110, 111, 112, 114-122, 125-128, 134, 145-150, 156, 157,
162, 163, 165-167, 172, 173, 175-182, 186, 187, 192, 197, 199,
207, 209, 214.

Francis II., King of France, 207, _note_ 1.

François, The Dauphin, eldest son of Francis I., 39, 40, 42, 50, 52,
53, 62, 103, 106, 107, 112, _ibid._, _note_ 1.

Gabarre, 42.

Gardiner, Stephen, Bishop of Winchester, 102, 103, 105.

Garter, Order of the, 61, 207.

Gaucher de Dinteville, _see_ Dinteville.

Genevois, Le, _see_ Le Genevois.

Genoa, 101, 214.

Geometry, 225, 227, 232, 233, 235.

Germany, 41, 45-47, 89, 136, 172, 214, 219.

St. Géry, Château of, 25, _note_ 2.

St. Géry, Rey de, _see_ Rey.

Ghent, 175, 177, 178.

Globe, Celestial, in picture of “Ambassadors,” 202, 209-210, 232.

Globe, Terrestrial, in picture of “Ambassadors,” 202, 210-218, 228,
232, 235.

Godefroy family, The, 14, 18.

Godefroy papers (Bibl. de l’Institut), 18, 20.

Grammont, Gabriel de, Bishop of Tarbes, Cardinal, 62, 64-65, 71, 72,
91, 92, 146.

Grand-Maître, _see_ Montmorency.

Grand-Seigneur (the Turk), _see_ Solyman II.

Grand Veneur de France, _see_ Dinteville, Jacques de.

Granvella, Cardinal (Nic. Perrenot, minister of Charles V.), 186-188.

Greenwich, 70, 71, 84, 94-95.

Grenoble, 136, 233, _note_ 3.

Grignan, French Ambassador at Rome, 114-115.

Gryphe or Gryphius, printer of Lyons, 131-132, 198.

Guénégaud, Henri Du Plessis, Marquis de Plancy, 25, _note_ 1.

Guénégaud, Roger de, 24, 25, _note_ 1.

Guildford, Sir Henry, Comptroller of the Household to Henry VIII., 74.

Guise, Claude de Lorraine, Duke of, 113.

Guise, Duke of, 16.

Guise, The, 134, _note_ 3.

Gyze, Gisze, Gyes, George, 75, _note_ 3;
_see also_ _Appendix A_, p. 239.

Hagenau, Diet of (1540), 174.

Hague, The, 184, 185.

Hargerie, Seigneur de La, 93.

Hellin, French resident at Brussels, 177, _ibid._, _note_ 2.

Henri, successively Duke of Orleans, Dauphin, and Henri II., King of
France, 10, 42, 54, 59, 60, 61-62, 72, 96, 99, 112, _ibid._,
_note_ 2, 113, 114, 120, 121, 123, 127, 132, 134, _note_ 2,
136, _ibid._, _note_ 2, 137, 184, _note_ 1, 207, _note_ 1.

Henry VIII., King of England, 8, 20, 40, 42, 47, 48, 50, 56-58,
60-63, 67-74, 76, 78-82, 83, 88, 89-90, 93-98, 100-102, 104-109.

Henry, Count of Nassau, Grand Chamberlain of Charles V., 52, _note_
2, 213.

Hermes’ wings, 131-132, 231, _note_ 2.

Hermeticism (Hermetic Art), 132, 233.

Hesse, Philip, Landgrave of, 99.

HOLBEIN, HANS, THE YOUNGER, 1, 5-7, _ibid._, _note_ 1, 8, _note_ 2,
9, 10, _ibid._, _note_ 3, 11, 13, 19, _ibid._, _note_ 3, 20-22,
26, 31-32, 35, 41, 43, _note_ 3, 56, 74-78, 134, _note_ 3,
139, 140, 198, 199, 202, 203-206, 208, 209, _note_ 3, 211-212,
215-218, 220-221, 224-227, 230, 235-236.

—— “Dance of Death,” 203-204.

—— Design for the “Arms of Death,” 203-204, 207.

—— —— for the Order of St. Michael, 209, _note_ 3.

—— —— after, for a Dagger-sheath, 206.

—— Drawing at Dresden, of Morette, 140.

—— —— —— Windsor, supposed to represent Dinteville, 139, _ibid._,
_note_ 2, 140.

—— Engravings after, by Hollar, _see_ Hollar.

—— Portraits by:
The “Ambassadors,” _see under that head_.
Born, Derick, 76, _note_ 1.
Buttes, Dr., 74.
Cromwell, Thomas, 74.
Erasmus, 43, _note_ 3.
Fitzwilliam, Sir William, 74.
Guildford, Sir Henry, 74.
Gyze or Gisze, Georg, 75, _note_ 2, _Appendix A_ (pp. 239-240).
Kratzer, Nicolas, 74, 75, _note_ 1, 224, _ibid._, _note_ 4.
Milan, Christina, Duchess of, 91, _note_ 1.
More, Sir Thomas, 75.
More family, 75.
Morette, Comte de, 42, _note_ 7, 140, 201, _note_ 1.
Norfolk, Duke of, 74.
Steelyard Merchants, 75.
Tybis, Derick, 76, _note_ 1.
Warham, Archbishop of Canterbury, 74.

Holland, 184.

Hollar, Wenzel, 140.

Holy Ghost, Order of the, 207, _note_ 1.

Hospice (now Hôpital) Beaujon, 30, _ibid._, _note_ 2.

Howard, Lord William, 85, _ibid._, _note_ 4, 87-88

Hozier, D’, 14, 24, _note_ 1, 53, _note_ 2.

Humanists, the French, 45 _et seq._

Hungary, Ferdinand, King of, _see_ Ferdinand.

Hungary, John Zapolski, King of, _see_ Zapolski.

Hymn-book, in picture of “Ambassadors,” 151, 173, 202, 214, 219-223,
228, 235.

Instruments, Geometrical, in picture of “Ambassadors,” 202, 224-225,
232, 233, 235.

Italian artists employed in France, 125-127, 128, 129-130.

Iversay, M. d’, 122.

Ivoy, 122-123.

Jaucourt, Pierre de, 36.

John, King of England, 69.

St. John of Jerusalem, Order of, 39, 53, 54, 57, 67, 68, 213.

Joinville, 116, 121.

Julyot, Hubert, 128.

Katherine of Aragon, Queen of England, 57, 63, _ibid._, _note_ 2, 69,
83, 89, 94, 104.

Kingston, 102.

Kratzer, Nicolas, astronomer to Henry VIII., 74, 75, _ibid._, _note_
2, 222, 224, 225.

Laigne, river, 36, 128, 129.

Lamoignon (place), 29.

Lamoignon, Chrétien de, Marquis de Basville, 29.

Lamoignon, Chrétien-François (II.) de, Marquis de Basville et de
Milhars, Président _à mortier_ of the Parliament of Paris,
Garde des Sceaux, 29, _ibid._, _note_ 1, 30-31, 32.

Langey, _see_ Bellay, Guillaume Du.

Languedoc, 14, 16, 17, 23, 24, 26, 27, 29, 31, 150, 153, 213.

Lavaur (Lavor, La Vaur), Bishops of, _see_ Buxi, Danès, Selve.

Lavaur, Cathedral of, 170.

Le Brun, Jean-Batiste-Pierre, 5-6, 10, 31, 32.

Lefèvre d’Etaples, Jacques, 43, _ibid._, _note_ 1, 44, 47.

Le Genevois, Charles, Marquis de Blaigny, 16, 26.

Le Genevois, Marie Renée, wife of François Voisin, subsequently
Marquise de Milhars, 26-29, 31-32.

Leland, John, 6-7.

Lesches, in Brie, 53.

Liancourt, Madame de, 135, _ibid._, _note_ 1.

Liancourt, Seigneur de, _see_ Plessis, Du.

Limoges, 24, _note_ 1, 144.

Lionardo da Vinci, 126, _note_ 3.

L’Isle-Adam, Philippe de Villiers, Grand Master of the Knights of St
John of Jerusalem, 54, 59.

Loches, 176.

London, 57, 63, 66-71, 75, 76, 92, 102;
description of (1531), 70;
Mayor of (Sir Stephen Pecock), 88;
Tower of, 84.

Longford Castle, 6, _ibid._, _note_ 2, 32.

Longueval, M. de, 122.

Lorraine, Claude de, Duke of Guise, 113.

Lorraine, Dukedom of, 37.

Louise of Savoy, Duchess of Angoulême, mother of Francis I., 40, 42,
_ibid._, _note_ 5, 43, 45, 55, 56, 148-149, 233.

Low Countries, The, _see_ Netherlands.

Lunden, Bishop of (John Vesalius, Archbishop of Linden), 172.

Lute, in picture of “Ambassadors,” 202, 227-231, 232, 235.

Luther, 46, 219, _ibid._, _note_ 3.

Lutheran Hymn-book in picture of “Ambassadors,” _see_ Hymn-book.

Lutherans (Luthériens), 45, 46, 49, 65, 89, 172, 181, 222.

Lützelburger, Hans, 204.

Luxemburg, Duchy of, 116.

Lyencourt, _see_ Liancourt.

Lyons, 93, 99, 105, 107, 108, 131-132, 136, 155, 198, 204, 213.

Mablisteyn, Sir John, 57.

Mâcon, Charles de Hémard, Bishop of, Cardinal, 161-165, 163, _note_
2, 199-200.

Madeleine, daughter of Francis I., subsequently Queen of Scotland, 99.

Madrid, 40, 146.

Madrid, Château of (near Paris), 125, 126.

Madrid, Treaty of, 41, 50, 146, 213.

Magellan, 212.

Magic, 234, _ibid._, _notes_ 1 _and_ 2.

Maison de l’Aûmonier (Polisy), 130-133, 130, _note_ 1, 198, 233.

Maison du Chapeaufort (Paris), 20, 21.

Malta, 54.

Mantua, 116.

Manuzio, Paolo, 157.

Maraviglia, _see_ Merveilles.

Marck, Cardinal La, 109, 234.

Mareuil, Pierre de, Bishop of Lavaur, 113, 117-121.

Marguerite d’Angoulême, successively Duchesse d’Alençon and Queen of
Navarre, sister of Francis I., 42, _ibid._, _note_ 3, 43-45,
98, 153-154.

Marguerite, Princess, daughter of Francis I., 99.

Marignan, Battle of, 144.

Marseilles, meeting of Francis I. and Clement VII. at, 72, 78, 89,
93-94, 95-96, 99.

Mary, ex-Queen of France, sister of Henry VIII., wife of Charles
Brandon, Duke of Suffolk, 90.

Mary, Queen-Dowager of Hungary, Regent of the Netherlands, sister of
Charles V., 109, 177, _ibid._, _note_ 1.

Mary, Princess, daughter of Henry VIII. and Katherine of Aragon, 94,
103.

Mass, placards against, 104.

Maurice of Saxony, 136.

Mechanics, 55, 137, 235.

Melanchthon, André, 46.

Melanchthon, Philip, 46, 48, 158, _note_ 3, 210, _note_ 3.

Mergey, Catherine de, 133.

Mergey, Jean de, 133-134, 134, _note_ 1.

Merveilles or Maraviglia, French agent at Milan, 90-93, 90, _note_ 4,
230.

Mesmes, Jean-Antoine de, Conte d’Avaux, ambassador, 27, 28, 31.

Mesmes, Jean-Antoine de, Conte d’Avaux, Premier Président of the
Parliament of Paris, 27, 28, _ibid._, _note_ 1, 29, 31.

Mesmes, Jean-Jacques de, Conte d’Avaux, Président _à mortier_ of the
Parliament of Paris, 27, 31.

Mesmes, Marie-Thérèse de, wife of François de la Roche, Marquis de
Fontenilles, 27, _ibid._, _note_ 1, 28, 31.

Metals, transmutation of, 233.

St. Michael, Order of (Ordre du Roi), 7-8, 42, 53, _ibid._, _note_
2, 61, _ibid._, _note_ 1, 200, 201, 207-209, _notes_ 207-209.

Milan, city of, 198, _ibid._, _note_ 1, 228, _note_ 1, 230, 231,
_note_ 3.

Milan, Duchy of, 67, 73, 90-92, 96, 101, 144, 163, 166, 176-179, 184,
_note_ 1, 186, 187, 228, _note_ 4.

Milan, Francesco Sforza, Duke of, 41, 90-93, 228, _note_ 4, 229, 230.

Milan, Maximilian, Duke of, 228, _note_ 4, 229.

Milhars, Château of, 17, 23, _ibid._, _note_ 3, 24, 25, _ibid._,
_note_ 2, 26-29, 31-32.

Milhars, Marquis de, _see_ Voisin, François.

Milhars, Marquise de, _see_ Le Genevois, Marie Renée.

Mirandola, La, 115, 167, _ibid._, _note_ 2.

Mirandola, La, Pico, Count of, 167.

Modena, 167, 209.

Modena, Niccolò da, 126.

Mons, 177.

Montecuculli, Count Sebastiano di, 107-108, 112, _note_ 1.

Montier-Aramey, abbey of, 117-119.

Montierender, abbey of, 55, 134.

Montier-la-Celle, abbey of, 117-121, 135, _ibid._, _note_ 2.

Montier-sur-Saulx, 116.

Montmorency, Anne de, successively Maréchal, Grand-Maître, and
Connétable de France, 39, 42, _ibid._, _note_ 7, 43, 44, 48-49,
53, 54, 55, 59, 61, 64, 65, 77, 79, 80, 83, 97, 98, 100, 113,
115, 125, 126, _ibid._, _note_ 1, 146, 150, 153, 154, 161, 162,
164, 165, 171, 176, 177, 184, 185, 186, 188, 198, 213.

Montmorency, church of, 51.

Montmorency, Madame de (Madame la Connétable), 135, _ibid._, _note_ 3.

Montpesat, Antoine des Prez, Seigneur de, French ambassador in
England, 42, _note_ 7, 63.

Montreuil, Madame de, 39-40, 42-43, 118.

Montreuil, seigneurie, 40.

More, Sir Thomas, 43, _note_ 3, 74, 75, _ibid._, _note_ 1, 76,
100-101, 104.

Morette, Charles de Solier, Comte de, French hostage, subsequently
ambassador, in England, 42, _note_ 7, 63, _note_ 1, 140, 201,
_note_ 1.

Mosaic Pavement, in picture of “Ambassadors,” 203, 225-227, 233.

—— Westminster Abbey, 225-227.

Motte de Tilly, De la, 136, _ibid._, _note_ 1.
_See also_ Raguier.

Motto of the Dinteville family, 130, 132, 231, _note_ 3.

Mottoes concerning Death, 206-207.

Mottoes on weapons, 205, 206.

Music, 197, 219, 221, 223, 229, 232, 235.

Naples, 51, 116.

Nassau, Henry, Count of, 52, _note_ 2, 213.

National Gallery, The, 1, 5-6, 31-32.

Navarre, College of (University of Paris), 56.

Navarre, Henri d’Albret, King of, 42, _ibid._, _note_ 3.

Navarre, Marguerite d’Angoulême, Queen of, _see_ Marguerite.

Nérac, 44.