Appendix

Appendix

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

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

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

[Sidenote: EARLY GLASS DESIGNS]

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

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

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

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

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

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

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

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

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

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

[Sidenote: THE FAESCH MUSEUM]

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

[Sidenote: THE FAESCH MUSEUM]

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

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

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

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

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

[Sidenote: THE FAESCH MUSEUM]

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

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

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

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

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

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

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

[Sidenote: HOLBEIN AND DR. J. FABRI]

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

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

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

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

[Sidenote: HOLBEIN AND DR. J. FABRI]

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

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

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

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

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

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

[Sidenote: NICOLAS BELLIN OF MODENA]

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

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

“... and from thense browght me into his (i.e. Francis I) gallerey, keping the key therof Hym self, like as Your Majestie useth, and so I shewed Hym, wherewith He toke plesur. And after that I had wel behold the said gallerey, me thought it the most magnifique, that ever I sawe, the lenght and bredthe no man canne better shewe Your Majestie then Modon, who wrought there in the begynnyng of the same, being at that tyme nothing in the perfection, as it is nowe. The rowff therof ys seeled with walnott tree, and made after an other forme then Your Majestie useth, and wrought with woode of dyvers cullers, as before I have rehersed to Your Majestie, and is partly gilt; the pavement of the same is of woode, being wrought muche after that sort; the said gallerey is seeled rownde abowte, and fynely wrowght three partes of it; upon the fourthe parte is all antique of such stuff as the said Modon makith Your Majesties Chemenyes; and betwixt every windowe standes grete anticall personages entier, and in dyvers places of the said gallerey many fayre tables of stories, sett in, very fynely wrowgth, as Lucretia, and other, as the said Modon can muche better declare the perfytnes of the hole to Your Majestie, then I. And in the gallerey at St. James the like wold be wel made, for it is bothe highe and large. Yf your pleasure be to have the paterne of this here, I knowe right wel the Frenche King woll gladly geve it me.”

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

[Sidenote: THE MORE FAMILY GROUP]

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

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

[Sidenote: THE MORE FAMILY GROUP]

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

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

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

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

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

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

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

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

“There are other differences observable between the Sketch and the Roper picture which though unimportant in themselves, yet when considered in connection with those I have named, do I think afford most satisfactory proof that the Roper picture is no copy, but that it is, as Vertue asserts, an original production by Hans Holbein.”

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

[Sidenote: THE MORE FAMILY GROUP]

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

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

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

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

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

He goes on to say:

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

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

[Sidenote: THE MORE FAMILY GROUP]

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

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

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

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

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

[Sidenote: LORD ARUNDEL AND REMBRANDT]

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

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

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

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

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

[Sidenote: SIR NICHOLAS POYNTZ]

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

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

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

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

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

[Sidenote: VISIT TO JOINVILLE]

Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter Marie, Queen of Scotland, respecting the visit of Hoby and Holbein to Joinville, dated 1st September (1538). Balcarres MSS., Advocates’ Library, Edinburgh, vol. ii., No. 20.

(Kindly transcribed by Mr. James Melville)

“A la royne descosse.

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

vostre humble et bonne mere

ANTHOINETTE DE BOURBON

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

[Sidenote: HOLBEIN IN WHITEHALL]

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

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

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

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

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

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

[Sidenote: BARBER-SURGEONS’ PICTURE]

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

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

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

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SUMMARY LIST OF HOLBEIN’S CHIEF PICTURES AND PORTRAITS

(Alphabetically arranged under the various countries)

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

AMERICA

BOSTON: COLLECTION OF MRS. GARDNER

Portrait of Sir William Butts, 1542-3.

Portrait of Lady Butts, 1542-3.

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

NEW YORK: METROPOLITAN MUSEUM

Portrait of Benedikt von Hertenstein, 1517.

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

Portrait of Erasmus.

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

NEW YORK: COLLECTION OF MR. BENJAMIN ALTMAN

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

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

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

Portrait of Sir Thomas More, 1527.

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

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

Portrait of Mrs. Pemberton.

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

Portrait of Henry VIII.

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

Portrait of Sir Thomas More.

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

Portrait of Thomas Cromwell.

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

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

Portrait of Lady Guldeford.

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

Portrait of Lady Rich.

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

CANADA: COLLECTION OF MR. JAMES H. DUNN

Portrait of Queen Catherine Howard, 1540-41.

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

AUSTRIA-HUNGARY

PRAGUE: RUDOLPHINUM

Portrait of Lady Elizabeth Vaux.

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

VIENNA: IMPERIAL GALLERY

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

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

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

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

Portrait of Queen Jane Seymour, 1536.

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

Portrait of a Young Man, aged 28, 1541.

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

Portrait of Dr. John Chamber, 1541-3.

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

Portrait of an Unknown English Lady.

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

VIENNA: COLLECTION OF COUNT LANCKORONSKI

Portrait of an Unknown English Lady.

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

VIENNA: COLLECTION OF COUNT SCHÖNBORN

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

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

BELGIUM

BRUSSELS: COLLECTION OF FRAU L. GOLDSCHMIDT-PRZIBRAM

Portrait of a Young Man holding a Carnation, 1533.

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

BRITISH ISLES

LONDON: NATIONAL GALLERY

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

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

Portrait of the Duchess of Milan, 1538.

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

HAMPTON COURT PALACE

Portrait of John Reskimer of Cornwall.

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

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

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

Portrait of Johann Froben, printer of Basel.

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

Portrait of Lady Elizabeth Vaux.

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

WINDSOR CASTLE

Portrait of Sir Henry Guldeford, 1527.

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

Portrait of Hans of Antwerp, 1532.

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

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

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

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

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

Portrait of Henry Brandon.

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

Portrait of Charles Brandon, 1541.

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

Portrait of Lady Audley.

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

Portrait of Queen Catherine Howard.

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

King Solomon and the Queen of Sheba.

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

VICTORIA AND ALBERT MUSEUM, SOUTH KENSINGTON: SALTING COLLECTION

Portrait of Hans of Antwerp.

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

Portrait of Anne of Cleves.

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

NATIONAL GALLERY OF IRELAND, DUBLIN

Portrait of Sir Henry Wyat.

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

LAMBETH PALACE

Portrait of William Warham, Archbishop of Canterbury, 1527.

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

WALLACE COLLECTION, HERTFORD HOUSE

Self-Portrait of Hans Holbein, 1543.

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

BARBER-SURGEONS’ HALL, LONDON

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

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

DUKE OF BEDFORD, K.G., WOBURN ABBEY

Portrait of Sir John Russell, afterwards Earl of Bedford.

Attributed to Holbein. W. 358.

Portrait of Queen Jane Seymour.

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

Portrait of Sir Nicholas Carew.

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

Portrait of Queen Catherine Howard.

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

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

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

Portrait of an Unknown English Lady.

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

EARL OF CALEDON, TYTTENHANGER PARK

Portrait of Thomas Cromwell, 1532-34.

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

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

Henry VII and Henry VIII.

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

MISS GUEST, OF INWOOD

Portrait of Sir Bryan Tuke.

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

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

LORD LECONFIELD, PETWORTH

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

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

MR. HAMON LE STRANGE

Portrait of Sir Thomas le Strange, 1536.

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

DUKE OF NORTHUMBERLAND, K.G., SYON HOUSE

Portrait of Edward, Prince of Wales.

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

MESSRS. PARKENTHORPE, LONDON

The More Family Group.

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

EARL OF RADNOR, LONGFORD CASTLE

Portrait of Erasmus, 1523.

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

SIR JOHN RAMSDEN, BT., BULSTRODE PARK

Portrait of a Musician.

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

LORD SACKVILLE, KNOLE PARK

Portrait of Margaret Roper.

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

Portrait of Queen Jane Seymour.

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

LORD ST. OSWALD, NOSTELL PRIORY

The More Family Group, 1527-30.

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

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

Portrait of Henry VIII, about 1537.

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

Portrait of Hans of Antwerp (?)

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

MR. VERNON WATNEY

Portrait of an English Lady.

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

EARL OF YARBOROUGH

Portrait of Edward, Prince of Wales.

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

FRANCE

PARIS, THE LOUVRE

Portrait of Erasmus, 1523.

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

Portrait of William Warham, Archbishop of Canterbury, 1527.

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

Portrait of Niklaus Kratzer, the Astronomer, 1528.

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

Portrait of Sir Henry Wyat, 1527-28.

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

Portrait of Anne of Cleves, 1539.

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

Portrait of Sir Richard Southwell, 1536.

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

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

Portrait of a Man wearing the livery of Henry VIII.

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

GERMANY

BERLIN, KAISER FRIEDRICH MUSEUM

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

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

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

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

Portrait of an Unknown Man, aged 37, 1541.

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

Portrait of an Unknown Man, aged 54.

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

BRUNSWICK, ROYAL MUSEUM

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

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

DARMSTADT, GRAND-DUCAL PALACE

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

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

DRESDEN, ROYAL PICTURE GALLERY

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

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

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

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

The Madonna and Child with the Family of Jakob Meyer.

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

FRANKFURT, STÄDELSCHES KUNSTINSTITUT

Portrait of Simon George, of Quocote.

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

FREIBURG IM BREISGAU, UNIVERSITY CHAPEL, MINSTER

The Adoration of the Shepherds.

The Adoration of the Kings.

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

HANOVER, PROVINZIAL MUSEUM

Portrait of Philip Melanchthon.

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

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

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

KARLSRUHE, GRAND-DUCAL PICTURE GALLERY

Christ Bearing the Cross, 1515.

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

St. George, 1522.

St. Ursula, 1522.

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

MUNICH, ALTE PINAKOTHEK

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

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

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

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

Portrait of Derich Berck, member of the London Steelyard.

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

MUNICH, BAVARIAN NATIONAL MUSEUM

Portrait of a Man, aged 27.

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

HOLLAND

THE HAGUE, ROYAL PICTURE GALLERY

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

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

Portrait of Robert Cheseman, 1533.

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

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

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

Portrait of Queen Jane Seymour.

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

THE HAGUE, ROYAL PALACE

Portrait of a Boy.

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

ITALY

FLORENCE, UFFIZI GALLERY

Portrait of Sir Richard Southwell, 1536.

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

Self-portrait of Hans Holbein, 1543.

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

PARMA, PICTURE GALLERY

Portrait of Erasmus, 1530.

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

ROME, NATIONAL GALLERY

Portrait of Henry VIII, about 1539.

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

SPAIN

MADRID, PRADO

Portrait of an Old Man.

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

SWITZERLAND

BASEL, PUBLIC PICTURE COLLECTION

Madonna and Child, 1514.

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

Head of the Virgin.

Head of St. John.

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

The Lord’s Supper.

Christ on the Mount of Olives.

Christ taken Prisoner.

The Scourging.

Pilate Washing his Hands.

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

Schoolmaster’s Sign, 1516.

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

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

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

Adam and Eve, 1517.

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

Portrait of Bonifacius Amerbach, 1519.

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

The Dead Christ in the Tomb, 1521.

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

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

Heads of the Samnite Ambassadors, 1521-2.

Head of Zaleucus of Locri, 1521-2.

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

Head of King Rehoboam, 1530.

Hand of King Rehoboam, 1530.

Two groups of Heads in the same painting, 1530.

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

Portrait of Erasmus, in profile, writing, 1523.

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

The Last Supper.

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

The Passion of Christ.

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

Christ as the Man of Sorrows.

Mary as Mater Dolorosa.

Diptych, monochrome, with blue backgrounds.

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

Organ Doors formerly in Basel Minster.

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

Magdalena Offenburg as Laïs Corinthiaca, 1526.

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

Magdalena Offenburg as Venus, 1526.

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

Holbein’s Wife and Children, 1528-29.

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

Portrait of an Unknown Man.

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

Portrait of Erasmus.

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

Portrait of a Young Woman, about 1528.

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

Printer’s Mark of Johann Froben.

Portrait of Johann Froben.

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

BASEL, UNIVERSITY LIBRARY

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

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

BASEL, COLLECTION OF DR. RUDOLPH GEIGY-SCHLUMBERGER

Portrait of a Man, said to be Holbein himself.

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

LUCERNE, KUNSTVEREIN

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

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

SOLOTHURN, STADT MUSEUM

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

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

ZÜRICH, SCHWEIZERISCHES LANDESMUSEUM

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

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

------------------------------------------------------------------------

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

EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN 1846 AND 1912

In almost all cases the attributions are those of the owners of the pictures

The spelling of the names is that of the original Catalogues

I. THE BRITISH INSTITUTION, 1846

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

122 │Henry VIII │ " │Mrs. Nicholl

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

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

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

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

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

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

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

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

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

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

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

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

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

Old Masters

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

455 │King Henry VIII │ " │Earl of Warwick

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

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

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

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

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

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

British Portrait Gallery

10 │Anne Boleyn │ Unknown │Earl of Denbigh

11 │Anne Boleyn │ “ │Earl of Warwick

12 │Mary Boleyn │ “ │“

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

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

16 │Queen Katherine Parr │ Holbein │Earl of Denbigh

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

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

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

28 │Lady Raleigh │ “ │“

29 │The Darnley Cenotaph │ “ │Duke of Richmond

30 │Littleton │ “ │Lord Lyttelton

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

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

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

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

48 │King Henry VIII │ “ │Duke of Manchester

49 │Cardinal Wolsey │ “ │Christ Church, Oxford

50 │Queen Jane Seymour │ “ │Duke of Bedford

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

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

SOUTH KENSINGTON, 1862

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Frame │Anne of Cleves │ “ │“ 17 │ │ │

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

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

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

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

1933 │Henry VIII “ │ “ │“

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

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

1936 │Mary Tudor │ “ │“

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

2021 │Henry VIII │ “ │“

2022 │“ │ “ │“

2023 │“ │ “ │“

2024 │Catherine of Aragon │ “ │“

2025 │“ │ “ │“

2026 │“ │ “ │“

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

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

2030 │“ │ “ │“

2039 │Prince Edward │ “ │“

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

2041 │“ │ “ │“

2042 │“ │ “ │“

2061 │Sir Thomas More │ “ │“

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

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

2218 │Queen Catherine Parr │ “ │“

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

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

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

2341 │Henry VIII │ Unknown │Earl of Gosford

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

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

2459 │Erasmus │ “ │“

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

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

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

2545 │Catherine of Aragon │ “ │“

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

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

2599 │Philip II of Spain │ “ │“

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

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

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

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

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

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

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

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

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

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

630 │Philip II of Spain (oil) │ “ │“

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1651 │Queen Mary I of England │ “ │“

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

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

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

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

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

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

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

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

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

2947 │Anne Boleyn │ “ │“

2948 │Henry VIII │ “ │“

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

172 │Edward VI. 40” × 32” │ " │"

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

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

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

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

179 │Edward VI. 40” × 30” │ " │“

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

=1870=│ │ │

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

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

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

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

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

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

=1871=│ │ │

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

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

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

=1872=│ │ │

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

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

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

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

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

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

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

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

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

=1873=│ │ │

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

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

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

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

=1875=│ │ │

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

=1876=│ │ │

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

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

=1877=│ │ │

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

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

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

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

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

=1878=│ │ │

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

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

=1879=│ │ │

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

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

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

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

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

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

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

“ 11 │Henry VII. Miniature │ “ │“

“ 12 │Henry VII. Miniature │ “ │“

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

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

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

“ 16 │Edward VI. Miniature │ Unknown │“

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

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

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

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

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

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

“ 29 │Hans Holbein. Miniature │ Unknown │“

“ 30 │Edward VI. Miniature │ “ │“

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

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

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

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

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

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

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

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

200-21,│" │ " │

223-30,│" │ " │

232-45│" │ " │

=1880=│ │ │

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

=1881=│ │ │

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

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

=1882=│ │ │

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

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

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

=1884=│ │ │

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

=1886=│ │ │

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

=1887=│ │ │

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

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

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

=1893=│ │ │

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

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

=1894=│ │ │

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

=1895=│ │ │

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

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

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

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

=1896=│ │ │

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

=1902=│ │ │

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

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

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

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

=1907=│ │ │

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

=1908=│ │ │

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

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

=1910=│ │ │

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

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

=1912=│ │ │

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

906 │Edward VI. Miniature in │Attributed│Granville E. Lloyd Baker, │ wood │ to Hans │Esq., M.P. │ │ Holbein │

907 │Henry VIII. Miniature in │ “ │“ │ wood │ │

1066│Henry VIII. Miniature (oil)│ Hans │Her Majesty (Windsor │ │ Holbein │Castle)

1067│Queen Catherine Howard. │ “ │“ │ Miniature │ │

1070│A Man’s Head, unfinished. │ Ascribed │Right Hon. Sir Chas. Dilke, │ Inscribed, “A.D. 1539. │ to Hans │Bt. │ Ætat. 30” │ Holbein │

1071│Thomas Cromwell. Miniature │ Hans │Major-General F. E. Sotheby │ │ Holbein │

1072│Thomas Cromwell. Miniature │ “ │Lord Willoughby de Eresby

1073│Henry VIII. Miniature │ Unknown │Albert Hartshorne, Esq.

1074│Henry VIII. Carving in │ Hans │Mrs. Dent of Sudeley │ honestone │ Holbein │

1075│Henry VIII. Miniature │ Unknown │“

1076│Queen Katherine Parr. │ Hans │“ │ Miniature │ Holbein │

1077│Thomas, Lord Seymour of │ “ │“ │ Sudeley. Miniature │ │

1078│Edward VI. Miniature │ Unknown │Mrs. Dent of Sudeley

1079│Queen Jane Seymour. │ Hans │“ │ Miniature │ Holbein │

1080│Queen Anne Boleyn. │ Unknown │“ │ Miniature │ │

1081│Henry VIII. Carving in │ Hans │“ │ boxwood │ Holbein │

1082│Edward VI. Miniature │ Unknown │Lieut.-General W. Bulwer

1083│Thomas Cromwell. Miniature │ “ │Duke of Devonshire, K.G.

1085│Henry VIII. Miniature │ “ │Mrs. Prothero

1086│Queen Anne of Cleves. │ “ │Baroness Burdett-Coutts │ Miniature │ │

1087│Family Group of the More │ Peter │Major-General F. E. Sotheby │ Family in Two │ Oliver │ │ Generations. Miniature │ │

1089│Queen Anne Boleyn. │ Unknown │Countess of Yarborough │ Miniature │ │

1091│Henry VIII and Family with │ “ │Dowager Duchess of │ Will Somers. Panel, 6” × │ │Buccleuch │ 11” │ │

1092│William Warham. Miniature │ “ │Henry Willett, Esq.

1093│William Warham. Miniature │ “ │Henry Howard, Esq., of │ │ │Greystoke

1094│Erasmus. Miniature │ “ │“

1095│Sir Anthony Denny. │ “ │“ │ Miniature │ │

1096│Henry VIII. Miniature │ “ │Baroness Burdett-Coutts

1117│Henry VIII. Miniature in │ “ │J. Lumsden Propert, Esq. │ copper │ │

1118│Queen Jane Seymour. │ Hans │“ │ Miniature │ Holbein │

1119│Charles Brandon, Duke of │ “ │“ │ Suffolk. Miniature │ │

1121│Edward VI. Miniature │ Levina │“ │ │Teerlinck │ │ │ (?) │

1411│Henry VIII. Wax medallion │ Unknown │Her Majesty

1412│Sir Thomas More. Wax │ “ │“ │ medallion │ │

1414│Thomas Cromwell, Earl of │ Hans │Earl of Pembroke │ Essex. Drawing │ Holbein │

X. EXHIBITION OF THE ROYAL HOUSE OF TUDOR. CORPORATION OF MANCHESTER ART GALLERY, 1897.

In this exhibition the greater number of the pictures were the same as those exhibited at the Tudor Exhibition in the New Gallery, 1890. The following were among those not included in the earlier collection:

48 │Sir Nicholas Poyntz, Kt. │ Hans │Right Hon. Evelyn Ashley │ Panel, 24” × 17” │ Holbein │

56 │Catherine Pole, Countess of│ “ │Trustees of the late Lord │ Huntingdon. Panel, 34” × │ │ Donington │ 25” │ │

59 │Sir Thomas More. Dated │ “ │Miss Sumner │ 1532. Panel, 21” × 17” │ │

60 │Cardinal Wolsey. Panel, 21”│ “ │“ │ × 17” │ │

61 │Henry VIII. Panel, 47” × │ Unknown │Martin Colnaghi, Esq. │ 35” │ │

69 │Queen Anne Boleyn. Panel, │ Hans │C. J. Radcliffe, Esq. │ 22½” × 17¾” │ Holbein │

70 │Sir Thomas More. Panel, 16”│ Unknown │John Eyston, Esq. │ × 11” │ │

71 │Sir Thomas More and Family.│Attributed│“ │ Canvas, 91” × 118” │to Holbein│

XI. NEW GALLERY, WINTER EXHIBITION, 1901-2. MONARCHS OF GREAT BRITAIN AND IRELAND.

34 │The Three Children of Henry│ Jan de │H. Dent-Brocklehurst, Esq. │ VII. Panel, 13” × 18” │ Mabuse │

41 │The Three Children of Henry│ Unknown │Earl of Pembroke │ VII. Panel, 14” × 18” │ │

45 │Queen Katherine of Aragon. │ “ │Merton College, Oxford │ Panel, 23” × 17” │ │

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

48 │Henry VIII. Panel, 19” × │ Unknown │Society of Antiquaries │ 13½” │ │

49 │Queen Katherine of Aragon. │ “ │Duke of Devonshire, K.G. │ 14” × 10½” │ │

50 │Mary Tudor, Dowager Queen │ Johannes │H. Dent-Brocklehurst, Esq. │ of France. Panel, 22½” × │ Corvus │ │ 18” │ │

51 │Katherine of Aragon and │ Unknown │Charles Butler, Esq. │ Arthur, Prince of Wales. │ │ │ Panel, 15” × 20” │ │

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

53 │Henry VIII. Panel, 35” × │ Hans │Viscount Galway │ 27” │ Holbein │

54 │Marriage of Henry VIII with│ Unknown │Earl of Ancaster │ Katherine of Aragon │ │ │ (1501). Panel, 11” × 29” │ │

55 │Henry VIII and his Family. │ Sir │H. Dent-Brocklehurst, Esq. │ Panel, 51” × 71” │ Antonio │ │ │ More │

56 │Edward VI. Panel, 16” × 12”│Attributed│Earl of Pembroke │ │to Holbein│

57 │Queen Katherine Parr. │ Unknown │Archbishop of Canterbury │ Panel, 21” × 17” │ │

58 │Queen Anne of Cleves. │ Hans │Charles Morrison, Esq. │ Panel, 28” × 21” │ Holbein │

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

60 │Edward VI. Panel, 20” × │ Gwillim │Lord Aldenham │ 16½” │ Stretes │

61 │Queen Anne Boleyn. Canvas, │Attributed│Lord Zouche │ 15” × 12” │ to Janet │

62 │Cartoon of Henry VII and │ Hans │Duke of Devonshire, K.G. │ Henry VIII. 103” × 54” │ Holbein │

63 │Edward Seymour, Duke of │ Unknown │H. Dent-Brocklehurst, Esq. │ Somerset. Dated 1535. │ │ │ Panel, 35” × 26½” │ │

64 │Charles Brandon, Duke of │ Hans │Executors of LordcDonington │ Suffolk, K.G. Panel, 34” │ Holbein │ │ × 27” │ │

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

73 │Queen Mary I. Panel, 19½” │ Sir │Dean and Chapter of Durham │ │ Antonio │ │ │ More │

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

Miniatures

201 │Charles Brandon, Duke of │ Hans │Earl Brownlow │ Suffolk, K.G. Panel, 7” ×│ Holbein │ │ 6” │ │

202 │Mary Tudor, Dowager Queen │ “ │“ │ of France. Panel, 7” × 6”│ │

204 │Queen Katherine Parr │ “ │H. Dent-Brocklehurst, Esq.

205 │Queen Jane Seymour │ “ │“

206 │Queen Anne Boleyn │ Unknown │“

217 │Queen Catherine Howard │ Hans │His Majesty │ │ Holbein │

218 │Henry VIII. Aged 57 │ “ │“

219 │Henry VIII │ Unknown │H. Dent-Brocklehurst, Esq.

220 │Edward VI │ “ │“

252 │Queen Mary I │ Lucas │Colonel Wynne Finch │ │ d’Heere │

342 │Henry VIII. Carving in │ Hans │H. Dent-Brocklehurst, Esq. │ honestone │ Holbein │

348 │Henry VIII. Carving in │ “ │“ │ boxwood │ │

XII. LOAN COLLECTION OF PORTRAITS OF ENGLISH HISTORICAL PERSONAGES WHO DIED PRIOR TO THE YEAR 1625. OXFORD, 1904

21 │William Warham, Archbishop │ Hans │Viscount Dillon │ of Canterbury. Panel, 32”│ Holbein │ │ × 25½” │ │

22 │William Warham. Panel, 32” │Copy from │New College, Oxford │ × 25½” │ Holbein │

23 │Catherine of Aragon. Panel,│ Unknown │The Warden of Merton │ 22½” × 17” │ │ College, Oxford

24 │Sir Thomas Wyat. Panel, │Based upon│Curators of the Bodleian │ 17¼” × 12½” │a drawing │ Library │ │by Holbein│

25 │King Henry VIII. Panel, 24”│ Unknown │Dean of Christ Church, │ × 19½” │ │ Oxford

26 │King Henry VIII. Panel, 27”│ “ │Archdeacon of Oxford │ × 22” │ │

27 │Dr. John Chambre. Panel, │Copy from │Merton College, Oxford │ 25¼” × 18½” │ Holbein │

30 │Anne of Cleves. Panel, │ Flemish │The President of St. John’s │ arched top, 19¾” × 14¼” │ School │ College, Oxford

33 │Sir Thomas Pope. Panel, │School of │The President of Trinity │ 45½” × 31½” │ Holbein │ College, Oxford

XIII. EXHIBITION ILLUSTRATIVE OF EARLY ENGLISH PORTRAITURE, BURLINGTON FINE ARTS CLUB, 1909

Reprinted by kind permission of the Committee of the Club.

14 │Margaret Wotton, │Copy of a │Duke of Portland, K.G. │ Marchioness of Dorset. │ Portrait │ │ Panel, 40½” × 31½” │ possibly │ │ │by Holbein│

19 │Lady of the Court of Henry │School of │Society of Antiquaries │ VIII. Panel, 16½” × 14¼” │ Holbein │

21 │King Henry VIII. Panel, │ Unknown │Lord Sackville │ 37¾” × 28¼” │ │

23 │Henry VIII. Panel, 46” × │ “ │Governors of St. │ 37¼” │ │ Bartholomew’s Hospital

24 │Henry VIII “with Scroll.” │ “ │Merchant Taylors’ Company. │ Canvas, 28¾” × 22¼” │ │

25 │Unknown Lady. Panel, 14⅞” ×│ Possibly │Duke of Norfolk, K.G. │ 10⅝” │H. Eworth │

28 │Mary Tudor, Sister of Henry│ Johannes │H. Dent-Brocklehurst, Esq. │ VIII. Panel, 22¼”× 18¼” │ Corvus │

30 │Edmund Butts. Panel, 21” × │Attributed│Prince F. Duleep Singh │ 15½” │ to J. │ │ │ Bettes │

33 │King Henry VIII. Panel, │ Unknown │Society of Antiquaries │ 18¼” × 13¼” │ │

34 │Sir W. Fitzwilliam, Earl of│Copy after│Duke of Devonshire │ Southampton. Panel, 13⅛” │ Holbein │ │ × 9¾” │ │

38 │King Henry VIII. Panel, │ Hans │Earl Spencer, K.G. │ 10½” × 7½” │ Holbein │

39 │An Elderly Man, Unknown. │Attributed│R. Langton Douglas, Esq. │ Panel, 15⅝” × 12” │to Holbein│

40 │King Henry VII and King │ Hans │Duke of Devonshire │ Henry VIII. Cartoon, │ Holbein │ │ 103½” × 54” │ │

41 │Sir Thomas le Strange, Kt. │ “ │Hamon le Strange, Esq. │ Panel, 15¼” × 10½” │ │

42 │Sir Thomas le Strange. │Attributed│“ │ Panel, 19¼” × 15½” │to Holbein│

43 │Sir Bryan Tuke. Panel, 18½”│ Hans │Miss Guest of Inwood │ × 14½” │ Holbein │

44 │Margaret Roper. Panel, 25½”│Copy after│Lord Sackville │ × 19½” │ Holbein │

45 │Sir Nicholas Carew. Panel, │ Hans │Duke of Buccleuch, K.G. │ 36” × 40” │ Holbein │

46 │Queen Jane Seymour. Panel, │Copy after│Lord Sackville │ 24” × 19” │ Holbein │

48 │Sir Thomas Wyat the │ Ascribed │Rt. Hon. Lewis Fry │ Younger. Panel, circular,│to Holbein│ │ 13” diam. │ │

49 │Thomas Howard, 3rd Duke of │Copy after│Duke of Norfolk, K.G. │ Norfolk. Panel, 30” × 23”│ Holbein │

50 │Sir Thomas Wyat. Panel, │ “ │Bodleian Library, Oxford │ 17¼” × 12¼” │ │

51 │William West, 1st Lord │Attributed│Lieut.-Col. G. L. Holford, │ Delawarr (?). Panel, 51¾”│to Holbein│ C.I.E. │ × 30¾” │and to G. │ │ │ Stretes │

52 │Sir Thomas More. Panel, 25”│ Unknown │Lord Sackville │ × 19¼” │ │

53 │Sir Thomas More. Panel, │ Hans │Edward Huth, Esq. │ 29¼” × 23¼” │ Holbein │

54 │Henry Howard, Earl of │Attributed│Duke of Norfolk, K.G. │ Surrey. Canvas, 86” × 85”│ to G. │ │ │ Stretes │

56 │Sir Anthony Wingfield. │Attributed│T. Humphry Ward, Esq. │ Panel, 34” × 27¾” │to Holbein│

60 │King Edward VI. Panel, 18” │ Unknown, │Lord Sackville │ × 12¼” │ after │ │ │ Holbein │

62 │Edward VI as a Child. │ Ascribed │Earl of Yarborough │ Panel, 22½” × 16⅝” │to Holbein│

63 │King Edward VI. Panel, 19¾”│Attributed│Lord Aldenham │ × 16½” │ to G. │ │ │ Stretes │

64 │Margaret Wyat, Lady Lee │ Hans │Major Charles Palmer │ (?). Panel, 16½” × 12½” │ Holbein │

65 │Unknown Lady. Panel, 11⅜” ×│Attributed│P. T. Davies Cooke, Esq. │ 8⅞” │to Holbein│

66 │Unknown Lady. Signed “H. │ Hans │Marquis of Zetland │ H.” Panel, 12¾” × 9¾” │ Holbein │

68 │King Edward VI. Panel, 16⅜”│ Unknown │Duke of Portland, K.G. │ × 9⅞” │ │

70 │George Nevill, 3rd Lord │ Hans │Earl of Pembroke │ Abergavenny. Drawing in │ Holbein │ │ coloured chalks, 10¾” × │ │ │ 9½” │ │

72 │An English Lady, supposed │ “ │George Salting, Esq. │ to be Margaret Roper. │ │ │ Drawing in coloured │ │ │ chalks, 10⅞” × 7⅝” │ │

Miniatures.

Case│ │ │ B. │ │ │

1 │King Henry VIII. Diam. 1¼” │ Hans │J. Pierpont Morgan, Esq. │ │ Holbein │

2 │Queen Jane Seymour. Diam. │ “ │Vernon Watney, Esq. │ 1½” │ │

3 │Mrs. Pemberton. Diam. 2⅛” │ “ │J. Pierpont Morgan, Esq.

4 │Queen Anne of Cleves. Diam.│ “ │George Salting, Esq. │ 1¾” │ │

5 │Portraits of Two Little │ Livina │“ │ Girls. Oval, 1-15/16” × │Teerlinck │ │ 1½” │ │

6 │Queen Jane Seymour. Diam. │ Hans │H. Dent-Brocklehurst, Esq. │ 1⅝” │ Holbein │

7 │Queen Katherine Parr (?). │ “ │“ │ Diam. 1⅞” │ │

Case│ │ │ C. │ │ │

1 │Margaret Wotton (?) (called│ “ │Duke of Buccleuch, K.G. │ Queen Katherine of │ │ │ Aragon). Diam. 1½” │ │

2 │King Henry VIII. Diam. 2⅜” │ “ │“

4 │Queen Catherine Howard. │ “ │“ │ Diam. 2” │ │

5 │Queen Jane Seymour (called │ “ │“ │ Katherine of Aragon). │ │ │ Diam. 1½” │ │

6 │King Henry VIII. Diam. 1¾” │Copy after│Duke of Buccleuch, K.G. │ │ Holbein │

7 │King Henry VIII. 2” × │ Possibly │“ │ 1-13/16” │ French │

8 │Eight Miniatures in one │ │ │ frame, among them: │ │

│D. King Henry VIII. Diam. │ Hans │“ │ 1¾” │ Holbein │

│F. Queen Mary. Diam. 2⅛” │ Anthonis │“ │ │ Mor │

│G. King Edward VI. Diam. │ Unknown │“ │ 1¾” │ │

12 │A Boy (called Edward VI). │ Hans │“ │ Oval, 1¼” × 1⅛” │ Holbein │

13 │King Edward VI. Oval, │ Unknown │“ │ 1-11/16” × 1-7/16” │ │

15 │Katherine of Aragon. │Attributed│“ │ 1-15/16” × 1-13/16” │to Holbein│

17 │Sir Thomas More. Oval, │ Possibly │“ │ 1-5/16” × 1⅛” │by Holbein│

19 │King Edward VI. Diam. 1⅝” │ Unknown │“

22 │George Nevill, 3rd Lord │ Hans │“ │ Abergavenny. Diam. 1¾” │ Holbein │

23 │Hans Holbein. Diam. 1-7/16”│ “ │“

25 │King Henry VIII. Diam. 1¾” │ Unknown │“

Case│ │ │ D. │ │ │

1 │Hans Holbein. Panel, diam. │ Hans │George Salting, Esq. │ 4½” │ Holbein │

2 │Katherine Willoughby, │ Unknown │Earl of Ancaster │ Duchess of Suffolk. │ │ │ Inscribed in later hand │ │ │ “H. Holbein Fecit.” Diam.│ │ │ 2⅛” │ │

3 │Katherine of Aragon │ Hans │Mrs. Joseph │ │ Holbein │

In Writing-Room.

17 │Sir Anthony Browne, K.G. │ Unknown │Lord Vaux of Harrowden │ Canvas, 37” x 30” │ │

18 │King Edward VI. Panel, 41” │ “ │Major Eley │ × 29” │ │

XIV. PICTURES BY OR ATTRIBUTED TO HOLBEIN DESCRIBED BY DR. WAAGEN IN HIS “TREASURES OF ART IN GREAT BRITAIN,” 1854.

Vol. I │ │

p. 203 │The Holbein Drawings in the │ pp. │ British Museum │ 236-7 │ │

p. 429 │William Warham │Lambeth Palace │ │

Vol. II │ │

p. 73 │Man with the Golden Fleece │Duke of Sutherland, Stafford │ │ House

p. 86 │The Duke of Norfolk │Duke of Norfolk

pp. 93-4│Man in a Furred Robe │Devonshire House

p. 112 │Unnamed Portrait │Lord Ashburton

p. 199 │Portrait wrongly called Duke│R. S. Holford, Esq. │ Frederick of Saxony │

p. 241 │Henry VIII │Henry Danby Seymour, Esq.

p. 242 │Portrait of a “Plump Child” │“

p. 245 │Portrait of a Woman adorned │Collection of Mr. Neeld │ with many jewels. Dated │ │ 1536 │

p. 246 │A Man’s Portrait. Dated 1547│“

pp. │Henry VIII granting the │Barber-Surgeons’ Hall 327-8 │ Charter to the │ │ Barber-Surgeons’ Company │

p. 328 │Edward VI at Bridewell │Bridewell Hospital

p. 331 │“A Male Portrait in a rich │C. S. Bale, Esq. │ dress.” Coloured drawing │

p. 332 │“A Female Portrait.” │“ │ Miniature │

pp. │The Pictures in Hampton │“ 361-7 │ Court │

p. 420 │Drawing of a Female Saint │Rt. Hon. Henry Labouchere at │ │ Stoke

pp. │The Pictures and Drawings in│“ 430-50 │ Windsor Castle │

Vol. III│ │

p. 6 │Portrait of a Young Man │W. Fuller Maitland, Esq., │ weighing Gold │ Stanstead House

p. 29 │The Duchess of Milan │Duke of Norfolk, Arundel │ │ Castle

p. 30 │The Duke of Norfolk │“

“ │The Earl of Surrey, │“ │ inscribed “William Strote”│

p. 33 │“A Female Figure with a Ring│Colonel Egremont Wyndham, │ on one Finger” │ Petworth

p. 36 │Edward VI standing under a │“ │ Canopy │

p. 41 │Henry VIII, whole length │“

“ │Portrait of a Man with a │“ │ Falcon │

p. 42 │Portrait of a Man with a │“ │ Letter in his Hand (Derich│ │ Berck) │

p. 52 │Henry VIII, bust. │University Galleries, Oxford

p. 123 │A Man’s Head, about 1530 │Duke of Marlborough, │ │ Blenheim Palace

p. 138 │Portrait of Erasmus │Earl of Radnor, Longford │ │ Castle

p. 139 │Peter Ægidius │“

“ │Two Male Portraits, the size│“ │ of life, in one picture. │ │ (Two Ambassadors) │

“ │Luther (?) │“

“ │Anthony Denny │“

p. 140 │Æcolampadius │“

“ │King Edward VI │“

p. 152 │The Father of Sir Thomas │Earl of Pembroke, Wilton │ More │ House

“ │William, 1st Earl of │“ │ Pembroke │

“ │King Edward VI │“

“ │Lord Cromwell (drawing) │“

p. 155 │The Wilton Porch │“

p. 170 │Catherine Howard │Earl of Suffolk, Charlton │ │ Park

p. 185 │“A half-length Undraped │J. P. Miles, Esq., Leigh │ Figure, here, in defiance │ Court │ of all probability, called│ │ a William Tell” │

p. 210 │John Fisher, Bishop of │Lord Northwick, Thirlstane │ Rochester │ House

p. 211 │Man’s Head. Miniature │“

p. 215 │Henry VIII │Warwick Castle

p. 225 │Portrait of a Man Praying │Mr. Martin, Ham Court, │ │ Worcestershire

p. 236 │The Prodigal Son │Liverpool Institution

p. 252 │Sir Thomas More │Mr. Blundell Weld of Ince

p. 264 │Woman with a White Pigeon │Earl of Lonsdale, Lowther │ │ Castle

p. 313 │Sir Nicholas Carew │Duke of Buccleuch, Dalkeith │ │ Palace

p. 323 │Duke of Norfolk │Earl of Carlisle, Castle │ │ Howard

“ │Henry VIII │“

p. 334 │Man’s Portrait │Mr. Meynell Ingram, Temple │ │ Newsham

pp. │Sir Thomas More and his │Mr. Charles Winn, Nostell 334-5 │ Family │ Priory

p. 342 │Portrait of Æcolampadius │W. V. Wentworth, Esq., │ │ Wentworth Castle

p. 346 │Henry VIII, full-length │Duke of Devonshire, │ │ Chatsworth

“ │Head of an Old Man │“

p. 359 │The Drawings at Chatsworth │“

p. 388 │Portrait of a Man │Earl of Shrewsbury, Alton │ │ Towers

p. 398 │Henry VIII, full-length │Duke of Rutland, Belvoir │ │ Castle

p. 407 │Henry VIII, half-length │Marquis of Exeter, Burleigh │ │ House

“ │Edward VI │“

p. 428 │Anne Boleyn │Sir John Boileau, │ │ Ketteringham Hall

p. 443 │Portrait of a Woman with │Mr. Tomline, Orwell Park │ folded hands │

“ │“A small picture in a │“ │ circle, dated 1527” │

p. 449 │William Fitzwilliam, Earl of│Fitzwilliam Museum, │ Southampton │ Cambridge

p. 456 │Henry VIII │Earl Spencer, Althorp

“ │Henry VIII, Princess Mary, │“ │ and Somers │

p. 462 │Queen Catherine Parr │Glendon Hall

p. 482 │James, King of Scotland, and│Marquis of Bute, Luton House │ his Wife, Margaret, │ │ Daughter of Henry VII │

“ │Henry VIII (attributed to │“ │ Gerard Horebout) │ │ │

Vol. IV │(Supplemental, 1857) │

pp. 35-8│The British Museum drawings │

p. 67 │Edward VI as an Infant │Lord Yarborough, Arlington │ │ Street

“ │Henry VIII │“

p. 77 │“Portrait of a Man with │Alexander Barker, Esq. │ features resembling the │ │ House of Habsburg” │

p. 97 │Johann Herbster │Mr. Baring’s Collection

p. 119 │Princess Mary, afterwards │C. Sackville Bale, Esq. │ Queen. Miniature │

p. 188 │The Ascension. Drawing, │William Russell, Esq., 38 │ design for a painted │ Chesham Place │ window │

p 269 │Edward VI │Duke of Northumberland, Syon │ │ House

“ │Duke of Somerset, the │“ │ “Protector” │

“ │Bust of Henry VII, in dark │“ │ stone, “by Pietro │ │ Torregiano, 1519” │

p. 272 │Portrait of Sir Thomas │Lord Jersey, Osterley Park │ Gresham. (“Not by Holbein,│ │ but possibly of the │ │ Lombard School”) │

p. 331 │John Russell │Duke of Bedford, Woburn │ │ Abbey

p. 339 │Henry VIII │Earl Amherst, Knole Park

p. 355 │Sir Anthony Denny │Lord Folkestone, Longford │ │ Castle

pp. │Erasmus │“ 356-7 │ │

p. 357 │Peter Ægidius │“

p. 359 │The Two Ambassadors │“

“ │A Man in a Black Dress │“ │ called Luther │

p. 361 │Lady Carey │“

p. 364 │Lady Jane Grey │Earl of Normanton, Somerley

p. 394 │“Portrait of Scanderbeg” │Lord Methuen, Corsham Court

p. 435 │Sir Nicholas Carew │Duke of Buccleuch, Dalkeith │ │ Palace

p. 464 │Lord Cromwell │The late Lord Douglas, │ │ Bothwell Castle

“ │Sir Thomas More │“

“ │Erasmus │“

p. 498 │Henry VIII │William Drury Lowe, Esq., │ │ Locko Park

p. 509 │Portrait of a Man in a Black│Duke of Newcastle, Clumber │ Dress and Cap │ Park

p. 511 │Portrait of a Man with a Cap│“ │ and Bâton, said to be Sir │ │ Thomas More │

p. 515 │Portrait of a Man in a Black│Duke of Portland, Welbeck │ Dress, holding a Palm in │ Abbey │ his Left Hand │

p. 516 │Portrait of Nicolas Kratzer │Viscount Galway, Serlby

p. 517 │Henry VIII, full-length │“

A SHORT BIBLIOGRAPHY

The following list includes only a few of the more modern and more important of the many contributions to the literature dealing with the life and art of Hans Holbein the Younger. A very complete bibliography of the artist will be found in Schweiz. Künstlerlexikon, vol. ii., Frauenfeld, 1906, to which the student is referred. Additional references will be found in the text and footnotes of this book.

AMIET, Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus Conrad, 1879.

BALDRY, A. L., Drawings of Hans Holbein, “Drawings of the Great Masters” series. George Newnes, Ltd. Not dated.

BELL, C. F., F.S.A., Catalogue of a Loan Collection of Portraits of English Historical Personages who died prior to the year 1625. Oxford, Clarendon Press, 1904.

BENOIT, FRANÇOIS, Holbein (“Les Maîtres de l’Art”). Paris. Not dated.

BINYON, LAURENCE, Catalogue of Drawings by British Artists and Artists of Foreign Origin working in Great Britain, preserved in the British Museum, Vol. ii. p. 326-243.

BLACK, W. H., F.S.A., and FRANKS, A. W., F.S.A., Discovery of the Will of Hans Holbein. Archæologia, vol. xxxix. pp. 1-18.

BLACK, W. H., F.S.A., On the Date and other Circumstances of the Death of Holbein, &c. Archæologia, vol. xxxix. pp. 272-6.

BLOMFIELD, R., A.R.A., History of Renaissance Architecture in England, i. p. 18, 1897.

BREWER, J. S., M.A., and GAIRDNER, DR. JAMES, C.B., _Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, 1509-1543_, 1862-1902.

BURCKHARDT, A., Hans Holbein. Basel, 1885.

BURCKHARDT, A., Hans Holbeins Ehefrau und ihr erster Ehemann Ulrich Schmid, Basler Zeitschrift für Geschichte und Altertumskunde, Bd. v. p. 420.

BURCKHARDT-WERTHEMANN, D., Drei wiedergefundene Werke aus Holbeins früherer Basler Zeit. Basler Zeitschrift für Geschichte und Altertumskunde, iv. 27.

CHAMBERLAIN, A. B., A Newly Discovered Portrait of Thomas Cromwell. Burlington Magazine, No. cv. vol. xx. (December, 1911) p. 175.

CHAMBERLAIN, A. B., Holbein’s Visit to “High Burgony.” Burlington Magazine, No. cix. vol. xxi. (April, 1912) pp. 25-30.

CHATTO, W. A., A Treatise on Wood Engraving, ed. H. G. Bohn. Chatto and Windus, 1861.

CHURCHILL, S. J. A., Two Unpublished Portraits by Hans Holbein. Burlington Magazine, No. cvi. vol. xx. (January, 1912) p. 239.

COLVIN, SIR SIDNEY, The Ambassadors Unriddled (review of Mr. W. F. Dickes’ book). Burlington Magazine, No. vi. vol. ii. (August, 1903) pp. 367-9.

COLVIN, SIR SIDNEY, On a Portrait of Erasmus by Holbein. Burlington Magazine, No. lxxx. vol. xvi. (November, 1909) pp. 67-71.

CONWAY, SIR MARTIN, and CUST, LIONEL, M.V.O., Portraits of the Wyat Family. Burlington Magazine, No. lxxxi. vol. xvi. (December, 1909) pp. 154-9.

COX, MARY L., _Inventory of Pictures, &c., in the possession of Alethea, Countess of Arundel, at the time of her Death at Amsterdam in 1654_. Burlington Magazine, No. ci. vol. xix. (August, 1911) pp. 282-6; No. cii. vol. xix. (September, 1911) pp. 323-5.

CUST, LIONEL, M.V.O., F.S.A., Lucas d’Heere. Magazine of Art, August, 1891.

CUST, LIONEL, M.V.O., Notice of the Life and Works of Lucas d’Heere, &c. Archæologia, vol. liv. pt. i. pp. 59-80.

CUST, LIONEL, M.V.O., The National Portrait Gallery. Illustrated Catalogue, 2 vols., Cassell & Co., 1901.

CUST, LIONEL, M.V.O., Foreign Artists of the Reformed Religion working in London from about 1560 to 1660. Proceedings of the Huguenot Society in London, vol. vii. No. i. pp. 45-82, 1903.

CUST, LIONEL, M.V.O., The Royal Collection of Paintings, vol. ii., Windsor Castle. Heinemann, 1906.

CUST, LIONEL, M.V.O., John of Antwerp, Goldsmith, and Hans Holbein. Burlington Magazine, No. xxxv. vol. viii. (February, 1906) pp. 356-60.

CUST, LIONEL, M.V.O., The Lumley Inventory and the Painter H. E. Burlington Magazine, No. lxxii. vol. xiv. (March, 1909) pp. 366-8.

CUST, LIONEL, M.V.O., A Portrait of Queen Catherine Howard by Hans Holbein the Younger. Burlington Magazine, No. lxxxviii. vol. xvii. (July, 1910) pp. 193-9.

CUST, LIONEL, M.V.O., On a Portrait Drawing by Hans Holbein the Younger (Sir Charles Wingfield). Burlington Magazine, No. xcv. vol. xviii. (February, 1911) pp. 269-70.

CUST, LIONEL, M.V.O., On Two Portraits attributed to Gerlach Flicke. Burlington Magazine, No. c. vol. xix. (July, 1911) p. 239.

CUST, LIONEL, M.V.O., _Notes on the Collections formed by Thomas Howard, Earl_ of Arundel and Surrey, K.G. Burlington Magazine, No. ci. vol. xix (August, 1911) pp. 278-81; No. civ. vol. xx (November, 1911) pp. 97-100; No. cvi. vol. xx. (January, 1912) pp. 233-6); No. cviii. vol. xx. (March, 1912) pp. 341-3; No. cxiii. vol. xxi. (August, 1912) pp. 256-8.

CUST, LIONEL, M.V.O., A Newly-discovered Portrait of Thomas Cromwell. Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 5-6.

CUST, LIONEL, M.V.O., “The Family of Sir Thomas More,” by Hans Holbein. Burlington Magazine, No. cxv. vol. xxii. (October, 1912) pp. 43-4.

CUST, LIONEL, M.V.O., and BELL, C. F., F.S.A., Burlington Fine Arts Club, Catalogue of Exhibition illustrative of Early English Portraiture, 1909.

DAVIES, GERALD S., M.A., Hans Holbein the Younger. George Bell & Sons, 1903.

DAVIES, RANDALL, An Inventory of the Duke of Buckingham’s Pictures in 1635. Burlington Magazine, No. xlviii. vol. x. (March, 1907) pp. 376-82.

DEVELAY, V., Eloge de la Folie d’Erasme. 3rd ed. Paris, 1876.

DICKES, W. F., Holbein’s “Ambassadors” Unriddled. Cassell & Co., Ltd. Not dated.

DIMIER, L., French Painting in the Sixteenth Century. (Trans. by Harold Child.) Duckworth & Co., 1904.

DIMIER, L., Le Primatice. Paris, 1900.

DODGSON, CAMPBELL, Neues über Holbeins Metallschnitte zum Vaterunser. Mitteilungen der Gesellsch. für vervielfältig. Kunst, 1903, p. 1, and 1905, p. 10.

DODGSON, CAMPBELL, Hans Lützelburger and the Master N. H. Burlington Magazine, No. xlvii. vol. x. (February, 1907) pp. 319-22.

DODGSON, CAMPBELL, An Alphabet by Hans Weiditz. Burlington Magazine, No. lix. vol. xii. (February, 1908) pp. 289-93.

DODGSON, CAMPBELL, A Portrait by Hans Holbein the Elder. Burlington Magazine, No. lxvii. vol. xiv. (October, 1908) pp. 37-43.

DODGSON, CAMPBELL, Das Holzschnittporträt von N. Borbonius. Gesells. für vervielfältigende Kunst, Mitteilungen xxxi. 1908, p. 37.

DODGSON, CAMPBELL, Catalogue of Early German and Flemish Woodcuts, &c., in the British Museum, vol. ii. 1911, p. 320.

DODGSON, CAMPBELL, notes by, Vasari Society, Pt. i. Nos. 17 and 18; Pt. ii. No. 31; Pt. v. No. 28.

DOUCE, FRANCIS, Holbein’s Dance of Death. 1858 edition. H. G. Bohn.

EARP, F. R., M.A., Descriptive Catalogue of the Pictures in the Fitzwilliam Museum, pp. 97-8. University Press, Cambridge, 1902.

EINSTEIN, LEWIS, The Italian Renaissance in England, 1902.

FIDLER, G., Holbein’s Porch. The Art Journal, 1897, pp. 45-8.

FORTESCUE, MRS. G., Holbein. (Little Books on Art.) Methuen & Co., 1904.

FOSTER, J. J., British Miniature Painters and their Works. 1898.

FRISCH, A., and WOLTMANN, A., Hans Holbein des Aeltern Silberstiftzeichnungen im kgl. Museum zu Berlin. Soldau, Nuremberg.

FRÖLICHER, ELSA, Die Porträtkunst Hans Holbeins des Jüngeren und ihr Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert (Studien zur deutschen Kunstgeschichte, No. 117). Heitz & Mündel, Strasburg, 1909.

FRY, ROGER, E., Early English Portraiture at the Burlington Fine Arts Club. Burlington Magazine, No. lxxiv. vol. xv. (May, 1909) pp. 73-5.

GANZ, PAUL, Hans Holbein d. J. Einfluss auf. d. schweizerische Glasmalerei. Jahrb. d. kgl. preuss. Kunstsamml., xxiv. (1903) pp. 197-207.

GANZ, PAUL, Handzeichnungen schweiz. Meister des XV-XVIII Jahrh. Helbing and Lichtenhahn, Basel, 1908.

GANZ PAUL, Handzeichnungen von Hans Holbein dem Jüngeren. Julius Bard, Berlin, 1908.

GANZ, PAUL, Hans Holbeins Italienfahrt. Süddeutsche Monatshefte, May, 1909, p. 599.

GANZ, PAUL, Two Unpublished Portraits by Hans Holbein. Burlington Magazine, No. ciii. vol. xx. (October, 1911) pp. 31-2.

GANZ, PAUL, Hans Holbein d. J.: des Meisters Gemälde in 252 Abbildungen. (Klassiker der Kunst in Gesamtausgaben No. xx.) Stuttgart, 1912. French translation, Hachette & Co., Paris, 1912.

GANZ, PAUL, Die Handzeichnungen Hans Holbeins des Jüngeren. Deutscher Verein für Kunstwissenschaft E.V., Julius Bard, Berlin. In course of publication. To be completed in 50 parts (500 plates).

GANZ, PAUL, and MAJOR, EMIL, Die Entstehung des Amerbach’schen Kunstkabinets und die Amerbach’schen Inventare, in the 29th Annual Report of the Public Picture Collection in Basel, 1907.

GAUTHIEZ, PIERRE, Hans Holbein sur la route d’Italie. Gazette des Beaux-Arts, December, 1897; February, 1898.

GAUTHIEZ, PIERRE, Holbein: Biographie Critique (Les Grands Artistes), Laurens, Paris. Not dated.

GLASER, CURT, Hans Holbein der Ältere (Kunstgeschichtliche Monographien, XI). K. W. Hiersemann, Leipzig, 1908.

GOETTE, A., Holbeins Totentanz und seine Vorbilder. Strasburg, 1897.

HEATH, DUDLEY, Two New Portrait Miniatures by Hans Holbein. The Connoisseur, July, 1907, pp. 143-4.

HEGNER, U., Hans Holbein der Jüngere. Reimer, Berlin, 1827.

HEITZ, P., Basler Büchermarken. Heitz, Strasburg, 1895.

HERVEY, MARY F. S., Holbein’s “Ambassadors”: the Picture and the Men. George Bell & Sons, 1900.

HERVEY, MARY F. S., A Portrait of Jean de Dinteville, one of Holbein’s Ambassadors. Burlington Magazine, No. xvi. vol. v. (July, 1904) p. 413.

HERVEY, MARY F. S., Notes on Some Portraits of Tudor Times. Burlington Magazine, No. lxxv. vol. xv. (June, 1909) pp. 151-60.

HERVEY, MARY F. S., Notes on a Tudor Painter: Gerlach Flicke. Burlington Magazine, No. lxxxvi. vol. xvii. (May, 1910) pp. 71-9; No. lxxxvii. vol. xvii. (June, 1910) pp. 147-8.

HERVEY, MARY F. S., and MARTIN-HOLLAND, R., _A Forgotten French Painter: Félix Chrétien_. Burlington Magazine, No. xcvii. vol. xviii. (April, 1911) pp. 48-55.

HES, WILLY, Ambrosius Holbein (Studien zur deutschen Kunstgeschichte, No. 145). Heitz and Mündel, Strasburg, 1911.

HIND, A. M., Great Engravers: Hans Holbein the Younger. Heinemann, 1912.

HIS-HEUSLER, E., Hans Holbeins des Aelteren Feder- und Silberstiftzeichnungen in den Kunstsammlungen zu Basel, &c. Soldau, Nuremberg.

HIS-HEUSLER, E., Die Basler Archive über Hans Holbein und seine Familie, Zahns Jahrbücher für Kunst, iii. p. 113 et seq. Leipzig, 1870.

HIS-HEUSLER, E., Hans Lützelburger, le Graveur des Simulacres de la Mort d’Holbein. Gaz. des Beaux-Arts, 2nd period, iv. (1871) p. 481.

HIS-HEUSLER, E., Dessins d’Ornements de Hans Holbein. Boussod, Valadon, and Co., Paris, 1886.

HIS-HEUSLER, E., _Einige Gedanken über die Lehr- und Wanderjahre H. H. d. J._ Jahrbuch für K. K. preuss. Kunstsamml., 1891, 2nd fasc., p. 59 et seq.

HIS-HEUSLER, E., Holbeins Bergwerkzeichnung im britischen Museum. Jahrbuch für K. K., &c., 1894, iii. p. 207 et seq.

HIS-HEUSLER, E., Holbeins Verhältniss zur Basler Reformation. Rep. für Kunstwissenschaft, iii. p. 156.

HIS-HEUSLER, E., Ambrosius Holbein als Maler. Jahrbuch der kgl. preuss. Kunst., xxiv. 1903, pp. 243-6.

HOLMES, SIR RICHARD, K.C.V.O., Hans Holbein: Portraits of Illustrious Personages of the Court of Henry VIII, in the Royal Library, Windsor Castle, 2 vols. Hanfstaengl. Not dated.

HOLMES, SIR RICHARD, K.C.V.O., Note on an Unpublished Holbein Miniature in the Collection of the Queen of Holland. Burlington Magazine, No. ii. vol. i. (April, 1903) p. 218.

HOLMES, SIR RICHARD, K.C.V.O., A Miniature by Holbein (Mrs. Pemberton). Burlington Magazine, No. xvi. vol. v. (July, 1904) p. 337.

HOLMES, SIR RICHARD, K.C.V.O., English Miniature Painters: No. I. Nicholas Hilliard. Burlington Magazine, No. xxxiv. vol. viii. (January, 1906) pp. 229-34.

HUEFFER, F. M., Hans Holbein the Younger: a Critical Monograph (Popular Library of Art). Duckworth & Co. Not dated.

HUPPERTZ, A., Der Sebastiansaltar in der Münchener A. Pinak. Repertorium für Kunst., xxxiv. 1911, p. 255.

ISELIN, L., Holbein, in Historisch und geographisches Lexikon, Basel, 1726.

KAINZBAUER, L., Holbein der “Verbesserte.” Eine neue Untersuchung der beiden Madonnen des Bürgermeisters Mayer in Basel, 1906.

KINKEL, G., Hans Holbein (review of Woltmann’s and Wornum’s books). Fine Arts Quarterly Review, June, 1867.

KNACKFUSS, H., Hans Holbein der Jüngere. Velhagen & Klasing, Bielefeld and Leipzig, 1896; 4th edition, Bielefeld, 1902.

KNACKFUSS, H., Holbein, English translation by Campbell Dodgson. H. Grevel and Co., 1899.

KOEGLER, HANS, Ergänzungen zum Holzschnittwerk des Hans und Ambrosius Holbein. Jahrb. d. preuss. Kunstsamml., xxviii. (1907) p. 85.

KOEGLER, HANS, Hans Holbeins Holzschnitte für Sebastian Münsters “Instrument über die zwei Lichter,” Basel, 1534. Jahrb. d. preuss Kunstsamml., xxxi. p. 254.

KOEGLER, HANS, Der Hortulus Animæ, illust. von H. Holbein. Zeitschrift f. bildende Kunst., xx. (1908) p. 35.

KOEGLER, HANS, Die grösseren Metallschnittillustrationen Hans Holbeins d. J. zu einen “Hortulus Animæ.” Monatshefte f. Kunstwissenschaft, iii. (January, 1910) pp. 13-17; (June, 1910) pp. 317-33.

KOEGLER, HANS, Kleine Beiträge zum Schnittwerk Hans Holbein d. J.: Der Meister C.S. Monatshefte, &c. (September, 1911), pp. 389-408.

KOEGLER, HANS, Hans Holbein d. J. und Dr. Johann Fabri. Repertorium für Kunstwissenschaft, vol. 35, pts. 4 and 5, pp. 379-84, 1912.

KUGLER, Handbook of Painting: German, Flemish, and Dutch Schools. Remodelled by Dr. Waagen, and revised by Sir J. A. Crowe, 2 vols., 3rd ed. John Murray, 1898.

LAPPENBERG, DR., Urkundliche Geschichte des Hansischen Stahlhofs zu London. Hamburg, 1851.

LARPENT, S., Sur le Portrait de Morette. Christiania, 1881.

LAW, ERNEST, The Royal Gallery of Hampton Court. George Bell & Sons, 1898.

LAW, ERNEST, Holbein’s Pictures at Windsor Castle. Hanfstaengl, 1901.

LEIGHTON, LORD, Addresses to the Students of the Royal Academy. 2nd edition, 1897.

LEITHÄUSER, Hans Holbein in seinem Verhältnisse zur Antike und zum Humanismus. Hamburg, 1886.

LIEBENAU, TH. VON, Das Alte Luzern, 1881.

LIEBENAU, TH. VON, Hans Holbeins d. J. Fresken am Hertenstein Haus in Luzern, 1888.

LOFTIE, W. J., F.S.A., Whitehall: Historical and Architectural Notes. Portfolio Monograph, 1895.

MACHIELS, A., Les Portraits d’Erasme. Gazette des Beaux-Arts, November 1911, pp. 349-61.

MACHIELS, A., Quelques œuvres de H. Holbein en Angleterre. Revue de l’Art Ancien et Modern, xx. p. 227.

MAJOR, E., Das Fäschische Museum und die Fäschischen Inventare. 60th Annual Report of the Basel Public Picture Collection, 1908.

MAJOR, E., Basler Horologienbücher mit Holzschnitten von Hans Holbein. Monatshefte, &c., iv. 1911, pp. 77-81.

MANDER, CAREL VAN, Het Schilder-Boeck, 1604. French translation, ed. H. Hymans, 2 vols., 1884.

MANNERS, LADY VICTORIA, Notes on the Pictures at Belvoir Castle. The Art Journal, May, 1904, pp. 161-6.

MANTZ, P., Hans Holbein. A. Quantin, Paris, 1879.

MANTZ, P., Les Portraits d’Erasme par Holbein. Bull. de l’Art pour Tous, xliii. No. 226, October, 1904.

MAUCLAIR, CAMILLE, Les Dessins de Hans Holbein au Musée de Bâle. L’Art et les Artistes. December, 1911, pp. 99-112.

MECHEL, CHRÉTIEN DE, œuvres de Jean Holbein, &c. Basel, 1780.

NICHOLS, F. M., F.S.A., Observations on a further Correction of the Date of the Birth Year of Sir Thomas More. Proceedings of the Society of Antiquaries, vol. xvi. No. iii. (March, 1897) pp. 321-7.

NICHOLS, F. M., F.S.A., On some Works executed by Hans Holbein during his first Visit to England, 1526-1529. Proceedings of the Society of Antiquaries, vol. xvii. No. i. (March, 1898) pp. 132-45.

NICHOLS, J. G., F.S.A., Notices of the Contemporaries and Successors of Holbein, Archæologia, vol. xxxix, pp. 19-46.

NICHOLS, J. G., F.S.A., Remarks upon Holbein’s Portraits of the Royal Family of England, &c. Archæologia, vol. xl. pp. 71-80.

NICOLAS, SIR N. H., F.S.A., The Privy Purse Expenses of King Henry the Eighth, Pickering, 1867.

NORMAN, DR. PHILIP, Notes on the later History of the Steelyard in London. Archæologia, vol. lxi. pt. ii. (1909), pp. 389-426.

NORMAN, DR. PHILIP, Nicholas Hilliard’s Treatise concerning “The Arte of Limning,” with introduction and notes. Walpole Society, 1st annual vol., 1911-12, pp. 1-54.

OCHS, P., Geschichte von Basel, Stadt und Landschaft, 8 vols. Berlin, 1786-1821.

PARTHEY, GUSTAV, Verzeichniss der Kupferstiche Wenzel Hollars. Berlin, 1853.

PATIN, CHARLES, Relations hist. et curieuses de Voyages, &c. Basel, 1673, pp. 211 et seq.; Lyon, 1674; Amsterdam, 1695.

PATIN, CHARLES, Index operum Holbenii, appendix ad Morias Encomium. Basel, 1676.

PELTZER, R. A., Porträt des D. Tybis von Duisburg: Inschriften. Blätter f. Gemäldek., iii. 1907, p. 161.

PHILLIPS, SIR CLAUDE, The Picture Gallery of Charles I. Portfolio Monograph, 1896.

PHILLIPS, SIR CLAUDE, The Collection of Pictures at Longford Castle. The Art Journal, 1897, pp. 97-104.

POLLARD, A. F., Henry VIII. Goupil & Co., 1902.

RACZYNSKI, Les Arts en Portugal, 1846, p. 295.

RAWNSLEY, CANON H. D., The Revival of the Decorative Arts at Lucerne. Lucerne, 1897.

REINACH, S., Répertoire de Peintures du Moyen Age et de la Renaissance, 1280-1580, 3 vols. E. Leroux, Paris, 1905-10.

RICHARDSON, Architectural Remains of the Reigns of Elizabeth and James I. 1838.

ROPER, W., The Life and Death of Sir Thomas More, &c. Ed. Rev. J. Lewis, 1731.

RUSKIN, JOHN, Sir Joshua and Holbein. Cornhill Magazine, March, 1860, p. 328 et seq.; reprinted in “On the Old Road,” vol. i. pt. i. pp. 221-36.

RUSKIN, JOHN, Design in the German Schools of Engraving, Lecture V in “Ariadne Fiorentina,” pp. 127-70. George Allen, 1876.

SAINSBURY, Original Unpublished Papers illustrative of the Life of Sir P. P. Rubens, &c. London, 1859.

SANDRART, J. VON, Teutsche Akademie, 1675.

SCHARF, SIR GEORGE, F.S.A., Royal Picture Galleries, in “Old London.” John Murray, 1867.

SCHARF, SIR G., Additional Observations on some of the Painters contemporary with Holbein. Archæologia, vol. xxxix, pp. 47-56.

SCHARF, SIR G., Remarks on some Pictures from Windsor Castle, Hampton Court, &c. Archæologia, vol. xxxix. pp. 245-71.

SCHARF, SIR G., Notes on several of the Portraits described in Mr. J. G. Nichols’ Memoir. Archæologia, vol. xl. pp. 81-8.

SCHARF, SIR G., F.S.A., Remarks on a Portrait of the Duchess of Milan recently discovered at Windsor Castle, &c. Archæologia, vol. xl. pp. 106-12.

SCHMID, H. A., Hans Holbein d. J. Jugendentwickelung, 1515-1526. Basel, 1892.

SCHMID, H. A., Die Gemälde Hans Holbeins d. J. im Basler Grossratsaal. Jahrbuch der kgl. preuss. Kunsts., xvii. (1896) p. 73.

SCHMID, H. A., Holbeins Tätigkeit für die Basler Verleger. Jahrbuch der kgl. preuss. Kunstsammlungen, vol. xx. p. 233.

SCHMID, H. A., Die Darmstädter Madonna. Graphische Künste. Vienna, 1901.

SCHNEELI, G., and HEITZ, P., Initialen von Hans Holbein. Heitz, Strasburg, 1900.

SEEMAN, A., Der Brunnen des Lebens von H. Holbein. Zeitschrift f. bild. Kunst, May, 1903.

SHEPPARD, DR. EDGAR, The Old Royal Palace of Whitehall, pp. 385-6. Longmans, Green & Co., 1901.

SIMON, K., Holbeins Morusbild. Repertorium für Kunstwissenschaft, xxx. 1907, p. 332.

SKETCHLEY, R. E. D., Holbein as Goldsmith’s Designer. The Art Journal, June, 1910, p. 175.

SMITH, H. CLIFFORD, Jewellery. The Connoisseur’s Library.

SQUIRE, W. BARCLAY, and HELEN MATILDA, COUNTESS OF RADNOR, Catalogue of the Pictures in the Collection of the Earl of Radnor, 2 vols. Chiswick Press, 1909.

STEPHENS, F. G., The Private Collections of England: Nos. lviii. and lix., Nostell Priory, Wakefield. The Athenæum, Nos. 2760-1, September 18 and 25, 1880.

STODDART, JANE T., Girlhood of Mary Queen of Scots, chap. xxi. p. 346 et seq. 1909.

STÖDTNER, FRANZ, Hans Holbein der Aeltere. Berlin, 1896.

STOW, JOHN, Summarie of Englysh Chronicles, &c., 1565.

STOW, JOHN, The Annales of England, &c., 1592.

STOW, JOHN, A Survay of London, &c., 1598.

STRONG, S. ARTHUR, Reproduction of Drawings by the Old Masters at Chatsworth. Duckworth & Co., 1902.

STRONG, S. ARTHUR, Critical Studies and Fragments. Duckworth & Co., 1905.

STRYIENSKI, C., “Pedigree” d’un Holbein: Portrait de G. Gisze. Chronique des Arts, 1911.

STRYPE, REV. JOHN, Annals of the Reformation in England, 1709-31.

TONJOLA, Basilea Sepulta, 1661, p. 382.

VÖGELIN, S., Ein wiedergefundenes Meisterwerk Holbeins. Frankfurter Zeitung, 1871 (Nos. 236-7, 244, 248).

VÖGELIN, S., _Ergänzungen und Nachweisungen zum Holzschnittwerk H. H. d. J._ Repertorium f. Kunstwissenschaft, ii. (1877) pp. 162, 312; v. p. 179.

VÖGELIN, S., Der Holbeintisch auf der Stadtbibliothek in Zürich. Vienna, 1878.

VÖGELIN, S., Holbeins Fassadenmalereien zu Basel. Anzeiger für schweiz. Altertumskunde, xiii., 1880, p. 50.

VÖGELIN, S., Fassadenmalerei in der Schweiz. Anzeiger für schweiz. Altertumskunde, 1884.

VÖGELIN, S., Wer hat Holbein die Kenntnis des klassischen Altertums vermittelt? Repertorium für Kunstwissenschaft, x. p. 345.

VOLL, KARL, Meisterwerke der Gemäldegalerie im Haag. Hanfstaengl, 1903.

VOLL, KARL, Holbein und Böcklin. Süddeutsche Monatshefte, 1905, ii. 8, p. 177.

VOSS, H., Holbein und Raphael. Monatshefte für Kunst., iii. (1910) p. 159.

WAAGEN, G. F., Kunstwerke und Künstler in Deutschland, 1845.

WAAGEN, G. F., Treasures of Art in Great Britain, 4 vols. Translated by Lady Eastlake. John Murray, 1854-7.

WALPOLE, HORACE, Anecdotes of Painting in England, with some Account of the Principal Artists. Additions by the Rev. James Dallaway, revised by Ralph N. Wornum, 3 vols. Swan, Sonnenschein, Lowrey & Co., 1888.

WEALE, W. H. JAMES, Simon Binnink, Miniaturist. Burlington Magazine, No. xxxv. vol. viii. (February, 1906) pp. 355-6.

WEALE, W. H. JAMES, Livina Teerlinc, Miniaturist. Burlington Magazine, No. xl. vol. ix. (July, 1906) p. 278.

WERNER, ANTON, Die Holbein in Augsburg. Der Sammler, No. 143, 1907.

WILLIAMSON, G. C., The History of Portrait Miniatures, 1531-1860, 2 vols. George Bell & Sons, 1904.

WILLIAMSON, G. C., Mr. J. Pierpont Morgan’s Catalogue: The Miniatures. Privately printed.

WILLIAMSON, G. C., Portrait Miniatures. The Studio, Spring Number, 1910.

WOLTMANN, ALFRED, Holbein und seine Zeit, 2 vols., second edition. E. A. Seeman, Leipzig, 1874-6.

WOLTMANN, ALFRED, Holbein and his Time. Translation of vol. i. first edition, by F. E. Bunnett. Richard Bentley & Son, 1872.

WOLTMANN, ALFRED, Holbein at the National Portrait Gallery. Fortnightly Review, vol. vi. (1866) p. 160.

WOLTMANN, ALFRED, Holbein und Q. Metsys in Longford Castle. Zeitschrift für bild. Kunst., i. p. 198.

WORNUM, RALPH N., Some Account of the Life and Works of Hans Holbein, Painter, of Augsburg. Chapman & Hall, 1867.

WORNUM, RALPH N., Hans Holbein and the Meier Madonna. Arundel Society, 1871.

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Drawings attributed to Holbein in the Collection of the Duke of Devonshire. Burlington Magazine, No. iii. vol. i. (May, 1903) p. 354.

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INDEX^{TN}

(The Lists of Pictures by or attributed to Holbein, &c., exhibited at various exhibitions between 1846 and 1912, Vol. ii. p. 359-389, are not included in the Index.)

Abbate, Niccolo dell’, of Modena, i. 281, 287 note

Abergavenny, castle and lordship, ii. 288

—— George Nevill, 3rd Earl of, ii. 222, 248, 255

Acorre, i. 105 note

Adagia (Erasmus), i. 45, 49

Addison, Joseph, i. 328 note

Advocates’ Library, Edinburgh, ii. 148, 343

Ægidius, Petrus, i. 62, 163, 193, 255, 288-289, 298, 339; ii. 265

Æmilius (œmmel), George, i. 212, 224

Æneæ Platonici Christiani, &c. (pub. Froben, 1516), i. 191

Airell, Richard, i. 265

Aix-la-Chapelle, ii. 15

Aix-les-Bains, i. 344 note

Akersloot, W., engraver, i. 87

Albertina, Vienna, i. 5, 60, 161 note, 344 note

Albury, i. 171 note

Alciat, i. 84, 174

Aldegrever, ii. 52 note

Aldenham, Lord (collection), ii. 169

Alessandro of Milan, see Carmillian, Alys

Alexander VI, Pope, i. 271

Alexander, Thomas, painter-stainer, i. 261

Alexe of Myllen, see Carmillian, Alys

Algarotti, Count Francesco, i. 242-243

Allington Castle, Kent, i. 336

Alsop, T., barber-surgeon, ii. 291, 293

Altdorfer, ii. 270

Althorp, ii. 14, 72, 93, 107, 141, 352

Altishofen, Colonel Karl Pyffer von, i. 71

Altman, Mr. Benjamin (collection), ii. 82, 348

Altorf, i. 74, 77

Amadas, Robert, Master of the Jewel House, ii. 58, 287

Amberger, C., ii. 17 note, 310

Ambraser Collection, Vienna, i. 60; ii. 70

Amerbach, Basilius, i. 45, 85, 102, 181, 345

—— Bonifacius, i. 39, 45, 74-75, 84-87, 90, 122, 151, 174, 177, 180, 250, 253, 341, 343, 345, 352; ii. 87-88, 256, 259, 264, 331, 340, 344

—— Collection, Inventory, &c., i. 5, 38, 40, 44, 55-56, 60, 75, 79, 84-85, 87, 99, 100-102, 106, 113, 121, 135, 146, 157, 161, 174, 180-181, 186, 199, 246-247, 250, 344-345, 347; ii. 87-88, 260-261, 329

Amerbach, family house, i. 122

—— Hans, i. 85

Amiet, ii. 390

Amsterdam, i. 27, 28, 106, 224, 240-241, 243-244, 335; ii. 15, 25-27, 64, 112, 199, 213, 231, 248

—— Museum, i. 165; ii. 304, 308

Andermatt, i. 77; ii. 324

Andlau, ii. 82

Andlau, Convent of, Alsace, ii. 326

Andlau, Von, family, i. 145; ii. 326

“Androw, painter,” see Wright, Andrew

Angelrot, Balthazar, goldsmith of Basel, i. 117-118

Angeviller, Mons. d’, ii. 327

Anne, Queen of England, i. 107; ii. 52, 203

—— Boleyn, Queen, see Boleyn

—— of Cleves, Queen, see Cleves

Anthony, Anthony, of the Ordnance Department, ii. 297-298

“Anthony, Mr., the King’s servant,” ii. 294, 296-298

Anstis, Order of the Garter (1724), i. 319

Antiquaries, Society of, i. 287 note, 291, 313; ii. 110, 125, 137, 271

Antiquities of Westminster (J. T. Smith), ii. 267

Antonine Abbey of Isenheim, Vicar of, i. 254

Antwerp (town), i. 62, 163-164, 176, 245, 264, 268-269, 273-274, 288-289, 329; ii. 27, 87, 152, 176, 198, 230, 264, 298, 307-308, 341

“Antwerp, Glazier of” (Galyon Hone?), i. 268

Antwerp, Hans of, ii. 8-14, 215, 275, 286-288, 295-297

Antwerp Museum, i. 164

Anwarpe, Augustine, ii. 13

Anwarpe, Roger, ii. 13

Apelles, i. 227, 247; ii. 75

Apethorpe Hall, Northamptonshire, ii. 222

Apian, Peter, ii. 50

Apiarius, see Bienenvater

Appuldurcombe, Isle of Wight, ii. 165

Aragon, Queen Katherine of, i. 272; miniature of, 308, 317; ii. 109-110, 117, 131, 212, 233, 235, 237

Arbury, Warwickshire, ii. 210

Archæologia, ii. 38, 110, 125, 137, 170

Archangell, Italian lead-caster, i. 314

Archer, Wykeham, ii. 2 note

Architectural Remains of Reigns of Elizabeth, &c. (Richardson), ii. 271 note

Arcos, Duke d’, i. 272

Aristotle, i. 159, 199

Arkeman, Philyp, painter, i. 278

Art Treasures Exhibition, Manchester, 1857, ii. 360-361

Arthur, Prince of Wales, ii. 136

Arundel, Alathea, Countess of, i. 106, 178, 335; ii. 25, 64, 199, 209, 248

—— Castle, ii. 135, 137, 197, 199, 201, 303, 307

—— Collection and Inventory (1655), i. 27-28, 60, 71, 106, 171, 177, 179 note, 285, 295 note, 318-319, 323, 325 note, 328 note, 335; ii. 15, 19, 25, 44, 53, 61, 64-65, 67-69, 72, 77, 81, 84, 89, 112, 164, 166 and note, 181 and note, 182 and note, 193, 198 and note, 200-201, 205 and note, 209, 213 note, 214, 216, 219, 231, 246, 248, 263, 270, 276, 283, 342

—— Earl of, in Basel, i. 252

—— Elizabeth, of Telverne, i. 334

—— Henry Fitz-Alan, 12th Earl of, i. 178; ii. 307

—— Henry Frederick, Earl of (1608-52), ii. 219

—— Philip Howard, Earl of (1557-95), ii. 135

—— Thomas Howard, Earl of (1585-1646), i. 28, 178, 241, 318, 323, 328 note, 335; ii. 19, 25, 61-62, 64-66, 68-69, 77, 84, 107, 135, 166, 181, 193, 198, 201, 209, 216, 231, 246, 247 and note, 248, 299, 341-342

—— Sir John, of Teloerne, i. 334

—— House, ii. 25

Asper, Hans, ii. 311 note

Athenæum, i. 297, 305

Aubrey, i. 301

Audley, Lady, ii. 220, 222-223, 255, 258

—— John Touchet, 9th Lord, ii. 223

Augsburg (town), i. 1-3, 5, 6, 8, 9, 13-15, 19, 20, 22, 23, 29, 31, 32, 42, 65, 74, 145, 148, 168, 189, 190, 214, 331; ii. 162, 300

Augsburg, decorative arts in, i. 31

—— Cathedral, i. 7

—— Episcopal Library, i. 4

—— Gallery, i. 3, 4, 8, 10, 23, 24, 39, 110; ii. 323

—— Kaisheimer Hofs, i. 7 note

—— Painters’ Guild, i. 22

—— St. Katherine, Convent of, i. 4, 7, 9, 10, 14, 15, 23, 24

—— St. Moritz Church, i. 13

—— St. Sauveur Church, i. 15

Augustus III, King of Poland and Elector of Saxony, i. 242-243; ii. 67

Augustyne, John, i. 262

Aumale Collection, Chantilly, i. 11

Austria, Duke Leopold of, i. 71

—— Margaret of, see Margaret

Autun, ii. 148

Auxerre, ii. 43, 45 note

Avaux family, ii. 37

Avignon, i. 84, 174

Avogadro, Venetian banker, i. 242-243

Aylif, T., Warden of Barber-Surgeons’ Company, ii. 291

Bacon, John, of Cambridgeshire, ii. 210

Baer, Hans, i. 35-36, 53

—— Magdalena, i. 53, 234

Baggeley, Mr., ii. 107

Bagnols, agent of Frederick, Prince of Wales, ii. 199

Baker, Mr. C. H. Collins, ii. 89 note

Balcarres, Lord, ii. 136

—— MSS., ii. 148, 343

Baldinucci, i. 306

Baldry, A. L., ii. 390

Baldung, Hans, see Grien

Bale, C. Sackville (collection), ii. 237

Ballard, Thomas, painter-stainer, i. 261

Bamberg (town), i. 69

—— Library, i. 19

Bandz, Tomas, ii. 7

Banister, Edward, i. 178

Bar and Lorraine, François, Duke of, ii. 120, 130

Bar-le-Duc, ii. 147

Bar-sur-Seine, ii. 40, 42

Barbers, Company of, ii. 289

Barber-Surgeons’ Company, ii. 289-291, 293-294

—— Hall, ii. 289, 293, 346, 350

Bardi family, i. 270

—— Pietro di, i. 271

Barker, Christopher (Garter), i. 262

Barnborough Hall, i. 300; ii. 335-336

Barnes, Dr., ii. 173

Barnet, ii. 335

Baron, Bernard, engraver, ii. 294

“Barough,” ii. 119

Barrett family, of Lee Priory, ii. 181-182, 235

—— Mr., of Lee Priory, ii. 109, 181-182

—— Mr. T. B., ii. 182

“Barrough, Ladie Marqueis of,” ii. 118-119, 182, 128

Bartolozzi, F., R.A., ii. 250

Basel, i. 1, 15, 22-23, 31-33, 35-37, 43, 45-46, 49, 53, 55, 57-58, 65, 75, 78, 80-82, 84, 87, 90, 101, 104, 106, 109, 111, 115-116, 137, 141-142, 145, 147, 151, 153, 157, 158-159, 162-163, 166-169, 172, 174-177, 188, 190-191, 195, 200-202, 204-206, 208, 211, 218, 225, 228, 232-233, 236, 241, 245-248, 252-255, 262, 288, 291, 298-299, 321, 338-341, 343, 347, 351; ii. 5, 6, 12 note, 32-35, 46-47, 56, 63-64, 71, 77, 87, 91, 150-151, 154-164, 186, 191-192, 211, 213, 219, 227, 240, 260, 268, 297, 300-301, 311, 313, 319, 325-326, 328-330

— Bäumleingasse, No. 18 (“zum Luft”), i. 163; zur Blume, inn, i. 123; Carthusian Monastery, i. 90; Cathedral, i. 87, 91, 95, 113-115, 148, 154, 340; Dominican Monastery, i. 205, 208; ii. 156; Eisengasse, i. 117-118, 120; Fischmarktplatz, i. 123, 163; Gerbergasse (“zum Papst”), i. 1; Historical Museum, i. 83, 150; Kunstverein, i. 51; Library, i. 5, 91-92, 113, 239; ii. 6, 329; Painters’ Guild (Zunft zum Himmel), i. 58-59, 82-83, 97, 121, 232; ii. 32-33, 47, 63, 157-158; Public Picture Gallery (see below); Rheingasse, i. 122; Rhine Bridge, i. 102, 117; Rhine Gate, i. 351; St. Leonhard, i. 190; St. Johann Vorstadt, i. 205, 339; ii. 156; Haus zum Tanz, see Dance, House of the; Town Archives, i. 58-59, 83, 126, 339; Town Council, i. 59, 90, 106, 124, 126-127, 130, 181, 198, 205, 232, 252, 254-255, 338-340, 347, 351; ii. 34-35, 63, 158-159, 161-163, 191, 300; Town Hall and Council Chamber (wall-paintings), i. 91-92, 106, 118, 123-134, 343, 347-352; ii. 157, 262-264, 313-314; University, i. 37, 45, 84, 93, 145, 183; ii. 328-329, 357

Basel Public Picture Collection (Gallery), i. 7 note, 9, 19, 26, 35, 37, 39, 42-43, 45, 50-52, 54 note, 55, 58-61, 63, 65, 68, 77-79, 81, 84-85, 87-88, 91, 98-99, 101, 106, 112-113, 120-121, 125, 127-131, 137, 142-143, 145, 147-150, 159-161, 172-173, 175, 177, 180, 182-183, 185, 186 note, 188, 205, 207, 228, 230, 236, 241, 245, 289, 291, 321, 338, 343, 346-348, 350-351; ii. 87 and notes, 167-168, 189, 211, 238, 248, 255-256, 259-260, 273, 275-278, 281, 283-284, 314, 327-329, 356-357, 400

—— Jergen ze, ii. 7

Basilea Sepulta (Tonjola), i. 127, 130

Basville, Marquis de, ii. 46

Bathoe (James II’s catalogue of pictures), ii. 249

Battle of Bosworth Field (jewel with pendant miniatures, by Hilliard), ii. 234

Battle of Spurs (Hampton Court), i. 258, 315-316; ii. 64, 91, 215

“Bauerntanz,” see Dance, House of the Bavaria, i. 15

—— Duke Albrecht V of, ii. 241

—— Maximilian I, Elector of, i. 17

Bavarian National Museum, Munich, ii. 241-242

Bayersdorfer, A., i. 237

Bayonne, ii. 38

Beard (Byrd), Richard, ii. 173-175, 177, 184

Beauchamp, Earl (collection), ii. 304, 309

Beaufort, Lady Margaret, her monument, i. 272

Beaujon, Nicolas, ii. 45 and note, 46

—— Sale and Catalogue, 45 and note, 46-47

Beaune, i. 153, 174

Beaver, Alfred, Memorials of Old Chelsea, i. 315; ii. 272

Bebelius, Johannes, printer, i. 202, 225

Beckford Collection, ii. 278

Beckman, Barthold, Steelyard merchant, ii. 6

Bedford, Duke of (sale and collection), i. 304 note; ii. 112, 351

Bedford, John Russell, Earl of, ii. 256

Bell, Mr. C. F., F.S.A., ii. 237, 390

—— John (painter of Henry VIII’s tomb), i. 269, 272

Bellay, Guillaume du, ii. 38-39

—— Jean du, ii. 38-39

Bellin, Nicolas, of Modena, i. 281-286, 287 note, 314; ii. 186, 201, 269 note, 303, 333

Belvoir Castle, ii. 100

Bemberg Ducal Library, ii. 277

Bemposta, Castle of, i. 16

“Benedict, the King’s tomb-maker,” see Rovezzano

Bentinck family, ii. 187

Bentinck, Hans William, 1st Earl of Portland, ii. 187

Bentinck, William, 3rd son of 1st Earl of Portland, ii. 187

“Benting, Lord William, Lord of Rhoon,” ii. 187

Berck (Berg), Derich, Steelyard merchant, ii. 22-23, 83

Bergh, Mayer van den, Collection, Antwerp, ii. 230

Beringen, Anna von, i. 33

—— Ycher von, i. 33

Berkeley, Thomas, Lord, ii. 72

Berlepsch, H. E. von, i. 121

Berlin, i. 204, 242

Berlin, Kaiser Friedrich Museum and Royal Print Room, i. 11, 18, 21, 25-26, 119-120, 142-143, 182, 206-207, 214, 242, 354; ii. 4-6, 15, 16, 31, 201, 205-206, 248, 255, 259, 278, 324, 353

Bermondsey, i. 262

Bernal, Ralph, Sale (1855), ii. 53

Bernardi family, painters, i. 287

Bernburg Library, i. 5

Berne, i. 3, 32, 77, 202, 204, 241; ii. 161-162

—— Dominican Monastery, i. 206; Historical Museum, i. 141; Town Council, ii. 162

Bernoulli, Dr. C. Chr., ii. 331, 341

Beromünster Cloisters, Lucerne, i. 79

Berry, dukes of, i. 175

—— Duke Jehan of, and Duchess, i. 175-176

Bertholdo, i. 271

Besançon, i. 149, 174, 179 note

Besselsleigh, Berks., i. 301

Bettes, John, ii. 210, 241, 308-309

—— Thomas, ii. 241, 309

Beverley, Yorks., ii. 334

Bewick, John, Emblems of Mortality, i. 214

—— Thomas, i. 214

Bibliothèque Nationale, Paris, i. 142, 144, 207

Bickley Hall, Kent, ii. 33

Bicocca, battle of, i. 72

Bienenvater, Matthias (Apiarius), printer of Berne, i. 202

Binck, Jacob, ii. 250

Binnink, Simon, of Bruges, miniaturist, ii. 238-239

Binyon, Mr. Laurence, i. 356; ii. 390

Birmann, i. 127

Bisschop, Jan de, i. 243; ii. 27-28

Black, Mr. W. H., F.S.A., ii. 294, 297-298, 390

Blackheath, i. 295

Blakenhall, William, i. 327

Blamire, Mr. W., sale (1863), ii. 230, 237

“Blanche Rose,” i. 283; ii. 333

Blankenberghe, near Bruges, ii. 238

Bletz, Zacharias, registrar of Lucerne, i. 64

Bloemaert, ii. 341

Blomefield, Norfolk, i. 326

Blomfield, Mr. Reginald, A.R.A., ii. 272 and note, 390

Blond, Michel le, see Le Blond

Bock, Hans, the Elder, i. 105-106, 126-127; ii. 311 note

Bode, Dr., i. 335; ii. 196, 342

Bodenham family, i. 353, 355-356; ii. 351

—— Mr. Charles, i. 355

—— Thomas, i. 356

Bodleian Library, Oxford, i. 171 note, 326; ii. 81, 113, 247, 274

Boetius, De Consolatione Philosophiæ, i. 296

Bohemia, King and Queen of, i. 241

Boisserée, i. 91 note

Boke called the Governour (Sir T. Elyot), i. 336

Boleyn, Queen Anne, i. 178, 262, 306, 319; ii. 30-33, 38, 59, 78, 91, 104, 109-110, 116, 192, 196, 208, 235, 237, 288

—— Sir Thomas, Earl of Wiltshire and Ormonde, i. 327; ii. 256

—— Sir William, ii. 272

Boling, Sir John, and his mother, miniature, signed “L.,” ii. 240

Bolingbroke, Lord, ii. 230

Bollonia, Hierome Trevix, see Treviso, G. da

Bologna, i. 286

Bonnat, M. Léon, Paris (collection), i. 19, 148

Bonner, wood-engraver, i. 214

Booth, Mrs., of Glendon Hall (collection), i. 269

Borcht, H. Van der, ii. 15

Bordeaux, i. 329

Bordone, Paris, ii. 107

Born, Derich, Steelyard merchant, ii. 17-20, 65

—— Theodoricus, ii. 18-19

Borough, Lady, ii. 256

Boston, U.S.A., ii. 210, 347

Boswell, William, ii. 65

“Bottle, The,” Bermondsey, i. 262

Botzheim, von, family, i. 33

—— Johann von, i. 33; ii. 332

—— Michael von, i. 33

Bouchot, Mons., i. 305

Boulogne, i. 286, 326; ii. 144, 303

—— Captain of, ii. 6

—— siege of, ii. 119

Bourbon, Nicolas, i. 211, 227, 328; ii. 38, 63, 72-75, 79, 90-91, 92 note, 288

Bourges Cathedral, i. 175-176

Brabant, i. 269

Bracquemond, Félix, etcher, i. 173

Braganza, Catherine of, i. 16

Brandon, Anne, Lady Powys, ii. 227

—— Charles, Duke of Suffolk, i. 269; ii. 11, 44 note, 59, 193, 214, 220, 223-225, 227, 241, 280

—— Charles, son of above, ii. 201, 220, 222-227, 258

—— “Duke of,” ii. 224

—— Eleanor, Countess of Cumberland, ii. 195, 227

—— family, ii. 227

—— Frances, Countess of Dorset, ii. 227

—— Henry, afterwards Duke of, ii. 63, 167, 220, 222-227

—— Mary, Lady Monteagle, ii. 227

Braneburgh, ii. 55

Brasseur, Herr, of Cologne, i. 344 note

Braun, Urbium Præcipuarum Mundi, &c. (1583), i. 276

—— photographer, ii. 72, 342

Bray, i. 78

—— Sir Edward, of Shere, i. 309-310

—— family, of Shere, i. 309

Brede Church, Sussex, ii. 272

Breidrood, Lord of, ii. 116

Brentano-Birckenstock Sale (1870), ii. 207

Brentford, i. 300

Brera Gallery, see Milan

Brescia, i. 275

Breslau, i. 83

Bretten, i. 185

Brewer, Dr., i. 256, 315; ii. 390

Brian, Sir Francis, Master of the Toils, ii. 142, 144-146

Brickdon, Huntingdonshire, ii. 226

Bridewell Hospital, see London

—— Palace, ii. 42-43, 292

Brighton Art Gallery, ii. 104

Bristol, Marquis of, ii. 72

British Institution Exhibition, 1846, ii. 359

British Museum, Print Room, i. 21-22, 63, 80, 146, 156, 182, 188, 207, 214 note, 307, 324, 356; ii. 26-27, 40, 61, 92 note, 113, 196, 211, 219, 226-227, 246, 247 note, 254, 269-270, 273-274, 276-280, 283-284, 314, 327, 337

Brocklebank, Mr. Ralph (collection), i. 54 note

Brockwell, Mr. Maurice W., i. 354-355, 357

Browne, Sir Anthony, ii. 180, 227

—— John, serjeant-painter, i. 258-262, 273-274, 314

Bruce, Mr., ii. 79

Bruges, i. 289; ii. 5, 238-239; Carmelite Church, i. 245; Golden Fleece Exhibition (1907), ii. 141 note; Painters’ Guild, i. 269

Brunner, Barbara, i. 35

Brunswick Gallery, i. 73, 79; ii. 18, 22, 323, 326, 353

Brussels, i. 170; ii. 57, 61, 115-116, 119-120, 125, 127, 129, 140-141, 148, 150, 153, 155, 180, 349

Brussels Exhibition of Miniatures (1912), ii. 57 note, 230

—— Museum, i. 304

Bruyn, Bartholomäus, i. 96

Buccleuch, Duke of (collection), ii. 62, 88, 109, 170, 192-194, 221-222, 230-231, 234, 237-238, 346, 351

Bucer, Martin, ii. 225

Buchanan, dealer, ii. 37

Büchel, Emmanuel, i. 113, 205

Buchheit, Dr. Hans, ii. 241-242

Buckingham (town), ii. 52

—— Duke of, i. 166, 240, 320

—— —— Collection and Inventory (1635), i. 320; ii. 14, 87, 215, 237, 308

—— Earl of, ii. 292

—— Edward Stafford, Duke of, ii. 44 note

—— House, ii. 26

—— Palace, ii. 249

Bugenhagen, Interpretation of the Psalms, i. 198

Buildwas Park, Shropshire, ii. 212, 348

Bullinger, Heinrich, ii. 156

Bulstrode Park, Bucks., ii. 52-53, 352

Burckhardt family, i. 74

Burckhardt, A., ii. 390

Burckhardt-Werthemann, D., ii. 390

Büren, Colonel May von, i. 71-72

Burford Priory, Oxfordshire, i. 301-302 ii. 335

Burgkmair, Hans, i. 4, 6, 12, 30-31, 55 note, 74

—— Thomas, i. 4

Burgratus, Francis, ii. 152, 172-173

Burgundy, ii. 38

—— county of, ii. 150

—— duchy of, ii. 150

Burke’s Peerage, ii. 225

Burleigh House, ii. 107

Burlington, Earl of, ii. 294

—— Fine Arts Club Exhibition (1906), i. 20, 81

—— —— (1909), i. 269, 286-287, 303, 308, 332; ii. 81, 85, 88, 103-104, 107, 109, 165, 167, 169-170, 193-194, 199, 204, 210, 221-222, 230, 234-239, 384-386

—— —— Catalogue, ii. 106, 194, 204, 233-235, 239

—— House, ii. 135

Burlington Magazine of Fine Arts, ii. 23, 45 note, 52 and note, 60 note, 65, 228-229, 231, 337, 400

Burnet, Bishop, History of the Reformation, ii. 178-179

Burrell, Sir William, i. 320

Burton, Sir Frederick, ii. 44

Bute, Marquis of (collection), i. 266; ii. 102

Buttery, Mr. Ayerst H., i. 353, 357-358; ii. 351

Buttessey, Bamardyne, ii. 188

Butts, Edmund, ii. 210-211, 309

—— family, ii. 210-211

—— Lady, ii. 83, 205, 209-210, 255

—— Sir William, ii. 73, 205, 208-211, 255, 289, 291, 309

Byfield, John, wood-engraver, i. 214

Bygnalle, Rychard, painter-stainer, i. 261

Byrom, George, of Salford, ii. 6

Calais, i. 163, 178, 258-259, 268, 273, 289; ii. 118, 144-145

Calard, Rychard, painter-stainer, i. 261

Caledon, Earl of, ii. 58-59, 351

Calendars of Letters and Papers, Foreign and Domestic, &c., i. 273, 284, 287 note, 312, 314, 327, 334, 356-357; ii. 4, 6, 10, 11, 15, 19, 21, 43, 92, 120, 141, 146, 152-153, 172, 179-180, 202, 253, 272, 298

“Calumny of Apelles,” i. 62

Cambridge, ii. 211; Corpus Christi College, ii. 61; Fitzwilliam Museum, ii. 43, 71, 204-205, 304; King’s College, ii. 270; Pepysian Library, ii. 346; St. John’s College, i. 325; ii. 226; Trinity College, ii. 101, 332; University, ii. 244

Campo, History of Cremona, ii. 137

Campori, Monsignor, i. 306

Camusat, Nicolas, antiquary, ii. 41-42

Canaletto, ii. 346

Canterbury, ii. 334

—— Archidiaconal Court of, ii. 302

—— Prerogative Court of, i. 262

Cappes, Adryan, ii. 333

Carden, R. W., Italian Artists in England, &c., i. 287 note

Cardiff, ii. 27 note

Cardon, Mons. C. Léon, Brussels (collection), ii. 61

Carew, Sir George, ii. 256

—— Sir Nicholas, Master of the Horse, i. 279, 337; ii. 65, 87-89, 256, 260

—— Lady, ii. 87 note, 260

—— Sir Peter, portrait by Flicke, i. 306

Carl the Big, Emperor, ii. 326

Carleton, Sir Dudley, i. 241; ii. 341

Carlisle, Earl of, ii. 245 note

Carmeliano, Peter, of Brescia, i. 275

Carmenelle, Elys, see Carmillian Alis

Carmillian, Alys or Ellys, i. 273-276, 314

Carmillione, Elisa, see Carmillian

Carmyan, Ellys, see Carmillian

Carne, Dr. Edward, ii. 131, 133, 173

Caroline, Queen, wife of George II, ii. 249

Carracci, Agostino, ii. 137

Carwardine, Sir Thomas, Master of the Revels, ii. 244

Caspar, Lucerne goldsmith, i. 64

Cassel, i. 180

Castiglione, Count Balthazar, ii. 38

Castillon, Louis de Perreau, Sieur de, French Ambassador in England, ii. 64, 139-145, 152, 154

Castle Howard, ii. 44, 104, 245

Catherine of Braganza, see Braganza

Cavalcanti, Bernardo, i. 271

—— family, i. 270

Cavendish’s Life of Wolsey, ii. 109

Cavendish, Richard, ii. 11

Cazillac, François de, see Cessac

Cebes of Thebes, i. 193

“Cebes, Table of,” i. 193-195

Cellini, Benvenuto, i. 257, 272

Cerny, Prince de (collection), ii. 45 note

Certosa of Pavia, i. 69, 76, 140

Cessac, De, family, ii. 46

—— François de Cazillac, Baron de, ii. 44, 46

Chaloner, Thomas, ii. 214

Chamber, Dr. John, ii. 65, 112, 205, 208-209, 255, 289, 291

Chamberlaine, John, Imitations of Holbein’s Drawings, i. 334; ii. 249-250

Chamberlayne, Francis, ii. 56

Champagne, ii. 147

Chantilly, i. 11, 16; ii. 44, 52, 245

Chapuys, Eustace, Imperial Ambassador in London, ii. 30, 32, 58-59, 111, 118, 124, 152, 172

Charing Cross, i. 265

Charles I of England, i. 106, 166-167, 172, 334; ii. 104, 198, 224, 234, 245

—— —— Collection and Catalogue, i. 165-166, 173, 304 note, 334; ii. 13-14, 20, 24-25, 62, 81, 107, 110, 166, 188, 209, 224, 233-234, 245-246, 248, 253, 274, 308

—— II of England, i. 16, 97; ii. 94-95

—— V, Emperor, i. 19; ii. 6, 30, 32, 40, 42, 111, 114, 117, 124, 131-133, 137-138, 148, 152, 171-172, 177

—— VIII of France, his tomb, i. 271

—— Prince, of Hesse-Darmstadt, i. 242

—— de France, Monsieur, ii. 40

Chateaudun, ii. 343

Chatsworth, i. 336; ii. 97 note, 101, 103 note, 248, 283, 285-286, 351

Chatto, Treatise on Wood Engraving, i. 223, 227; ii. 391

Chaumont, ii. 147

Cheam, i. 276

Cheke, Sir John, ii. 225, 244

Chelsea, i. 289-290, 302, 314, 316, 338; ii. 1, 145, 272, 338

—— Church (More Chapel), ii. 271-272

Cheltenham, ii. 169

Cherbourg, i. 284

Cheseman, Anne, ii. 56

—— Edward, ii. 54-55

—— Robert, of Dormanswell, ii. 54-56, 203, 206, 255

—— William, of Lewes, ii. 55

Chetwynd, Mr., ii. 183

Childe, John, painter-stainer, i. 261

Cholmondeley Sale (1898), ii. 194

Chrétien, Félix, painter, of Auxerre, ii. 45 note

Christie’s, Messrs., i. 301, 307, 332; ii. 45 note, 61 note

Christina of Denmark, Duchess of Milan, see Milan

Christina, Queen of Sweden, i. 180

Chur, i. 145

Churchill, Mr. Sydney J. A., ii. 52 note, 391

Cibber, Caius Gabriel, sculptor, ii. 33

Cibber, Colley, dramatist, ii. 33

Circignano, Nicolo, see Pomerantius

Clarendon Press, ii. 332

Clauser, Jakob, i. 46, 87; ii. 311 note

Clement, Dr. John, i. 293; ii. 340

—— Margaret, see Gigs

Cleve, Joos van (“Sotto” Cleef), ii. 105-107, 206, 308

Cleves (duchy), ii. 12 note, 174-175, 177, 180

—— Amelia of, ii. 154, 174-176, 178, 236

—— Queen Anne of, i. 178; ii. 55, 65, 114-116, 154, 171, 173-184, 192, 215, 232, 235-236, 271

—— Duchess of, ii. 178

—— Duke of, ii. 116, 172-173, 178, 180

—— young Duke of, ii. 172-174, 177

—— Sybille of, Duchess of Saxony, ii. 173, 178

Clinton, Edward, Lord, ii. 256

Clouet, François, ii. 261-262

—— Jean, ii. 44, 106, 194, 216 note, 261

Clouets and their school, i. 175

Cob, Thomas, painter-stainer, i. 261

Cobham, George Brooke, Lord, ii. 256

—— Lord, ii. 257

Cochin, N., engraver, i. 299

Cocles, Peter, i. 163

Cokayne family, ii. 169

Cokethorpe Park, Ducklington, Oxfordshire, i. 301

Colbert, i. 335

Coligny, Gaspard de, Admiral of France, miniature by Bettes, ii. 309

College of Heralds, i. 262

Colmar, i. 5, 18, 91, 190

Colnaghi, Messrs. P. & D., & Co., ii. 136

Cologne, i. 214, 328, 335, 344 note; ii. 5, 15-16, 19, 22, 175, 202

—— Bible (1480), i. 230 note

—— University, ii. 19

Colvin, Sir Sidney, i. 177-178; ii. 38, 44, 48, 69, 196, 391

Colynbrowgh, Hans, Steelyard merchant, ii. 6

Commonwealth Commissioners (sale of Charles I’s pictures), i. 167; ii. 14, 25, 107, 137, 170, 246

Como, i. 77, 95, 98, 100, 139

Compiègne, ii. 131, 148, 344

Compleat Gentleman (Peacham), ii. 186 note, 270, 332

Condover Hall, Shropshire, ii. 194

Connoisseur, The, ii. 221

Conon, Johann, of Nuremberg, i. 84

Constable, Sir Thomas, Bt., of Tixall, ii. 61

Constance (town and lake), i. 1, 32-33, 44 note; ii. 331-332

Constantyne, George, ii. 177

“Conton, Maistre,” ii. 59

Conway, Sir Martin, i. 335; ii. 83, 391

Cook, Sir Frederick (collection), i. 20

Cope, Robert, painter-stainer, i. 261

—— Sir Walter, i. 323, 328 note

Copenhagen Museum, i. 16

Copp, Dr. Johannes, Evangelistic Calendar, i. 200

Cornelisz, Lucas, ii. 81, 83

“Coronation of Henry VIII” (wall-painting in Westminster Palace), i. 261

Correggio, i. 88

Correra, Mons, de, ii. 123

Corrozet, Gilles, i. 209, 212, 227

Corsham House, ii. 137

Corsi family, i. 270

Corsini Gallery, Rome, i. 166

Corvus, Johannes, i. 269-270; ii. 303-304

Cosimo II, Grand Duke of Tuscany, ii. 84

Cosmography (Sebastian Münster), i. 173, 198, 350

Cosway Collection, ii. 226

Cotes, Mr. Charles, ii. 35

Cottrell-Dormer family, i. 301

“Court of Francis II,” painting by Félix Chrétien, ii. 45 and note

Court, Lord Benedike, ii. 123

Coutrai, i. 77

Coverdale’s Bible, title-page, ii. 76-77, 91, 106

Cowden, Kent, i. 262

Cowdray House, ii. 204

Cox, Miss Mary, ii. 64, 391

Cracherode, Rev. C. M., i. 324

Cranach, Lucas, the Elder, i. 168; ii. 174

Cranmer, Thomas, Archbishop of Canterbury, ii. 60, 73, 305-306

Cranmer’s Catechism, ii. 78-79

Cratander, i. 62, 188, 200-202

Cresacre, Anne, wife of John More, i. 292, 294, 303; ii. 335-337

—— family, i. 300

Crispin, John, jeweller of Paris, ii. 288

Croft, Sir Archer, ii. 212

—— Elizabeth, ii. 212

—— Rev. Herbert, Bishop of Hereford, ii. 212

Croi, Charles de, Prince de Chimaix, ii. 154

Croke, Master John, Commissary-General, ii. 295

Cromhout, Jacob, and sale, i. 241-244

Cromwell family, ii. 231 note

—— Thomas, Earl of Essex, K.G., i. 262, 278, 326, 329; ii. 3, 6, 11, 13, 58-62, 65, 76, 88, 92, 115-122, 124, 127, 138, 140, 146, 149-150, 152-153, 172, 174, 178-179, 192, 199, 211, 222, 231-232

—— —— —— accounts, i. 281; ii. 12, 232

Crozat Collection, ii. 27, 31, 246

Crust, John, painter, i. 287

Crystyne, Thomas, painter-stainer, i. 261

Cuddington, i. 276

Cudnor, William, painter-stainer, i. 261

Culpeper, Thomas, ii. 55, 196

Cumberland, i. 178

—— Countess of, see Brandon, Eleanor

—— Duke of, ii. 267

Cunningham, Allan, ii. 267

Curio, Valentine, publisher, i. 202

Cust, Lionel, M.V.O., F.S.A., i. 264, 269, 270, 275 note, 281, 319 note, 335; ii. 10-11, 12 and note, 13, 60 and note, 61, 65, 108, 133, 192, 193 note, 194-196, 205 note, 231-233, 245, 248, 253-254, 283, 296, 307, 337, 391-392, 400

“C. V.” (metal cuts after Holbein), i. 188

Cyny, Domynyke, i. 273

Dacres, Alice, wife of Robert Cheseman, ii. 56

—— Alderman Henry, of Mayfield, ii. 56

Dalkeith, ii. 305, 351

Dallaway, Rev. James, i. 301, 325; ii. 189, 219 note, 247 note, 249, 268

Dalton, keeper of George III’s drawings, ii. 249

Dance of Death (Douce), i. 214

“Dance of Death,” early representations, i. 204-206

“Dance of Death” woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191, 204-224, 290; ii. 187-188, 314-315

“Dance of Death,” at Whitehall, ii. 186-188

Dance, House of the, i. 117-121, 200; ii. 315

Dancey, Elizabeth, i. 293, 296, 301, 303; ii. 336, 339

Dantiscus, Johannes, Bishop of Kulm, i. 179-180

Danzig, ii. 5

Darcy of Chiche, Thomas, 1st Lord, ii. 305

Darmstadt, Grand-Ducal Palace and Museum, i. 50, 232; ii. 316, 328, 354

Darnley, Lord, and his brother Charles (portrait by Eworthe), ii. 307

David, Gherardt, i. 245, 289

—— Jakob, Basel goldsmith in Paris, i. 176; ii. 162-164, 298, 300

Davies, Mr. Gerald S., i. 12, 29, 42, 96-97, 108, 112-113, 245, 250, 288-289; ii. 252-253, 392

—— Miss, ii. 182

—— Mr. Randall, ii. 215 note, 392

Dean, engraver, i. 295 note

De Cessac, see Cessac

Delahante, Parisian picture-dealer, i. 245

Delahay, William, i. 265

Delawarr, Countess, i. 308

De Levens en Werken, &c. (Immerzeel), i. 265

Delfino family, of Venice, i. 242-244

Delfino, Giovanni, i. 242

Demayns, John, see Maiano

Demyans, John, see Maiano

Denisot, Nicolas, i. 304-305

Denmark, Christian II, King of, ii. 117, 130, 134, 136-137

—— Christian IV, King of, ii. 130

—— Prince of, ii. 137

Denny, Sir Anthony, ii. 127, 214, 276, 286, 307

Dent-Brocklehurst, Mr. H. (collection), i. 269, 286; ii. 237-238

Deovanter, Perpoynt, Steelyard merchant, ii. 6

Dequevauvillers, François, engraver, i. 173

Derby, Edward Stanley, Earl of, ii. 256

—— Earl of, Collection (1865), ii. 183

Dereham, Francis, ii. 55, 196

Dering, Sir Edward, Bt., ii. 334

Desenfans Collection, ii. 293

Dessau Library, i. 159

Deuchar, David, i. 214

Deutsch, Niklaus Manuel, i. 159, 206, 249, 340

Develay, V., ii. 392

Deventer, ii. 18-19

Devil’s Bridge, Andermatt, i. 77, 138

Devonshire, Duke of (collection), ii. 93, 97, 99, 141, 204, 248, 351, 400

Devynk, John, painter, i. 278

Dexter, Mr. Elias, Holbein’s Ambassadors Identified, ii. 38-39

Dickes, Mr. W. F., Holbein’s Ambassadors Unriddled, i. 305 note; ii. 5, 17 note, 18-19, 32, 39, 45-47, 48 and note, 49, 50, 158, 392

Dictionary of National Biography, i. 302; ii. 209, 225

Didlington, Norfolk, i. 325

Dielitz, Privy Councillor, ii. 15

Diepold (Augsburg), i. 2, 4

Diesbach, Nikolaus von, Dean of Solothurn, i. 109

Digby, John, Earl of Bristol, ii. 309

Dijon, i. 149, 174

Dillon, Viscount, i. 323

Dimier, Mons. L., i. 281-282; ii. 254, 306, 392

Dinteville family, ii. 41

—— Claude de, ii. 44

—— François II de, Bishop of Auxerre, ii. 43, 45 note

—— Jean de, Bailly of Troyes, French Ambassador to England, ii. 35-36, 38-46, 49-53, 64, 69, 255, 257, 284

Diocletian, Emperor, i. 15

Ditchley, Enstone, Oxfordshire, i. 323; ii. 82, 101

Dobson, Austin, i. 214 note

Dodgson, Mr. Campbell, i. 21, 214 note, 309; ii. 226, 227 note, 252, 392

“Domyngo,” Italian painter, i. 314

Donaueschingen, i. 38, 40

Donauwörth, i. 9

Doort, A. Van der, see Van-Doort der Doort

Dorchester House, i. 89 note; ii. 72

Dordrecht, ii. 342

Dormanswell, near Norwood, ii. 54

Dorset, Marchioness of, ii. 256

Douce, Francis, i. 214; ii. 182, 186-188, 392

Dover, i. 258

“Drei Herrn,” i. 124

Dresden, i. 204, 244; ii. 206, 211

—— Gallery and Print Room, i. 17, 201, 237, 325 and note; ii. 38, 63, 65, 67-68, 263, 329, 354

—— Holbein Exhibition (1871), i. 237

Dublin, i. 336; ii. 350

Ducheman, John, servant to Hans of Antwerp, ii. 13

Ducie, Mr., ii. 215

Ducklington, Oxfordshire, i. 301

Ducy, Sir William, i. 304 note

Dugdale, Sir William, i. 322

Duisburg, ii. 20-21

Dunn, Mr. James H., Canada (collection), ii. 195, 348

Dunois, the Bailly of, ii. 343

Dunster Castle, ii. 307

Düren, ii. 115, 173, 175-176, 181, 184, 235-236

Dürer, Albrecht, i. 42-44, 56, 60, 92, 159, 166, 168, 170-171, 197, 224, 264, 329; ii. 266, 270, 318 and note, 319-320

Düsseldorf, ii. 175

Dutch States, i. 107; ii. 57

Dyck, A. van, see Van Dyck

Earp, F. R., ii. 392

East Bursham, i. 270

East Hendred, Berkshire, i. 300, 304 note; ii. 335, 340

Easterlings, see Steelyard

Eastlake, Sir Charles and Lady (collection), ii. 26 and note

Ecclesiastical History (Fox), ii. 309

Edinburgh, ii. 141; Advocates’ Library, ii. 148, 343; University Library, ii. 218

Edward III of England, ii. 2

—— IV of England, ii. 197

—— VI of England, i. 178, 279, 285-286, 314 note, 326; ii. 12 note, 65, 70, 97 and note, 107, 113, 127, 136, 138, 164-171, 200, 205, 208, 226-227, 234-235, 238-239, 243-244, 255, 269, 288, 303-305, 310

“Edward VI transferring Bridewell to the City of London,” formerly attributed to Holbein, ii. 169

“Edward VI,” miniature by Bettes, ii. 309

“Edward VI,” portrait by “Hans Hueet,” ii. 308

Edward VI, his portraits, ii. 164-171

Eewouts, Hans, see Eworthe

Eglin, painter, of Lucerne, i. 72

Egmond, Earl of, ii. 116

Eigner, A., i. 24, 110

Einstein, L., ii. 392

Eisenach, i. 16

Elberfeld Collection, ii. 202

Eichinger, Anna, i. 3; ii. 162

Elector Palatine, ii. 20

Eleonora of Spain, wife of Francis I, ii. 106

Elizabeth, Princess, see Elizabeth, Queen of England

“Elizabeth, Princess,” portrait once attributed to Holbein, ii. 110, 169

Elizabeth, Princess, of Prussia, i. 242

—— of York, wife of Henry VII, ii. 91, 94-96, 235

—— Queen of England, i. 269, 314 note; ii. 13, 24, 84, 92, 110, 133, 135, 208, 235, 239, ii. 272, ii. 292, 310

Eltham, i. 295; ii. 334, 337

Elyot, Sir Thomas, i. 336-337

Elyot, Lady, i. 336-337; ii. 258

“Embarkation of Henry VIII from Dover” (Hampton Court), i. 274

Emblems of Mortality (John Bewick), i. 214

Emendations of Pliny (B. Rhenanus), i. 168

Encomium Moriæ, see Erasmus

Engelberg, Burkhart, i. 20

Engel-Gros, Herr F. (Collection), ii. 71, 353

Engleberd, Melchior, painter-stainer, i. 261

English Artists in the reign of Henry VIII, i. 256-263

Enschede, publisher, of Haarlem, i. 183

Enstone, Oxfordshire, ii. 101

Epigrams (Sir Thomas More), i. 193

Episcopal Library, Augsburg, i. 4

Episcopus, Nic., i. 182

Epitomæ Historiæ Basiliensis (Wurstisen), i. 124

Erasmus, i. 44-49, 84, 86, 90, 146, 151, 161-174, 177-185, 192-193, 198-199, 253, 255, 288-292, 294, 298, 313, 321-324, 329, 338-343, 350-351; ii. 19, 25, 65, 188, 215, 256, 265, 276, 321, 329, 331, 337, 340-341

Erasmus, Adagia, i. 45, 49, 181; Colloquies, i. 171; Ecclesiastæ, &c., i. 181; Hyperaspistes, i. 291; Institution of Christian Marriage, i. 291; New Testament, i. 45, 62, 162, 192; Paraphrase of the Gospel of St. Mark, i. 172; Praise of Folly (Encomium Moriæ), i. 45-50, 85, 171; Praise of Matrimony, i. 191; Precatio Dominica (metal cuts by C. V.), i. 188; St. Paul’s Epistle to the Romans, i. 165

Eresby, Catherine Willoughby de, see Suffolk, Duchess of

—— William, 10th Lord Willoughby de, ii. 225

Erhart, Dominica, i. 4

Ermeland, i. 179-180

Eschenbach, Ulrich von, painter of Lucerne, i. 72

Este, Duke Francesco d’, ii. 66

Este-Modena, Duke Francesco of, ii. 67

Eustace, Clerk of the Works at Hampton Court, i. 327

Evangelic League, Diet of the, ii. 173

Evangelistical Calendar (Dr. Johannes Copp), i. 200

Evelyn, John, Diary, i. 97, 171, 276, 304 note, 323, 333; ii. 95, 188, 215; Sculptura, ii. 188

Evolls, Hans, see Eworthe

Ewen, Nicholas, gilder of Henry VII’s tomb, i. 271

Eworthe, Hans, painter, i. 270; ii. 307-308

Exeter, Duke of, i. 334

—— Marquis of (temp. Hen. VIII), ii. 87

—— —— (collection), ii. 107

Exhibitions, see Basel, Brussels, Burlington Fine Arts Club, Dresden, Manchester, Oxford, Royal Academy, Tudor, &c. &c.

Exposition du Palais Bourbon (1874), ii. 342

Eycks, the Van, see Van Eyck

Eyston, Mr. Charles John, i. 300, 304 note

Faber, Jakob, i. 188, 200; ii. 79 note

Fabri, Dr. Johann, bishop of Vienna, ii. 330-332

Fabrinus, Petrus, rector of Basel University, i. 145

Faesch, Johann Rudolf, ii. 328

—— Johann Rudolf (d. 1823), ii. 329-330

Faesch, Remigius, burgomaster of Basel, i. 239-240; ii. 328, 330

—— Dr. Remigius, grandson of above, collection and inventory, i. 5, 54 note, 88, 166, 168, 180, 239-241, 346; ii. 156, 328-330

Faeschische Museum, &c. (Major), ii. 329

Falkland, Viscount, i. 301

Fallen, Cyriacus, Steelyard merchant, ii. 17, 22

Farrer, picture-dealer, i. 303

Fattore, Il, see Penni, G. F.

Félibien, Entretiens sur les Vies, &c., ii. 25-26

Feltes, John, painter-stainer, i. 261

Fenrother, Alderman Robert, jeweller, ii. 287

Fenwolf, Morgan, see Wolf-Morgan, Morgan

Ferdinand, Archduke, ii. 137

—— III, Emperor, i. 91

Ferrara, Duke of, i. 284

Ferrari, Gaudenzio, i. 89 note, 95, 105 and note

Ferreris, Bartholomäus, i. 28

Fidler, G., ii. 392

Field of Cloth of Gold, i. 259, 273; ii. 86, 103 note, 106

“Field of Cloth of Gold” (Hampton Court), i. 258, 274

Figdor Collection, ii. 52 note

Fischart, Johann, ii. 94, 186 note

Fisher, John, Bishop of Rochester, i. 169, 289, 299, 323-325, 337; ii. 76, 212, 254, 267

Fitz-Alan family, ii. 135

—— Henry, Earl of Arundel, see Arundel

—— Lady Joan, ii. 133

—— Lady Mary, ii. 135

Fitzroy, Henry, Duke of Richmond and Suffolk, natural son of Henry VIII, ii. 110, 257

Fitzwater, Lord, ii. 133

Fitzwilliam Museum, Cambridge, ii. 43, 71, 204-205, 304

Flaxman, John, ii. 267

Fleckenstein, Hans, of Lucerne, i. 79; ii. 323-324

Fleischmann, Privy Councillor, of Strasburg, ii. 27

Fliccius, Gerlach, painter, i. 270; ii. 303, 305-306

Flint, Richard, painter-stainer, i. 261

Florence, i. 271-272, 276-278, 280

—— Uffizi Gallery, ii. 23, 83, 355

—— Duke of, i. 280

Flötner, Peter, of Nuremberg, ii. 278

Flower, Dr. Wickham, ii. 184 note

Flushing, i. 289

Folkestone, ii. 302

—— 1st Lord, i. 164

Fontainebleau, i. 280-284, 315; ii. 75, 186, 333

Foreign artists at the Court of Henry VIII, i. 256-258, 263-287

Forest Monstier, ii. 40

Förster, i. 15

Fortescue, Mrs., Holbein, i. 108-109, 248 note, 351; ii. 49, 393

Foster, Mr. J. J., British Miniature Painters, ii. 240, 393

“Fountain of Youth,” i. 70

Fox, i. 329

—— Ecclesiastical History, ii. 309

Foxe, Richard, Bishop of Winchester, i. 269; ii. 304

France, Admiral of, i. 284

Franche Comté, ii. 150

Francis I, King of France, i. 211, 217, 229, 257, 259. 266, 269, 281-285, 311; ii. 6, 40, 44, 45 note, 72, 91, 106, 114, 124, 131, 133, 139-142, 144-145, 148, 154, 171, 177, 197, 333

Francis the Courier, ii. 117

Frankfurt, i. 9, 29, 161 note, 224; ii. 173

—— Staedel Institut, ii. 205, 207, 264, 354

Franks, Sir Augustus W., F.S.A., ii. 189, 296-297

Franz, Arnold, of Basel, ii. 219, 240-241

Freeman, engraver, ii. 61

—— John, jeweller, ii. 288

Freiburg, i. 90-91, 111, 177, 180, 185, 338, 341, 351; ii. 331, 341

—— University of, i. 84, 145; University Chapel in Minster, i. 88, 91; ii. 354

Freihamer, Thomas, i. 13

Frellon, Jehan and François, publishers, of Lyon, i. 212-213, 224, 227-228

French royal accounts, i. 281, 284

Frescobaldi family, i. 270

Frewen, Mr. T., i. 320; ii. 348

Frey family, of Lucerne, i. 65

Frick, Mr. H. C., New York (collection), ii. 340, 348

Friedländer, Dr., i. 20; ii. 196, 354

Frisch, A., ii. 393

Friso, Johan Willem, Prince of Orange-Nassau, ii. 57

Froben, Hieronymus, i. 182, 350

—— Johann, printer of Basel, i. 44-45, 47, 57, 62, 162-163, 166-168, 181-184, 188-192, 194, 198, 201, 208, 253, 290, 339; ii. 241, 256, 329, 331

Frölicher, Elsa, Die Porträtkunst H. Holbeins des J., &c., ii. 311 note, 393

Fromont, Hans de, ii. 11

Froschover, Christopher, printer of Zürich, i. 202, 228; ii. 76

Fruytiers, Philip, painter, ii. 198, 200

Fry, Rt. Hon. Lewis, ii. 81-82

—— Roger E., ii. 82-83, 99, 108, 169, 393

Fugger family, i. 6, 19

—— Anton, i. 19

—— Jacob, i. 19

—— Raimund, i. 19

—— Ulrich, i. 19

Fulham, i. 264; ii. 210

Fürstenberg, Prince Carl von, i. 38

Fusina, Andrea, tomb at Milan, i. 140

Gage, Sir Edward, ii. 65

Gairdner, Dr. James, ii. 153 and note, 390

Galerie du Musée Napoléon, i. 173

Galway, Viscount (collection), i. 328 and note; ii. 104

Ganz, Dr. Paul, director of the Public Picture Collection, Basel, i. 35, 39, 42, 44, 47, 56, 65, 69, 79, 81, 85 note, 88, 97, 107, 109, 112, 121, 130, 139-140, 143, 148-149, 151, 153, 157, 159-160, 174, 184, 234 note, 344 note, 346, 350, 356; ii. 14-15, 117, 23, 26 note, 28, 52, 71, 83, 86, 87 note, 88 note, 93 note, 103, 108, 186 note, 193, 196, 213 and note, 214, 226-227, 230, 257, 260, 292, 323-324, 327-328, 347, 352, 393

Gardiner, Stephen, ii. 138

Gardner, Mr. E., ii. 346

Gardner, Mrs. John, Boston (collection), ii. 210, 347

Garrard, Martin, jeweller of Paris, ii. 288

Gassner, Veronica, i. 19

Gates, Richard, painter-stainer, i. 261

“Gaunt, a painter of,” i. 268

Gauthiez, Mons. Pierre, i. 78, 81; ii. 393

Gay, Mr. Walter, Paris (collection), i. 171

Gazette des Beaux-Arts, i. 173, 238

Gebweiler (town), i. 32

Gebwiler, i. 84

Gegenbach, Pamphilius, i. 62

Geigy-Schlumberger, Dr. Rudolph, Basel (collection), ii. 213, 358

Gelderland, ii. 177

Genoa, i. 286

Gentils (Gentilz), President, i. 282-283; ii. 333

Gentleman’s Magazine, i. 302

George II, King of England, ii. 249

—— III, King of England, ii. 249

——, Simon, ii. 205, 207-208, 252, 255

“Gerarde,” i. 267

“Gerhart, Master, Illuminator,” see Hornebolt, Gerard

German Merchants in England, see Steelyard

German Old Testament (Petri), i. 229

Gerster, Hans, town archivist of Basel, i. 109, 111

Gesner, Conrad, of Zürich (Partitiones Theologicæ, &c.), i. 224

Gesta Romanorum, i. 67

Geuchmatt (Thomas Murner), i. 59

Ghent, i. 265, 268, 289, 307; Guild of St. Luke, i. 263; St. Bavon, i. 264

Ghirlandajo, Ridolfo, i. 276

Gibson, Richard, i. 260, 315

Giehlow, Dr. Carl, i. 21

Gigs, Margaret, i. 293, 296, 301, 303; ii. 337, 339-340

Gilpin, ii. 189

Gisze, Georg, Steelyard merchant, ii. 4-8

Glarus, i. 344

Glaser, Dr. Curt, Hans Holbein the Elder, i. 15, 20; ii. 393

Glass-painting, Holbein’s designs for, i. 135-157

Glass-painting in Switzerland, i. 135-136

“Gleane, The,” Southwark, i. 262

Glendon Hall, i. 269

Godefroy brothers, ii. 41-42, 47

Godfrey, R., engraver, ii. 346

Godington Park, Kent, i. 332

Godolphin-Quicke Collection, ii. 220

Godsalve, Sir John, i. 299, 325-327, 337; ii. 65, 255; miniature by Bettes, 309

—— Thomas, i. 299, 325-326, 337; ii. 65, 255

Goelenius, of Louvain, i. 179-180

Goes, van der, see Gow, John van der

Goette, A., ii. 393

Golden Fleece, Exhibition of the, Bruges (1907), ii. 141 note

Golden Norton, ii. 11

Goldschmidt-Przibram, Frau L. (collection), ii. 57, 349

Goldsmiths’ Company, ii. 11, 13

Goltzius, ii. 24

Gonzaga, i. 234 note

Goodrich Court, ii. 182, 235

Gostwick’s Accounts, ii. 68

Gow, John van der (Hans of Antwerp), ii. 10, 12-13

Gower, Lord Ronald Sutherland, i. 309

Graf, Urs, i. 47, 62, 158, 193, 197, 340

Grafton, ii. 176

Graham, William, Collection, i. 54 note

Granger, ii. 68, 194

Great Fire of London, i. 261; ii. 24

Great Harry (ship), i. 259, 273

Great Wardrobe Accounts, i. 262

Greek New Testament (Bebelius), i. 225

Greenwich, ii. 184, 240, 294, 297-298; Banqueting House (1527), i. 274-275, 281, 290, 311-316, 331, 336-337; ii. 64, 91, 310 note, 346; King’s House, ii. 337; Palace, i. 271, 311, 317; ii. 208; Park, ii. 32; Revels at, i. 260

Gregorius, sculptor, of Augsburg, i. 9

Gregory XIV, Pope, i. 305-306

Grenchen, Chapel of All Saints, i. 110

Grenville, Rt. Hon. George, ii. 237

Gresham, Sir Thomas, i. 287; ii. 205, 304

Grey, Henry, Duke of Suffolk, i. 269

—— Thomas, i. 253

—— of Wilton, William, Lord, portrait by Flicke, ii. 305

Greystoke Castle, i. 177-179; ii. 214

Grien, Hans Baldung, i. 31, 56, 88, 147, 168

Griesher, Hans, i. 19, 20

Griffoni, i. 243

Grimm, H., i. 24, 165, 169

Grinder, Mr., ii. 137

Grooth, Nikolaus, i. 75, 92-93

Grosvenor Gallery, Winter Exhibition (1878-1879), ii. 374

Grün, Heinrich, i. 20

—— tailor, of Augsburg, i. 20

Gruner, Herr L., ii. 67

Grünewald, Matthias, i. 31, 147-148

Grünstadt, Bavaria, i. 1, 23

Gsell Collection, ii. 57

Guarienti, Pietro, i. 17

Gubbins (Gobions), Hertfordshire, i. 301; ii. 335-336

Gueiss, Albert von, ii. 5

Gueldres, ii. 178, 344

Guest, Miss, of Inwood, i. 332; ii. 351, 355

—— Lady, Theodora, i. 332

Guicciardini, Lodovico, i. 265; ii. 218, 239 and note

Guild of St. Luke, see Ghent

Guise, Anthoinette de Bourbon, Duchess of, ii. 144, 146-150, 337, 343-344

—— Anthoinette de, daughter of Duke Claude, ii. 148-149, 344

—— Claude, Duke of, ii. 139, 144-146, 150, 154, 343-344

—— Claude, son of Duke Claude, ii. 148, 343

—— François II, Duke of, ii. 147

—— Louise of, ii. 142-146, 148-149, 153 and note, 154-155, 173, 176, 343-344

—— Marie of, Duchess of Longueville, afterwards Queen of Scotland, ii. 139-144, 147-149, 153 and note, 154-155, 235, 343-344

—— Renée of, ii. 144-146, 149, 155, 173, 176

Guises, Castle of the, at Joinville, ii. 147

Guisnes, i. 259, 273

Guldeford, Sir Henry, i. 299, 313, 316-321, 337; ii. 1, 2, 65, 250, 254-255

—— Lady, i. 299, 318, 320-321, 337; ii. 65, 87 note, 147

—— Sir Richard, i. 319

—— Joan, Lady, i. 319

Guldenknopf, Barbara, i. 109

Gwalther, Rudolph, ii. 156 and note

Gysin, see Gisze

Gyssler, Jacob, butcher, of Basel, Holbein’s son-in-law, ii. 301

Haarhaus, J. R., i. 165 note

Haarlem, i. 183

Haas, publisher, of Basel, i. 188

Haberdashers’ Company, i. 260

Haddon, Dr. Walter, ii. 226

Hague, The, i. 179, 241; ii. 59, 229, 341

—— Gallery, i. 106-107, 346-347; ii. 54, 57, 65, 113, 203, 229, 355

Haig, Mr. J. R., i. 333

Hall’s Chronicle, i. 188 note; ii. 79, 294, 309

—— Triumphant Reigne of Kynge Henry the VIII, i. 311-312, 316

Halsey, Miss Ethel, Gaudenzio Ferrari, i. 89 note, 95 note; ii. 393

Hamburg, ii. 6

Hamilton, Duke of, i. 172

Hampton Court Palace, i. 95-96, 98, 165-167, 183-184, 258, 267, 270, 274, 281, 283-284, 301, 315-317, 333; ii. 77, 86, 93-94, 97, 104-106, 136, 192, 204, 215, 267, 292, 304, 310, 349

Hampton Court Palace Accounts, i. 277

Handzeichnungen Hans Holbeins des Jüngeren (Ganz), ii. 323-327

Hanfstaengl, Mr. F., ii. 250

Hanover, Provinzial Museum, i. 184, 351; ii. 15, 164-166, 205, 353-354

Hanseatic League in London, see Steelyard

Hanworth, i. 278

Hardie, Mr. Martin, ii. 219 note

Harding, S., i. 320

Hardwick Hall, ii. 97, 99, 101 note, 141, 205 note, 236, 351

Hardy, Mr. J. P., Collection, ii. 61 note

Haringworth, ii. 259

Harleian MSS., ii. 246

Harman, Dr. (Barber-Surgeons picture), ii. 291

Harris, John, Sir T. More’s “famulus,” i. 296, 301; ii. 336-339

Harrowby, Earl of, Collection, ii. 72 note, 61

Harrowden, i. 319; ii. 52, 86

Hartmann, Canon, i. 110

Hasse, George, Steelyard merchant, ii. 6

Hastings, Marquis of, ii. 80

—— plat of, i. 274

Hatfield Priory, Essex, ii. 267

Hauntlowe, Richard, painter-stainer, i. 261

Hauser, of Munich, i. 238; ii. 22 note

Havering, i. 278

Havre, Le, ii. 139-140, 143-144, 146, 148-149, 155, 344

“Haward, a Dutch Juello^r,” portrait by Eworthe, ii. 307

Hawkins, Mr. C. Heywood T., sale (1904), ii. 228, 239-240

—— Mr. J. Heywood (collection), i. 308 note

Hay, Mr., Savile Row, i. 304

Haydock, Richard, i. 302; ii. 218, 308

Hayes, Cornelis, court jeweller; ii. 73, 92, 164, 287-288

Hazlitt, W. Carew, ii. 345

Heath, Mr. Dudley, ii. 221-222, 307

—— John, see Hethe

Hebdenring, Wilhelm, i. 239

Heere, Lucas d’, ii. 307-308

Heerweghe, Jan van, i. 264

Hefner-Alteneck, Herr J. H. von, ii. 100

Hegner, Ulrich, i. 74, 77, 81, 84; ii. 156 note, 239

Heitz, P., ii. 394, 398

Hemingham, Sir Anthony, ii. 258

—— Lady, ii. 237, 256, 258

“Henegham,” see Hemingham

Henri II of France, i. 281; ii. 147

Henry II, Emperor, i. 114

—— III of England, ii. 51

Henry VI of England, i. 205

—— VII of England, i. 269, 271-272, 275; ii. 55, 94-96, 394, 188, 234-235, 267, 301

—— VIII, i. 97, 169, 176, 178, 256-259, 265-266, 268-270, 272-276, 279-280, 282-287, 294, 305-307, 311-312, 314-317, 319, 326-331, 338, 355-356; ii. 3, 11, 12 note, 36, 45 note, 54, 59, 60, 65, 67-68, 70-73, 76, 79, 86-87, 90-110, 112-115, 117-120, 122-125, 127, 129-136, 138-144, 145-146, 148-149, 151-152, 154, 157-159, 164, 169, 171-180, 182, 184-185, 186 note, 187-188, 192, 194, 196-197, 200, 208-209, 211, 217-218, 221, 223, 225, 231-239, 244-247, 263, 266-267, 271, 274, 276, 278-279, 282, 310, 313, 333, 338

—— —— his collection and inventory of pictures, i. 97; ii. 109, 127, 133-134, 137, 149, 170

—— —— portraits of, i. 266-267; ii. 93-109

—— —— his tomb, i. 272, 280-281, 287 note

Henry VIII (Shakespeare), ii. 211

“Henry VIII and his Family” (Hampton Court), ii. 97

Henry Grace à Dieu (ship), see Great Harry:Great-Harry

Henry, Prince of Wales, ii. 24-26

Henshaw, Charles, ii. 334

Hentzner, Paul, ii. 94-95, 97, 267

Heralds, College of, i. 262, 279

Herbert, Sir William, ii. 268

Herbster, Hans, i. 39, 40, 58, 60-61, 340

Hereford (town), i. 353; ii. 212

Heresius, see Harris, John

Herlins, Hans, i. 19

Hermitage Gallery, St. Petersburg, i. 61; ii. 62, 245-246

Heron, Cecilia, daughter of Sir Thomas More, i. 294, 297, 303, 357; ii. 250, 334-336

—— Essex, i. 300; ii. 334-335

—— Giles, ii. 334, 336

—— Margaret, ii. 335

—— Sir William, of Heron, Kt., ii. 335

Herrault, Christopher, jeweller of Paris, ii. 288

Hert, illuminator, i. 267

Hertenstein, Benedikt von, i. 70, 72-74, 162; ii. 278

—— Caspar von, i. 65

—— House decorations, ii 57-58, 64-72, 122

—— Jakob von, ii 57, 65-67, 69, 70, 74, 79

—— Leodegar von, i. 70

—— Peter von, Canon of Basel, i. 79

Hertford, Earl of, ii. 200

Hervey, Miss Mary F. S., Holbein’s Ambassadors, ii. 5, 39-41, 70, 45 note, 46-47, 49, 50, 52, 69 note, 257, 305, 327, 394

Herwart, Margreth, sister of Hans Holbein the Elder, i. 3; ii. 162

Hes, Dr. Willy, i. 25-26, 45, 47, 60, 63; ii. 394

Heseltine, Mr. J. P. (collection), i. 318 note, 324; ii. 71 note, 3

Hess, Hieronymus, painter, i. 81, 127-130

Hesse, Grand Duke of, i. 232

Hesse-Darmstadt, Prince Charles of, i. 242

Hethe (or Heath), John, painter-stainer, i. 261-263

—— Lancelot, painter-stainer, i. 263

—— Lawrence, painter-stainer, i. 263

Het Schilder Boek (Carel van Mander), see Van Mander:Mander

Hewen, Von, family, i. 145; ii. 326

—— —— Wolfgang von, rector of Freiburg University, i. 145

Heymans, Mynheer, ii. 187

Higham Park, Northamptonshire, ii. 228

“High Burgony,” see Upper Burgundy

Hilliard, Laurence, ii. 234

—— Nicholas, i. 302; ii. 90-91, 112-113, 218-219, 234-235, 237, 246, 81-309

Himmel, Zunft zum (Basel Painters’ Guild), i. 58-59, 82-83, 97, 121, 232

Hind, Mr. A. M., i. 230 note, ii. 394

Hirth, publisher, of Munich, i. 214

His-Heusler, Dr. Edouard, i. 50, 80, 190, 338; ii. 157, 299, 394

History of Portrait Miniatures (G. C. Williamson), ii. 220, 230

Hoby, Sir Philip, i. 176; ii. 119-125, 130-131, 140-141, 143-144, 58, 148-151, 153-156, 343-344

—— Sir Thomas, ii. 168

—— William, of Leominster, ii. 119

Hoefnagel, Joris, engraver, i. 277

Holbein family, i. 1-4

Holbein, Ambrosius, elder son of Hans Holbein the Elder, i. 4, 5; his portrait by his father in the “St. Paul” altar-piece and in drawings, 11, 20, 25-27; training in his father’s workshop, 29; sets out for Switzerland with his brother, and settles in Basel, 32; his share in the “Virgin and Child” picture of 1514, 34-35; his drawings, 34; date of his arrival in Basel, 37; his share in the “Passion” series of paintings, 39-42; designs for Basel printers, 44-45; his share in the “Praise of Folly” drawings, 47-48; portrait of a man at Darmstadt (1515), 50-51; probable visit to Lucerne, 58; citizen of Basel, and joins Painters’ Guild, 58-59; portrait of Schweiger, and probable date of his death, 59; his paintings, and portrait of Herbster, 60-61; his drawings and designs, 61; portrait at St. Petersburg, 61-62; woodcut designs, 59, 62-63; his art, 63, 82, 185, 189, 192, 254; ii. 65

Holbein, Ambrosius—

Pictures and Drawings

Portraits of Two Boys (Basel), i. 34, 51, 59, 60, 63

Portrait of a Little Girl (Vienna), i. 60

Portrait of Hans Herbster (Basel), i. 39, 50, 60-61

Portrait of a Young Man, dated 1515 (Darmstadt), i. 50-51

Portrait of Jörg Schweiger (Basel), i. 59

Portrait of a Young Man (Hermitage), i. 61-62

The Saviour as the “Man of Sorrows” (Basel), i. 60

Study of Two Death’s Heads (Basel), i. 60

Drawing of a Girl, “Anne” (Basel), i. 34, 61, 63

Drawing, Head of an Unknown Man (Basel Kunstverein), i. 51

Silver-point studies for Portraits of Two Boys (Vienna and Paris), i. 60

Drawing, Head of a Young Woman (Basel), i. 61

Drawing, Head of Young Man turned to left, 1517 (Basel), i. 61

Drawing, coloured, of a member of the Von Rüdiswiler family (Basel), i. 58, 185

Drawing, Head and Body of a Baby (British Museum), i. 63

Glass design, “Foundation of Basel” (Basel), i. 61

Drawings, “Pyramus and Thisbe” and “Hercules and Antæus,” two roundels (Karlsruhe), i. 63

Woodcut designs for T. Murner’s Geuchmatt, i. 59

Woodcut designs for More’s Utopia, i. 62, 192

Woodcut designs for title-pages, initial letters, &c., i. 62-63

Woodcut design for title-page, “Tarquin and Lucrece,” i. 193

Holbein, Anna, sister of Hans Holbein the Elder, see Eichinger, Anna

—— Barbara, sister of Hans Holbein the Elder, see Oberhausen, Barbara von

—— Bruno, mythical brother of Ambrosius and Hans Holbein, i. 4, 5

—— Elsbeth (Schmid), wife of Hans Holbein the Younger, i. 83-84, 105-109, 222, 245, 248, 252-253, 339, 343-347; ii. 63, 65, 160-162, 168, 300

—— Felicitas, wife of Conrad Volmar, ii. 301

—— Hans, supposed grandfather of Hans Holbein the Younger, i. 3, 4, 7

—— Hans, the Elder, i. 2; his family, 3, 4; forged signatures on his pictures, 3; his birth and earliest works, 4; his art, 5-7; settles in Ulm, 8; visits Frankfurt, 9; work for the Monastery of Kaisheim, 9-11; portraits of himself and sons in “Baptism of St. Paul,” 11-12; drawings of his sons, 11, 20, 25-27; work for the Church of St. Moritz, Augsburg, 13; financial troubles, 13; the “St. Sebastian” altar-piece, 14-16, 30; “Fountain of Life,” 16-18; portrait-studies of heads in silver-point, 18-21; portrait of a Lady, Sir F. Cook’s Collection, 20-22; his last years, 22; letter claiming his painting materials left at Isenheim, i. 22, 254; his death, i. 22; 34, 38, 40, 51; legend that he lived in Lucerne with his sons, 58, 92, 108, 148, 186, 254

Holbein, Hans, the Elder—

Pictures and Drawings

The Virgin with the Infant Christ in her Arms (Augsburg), i. 3

Basilica of Santa Maria Maggiore (Augsburg), i. 4, 7

Joachim’s Sacrifice, Birth of Mary, Presentation of Mary, and Presentation of Christ, four altar panels (Augsburg), i. 7

The Death of Mary, Afra altar-piece (Basel), i. 7 note

Crowning of the Virgin, Vetter altar-piece (Augsburg), i. 8, 38

Genealogy of Christ and of the Dominicans, &c. (Frankfurt), i. 9

Kaisheim Altar-piece (Munich), i. 9, 27

Transfiguration of Christ (Augsburg), i. 10

Basilica of St. Paul (Augsburg), i. 10, 11, 27, 186

Martyrdom of St. Sebastian (Munich), i. 14-17, 30, 33, 104

The Fountain of Life (Lisbon), i. 5, 16-18, 22, 34

Portrait of a Lady (Sir F. Cook’s Collection), i. 20-21

Martyrdom of St. Catherine, Legend of St. Ulrich, The Virgin and St. Anne Teaching the Infant Christ to Walk, &c., altar panels (Augsburg), i. 23-25, 30

The Death of Mary (Basel), i. 26-27

Passion Series (Donaueschingen), i. 38, 40

Drawing, Study of his Own Head (Chantilly), i. 11

Drawing of a Lady’s Head, perhaps his wife (Munich), i. 12

Studies for St. Sebastian (Copenhagen), i. 16

Studies for Sir F. Cook’s portrait of a Lady (British Museum and Berlin), i. 21-22

Portrait-Studies of his Sons, i. 11, 20, 25, 27, 186

Portrait-Studies in silver-point, i. 18-21

Study for the “Death of Mary” (Basel), i. 26

Holbein, Hans, the Younger, his portrait by his father in the “St. Paul’s” altar-piece (1504), i. 11; and in his father’s drawings, i. 11, 25-27; personal appearance, i. 11; works of his father wrongly ascribed to him, 14-15; his supposed share in the “St. Sebastian” altar-piece, 15, 16, 30; place and date of his birth, 23-29; miniatures of himself, 28; house where born, 29; training in his father’s workshop, 29-30; influence of Burgkmair, 30, of the Italian Renaissance, 30-31, and of Grien and Grünewald, &c., 31; sets out with his brother Ambrosius for Switzerland, 32; date of arrival in Basel, 37; early works in Basel, 32-45; possibility that he worked for a time in Hebster’s studio, 39; work for printers and “Praise of Folly” drawings, 44-49; legends as to his character, 49-50; double portrait of Jakob Meyer and his wife, 52-55; his methods of work at that time, 53; work in Lucerne and decoration of the Hertenstein House, 57-72; his visit to Lombardy and its influence on his art, 74-78; other work in Lucerne, 78-81; returns to Basel, enters Painters’ Guild, and becomes a burgher, 82-83; his marriage, 83-84; portrait of Bonifacius Amerbach, 84-87; sacred pictures and drawings of this period, 88-101; Italian influences in his work, and growing mastery of technique, &c., 86, 94-95, 98; Dead Christ in the Tomb, 101-103; Solothurn Madonna, 103-111; portraits of his wife, 106-109; wall-paintings for the House of the Dance, and other buildings, 117-123; his wall-paintings in the Council Chamber of the Basel Town Hall, 123-134; work as a designer for glass-painters, 135-157; costume studies and other drawings, 157-161; his various portraits of Erasmus, 164-174; his journey though the South of France, 174-176; portraits of Froben, 166-168, 183-184, of Melanchthon, 184-185, and of himself, 185-186; designs for woodcuts and book illustrations, 187-203; the Dance of Death woodcuts, 204-224; the happy partnership of Holbein and Lützelburger in these cuts, 223-225; Alphabet of Death and Old Testament woodcuts, 224-230; the Meyer Madonna, 232-252; resolves to visit England, 252-253; attempts to get his father’s painting materials from Isenheim, 254; Erasmus’ letter of introduction to Ægidius, 255; leaves Basel for England, 288; his relationships with Sir Thomas More, 290-291; painting of the More Family Group, 291-302; other portraits of More and his family, 303-310; his work in connection with the temporary Banqueting House at Greenwich (1527), 311-316; portraits of Sir Henry Guldeford, Warham, Fisher, Thomas and John Godsalve, Kratzer, and others, 317-337; returns to Basel and purchases two houses, 338-339; portrait of his wife and two children, 343-346; finishes his wall-paintings in the Basel Town Hall, 347-350; paints a new portrait of Erasmus, 351; lack of work caused by severe iconoclastic outbreaks sends him back to England, 352

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

Holbein, Hans, the Younger—Pictures, Drawings, Woodcuts, &c.—

Pictures

Virgin and Child, 1514 (Basel), i. 32-35, 37; ii. 332, 356

Christ bearing the Cross, 1515 (Karlsruhe), i. 38, 43, 101; ii. 354

Crowning with Thorns, 1515 (Karlsruhe), i. 39; ii. 354

Painted Table (Zürich), i. 35-37, 53, 77; ii. 358

Heads of the Virgin Mary and St. John (Basel), i. 37-38, 56; ii. 356

Scenes from Christ’s Passion, on canvas (Basel), i. 39-42, 68, 93, 99, 104, 156; ii. 356 1. The Last Supper, i. 39, 40, 42, 76; ii. 356 2. Christ on the Mount of Olives, i. 40, 42; ii. 356 3. The Arrest in the Garden, i. 40, 42, 87; ii. 356 4. The Scourging of Christ, i. 39, 40-42, 56; ii. 356 5. Pilate Washing his Hands, i. 41-42; ii. 356

Schoolmaster’s Signboard, 1516 (Basel), i. 48 note, 51-52; ii. 356

Adam and Eve, 1517 (Basel), i. 38, 55-56, 112; ii. 93, 356

Passion of Christ Altar-piece (Basel), i. 43-44, 87, 91-96, 150, 350; ii. 312. 316, 357

The Last Supper (Basel), i. 75-76. 88, 91 note, 340; ii. 357

Coat of Arms for the Painters’ Guild Chamber, Basel, i. 83

Christ as the Man of Sorrows, i. 98-99; ii. 357

Mary as Mater Dolorosa, i. 98-99; ii. 357

The Nativity (Freiburg), i. 87-91, 98; ii. 354

The Adoration of the Kings (Freiburg), i. 87-91, 98; ii. 354

Dead Christ in the Tomb, 1521 (Basel), i. 77, 160; ii. 356

St. George, 1522 (Karlsruhe), i. 111-113, 160; ii. 354

St. Ursula, 1522 (Karlsruhe), i. 111-113, 249; ii. 354

Solothurn Madonna, 1522 (Solothurn), i. 84, 103-113, 149, 160, 235, 245, 249, 345-346; ii. 316, 324, 358

Meyer Madonna (Darmstadt), i. 33, 103, 149, 232-246, 249-250, 293 note, 243; ii. 260, 312, 316, 328, 330, 341, 354

Meyer Madonna (Dresden), i. 236-239, 241-244; ii. 328-329, 354

Magdalena Offenburg as Laïs, 1526, i. 75, 158, 162, 245-252, 289; ii. 357

Magdalena Offenburg as Venus, 1526, i. 75, 158, 162, 245-252, 289; ii. 357

“Noli Me Tangere” (Hampton Court), i. 76, 95-98; ii. 77, 349

Organ Doors, Basel Minster (Basel), i. 87, 113-115, 154, 249, 340; ii. 357

“Triumph of Riches,” i. 159; ii. 23-30, 262-263, 313-314

“Triumph of Poverty,” ii. 23-26, 28-30, 262, 313

Various copies and engravings of the Triumphs of Riches and Poverty, by Zuccaro, Vorsterman, Bisschop, Merian, &c., ii. 26-27

Coats of arms painted for the borough of Waldenburg, i. 233

Lost Pictures and Pictures Attributed to Holbein

Head of Christ (Altorf), attributed to Holbein, i. 77

Crucifixion (Altorf), attributed to Holbein, i. 77

Christ in the Tomb (Altorf), copy of the 1521 painting, i. 77-78

Five pictures mentioned by Patin as in Lucerne churches in his day, i. 80-81

Taking Down from the Cross (Palermo), copy of lost original, i. 81

Christ on the Cross between Mary and John (Basel), copy of lost original, i. 87

Christ taken Prisoner (engraving only), copy of lost original, i. 87

Lamentations over Christ, &c. (etching), copy of lost original, i. 87-88

St. Barbara (etching), copy of lost original, i. 88

Series of Prophets, on canvas (Basel), by Sarburgh after lost originals, i. 88; ii. 328, 330

Siege of Terouenne, painting for the Greenwich Banqueting Hall, 1527, i. 315-316; ii. 64, 313

Painting of “Adam and Eve,” for a royal cradle (1534), ii. 92-93

Death of Virginia (Dresden), copy of a lost picture, ii. 263-264

Death’s Head and Cross Bones (Arundel Collection, 1655), ii. 65

A Picture with “divers figure Jocatori, &c.” (Arundel Collection, 1655), ii. 65

Arms of England in water-colours (Arundel Collection, 1655), ii. 65

“Legge Vecchio & Nove” (Arundel Collection, 1655), ii. 65

Jupiter and Io, water-colour (BuckinghamInventory, 1635), ii. 215

Wall-Paintings

Hertenstein House wall-paintings, i. 57, 64-72, 117, 127, 142

Tarquin and Lucrece, original fragment of above (Lucerne), i. 68; ii. 358

House of the Dance wall-paintings, i. 117-121, 127, 200; ii. 157, 315

Basel Town Hall wall-paintings, i. 123-134, 142, 232, 252, 343, 347-352; ii. 157, 357 Charondas, i. 127-128 Curius Dentatus, i. 127-128, 130-131 Zaleucus, i. 127-130; ii. 284 Sapor and Valerian, i. 128-129, 131-132 Rehoboam rebuking the Elders, i. 126-128, 347-349; ii. 263, 314 Samuel and Saul, i. 126-128, 347, 349; ii. 314 Hezekiah breaking the Idols, i. 128, 347 Single figures of Christ, David, &c., i. 128, 132-133 Original fragments of “Curius Dentatus,” i. 127, 130; ii. 357 Original fragments of “Rehoboam,” i. 127, 347-349; ii. 357 Copies of some of the remains by H. Hess, i. 127-129

Whitehall fresco—Henry VII and Elizabeth of York, Henry VIII and Jane Seymour, i. 286; ii. 91, 93-97, 100, 103, 105, 109, 113, 185, 187-188, 271, #313

Portraits (arranged alphabetically)

Amerbach, Bonifacius, 1519 (Basel), i. 74, 84-87, 90, 122, 162, 170; ii. 256, 356

Amelie of Cleves (lost portrait), ii. 174-176

Anne of Cleves, 1539 (Louvre), ii. 65, 115, 171, 174-176, 181-182, 236-237, 255, 311, 353; other portraits, ii. 183-184

Antwerp, Hans von, 1532 (Windsor), ii. 8-14, 16, 215, 350

Antwerp, Hans of, roundel (Salting Collection), ii. 14-15, 350

Antwerp, Hans of (?), roundel (Lord Spencer), after Holbein (?), ii. 14-15, 352

Berck, Derich, 1536 (Petworth), ii. 22-23, 83, 351; copy at Munich, ii. 23, 355

Born, Derich, 1533 (Windsor), ii. 17-20, 65, 350

Born, Derich (Munich), ii. 20, 355

Bourbon, Nicolas (lost portrait), ii. 72-73

Butts, Sir William (Mrs. Gardner, Boston), ii. 205, 209-210, 289, 347

Butts, Lady (Mrs. Gardner, Boston), i. 354; ii. 83, 205, 209-210, 347

Carew, Sir Nicholas (Dalkeith), i. 337; ii. 65, 87-89, 134, 255, 351

Chamber, Dr. John (Vienna), ii. 65, 112, 208-209, 255, 289, 349; copy at Oxford, ii. 209

Cheseman, Robert, 1533 (Hague), ii. 46, 54-57, 203, 206, 255, 355

Cromwell, Thomas, 1534 (?) (Tyttenhanger Park), i. 328; ii. 58-60, 65, 88, 255, 311, 351; other versions of Cromwell portrait, ii. 60-61

Denny, Sir Anthony (lost portrait?), ii. 214

Dinteville, Jean de, and George de Selve, 1533 (The Ambassadors), (National Gallery), i. 327, 330; ii. 5, 17 note, 19, 35-53, 64, 158, 255, 339, 349

Edward VI (Hanover), ii. 12 note, 65, 164-165, 171, 205, 288, 354

Edward VI (Lord Yarborough), ii. 165, 353; other versions, after Holbein, and by Stretes and others, ii. 166-170, 165

Erasmus, 1523 (Longford Castle), i. 164, 167-172, 177, 179, 180-182, 219, 253, 322-323; ii. 256, 352

—— 1523 (Louvre), i. 168-169, 172-173, 181-182; ii. 353

—— 1523 (Basel), study for Louvre portrait, i. 172-174; ii. 357

—— 1530 (Parma), i. 177, 179-180, 351; ii. 355

—— roundel (Basel), i. 171 note, 177, 179-180, 184, 351

—— (Pierpont Morgan Collection), i. 171 note, 177-180; ii. 347

—— various copies of above, i. 167-168, 171, 180-181; ii. 328-329

—— and Froben, double portrait, i. 166, 182; ii. 329

—— (Arundel Collection, 1655), ii. 25, 65

—— (Lumley Inventory, 1590), ii. 134

Fallen, Cyriacus, 1533 (Brunswick), i. 73; ii. 17, 22, 353

Fisher, John, Bishop of Rochester (lost portrait), i. 299, 323-325, 337

Fitzwilliam, William, Earl of Southampton (Cambridge), after Holbein, ii. 43, 65, 204, 304

Froben, Johann (Hampton Court and Basel), i. 162, 166-167, 172, 183-184; ii. 256, 349, 357

Gage, Sir Edward (Arundel Collection, 1655), ii. 65

George, Simon (Frankfurt), ii. 205, 207, 354

Gisze, Georg, 1532 (Berlin), i. 54; ii. 4-8, 10 and note, 14, 18, 43, 129, 353

Godsalve, Thomas and John, 1528 (Dresden), i. 299, 317, 325-326, 337; ii. 65, 255, 354

Guise, Louise of, 1538 (lost portrait), ii. 144, 146-149, 299

Guldeford, Sir Henry, 1527 (Windsor), i. 299, 317-320, 337; ii. 65, 134, 311, 350

Guldeford, Lady, 1527 (W. C. Vanderbilt, New York), i. 299, 318-320, 337; ii. 65, 134, 311, 348

Henry VIII (Althorp), ii. 93, 107-109, 299, 352

Henry VIII (Rome), ii. 93 note, 101-103, 171 note, 356

Henry VIII presenting a Charter to the Barber-Surgeons’ Company (Barber-Surgeons’ Hall), ii. 208-209, 289-294, 346, 350

Henry VIII, various portraits after Holbein or by his contemporaries, at Warwick Castle, ii. 100-102, 104, 217, 290; Windsor Castle, ii. 103-104, 236; St. Bartholomew’s Hospital, ii. 101, 103, 234; and at Belvoir, Petworth, Chatsworth, and elsewhere, ii. 100-107, 101, 169, 234, 236

Henneage, Sir Thomas (Lumley Inventory, 1590), ii. 134

Hertenstein, Benedikt von, 1517 (New York), i. 72-74, 86, 162; ii. 278, 347

Holbein, Elsbeth, early portrait (The Hague), i. 106-108, 345; ii. 57, 65, 355

Holbein’s Wife and Children, 1528-529 (Basel), i. 106-107, 185, 250, 343-347; ii. 164, 189, 255, 357; other versions, i. 344-345

Holbein, Hans (Uffizi), ii. 213, 231, 355

—— —— (Geigy Collection, Basel), ii. 213, 358

Howard, Queen Catherine (Dunn Collection, Canada), i. 354; ii. 192, 195-196, 207, 283, 348; copy in National Portrait Gallery, ii. 194-196

Kratzer, Niklaus, 1528 (Louvre), i. 299, 317, 325, 327-328, 337, 350; ii. 4, 88, 241, 255, 353

Le Strange, Sir Thomas (Mr. H. Le Strange), ii. 85-86, 134

Lorraine, Anne of, 1538 (lost portrait), ii. 144, 146-149, 154

Lovell, Sir Thomas (Lumley Inventory, 1590), ii. 135

Melanchthon, Philip, roundel (Hanover), i. 184-185, 351; ii. 354

Meyer, Jakob, and his Wife, 1516 (Basel), i. 52-55, 73-74, 86, 162; ii. 328, 356

Milan, Christina, Duchess of, 1538 (National Gallery), ii. 25, 43, 51, 65, 88, 115, 125-130, 133-137, 142, 150-151, 155, 171, 255, 349; copy of the upper half (Windsor), ii. 125-127

More Family Group, i. 293, 328, 337, 357; ii. 1, 43, 65, 244, 260, 289, 313, 334-340

—— —— —— (Nostell Priory), i. 295-300, 308; ii. 334-340

—— —— —— (East Hendred), i. 300; ii. 335-336, 125, 352

—— —— —— (Thorndon), i. 300; ii. 334-336

—— —— —— (Burford), i. 301-302; ii. 45 note, 300-336, 351

—— —— —— miniature after the Burford picture, by R. Lockey (?) (Sotheby Collection), i. 302

—— Sir Thomas and his Father (Hutton Hall), i. 300

More, Sir Thomas, 1527 (Frick Collection), i. 293, 299, 303-307, 316-317; ii. 221, 289, 340, 348

—— Sir Thomas (Lumley Inventory, 1590), ii. 134

—— Sir Thomas (Arundel Collection, 1655), ii. 25, 65

—— Lady (Methuen Collection), i. 299, 303, 307-308; ii. 289

Morette, Charles de Soliers, Sieur de (Dresden), i. 306; ii. 17 note, 38, 49 note, 63-70, 255, 341, 354

Musician, Portrait of a, called Dinteville (Bulstrode Park), ii. 52-53, 65, 87 note, 352

Norfolk, Duke of (Windsor), i. 330; ii. 65, 171, 197-199, 330, 350; other versions, ii. 197-199

Poyntz, Sir Nicholas (various versions), ii. 63, 72, 342-343

Reskimer (Hampton Court), i. 299, 320, 333-334; ii. 349

Rich, Sir Richard, attributed to Holbein (Knepp Castle, destroyed by fire), ii. 311

Rich, Lady (America), ii. 212, 348

Roper, Margaret (Knole), after Holbein, i. 303. 307-309, 337; ii. 352

Russell, Sir John, attrib. to Holbein (Woburn Abbey), ii. 351

Seymour, Queen Jane (Vienna), i. 54; ii. 65, 109, 111-113, 181, 237, 280, 349; other versions, ii. 112-113, 169, 351-352, 355

Southwell, Sir Richard, 1536 (Florence), i. 330; ii. 23, 83-85, 355; other versions, ii. 83, 85, 353

Surrey, Earl of (lost portrait), ii. 65, 171, 198, 200, 303-304

Tuke, Sir Bryan (Miss Guest and Munich), i. 299, 331-332, 337; ii. 351, 355; other versions, i. 332-333

Tybis, Derich, 1533 (Vienna), ii. 7, 10, 17, 20-21, 348

Vaux, Lord (lost portrait), ii. 87 and note

—— Lady (Hampton Court and Prague), ii. 86-87, 348, 349

Warham, Archbishop (Louvre and Lambeth), i. 299, 317, 321-323, 328, 337; ii. 65, 350, 353

—— —— (Viscount Dillon), i. 323

Wedigh of Cologne, 1532 (Schönborn Collection), ii. 15-16, 349

Wedigh, Hermann H., 1533 (Berlin), ii. 16-17, 17 note, 18, 22, 49 note, 353

Wyat, Sir Henry (Louvre), i. 304, 306, 335-337; ii. 353; other versions (Dublin and Countess of Romney), i. 335; ii. 350

—— Sir Thomas (various portraits), ii. 65, 79-81, 134, 255

—— Margaret, Lady Lee (Altman Collection, New York), ii. 82-83, 348

Zürich, Hans von (lost portrait), ii. 15, 65

Unknown Young Woman, about 1528 (Basel), unfinished, i. 346-347; ii. 357

—— Young Man, 1533, roundel (Goldschmidt-Przibram), ii. 57, 349

—— Man in Henry VIII’s livery, 1534, roundel (Vienna), ii. 62, 70-71, 348

—— Lady, wife of above, 1534, roundel (Vienna), ii. 62, 70-71, 348

—— Young Man in Henry VIII’s livery, roundel (F. Engel-Gros), ii. 71, 353

—— —— copy of above in Fitzwilliam Museum, Cambridge, ii. 71

—— —— aged 28, 1541 (Vienna), ii. 202-203, 206, 255, 349

—— —— aged 37, 1541 (Berlin) ii 201-202, 353

—— Man with Falcon, 1542 (Hague), ii. 54, 57, 203, 205, 255, 355

—— Lady (Vienna), ii. 205, 207, 349

—— Middle-aged Man (Berlin), ii. 205-206, 255, 353

—— Man (Basel), ii. 211, 255, 357

—— English Lady (Lanckoronski Collection, Vienna), ii. 211-212, 349

—— English Lady (Mr. A. H. Buttery), i. 353-358; ii. 351

—— Elderly Man (Prado), formerly attributed to Holbein, i. 334-335; ii. 356

Portrait of a Lady, “con gli mani giunti” (Arundel Collection, 1655), ii. 65

Portrait of a Lady aged forty, with motto “In all things,” &c. (Arundel Collection, 1655), ii. 65

Portraits of various unknown men, ladies, and boys, only known from Hollar’s etchings after Holbein, ii. 214-215

Miniatures (by or attributed to Holbein)

Abergavenny, Lord (Duke of Buccleuch), ii. 62, 222, 351

Anne of Cleves (Salting Bequest), ii. 181-182, 232, 236, 350

Audley, Lady (Windsor), ii. 220, 222-223, 350

Brandon, Charles, Duke of Suffolk (Morgan Collection), not by Holbein, ii. 241

—— Charles, son of the Duke (Windsor), ii. 201, 220, 222-225, 227, 350

—— Henry, son of the Duke (Windsor), ii. 63, 220, 222-225, 227, 350

Cromwell, Thomas (Morgan Collection), ii. 61, 231-232, 348

Edward VI, various miniatures, ii. 238

Franz, Arnold (Morgan Collection), ii. 219, 240-241

Henry VIII (Morgan Collection), ii. 182, 235-236, 348

—— —— (Duke of Buccleuch), ii. 109, 234; other miniatures of Henry VIII not by Holbein, ii. 234-235, 351

Holbein, Hans (Wallace Collection), ii. 230, 350

Holbein, Hans (Duke of Buccleuch), ii. 230-231, 351

—— —— other versions, ii. 215, 230-231

Howard, Queen Catherine (Windsor), ii. 192-193, 220, 222, 238, 350

—— —— —— (Duke of Buccleuch), ii. 193-194, 220, 222

Kratzer, Niklaus (Morgan Collection), i. 241, 328

Mielich, Hans, or Maynert, Harry (?) (Munich), ii. 241-242, 355

More, Sir Thomas (Morgan Collection), i. 306-308; ii. 220-222, 348

—— —— —— (Duke of Buccleuch), ii. 221-222, 351

Pemberton, Mrs. Robert (Morgan Collection), ii. 228-229, 348

Seymour, Queen Jane, various miniatures, ii. 237-238, 351

Unknown Youth (Queen of Holland), ii. 220, 229-230, 355

—— Man in Black (Queen of Holland), ii. 230

Drawings and Designs

Calvary, early drawing (Augsburg), ii. 323

Bearing the Cross (Basel), i. 42-44

“Praise of Folly” marginal drawings (Basel), i. 45-50, 63, 85, 229

Study for “Leæna and her Judges,” for Hertenstein House (Basel), i. 68

Architectural design, Hertenstein House (Basel), i. 65-66, 69, 122

Dagger sheath with a Roman Triumph (Basel), i. 73

The Archangel St. Michael (Basel), i. 79, 80, 112, 248

Miners at Work (British Museum), i. 80

The Holy Family (Basel), i. 99, 100

Virgin and Child (Basel), i. 99, 100

Virgin and Child (Leipzig), i. 100

Virgin and Child (Brunswick), 1520, ii. 326

Design for Basel organ case (Basel), i. 113-115

Study for Dancing Peasants, House of the Dance (Berlin), i. 119-121

Various tracings and copies of studies for same house (Basel), i. 120-121

Design for a painted house-front with figure of Emperor (Basel), i. 121-122

Design for a painted framework of a window (Basel), i. 122

Design for “Sapor and Valerian,” Basel Council Chamber (Basel), i. 131-132; ii. 264

Contemporary copies of the designs for the Council Chamber paintings (Basel), i. 132-133

Studies of Ladies’ Costumes (Basel), i. 138, 157-159, 245, 248

Coat of arms for Petrus Fabrinus (Basel University), i. 145-146; ii. 357

Costume Study (Dessau), i. 159

Costume study of a Lady, full-length (British Museum), i. 356-357

St. Adrian (Louvre), i. 159-160

Study of a Nude Woman (Basel), i. 160

Fight of Landsknechte (Basel), i. 160-161, 230; (Albertina), i. 161 note

Lamb, Lamb’s Head, and Bat (Basel), i. 161

Duke of Berry, copy of a sepulchral figure (Basel), i. 175-176

Duchess of Berry, copy of a sepulchral figure (Basel), i. 175-176

Designs for painted glass— Virgin and Child, with Lucerne Bridge (Basel), i. 78-79 Three Peasants with Holdermeier arms (Basel), i. 79 Design for Hans Fleckenstein (Brunswick), i. 79; ii. 323-324 Design with arms of Lachner family (Stockholm), ii. 325-326 The Banner-Bearer of the Urseren Valley (Berlin), ii. 324-325 Martyrdom of St. Richardis (Basel), ii. 326-327 Design with figure of a Bishop (Basel), i. 77 St. Barbara (Basel), i. 88 Eight panels of Saints (Basel), i. 137-139, 248 The Prodigal Son (Basel), i. 139-141 Two Unicorns (Basel), i. 140-141 Various designs with figures of Landsknechte (Basel, Berlin, Berne, &c.), i. 140-144 Scroll-work with helmets and coat of arms of Von Hewen family (Basel), i. 144-145; ii. 326 Design with coat of arms of Von Andlau family, i. 145; ii. 326 Terminus, for Erasmus (Basel), i. 146 Wild Man of the Woods (British Museum), i. 146-147 Christ on the Cross between the Virgin and St. John (Basel), i. 147-148 The Annunciation (Paris), i. 147-148 St. Elizabeth (Basel), i. 148-149; ii. 325 Virgin and Child with kneeling donor (Basel), i. 149-150, 249 Ten designs illustrating the Passion of Christ (Basel), i. 43-44, 115, 136, 150-157; ii. 327; replicas in British Museum, i. 156-157; ii. 327

Rehoboam rebuking the Elders, study for Basel Council Chamber wall-painting (Basel), i. 347-348

Meeting of Samuel and Saul, study for Basel Council Chamber wall-painting (Basel), i. 347, 349-350; ii. 264

Design for Dagger Sheath, dated 1529 (Basel), i. 350

Design for a Cup for Hans of Antwerp (Basel), ii. 11, 275, 286

Triumph of Riches (Louvre), ii. 26-29, 264

Apollo and the Muses on Mount Parnassus, ii. 31-33

Satirical drawings of the “Passion” for woodcuts, ii. 77, 342

Queen of Sheba and King Solomon (Windsor), ii. 262-264, 350

A Transport Ship (Frankfurt), i. 161 note; ii. 264

Design for a royal fireplace (British Museum), ii. 269-270

Queen Jane Seymour’s Cup (Oxford and British Museum), ii. 113, 274-275, 286

Sir Anthony Denny’s Clock (British Museum), ii. 276, 286

Designs for cups, tankards, sword and dagger hilts, jewellery, hat-badges, &c. (British Museum, Basel, Chatsworth, &c.) i. 73, 161, 350; ii. 195-196, 275-286

Drawings: Portrait-Studies (arranged alphabetically)

(Except where indicated, the drawings are all in the Windsor Castle Collection.)

Abergavenny, Marquis of (Wilton House), ii. 62, 222, 248, 255

Audley, Lady, ii. 255, 258

Boleyn, Queen Anne, so-called, ii. 110

Boleyn, Thomas, Earl of Wiltshire, ii. 256

Borough, Lady, ii. 256

Bourbon, Nicolas, ii. 63, 73-74

Butts, Lady, ii. 210, 255

Carew, Sir George, ii. 256

—— Sir Nicholas (Basel), ii. 87-88, 248, 256, 260

Clement, Margaret, i. 303

Cleves, Anne of, so-called, ii. 183

Clinton, Edward, Lord, ii. 256

Cobham, George Brooke, Lord, ii. 256-257

Cresacre, Anne, i. 303

Dancy, Elizabeth, i. 296, 303

Dorset, Marchioness of, ii. 256, 258

Edward VI., three drawings, ii. 166-168, 205, 255

—— —— with meerkat (Basel), ii. 167-168

—— —— roundel in Basel Sketch-Book, ii. 168, 238

Elyot, Sir Thomas, i. 336

Elyot, Lady, i. 336; ii. 258

Erasmus, study of hands for 1523 portraits (Louvre), i. 171

Fisher, John, Bishop of Rochester, i. 324; other versions in British Museum, &c., i. 324; ii. 254

Fitzwilliam, William, Earl of Southampton, ii. 204-205

George, Simon, ii. 207-208, 252, 255

Godsalve, Sir John, i. 325-326; ii. 125, 251, 255

Guldeford, Sir Henry, i. 318-319, 321; ii. 250-252, 255; version formerly in Heseltine Collection, i. 318 note; ii. 254

—— Lady (see below, Unknown Lady)

Hemingham, Lady, i. 310 note; ii. 237, 256, 258

Henry VII and Henry VIII, &c., study for Whitehall wall-painting (Chatsworth), ii. 93, 95, 97-99, 318 note, 105, 107, 134, 236, 351

Henry VIII (Munich), ii. 93, 99-101, 104-105, 107-108, 236, 248

Heron, Cecilia, i. 303; ii. 250

Hoby, Sir Philip, ii. 119

Holbein, Hans (Basel), i. 185-186

Holbein’s Wife as a Girl (?) (Louvre), i. 108, 112, 144

Howard, Queen Catherine, ii. 194, 254-255

Le Strange, Sir Thomas, ii. 86, 256

Lister, Lady, ii. 258

“Mary, Lady, after Queen,” ii. 110, 215, 258

Melanchthon, Philip, ii. 200, 250

Mewtas, Lady, ii. 140, 256-257

Meyer, Jakob, and Wife, study for double portrait of 1516 (Basel), i. 22, 55; ii. 256, 328

Meyer, Jakob, Wife, and Daughter, studies for the Meyer Madonna (Basel), i. 236-237; ii. 256, 260

Monteagle, Lady, ii. 256

More Family Group, study for (Basel), i. 291-296, 298-301, 303, 305, 308-310, 338, 341-342; ii. 255, 331, 335-339

More, John, i. 303

More, Sir John, i. 303

More, Sir Thomas, i. 303; ii. 250-251, 255

Morette, Charles de Soliers, Sieur de (Dresden), ii. 66-67, 69, 248, 256

Parker, Lady, ii. 256, 258

Parr, William, Marquis of Northampton, ii. 256

Parry, Sir Thomas, ii. 256

Poyntz, Sir Nicholas, ii. 71-72

Poyntz, John, ii. 71; another version formerly in Heseltine Collection, ii. 71 note, 254

Ratcliffe, Lady, ii. 256

Reskimer, i. 333-334; ii. 255

Rich, Sir Richard, ii. 212, 256

Rich, Lady, ii. 212, 256, 258

Richmond, Mary, Duchess of, ii. 110-111, 257

Roper, Margaret (?) (Salting Bequest), i. 309; ii. 248, 252

Russell, Sir John, ii. 256

Seymour, Queen Jane, ii. 112, 251, 255

Sherrington, Sir William, ii. 256

Southwell, Sir Richard, ii. 85, 255

Stanley, Edward, Earl of Derby, ii. 256

Suffolk, Catherine, Duchess of, ii. 226; replica in British Museum, ii. 226, 254

Surrey, Henry Howard, Earl of—three drawings, ii. 200-201

Surrey, Lady, ii. 201

Tuke, Sir Bryan, ii. 255

Vaux, Lord, ii. 52, 87, 252, 256-257

—— Lady, ii. 87, 252, 255

Warham, William, Archbishop of Canterbury, i. 321; ii. 250-251, 255

Wentworth, Sir Thomas, ii. 256

Wingfield, Sir Charles, ii. 254

Wyat, Sir Thomas, ii. 79, 250, 252

Zouch, Mary, ii. 256, 259

Unknown Man (called Dinteville), ii. 43, 69 and note, 257

—— Englishman (Berlin), ii. 248, 259

—— —— (Chatsworth), i. 336; ii. 248

—— —— —— i. 337; ii. 248

—— —— and Wife (Basel), i. 321; ii. 248, 260

—— English Lady (Lady Guldeford?) (Basel), i. 321; ii. 87 note, 248, 260

—— Young Man with Broad Hat (Basel), i. 186 note; ii. 259-260

—— —— —— profile, to right, ii. 257

—— Lady in White Cap, ii. 258

—— —— ii. 70, 227

—— —— full-face, ii. 214

—— Boy, dated 1520 (Louvre), ii. 214

Portrait group of a Lady and Children (British Museum), ii. 226-227

Windsor Castle, Collection of Heads of the ladies and gentlemen of Henry VIII’s Court, &c. (general), i. 294, 309, 321, 328, 336; ii. 62, 69, 70, 73, 79, 85-87, 101, 110, 125, 134, 140, 191, 200-201, 223, 243-259, 318, 342

Designs for Woodcuts

Earliest dated title-page, i. 34, 191, 193, 253

Christ Bearing the Cross, i. 44

Jacob’s Ladder (in Wolff’s Pentateuch), i. 77

Table of Cebes, i. 77, 193-195

The New Jerusalem (Wolff’s New Testament), i. 77

Title-page, Statue-Book of Freiburg, i. 111, 193

Erasmus, roundel, i. 181

Erasmus “in eim Ghüs,” i. 181-182, 350; ii. 276, 329

Various title-pages, &c., metal cuts by Faber and “C.V.,” i. 188

Mucius Scævola, i. 191-193

St. Peter and St. Paul (Luther’s New Testament), i. 195

Four Evangelists (Luther’s New Testament, octavo edition), i. 195-196

St. Paul (Platter’s New Testament), i. 196, 350

St. John Baptizing the Saviour, &c. (Wolff, New Testament), i. 196-197

Death of Cleopatra, i. 198

David Dancing before the Ark, i. 198

Christ the True Light, i. 198-200

The Sale of Indulgences, i. 198-199

Borders, alphabets, printers’ marks, &c., i. 200-202, 231; ii. 332

Dance of Death woodcuts, i. 48, 85, 153, 159, 175, 187, 190-191, 204-224, 226-229, 290; ii. 49, 50, 74, 87-88, 188, 264, 314-315, 345

Alphabet of Death, i. 189, 201, 207, 224-226

Old Testament Woodcuts, i. 85, 187, 190, 204, 211-212, 226-230; ii. 74-75

Title-page, Coverdale’s Bible, i. 97

Designs for Münster’s Cosmography, &c., i. 350-351

Portrait of Nicolas Bourbon, ii. 74, 79

Woodcuts of English period, ii. 78-79

Title-page, Hall’s Chronicle, i. 188 note; ii. 79

Portrait of Sir Thomas Wyat in Næniæ, ii. 79-81, 205

Holbein, Jacob, Hans Holbein’s younger son, ii. 301

—— Johann Georg, Knight of Holbeinsberg, ii. 300-301

—— John, of Folkestone, and wife, ii. 302

—— Katherine, wife of Jacob Gyssler, Hans Holbein’s daughter, i. 343-347; ii. 301

—— Kunigunde (Küngolt), wife of Andreas Syff, Hans Holbein’s daughter, ii. 301

—— Margreth, see Herwart, Margreth

—— Michel, of Oberschönefeld (1448), i. 1, 2

—— —— leather-dresser, father of Hans Holbein the Elder, and his wife, i. 2, 3

—— Ottilia, i. 3

—— Philip, Hans Holbein’s eldest son, i. 105-106, 176, 343-347; ii. 162-164, 298, 300

—— Philip, son of above, ii. 300

—— Ursula, see Nepperschmid, Ursula

—— Sigmund, brother of Hans Holbein the Elder, i. 3, 13, 20, 32; ii. 161-162, 300

—— an Englishman, of Wells, ii. 301

—— Chamber, Strawberry Hill, ii. 249

—— Exhibition, Basel (1897-1898), i. 79

—— —— Dresden (1871), i. 237; ii. 206, 211

—— Society, i. 214

Holbein’s Ambassadors (Miss M. F. S. Hervey), 1900, see Hervey

Holbein’s Ambassadors Identified (Elias Dexter), 1890, see Dexter

Holbein’s Ambassadors Unriddled (W. F. Dickes), 1903, see Dickes

Holbein’s coat of arms, i. 1; ii. 280

Holbein’s Gate, see Whitehall

Holbeinsberg, Knight of, see Holbein, Johann Georg

Holbyn, Johannes, of North Stoke, ii. 301

Holdermeier, State Councillor of Lucerne, i. 79

Holford, Lieut.-Col. G. L., C.I.E. (collection), ii. 304

Holford, Mr. R. S. (collection), ii. 72

Holland, Earl of, i. 323

—— Henry, Lord, Duke of Exeter, i. 334

—— House, i. 328 and note

—— Jane, i. 334

—— Queen of (collection), ii. 220, 229-230, 355

—— Robert, i. 334

—— William, jeweller, ii. 287

Hollar, Wenceslaus, i. 27-28, 71, 87, 214, 308, 318, 320; ii. 15, 44, 61, 67-69, 77, 112, 166, 182 and note, 193-194, 200, 209, 214-215, 231, 253, 263, 275-276, 283, 329-330, 346

Holmes, Mr. C. J., i. 251

—— Sir Richard, ii. 70, 228-229, 244, 250-251, 394-395

Holtesweller, Henry, jeweller, ii. 287

“Holtein,” i. 17

Holtscho, house-master of London Steelyard, ii. 24

Holyrood Palace, ii. 141

Holywell Priory, Shoreditch, i. 272

Holzwart, Matthias, poet, i. 132

Hondius, H., ii. 15

Hone, Galyon, glazier, i. 268

Honthorst, Gerard, i. 224; ii. 101 note

Hoorenbault family, see Hornebolt

—— Lucas, painter of this name master of Ghent Guild (1512-32), i. 264

Horace, ii. 332

“Horebout, Gerard,” ii. 102

Horne, Sir William van, Montreal (collection), i. 185

Hornebaud, see Hornebolt

Hornebolt family, ii. 233-234

—— Gerard, i. 263-268, 287; ii. 100, 102, 105, 217, 220

—— Jacomyne, daughter of Lucas, i. 265

—— Lucas, i. 263-268, 287; ii. 71, 100, 102, 104-105, 141-142, 197, 217-220, 236, 303

—— Margaret, wife of Lucas, i. 265

—— Susanna, i. 263-265, 268, 287; ii. 70-71, 217, 238-239

Horsham St. Faith’s, ii. 85

Hoskins, John, ii. 235

Houbraken, Heads of Illustrious Persons (1745), ii. 61, 181-182, 193-194

House of the Dance, see Dance

Houth, Thomas, ii. 6

Howard family, ii. 135, 191-192

—— Queen Catherine, ii. 55, 192-197, 200, 207, 220, 222-223, 238, 254-255, 283, 286

—— Charles, i. 178

—— Lord Edmund, ii. 192

—— “Frances, Duchess of Norfolk,” ii. 228

—— family of Greystoke Castle, i. 178; ii. 214, 347

—— Henry, Earl of Surrey, see Surrey

—— Mr., i. 171 note

—— —— Soho Square, ii. 135

—— Thomas, Duke of Norfolk, see Norfolk

—— Lord William, ii. 138

Howell, John, painter-stainer, i. 261

Huber, Andreas, tailor of Basel, i. 58

Hudson, William, ii. 72

Hueet, Hans, see Eworthe

Hueffer, F. M., ii. 395

Hughes, Gerard, jeweller, ii. 287

Humanae Industriae Monumenta (Faesch), ii. 329

Humphreys, H. Noel, i. 214

Hungary, Isabella of, Queen of Denmark, ii. 117

—— Queen Mary of, Regent of the Netherlands, ii. 115-116, 118-120, 122-124, 130-133, 137, 148, 180, 344

Hunstanton, Norfolk, ii. 86

Huppertz, A., ii. 395

Hurebaut, Gheraerd, of Ghent, father of Lucas Hornebolt, i. 264, 268

—— Joris, i. 264

Hutchinson, Colonel, i. 167

Huth family, ii. 340

Huth, Mr. Edward, i. 293, 303, 306; ii. 221, 348

—— Mr. Henry, i. 303

Hutten, Ulrich von, i. 36

Hutton, John, resident English agent in Brussels, ii. 115-128, 130-131, 180

—— Hall, i. 300

Hymans, H., i. 165 and note

Hythlodæus, Raphael, i. 62, 163, 192

Iconoclastic outbreaks in Basel, i. 113, 177, 339-343, 352

Illustrated London News, ii. 294

Imhoff Collection, i. 18

Imhoff, Magdalena, i. 14

Immerzeel, De Levens en Werken, &c. (1842), i. 265

Imperial Diet at Speier (1529), i. 185

Ingoldstadt, ii. 50

Inquisition, Spanish, i. 272

Interpretation of the Psalms (Bugenhagen), i. 198

Inventare hansischer Archive, &c., ii. 19

Ipswich, Wolsey’s College, i. 267

Ireland, National Gallery of, i. 335

Irmi, Anna, see Meyer, Anna

—— Nikolaus, i. 236, 239

—— Rosina, i. 239; ii. 328

Irnham Hall, Lincolnshire, ii. 305

Iron Acton, Gloucestershire, ii. 72

Isabella of Denmark, sister of Charles V, ii. 132, 137

Iselin, Johan Lucas, i. 190

—— Lucas, i. 239-241; ii. 328, 330, 344

—— Dr. Ludwig, i. 118, 123; ii. 156-157, 301

Isenheim, i. 5, 13-15, 18, 22, 32, 82, 148, 254

—— Monastery of St. Anthony, i. 13, 22

Italian influences in Holbein’s pictures, &c., i. 75-78, 80-81, 250-251

—— painters and sculptors in England, i. 270-287

Italy, Holbein’s visit to, see Lombardy

Iveagh, Lord, ii. 35

Jabach, Eberhard, banker, of Cologne, i. 173, 335; ii. 65

Jacob, Brother, of Dominican Monastery, Basel, ii. 156

Jäger Collection, ii. 57

“Jak, Mother,” nurse to Edward VI, ii. 70, 227

James I of England, ii. 13, 24, 130, 293

—— —— Catalogue, ii. 87

—— II of England, Catalogue, i. 97; ii. 14, 224, 249

—— V. of Scotland, ii. 139-141, 143, 147

James V and Marie of Lorraine, by an unknown Scottish master, ii. 141 and note

Jane, maid to Hans of Antwerp, ii. 13

Janet (Jennet), ii. 105, 107, 137, 216 and note

Jenks (Gynkes), William, grocer, of London, ii. 212

Jennings, Sir John, ii. 337

Jentill, see Gentils

Jenyns, Robert, the King’s master mason, i. 271

“Jeronimo Italion,” see Treviso, G. da

Jessop, Dr. Augustus, i. 305-306

Jewel House, Master of the, see Amadas and Cromwell

Jewellery (H. Clifford Smith), ii. 281-282

Johann Ernst, Duke of Saxony, ii. 94-95

John IV of Portugal, i. 16

Johnson, Mr. John G., Philadelphia (collection), ii. 206

Joinville, i. 176; ii. 139, 144, 147-152, 154-155, 343

Joseph, Mrs. (collection), i. 320

Jura, i. 233

Juxon, Archbishop, i. 322

Kainzbauer, L., ii. 395

Kaisheim Monastery, Donauwörth, i. 9

Kale (for Fallen), ii. 22 note

Kämlin, Hans, i. 13, 22

Kannengiesser von Tann, Dorothea, wife of Jakob Meyer, i. 52-55, 157-158, 234, 236, 239; ii. 328

Karlsruhe Gallery, i. 38-39, 43, 63, 87, 101, 112, 160, 180, 249; ii. 354

—— Grand-Ducal Cabinet, i. 207

Kastner, Adolph, joiner, i. 9

—— Georg, Abbot, i. 9

Katherine of Aragon, see Aragon

Kaulek, ii. 143

Kensington Palace, i. 317, 319, 326; ii. 249, 252

Ketteringham, Norfolk, ii. 258

Kildare, Earl of, ii. 6

Killigrew, Sir Robert, i. 334

Kimbolton Castle, i. 266; ii. 104

King Saul and the Shepherd David (M. Holzwart), i. 132

King’s Bench, i. 293

—— Book of Payments, see Royal Household Accounts

—— Walden House, Herts, ii. 104

Kinkel, G., ii. 395

Kinnaird, Lord (collection), i. 319 note

Kip, J., engraver, ii. 346

Kirkheimer, Erasmus, King’s armourer, ii. 19, 298

Klingenthal Nunnery, Little Basel, i. 205

Kluber, Hans Hug, painter of Basel, i. 205; ii. 311 note

Knackfuss, Prof. H., i. 50, 96, 112, 184, 186, 249; ii. 395

Knapton Sale (1804), i. 309

Knepp Castle, Sussex, fire at (1904), i. 320; ii. 212, 311

Knight, Life of Erasmus, i. 320

Knoedler, Messrs., ii. 340

Knole, i. 287, 307-308, 310 note; ii. 112, 201, 303, 352

Knörr, banker, Lucerne, i. 71

Knowsley, ii. 245

Koberger, bookseller of Nuremberg, ii. 331

Koegler, Dr. Hans, i. 98; ii. 330-332, 395

Kolman family, armourers of Augsburg, i. 31

Konody, Mr. P. G., ii. 45 note

Kratzer, Niklaus, Henry VIII’s astronomer, i. 299, 327-330, 337, 350; ii. 4, 43, 73, 88, 143, 152, 241, 255

Kugler, Dr., i. 237; ii. 395

Kulm, Dantiscus, Bishop of, i. 179

Kunigunde, Empress, i. 114

Kunstblatt, ii. 167

Kyrkenar, Erasmus, see Kirkheimer

Lachner family, of Basel, ii. 325

Lafenestre, i. 173

Lago, Alice di, ii. 228

—— Jago di, of Newcastle-under-Lyme, ii. 228

Laine, Richard, painter-stainer, i. 261

“Lallenkönig,” i. 351

Lambert, Bishop, i. 111

Lambeth Palace, i. 321-323; ii. 350

Lanckoronski Collection, Vienna, i. 20; ii. 211, 349

Landgrave, The, ii. 172

Lane, Sir Hugh P., i. 301; ii. 351

Lange, Jehan, jeweller of Paris, ii. 288

Languedoc, ii. 44

Lappenberg, Dr., ii. 2 note, 13, 24-25, 395

Larpent, S., Sur le Portrait de Morett, ii. 68, 395

Lasora, Nic., painter, i. 262, 314; ii. 310 note

Latronet, jeweller of Paris, ii. 288

Lausanne, i. 180

Lavater, i. 300

Lavaur (town), ii. 35, 40-42

—— Bishop of, see Selve, George de

Lavena, Trolli von, i. 72

Law, Mr. Ernest, i. 97, 165, 167, 184, 318, 333-334; ii. 10, 87, 97, 103-104, 193, 199, 223, 225, 395

Lawrence Collection, i. 144, 156, 357; ii. 327

Layer Marney, i. 270

Le Blond, Michel, i. 28, 166-168, 239-241; ii. 330

Le Brun, J. B. P., ii. 37-38, 45-48

—— —— —— Galerie des Peintures, &c., ii. 37

—— —— Madame Vigée, ii. 37

Lebrune, Isaac, painter, i. 262

Lech Canals, Augsburg, i. 2, 19

Leconfield, Lord (collection), ii. 22, 97 and note, 351, 355

Lee, Sir Anthony, ii. 82

—— Sir Henry, K.C., ii. 82

—— Lady, see Wyat, Margaret

—— Dr., i. 329

—— Priory, Kent, ii. 109, 181-182, 235

Leemput, Remigius van, ii. 94-97, 97 note, 99, 103-104

Lehmann, Rudolf, i. 238

Leicester, Earl of, i. 333

Leighton, Lord, Addresses to Students of the Royal Academy, ii. 319-320, 396

Leipzig, and Museum, i. 100, 106; ii. 31

Leithäuser, ii. 396

Leland, John, ii. 38, 80, 205; Næniæ, i. 202-203; poem on birth of Prince of Wales, i. 203

Lely Collection, ii. 26

Lely, Sir Peter, ii. 345

Lenthall Sale (1808), i. 301; (1833) i. 301

—— William, Speaker, i. 301; ii. 336

Leo X, Pope, i. 199

Leominster, ii. 119

Leonardo da Vinci, i. 74-76, 87, 106-107, 160, 173, 250, 257

Leontorius, Conrad, i. 84

Leopold, Archduke, ii. 65, 209

Leopold William, Archduke, ii. 203

Lepzelter, Bastian, sculptor, of Basel, i. 58

—— Martin, sculptor, i. 133

Leslie, Sir John, Bt. (collection), ii. 254

Le Strange, see Strange

Lewes (town), ii. 55

Lewis, F. C., engraver, ii. 250

—— Rev. J., i. 295-296

“Leysure, Nic., a German,” i. 314 note; ii. 310 note

Lezard, see Lyzarde

Liancourt, Duc de, i. 173; ii. 245

Lieberhaber-Bibliothek, i. 214

Liestall, near Basel, ii. 5

Lille Museum, i. 344

Linacre, Dr., ii. 208

Lincoln, Bishop of, ii. 226

Lindtmeyer, Daniel, glass-painter of Schaffhausen, ii. 326

Linton, Henry, engraver, ii. 294

Lippmann, Dr. F., i. 214

Lisbon, i. 14, 16, 22; ii. 300; Palacio das Necessidades, i. 16, 22 note; Museu Nacional, i. 22 note

Lisle, Lord, i. 333

Lister, Lady, ii. 258

Little Basel, i. 90, 122, 351; St. Theodore, i. 150; Klingenthal Nunnery, i. 205

Little Passion (Albrecht Dürer), i. 42-43

Lizardi, Nicolo, see Lyzarde

Lloyd, picture-restorer, ii. 293 note

Lobons, John, the King’s Master Mason, i. 271

Lock, William, mercer, ii. 19, 92 note

Lockey, Rowland, i. 302

Lodge, Edmund, Lancaster Herald, ii. 250

Lodge’s Portraits (1835), ii. 61

Lodi (town), i. 240

—— Giovanni da, i. 240

Lottie Mr. W. J., F.S.A., ii. 346, 396

Lomazzo on Painting (trans. by Haydock), ii. 308

Lombardy, Holbein’s visit to, i. 42, 57, 64-65, 69, 72, 74-78, 80, 143, 251; ii. 314

“Lomentlin” (Anna), i. 20

London, i. 169, 257, 265, 268, 271, 273, 278, 280, 282-283, 289-290, 295, 302, 315, 328, 331; ii. 1-4, 9, 11, 13-15, 19, 22, 24, 30, 33, 35, 43-44, 59, 64, 67-68, 76, 80, 87, 91-92, 118, 121, 124, 139, 142, 145, 152, 154-155, 164, 172, 175-176, 184, 219, 221, 233, 261, 281, 288, 294, 297, 299, 300, 308, 319

—— All Hallows St., ii. 2; Bridewell Hospital, ii. 169; Bridewell Palace, ii. 42-43, 292; Cannon St., ii. 2 and note; Christ’s Hospital, ii. 169; Cousins Lane, ii. 2; Dowgate, ii. 2; Farringdon Without and Within, i. 260; Fenchurch St., ii. 30; Fleet St. ii. 56; Gracechurch St., ii. 30; Great Fire (1666), i. 261; ii. 189, 299; Guildhall, ii. 96; Holywell Priory, Shoreditch, i. 272; John Ball’s Buildings, ii. 33; Lombard St., ii. 13, 287; London Bridge, ii. 189; Mercers’ Hall, i. 287; ii. 205, 304; Monkwell St., ii. 289; Montagu House, ii. 221-222; Parliament St., ii. 267; Rolls Chapel, i. 272; St. Andrew Undershaft, Aldgate Ward, ii. 1, 188-189, 295-296, 299; St. Bartholomew’s Hospital, i. 266; ii. 101, 103, 234; St. Bride’s, ii. 291; St. Catherine Cree, ii. 299; St. Giles without Cripplegate, ii. 305; St. James’s Palace, i. 284; ii. 137, 269-271, 333; St. James St., ii. 269; St. Martin’s-in-the-Fields, i. 265; ii. 310; St. Martin Orgar, i. 280; St. Nicholas Acon, ii. 12-13; St. Paul’s Cathedral, ii. 294; St. Saviour’s, Southwark, ii. 307; St. Vedast in Chepe, i, 260, 262; Soho Square, ii. 135, 337; South-Eastern Railway Station, ii. 2 and note; Stafford House, ii. 165; Thames St., ii. 2 and note, 3, 5, 33; Tower, ii. 30, 200, 221; Tyburn, ii. 196; Waterloo Place, ii. 60; Westminster, ii. 30; Westminster Abbey, ii. 50; Westminster Palace, ii. 127, 310; Windgoose Alley, ii. 3, 21; York House, ii. 14, 215

London, Registers of the Commissary of, ii. 294

Longford Castle, i. 164, 167, 169, 171, 177, 289, 292; ii. 37, 137, 214, 307, 352

Long Walk, Windsor Park, ii. 267

Longueville (town), ii. 140

—— Charles d’Orléans, Duke of, ii. 139

Longueville, Duchess of, see Guise, Marie of

—— François, Duke of, son of Marie of Guise, ii. 146-148, 344

Loo, Andries de, i. 295, 298, 323, 328 and note; ii. 60-61, 334-337

Lord, Robert, jeweller, ii. 287

Lorenzo, Antonio di Piergiovanni di, i. 273

Lorraine, ii. 120, 148, 150

—— Anne of, ii. 145-146, 148-149, 153 note, 154-155, 176, 344

—— Duke of, ii. 146, 149-150, 153 and note

—— Duchess of, ii. 148, 152

—— Christina, Duchess of, see Milan

Loseley MSS., ii. 244

Loskart, Jasper, i. 241, 243

Lössert, Johann, i. 240-241, 243

Lothian, Marquis of (collection), i. 304 note; ii. 305

Lotter, Jörg, i. 13

Louis XII of France, i. 269; ii. 225, 234

—— XIII of France, i. 173, 239

—— XIV of France, i. 173, 323, 335; ii. 181

Louvain, i. 179, 192

Louvre Gallery, Paris, i. 108, 122, 159-160, 171, 234 note, 304, 322, 325, 327-328, 335; ii. 26, 81, 83, 85, 176, 181-183, 214, 237, 241, 255, 314, 353

Lovelace, Richard, Lucasta, ii. 345

Lovell, Sir Thomas, i. 272, 274

Lubeck, i. 204

Lucas, William, painter-stainer, i. 261

Lucerne, i. 31, 42, 46, 57-58, 63-67, 70-72, 74, 78-82, 90, 100, 109, 116-117, 137, 142-144, 185, 197, 248; ii. 313, 323-324, 326

Lucerne, Brotherhood of St. Luke (Painters’ Guild), i. 64; Church of the Augustines, i. 80-81; Convent of the Franciscans, i. 78; Fountain of the Cordeliers, i. 78; Museum, i. 79, ii. 358; Town Library, i. 72, 74; Town Hall, i. 74

Lucian, i. 62

Ludi, Johannes, see Lüdin

Lüdin, Johannes, i. 239-240; ii. 328-330

Lugano, i. 77

“Luike, Cardinal of,” ii. 116

Luini, i. 81, 87, 95

“Lukas, Master,” see Hornebolt, Lucas

Lumley Castle, Collection and Inventory (1590), i. 178, 304 and note, 318-320; ii. 81, 88-89, 99, 133-135, 243-245, 305, 307

—— family, ii. 89, 245

—— John, Lord, i. 178, 277, 304, 319; ii. 130, 133-135, 245

Lupset, i. 253

Luther, Martin, i. 212, 260

—— —— German Translation of New Testament (Petri), i. 195

—— —— German Translation of New Testament, quarto ed. (Wolff), i. 196

—— —— German Translation of Old Testament (Petri), i. 197

—— —— Servum Arbitrium, i. 291

Luton House, i. 266

Lutterell, Sir John, portrait by Eworthe, ii. 307

Lützelburger, Hans, i. 44, 175, 181-182, 188, 189-191, 193, 195-197, 199, 201-202, 206-208, 210-213, 221-223, 226-229; ii. 77

—— Jacob, i. 190

—— Michael, i. 190

Lutzow, De, i. 237

Lydio, see Lüdin

Lynne, Walter, printer, ii. 78-79

Lyon, i. 149, 174-175, 188, 190, 208-209, 211-213, 222, 224, 226-228; ii. 6, 38, 74-75, 187-188

—— Corneille de, i. 305

—— St. Pierre-les-Nonnains, i. 209; St. Romain, i. 210

Lytle Treatise, &c. (Dr. U. Regius), ii. 78-79

Lyzarde, Nicholas, i. 287, 314 note; ii. 12, 309, 310 and note

Mabuse, i. 56, 307; ii. 93, 136-137

Machiels, A., i. 164 note, 166 note, 180 note; ii. 396

Machyn, Diary, i. 285

Maçon, i. 174

Madresfield Court, ii. 304, 308

Madrid, Prado, i. 304 note, 334; ii. 356

Magazine of Art, ii. 39

Magniac Collection Sale (1892), i. 335; ii. 234

Maguire, T. H., lithographer, ii. 125

Mähly, J., i. 170

Maiano, Giovanni da, i. 278, 280-281, 287 note, 314; ii. 266-267

Maintz, i. 190

Mair, Paulson, i. 13

Major, Dr. Emil, i. 85 note, 241; ii. 328-329, 396

Malcolm Collection, British Museum, i. 147, 357; ii. 226

Malermi Bible (1490), i. 230 note

Malines, i. 179; ii. 137

Maltravers, Lord, portrait by Eworthe, ii. 307

Manchester, Art Treasures Exhibition, 1857, ii. 360-361

Manchester, Duke of (collection), ii. 61, 104

Mander, Carel van, i. 23, 27-28, 50, 74, 224, 252, 289-290, 295, 298, 328; ii. 15, 24, 29, 60, 94, 112, 134, 187, 213, 217, ii. 231, 289, 290, 298-299, 344, 396

“Mane,” see Maiano

Manion, see Maiano

Manners, Lady Victoria, ii. 396

Mannheim, ii. 20

Mantegna, i. 67, 73-74, 95, 114, 121, 151, 234 note; ii. 27, 314

Mantes, ii. 333

Mantz, P., ii. 396

Manuel, H. R., i. 130

—— Niklaus, see Deutsch

—— Rudolf, i. 173

Margaret of Austria, i. 264

—— of Navarre, i. 305; ii. 145

Margaret, Duchess of Savoy, daughter of Francis I, ii. 139

—— Princess, afterwards Queen of Scotland, i. 353, 357; ii. 136

Marguyson, i. 284

Mariette Collection, ii. 276

Marignano, battle of, i. 35, 66

Marillac, Charles de, French ambassador in England, i. 282-283; ii. 176, 197

Marlborough Collection, ii. 206

Marne, ii. 147

Marseilles, i. 305

Marthyn, Cornwall, i. 334

Martin-Holland, Mr. R., ii. 45 note

Martyr, Peter, ii. 226

Mary, Princess, Queen of England, i. 178, 266, 269, 311; ii. 110, 112, 135, 168, 172, 195, 200, 215, 235, 239, ii. 257, 272, 304-305, 310

“Mary, Queen,” portrait by “Evolls,” ii. 308

Mary Tudor, sister of Henry VIII, widow of Louis XII, afterwards Duchess of Suffolk, i. 269, 357; ii. 193-194, 225, 227, 234, 258, 304

Mary, Queen of Scots, see Scots

Mary, Princess, daughter of Charles I, ii. 104

Mary and John (ship), i. 258

Mary Rose (ship), i. 258

Marzohl, Lucerne painter, i. 72

Mason, Sir John, ii. 168

Massmünster, Georg von, abbot of Murbach, i. 145

Master of the “Death of Mary,” i. 335

Mather, Mr. F. J., ii. 206

Matted Gallery, Whitehall, see Whitehall

Matthias, Emperor, ii. 300

Mauclair, C., ii. 396

Maximilian, Emperor, i. 19, 20, 31, 49, 189, 217

—— I, Elector of Bavaria, i. 17, 91-92

Mayfield, Staffordshire, i. 156

Mayn, John de la, see Maiano

Maynard, John, painter, i. 269, 271; ii. 298

Maynert, Henry, painter, witness of Holbein’s will, i. 269; ii. 242, 295, 298

Maynors, Katherine, miniaturist, i. 268-269; ii. 298

Mazzoni, Guido (Paganino), i. 270-271

Meade, Dr. (Sale), i. 164, 171; ii. 183

Meath, ii. 209

Mechel, Christian von, engraver, i. 183, 299; ii. 5, 27, 300, 396

Mechlin, i. 264

Medici family, i. 199; ii. 85

—— Lorenzo de’, i. 271

—— Maria de’, i. 239-241; ii. 330

—— Society, ii. 141

Melanchthon, Philip, i. 184-185, 351; ii. 200, 241, 250

Melem, Von, i. 332

Melman, Henry, Steelyard merchant, ii. 6

Meltinger, Heinrich, burgomaster of Basel, i. 22, 254

Mélun, ii. 283, 333

Melville, Mr. James, ii. 343

Memlinc, i. 288-289

Memorials of Old Chelsea (Alfred Beaver), i. 315

Mercator, Sir Michael, ii. 178

Mercers’ Hall, i. 287

Merchants’ Arithmetic Book (Apian, 1527), ii. 50

Merchant Taylors’ Company, ii. 107

Meres, Francis, i. 302; ii. 308-309

Mereworth Castle, Kent, ii. 189

Mergenthau, i. 3

Merian, C., i. 50, 206

—— Friedrich, ii. 301

—— Matthäus, Topographia Helvetiæ, i. 113, 131; ii. 15, 27, 301

Merlin, Conrad, i. 20

Merlo of Cologne Collection, ii. 202

Methuen, General Lord, i. 307

Metropolitan Museum, New York, i. 72, 179; ii. 347, 400

Metsys, Quentin, i. 163-165, 169, 255, 288-289, 292

Mewtas (Meutas), Lady, ii. 140, 256-257

—— —— Peter, ii. 140-141, 143, 155

Meyer, Adelberg, burgomaster of Basel, i. 124; ii. 163, 298

—— Anna, i. 234-236, 239

—— C., i. 81

—— Dorothea, see Kannengiesser

—— Jakob, zum Hasen, i. 52-55, 61, 109, 124-125, 131, 157, 174, 233-236, 239, 243, 343; ii. 34, 256, 328, 330

—— —— —— Hirschen, ii. 34, 158-159

Meyrick, General, ii. 182, 235-236

—— Sir Samuel Rush, ii. 182, 235

Michelangelo, i. 271; ii. 186 note

Microcosmo (Scannelli), ii. 66

Middleton, Alice, see More, Lady

Mielich, Hans, painter, of Munich, ii. 241

Milan, i. 6, 75, 140, 174, 250, 283; ii. 159-160

—— Brera Gallery, i. 251; Archæological Museum, i. 140

—— Christina, Duchess of, ii. 25, 65, 88, 115-138, 142, 150-151, 153 and note, 154-155, 171, 173-174, 176-178, 235, 255

Milburne, Mr., i. 167-168

Mildmay, Sir Henry B. St. John, Bt., i. 184

Milhars, Château de, Languedoc, ii. 44, 46

Millais, Sir J. E., and Sale (1897), ii. 206, 353

Miniatura, or the Arte of Limning (E. Norgate), ii. 219 and note

Miniatures, Exhibition of, Brussels (1912), ii. 57 note, 230

—— —— —— Rotterdam (1910), ii. 230

—— —— —— South Kensington (1865), i. 308 note; ii. 72 note, 109, 183, 228

Mitcham, i. 279

Mitchell, William, Collection, British Museum, i. 188

Modecio, Nic. de, see Bellin

Modena (town), i. 281, 284; ii. 186, 201, 303

Modena, Collection, ii. 66-67

—— Duke of, i. 306; see also Este

—— Nicholas de, see Bellin

Modène, see Bellin

Modon, see Bellin

Molitor, Oswald, i. 45-46, 49, 52, 57, 66, 125

Monforde, barber-surgeon, ii. 291

Mont, see Mount

Montagu House, ii. 221-222, 230, 235, 309

Monteagle, Lady, ii. 256

Montecucculi, Marquis Massimiliano, ii. 66

Montmorency, Anne de, Grand Master of France, i. 283; ii. 42-43, 139, 142-145, 152, 154

Montpellier, i. 84, 149, 151, 153, 174, 176

Montreal, i. 185

Montrottier, i. 210

Moor, The, ii. 110

Mor, Sir Anthonis, ii. 235

Morant, Mr., ii. 53

More family, i. 243, 301

—— Chapel, see Chelsea

—— Sir John (Sir T. More’s father), i. 293, 296-297, 300, 302-303; ii. 336, 338-339

—— John (Sir T. More’s son), i. 292, 294, 303; ii. 335-337

—— Lady (Sir T. More’s wife), i. 293-294, 296-297, 299, 300-301, 303, 337, 342; ii. 337-338, 340

—— Sir Thomas More, i. 45, 62, 163-164, 169, 179, 191-193, 243, 252-253, 255, 289-310, 313, 316, 321-323, 335-338, 341, 357; ii. 1, 16, 25, 28-29, 65-66, 76, 84, 145, 185, 203-204, 212, 220-222, 250, 255, 271-272, 289, 331, 334-338, 340

—— Thomas (More’s grandson), i. 301

—— —— (More’s great-grandson), i. 301

Morett, Hubert, French goldsmith, ii. 67-69, 288

Morette, Charles de Soliers, Sieur de, French ambassador in England, ii. 49 note, 63-70, 256

Morgan, J. Pierpont, the late (collection), i. 177-179, 307, 328; ii. 61, 182, 219-221, 227-228, 231-232, 235-236, 240-241, 347-348

—— —— junior, ii. 214

Morning Post, i. 354; ii. 212 note

“Moro, Il,” ii. 66-67

Morysin, Sir Richard, ii. 165-166

Moseley, Acton, ii. 212

—— Captain, H. R., ii. 212

—— Mr. Walter Michael, ii. 212, 348

Moses and Aaron before Pharaoh (Félix Chrétien), see Chrétien

Mount (Mont), Christopher, ii. 12 and note, 172-174

Mühlhausen, i. 46

Mundy, Alderman Sir John, jeweller, ii. 287

Munich, i. 15, 91, 98, 328-329, 350; ii. 231 note, 241

—— Gallery, i. 9, 14, 27, 104, 331-332; ii. 20, 23, 93, 99, 100, 104, 248, 355

—— Print Room, i. 12, 182; ii. 77, 236

—— Academy of Fine Arts, i. 214

—— Bavarian National Museum, ii. 241, 355

Münster, Sebastian, Cosmography, i. 173, 198, 350

Müntz, ii. 249

Murbach, i. 82, 145

Murner, Thomas, Geuchmatt, i. 59

Murten, battle of, i. 66

Musée Royal, i. 173

Mychell, John, servant to Hans Eworthe, ii. 308

Myconius, see Molitor

Mytens, D., ii. 101 note

“Næniæ,” &c. (John Leland), i. 202-203; ii. 80-81, 205

Nägely, Hans Franz, burgomaster of Berne, ii. 162

Nancy, i. 176; ii. 139, 148-150, 154-155, 343-344

Napoleon, ii. 85

Nassau family, ii. 104

National Art-Collections Fund, i. 188; ii. 136

—— Gallery, i. 286; ii. 17 note, 35, 37, 46, 52, 125, 127, 136, 210-211, 309, 340, 349

—— —— Catalogue, ii. 36-37

—— —— of Ireland, i. 335; ii. 350

—— Portrait Exhibition (1862), ii. 109, 221, 361-362

—— —— —— (1866), i. 297, 308; ii. 79, 80, 85, 210, 212, 363-367

—— —— —— (1868), i. 320, 332; ii. 367

—— —— Gallery, i. 269; ii. 60, 80-81, 104, 109, 167, 170, 194, 196, 205, 210, 305

—— —— —— Trustees, i. 301

Navarre, Margaret of, see Margaret

Negker, Jost de, i. 189, 214 and note

Nell, Hans, i. 19

Nepperschmid, Ursula, sister of Hans Holbein the Elder, i. 3; ii. 162

Netherland New Testament (1532), ii. 19

Neuburg, ii. 39, 48

Nevers, François, Duke of, ii. 154 note

Neville, Sir Edward, ii. 55

Newbattle Abbey, Dalkeith, ii. 305-306

Newcastle, ii. 204, 211

Newcastle-under-Lyme, ii. 228

Newdegate-Newdigate, Mr. F. A. (collection), ii. 210

New Gallery Winter Exhibition (1899-1900), ii. 184 note; (1901-1902), ii. 382-383

New Hall, masking at, i. 259

Newmarket, ii. 293

New Testament (Erasmus), i. 45

Newton family, i. 173, 323; ii. 85

—— J. Adam, i. 173

—— St. Cyres, Devon, i. 306

New Year’s Gifts to and from Henry VIII, i. 267-268; ii. 12 and note, 164, 232, 238-239

New York, i. 72, 179, 320; ii. 82, 340, 347-348, 400

“N. H.,” of Augsburg, i. 189

Nichol, History of Leicestershire, i. 302

Nicholas Florentine, painter, i. 314; ii. 310 note

Nichols, F. M., F.S.A., i. 169 note, 291-292, 312-313, 315-316; ii. 271-273, 396

—— John Gough, F.S.A., i. 164, 263, 274, 284; ii. 38, 110, 170, 193, 298, 396

Nicolas, Sir Harris, Privy Purse Expenses of Henry VIII, ii. 68, 396

Nimeguen, i. 190; ii. 19

Nimes, i. 174

Nonsuch Palace, i. 263, 276-277, 279, 287; ii. 135, 245, 270, 298

Norfolk, Thomas Howard, 3rd Duke of, ii. 65, 84, 110, 124, 143, 171, 192, 194, 197-200, 216 note, 255, 257, 305

—— Thomas Howard, 5th Duke of, ii. 248

—— —— (1678), ii. 216

—— Henry, 7th Duke of, Sale (1686), ii. 249; (1692), ii. 198-199

—— Duke of (present), ii. 135-136, 201, 303

—— Mary, Duchess of, portrait by Eworthe, ii. 307

—— House, ii. 198-199

Norgate, Edward, Miniatura, &c., ii. 219 and note, 246-247 and note

Norman, Dr. Philip, ii. 2 note, 3 note, 33 note, 218, 219 note, 397

Norris, Sir Edward, of Bray, i. 178

—— Henry, i. 178

—— (or Noryce), John, i. 178

North, rebellion in the, ii. 19, 55

—— Montague, i. 305

—— Hon. Roger, i. 305-306

Northampton, ii. 228

Northbrook, Lord (collection), i. 50

Northcote, Essex, ii. 54

North Stoke, near Bath, ii. 301

Northumberland, Duke of (collection), ii. 112, 166, 352

—— Earl of, ii. 89

Northwick Collection, i. 286

North Wokendon, Essex, ii. 71

Norton, ii. 11

Norwich, i. 325-327

Norwood, ii. 54, 56

Nostell Priory, i. 295, 297, 299, 300; ii. 334, 336-337, 339-340, 352

Nottingham Pursuivant, i. 259

Noue, Le, Collection, ii. 246

Nouvelles Archives de l’Art Français, ii. 327

Noviomagus, Gerardus, of Nimeguen, i. 192-193

Nugæ (Nicolas Bourbon), i. 211; ii. 73-75

Nunziata, Toto dell’, father of Antonio Toto, i. 276

Nuremberg, i. 9, 92, 168, 171-172; ii. 278, 320, 331

—— Treaty of (1532), ii. 39, 46, 48

“Nycolas, Master,” painter, i. 313-314; ii. 310 note

Oberhausen, Barbara von, sister of Hans Holbein the Elder, i. 3

Oberried, Hans, i. 90-91

Oberschönefeld, near Augsburg, i. 1, 2

Obynger, Olrycke, merchant, witness of Holbein’s will, ii. 295, 298

Ochs, Peter, i. 91 note, 127; ii. 397

œcolampadius, i. 350 note

œmmel, see Æmilius, George

Offenburg, Dorothea, i. 158, 246

—— Hans, i. 158

—— Magdalena, i. 158, 162, 245-249, 252-253, 345-346

Old Testament woodcuts, i. 85, 87, 190, 226-230

Olisleger, Dr. Henry, Vice-Chancellor of Cleves, ii. 174-175, 184

Oliver, Isaac, ii. 188, 209

—— Peter, i. 302; ii. 166

“Olpeinus,” i. 341

“Olpeius,” i. 342; ii. 331, 341

Olpeius, Severinus, ii. 331

Oporinus, i. 61

Orange, René, Prince of, ii. 154

—— William of, ii. 104

Ordnance Department, ii. 297

“Oret, Andrewe,” see Wright, Andrew

Orleans, ii. 333

—— Charles d’, Duc de Longueville, see Longueville

—— Collection and Sale, ii. 5 and note

—— Duke of, i. 242

—— Gallery, i. 304

Osnabrüch, ii. 305

Ostrelins, Maison des, Paris, ii. 25

Othmarsheim, i. 95

Ottener, Guillim, jeweller of Paris, ii. 288

Otto Henry of Neuburg, Count Palatine of the Rhine, ii. 17 note, 39, 46, 48 and note, 49 and note

Oxenbrigge Chapel, Brede Church, Sussex, ii. 272

Oxford, i. 329; Bodleian Library, i. 171 note, 326; ii. 81, 113, 247, 274; Corpus Christi College, i. 269, 329; Merton College, ii. 208-209; St. John’s College, ii. 183; St. Mary’s Church, i. 329; Wolsey’s College, i. 267

Oxford, Earl of, Sale (1741), ii. 205 note, 337

—— Lord Treasurer, ii. 189

—— Exhibition of Historical Portraits (1904), i. 323; ii. 81, 184, 209, 383

Padua, ii. 64, 208

—— John of, ii. 266

Paganino, see Mazzoni, Guido

“Pageny, Master,” see Mazzoni, Guido

Palermo, i. 81; ii. 203

Palladis Tamia (F. Meres), ii. 308-309

Palmer, Major Charles, ii. 82, 348

Paludanus, i. 192

Panell, Thomas, ii. 12

Pantalus, first Bishop of Basel, i. 114, 137

Paris, i. 60, 147-148, 171, 176, 204, 266, 325 note; ii. 25-26, 38, 44, 68, 71 note, 72, 141, 152, 162-164, 272, 288, 300, 342-343; Bibliothèque Nationale, i. 142, 144, 207; Bibliothèque de l’Institut, ii. 41; Cabinet des Estampes, ii. 145; Chapeaufort Maison, ii. 45; Louvre, see Louvre; Rue du Four, St. Germain-des-Prez, ii. 45; St. Sulpice, ii. 42, 45

Parkenthorpe, Messrs., ii. 351

Parker, Archbishop, i. 322

—— John, yeoman of the robes, i. 264; ii. 70, 217

—— Lady, ii. 256, 258

Parliamentary Commissioners (1650), i. 276

Parma and Gallery, i. 177, 180, 351; ii. 66, 355

Parr, Queen Catherine, i. 269; ii. 233, 238

—— Sir William, afterwards Marquis of Northampton, ii. 256

Parrhasius, ii. 75

Parry, Sir Thomas, ii. 256

Parthey, G., i. 88; ii. 209, 397

Partitiones Theologicæ, &c. (Conrad Gesner), i. 224

Pasqualigo, Venetian ambassador to England, ii. 98

Passavant, i. 4, 14-15, 49, 50, 296; ii. 347

“Passion in Folio,” owned by Sandrart, i. 157

Patenson, Henry, i. 294, 301-302, 305

Patin, Caroline, Tabellæ Selectæ (1691), i. 299; 337

—— Charles, i. 5, 23, 36, 80-81, 88, 117, 127; ii. 397, 167, 180, 186, 240, 253; iii. ii. 94, 97, 231, 330, 397

Pavia, battle of, i. 61

—— Certosa of, i. 69, 76, 140

Paynell, Thomas, ii. 172

Paynter-Stayners’ Company, i. 260-261, 273

—— Hall, Trinity Lane, i. 260-261

Peacham, Henry, Compleat Gentleman, ii. 186 note, 270, 332

—— —— Graphice, ii. 186 note

Peartree, Mr. M., ii. 227

Peasants’ War, i. 207, 252, 254

Peltzer, R. A., ii. 397

Pemberton, Lancashire, ii. 228

—— family, ii. 228

—— Major-General R. C. B., ii. 228

—— Robert, ii. 228

—— Mrs. Robert, ii. 220, 228-229

—— William, ii. 228

Pembroke, William Herbert, 1st Earl of (d. 1569), ii. 62, 268-269

—— —— 2nd Earl of, ii. 134

—— —— ii. 245-246, 248, 342

—— Collection, ii. 222, 268

—— and Montgomery, Earl of, ii. 62

Pencz, George, portrait of Erasmus, i. 171-172, 181

Pendrecht, ii. 187

“Pene, Anthony,” see Toto

Pennacchi, Girolamo, see Treviso

—— Piermaria, i. 286

Pennant, ii. 267

Penne, Barthilmewe, see Penni, B.

Penni, Bartolommeo, i. 276-277, 280; ii. 105, 303

Penni, Gian Francesco (Il Fattore), i. 280

—— Luca, i. 280

Penny, Bartholomew, see Penni, B.

Penruddocke, Mr. Charles, ii. 61

Pepys, Diary, i. 276; ii. 95, 186, 188, 271, 293-294

Perréal (de Paris), Jean, ii. 233-234

Perreau, Louis de, see Castillon

Perrenot, Antoine, i. 111

Peter Pounde Garnarde (ship), i. 258

Petre, Dr. William, ii. 175

Petre, Lord, i. 300

Petri, Adam, i. 59, 62, 111, 187, 190, 195, 197-198, 200, 228-229

—— Heinrich, i. 350

Petworth, Sussex, ii. 22, 97, 169, 351

Pfleger, Hans, i. 19

Philadelphia, ii. 206

Phillip, Morgan, see Wolf, Morgan

Philipp of Neuburg, Count Palatine of the Rhine, i. 305 note; ii. 17 note, 39, 46, 48 and note, 49 and note

Phillips, Sir Claude, i. 164 note, 309; ii. 86, 125, 397

—— Sir Thomas, Sale (1903), i. 282

Physicians, Royal College of, ii. 208-209

Picart, C., engraver, ii. 214 note

“Picart, Nicolas, Account of,” i. 282

Piccard, T. Nieuhoff, ii. 186-188

Pierron, J. A., engraver, ii. 37-38, 46

Pirkheimer, Wilibald, i. 166, 168, 174, 340

Pisselieu, Anne de, Duchesse d’Estampes, ii. 194

Plasyngton, William, painter, i. 262

Plato, i. 199

Platter, T., publisher of Basel, i. 196, 350 note

Playne, David, painter-stainer, i. 261

Plepp, H. J., glass-painter, i. 129 note

Plessis-Praslain, M. le Mareschal, ii. 42

Plumier, Alard (Alart Plymmer), jeweller of Paris, ii. 142, 288

Pole, Cardinal, ii. 87

—— Carew, Mr. W. H., ii. 210, 347

—— Sir Geoffrey, ii. 55

Polisy, ii. 35, 38-41, 44, 48, 50

—— Lord of, see Dinteville

Pollard, A. F., ii. 397

Pomarancio, Il, see Pomerantius

Pomerantius (N. Circignano), i. 305-306

Pope, Sir Thomas, ii. 60

Porta, Hugo à, printer of Lyon, i. 227-228

Portland, Duke of, ii. 169

Portrait Miniatures, Special Exhibition of (1865), i. 308 note; ii. 72 note, 109, 183, 228

Poyntz (or Poyns), Anthony, ii. 72

—— —— Elizabeth, ii. 72

—— —— Joan, ii. 72

—— —— John, ii. 254

—— —— Nicholas, the Elder, ii. 71

—— —— —— the Younger, ii. 63, 71-72, 342-343

Prado, Madrid, i. 304 note, 334

Prague Gallery, ii. 86, 348

“Praise of Folly” drawings, i. 45-50, 63, 85, 171, 186

Pré-Saint-Gervais, ii. 39

Price, J. E., ii. 2 note

Primadicis, Francisque de, see Primaticcio

Primaticcio, i. 257, 282; ii. 75

Prior, Matthew, ii. 345

Private Collections of England (F. G. Stephens), i. 297

Privy Chamber, i. 178; ii. 119, 140, 173, 177, 185

—— Council, i. 271, 283; ii. 59, 114, 117, 138, 142, 168, 177, 201, 208, 303-304

—— Purse Expenses, see Royal Payments

Privy Purse Expenses of Henry VIII (Nicolas), ii. 68

Privy Purse Expenses of the Princess Mary, ii. 11

Propert, Lumsden, Collection, ii. 237, 241, 309

Prussia, Princess Elizabeth of, i. 242

—— Prince William of, i. 237, 242

Przibram, Fräulein Gabriele (collection), ii. 57

Puttick and Simpson, Messrs., i. 353, 356

Quad, Matthis, i. 23

Quandt, Von, ii. 67

Queen’s House, see Buckingham

Quesnel, François (portrait of Mary Ann Walker), ii. 141

—— Jacques, ii. 141

—— Nicolas, ii. 141

—— Pierre, ii. 141

Quicke family, of Newton St. Cyres, i. 306-307

—— Mr. John, i. 307

Quaritch, Bernard, i. 214

Quocote, ii. 207

Raczynski, ii. 397

Radnor, second Earl of, ii. 37

—— fifth Earl of, ii. 35

—— Earl of (collection), i. 164; ii. 214 and note, 308 note, 352

Raf (Rave), Jan, see Corvus

—— Jehan, painctre de Flandres, see Corvus

Ramsden, Sir John, Bt., of Bulstrode Park, ii. 52-53. 352

Raphael, i. 160, 250, 280, 286; ii. 24, 62, 245, 314, 338

—— Italian lead-caster, i. 314

Rastall (or Rastell), John, i. 259, 314

Ratcliffe, Lady, ii. 256

Ratisbon, i. 91

Rauner, Gumprecht, i. 19

Ravensburg, i. 1

Ravesbury, Surrey, i. 279

Rawlinson MSS., Bodleian Library, ii. 219

Rawnsley, Canon, ii. 397

Razet, Jacques, i. 28

Record Office, i. 267, 312; ii. 64, 127, 232

“Ree, Isle of,” i. 166

Regius, Dr. Urbanus, ii. 78

Reinach, S., ii. 22 note, 397

Reinhart, H., ii. 209

Rembrandt, ii. 318 note, 342

Reperdius, Georgius, see Reverdino

Repertorium für Kunstwissenschaft, ii. 331

Reskemeer, see Reskimer

Reskimer, i. 299, 333-334; ii. 255

—— Catherine, see Trethurff

—— Elizabeth, see Arundel

—— Jane, see Holland

—— John, of Marthyn, i. 334

—— William, i. 334

Reuss (river), i. 138; ii. 324

Reutlingen, i. 84

Reverdino, Italian engraver, ii. 75

Revue de Champagne et de Brie, ii. 39

—— des Deux Mondes, i. 107 note

Reynolds, Sir Joshua, ii. 321

—— —— —— Journey to Flanders, ii. 56

Rhenanus, Beatus, i. 84, 125, 168

Rhine, i. 141-142, 176, 288, 339

—— Gate, Basel, i. 351

Rhône, i. 174

Rhoon, ii. 187

Rich, Sir Richard, Lord Chancellor, ii. 212, 256

—— Lady, ii. 212, 256, 258

Richard I of England, ii. 2

—— III of England, ii. 55

—— servant to Hans of Antwerp, ii. 13

Richardson, Jonathan, the Younger, ii. 193

—— Jonathan Collection and Sale (1746), i. 309, 324; ii. 68, 270

Richardson’s Architectural Remains, &c., ii. 271 note, 397

Richmond, i. 20; ii. 184, 249

Richmond and Derby, Margaret, Countess of, i. 307

—— and Suffolk, Duke of, see Fitzroy

—— Mary, Duchess of, wife of Henry Fitzroy, ii. 110-111, 20

Richtenberger, i. 173

Rickenbach, near Constance, i. 33-34, 37; ii. 332

Ricketts, Mr. Charles, ii. 206

Ridgway, Captain (collection), ii. 60

Rieher, Eucharius, cloth-weaver of Basel, i. 339

Ringle, Sixt, i. 113; ii. 329

Ripaille, Château de, near Thonon, ii. 71, 353

Rippel, Niklaus, glass painter of Basel, i. 121

Robinson Collection, i. 336; ii. 226

—— Sir J. C., ii. 38, 292

Rocheford, Thomas, Lord, i. 281; ii. 38

Rochfort, Lady, ii. 196

Rodriguez Collection, Paris, i. 60

Rölingerin, Dorothea, i. 4, 7

Rollin, Nicolas, Chancellor (his hospital in Beaune), i. 153

Rolls Chapel, i. 272

Romaynes, Peter, jeweller of Paris, ii. 288

Rome, i. 165, 271, 277, 305; ii. 59, 66, 101, 134; Corsini Gallery, i. 166; National Gallery, ii. 93 note, 102-103, 356; Palazzo de’ Crescenzi, i. 306; Vatican, i. 271

Romney, Constance, Countess of (collection), i. 335; ii. 81

Ronsard, ii. 218

Roper family, i. 307; ii. 337

—— Edward, ii. 334

—— Margaret, i. 290, 292, 294-297, 303, 308-310, 337-338, 341-342; ii. 258, 334, 336

—— William, ii. 334, 397

Rosen, Kunz von der, i. 19

Rosenheim, the late Mr. Max, ii. 69

Rosière, Marquis de la, ii. 72, 342

Rossie Priory, i. 319 note

Rosso, i. 280, 282

Rotherwas House, Hereford, i. 353

Rothschild & Sons, Nathaniel, ii. 35

Rotterdam, i. 180-181; Exhibition of Miniatures (1910), ii. 230

Rouen Museum, i. 245; town, ii. 272

Rouvray, Madame, ii. 343

Rovesham (Rovesanne), Benedict, see Rovezzano

Rovezzano, Benedetto da, i. 280-281, 287 note; ii. 266

Royal Academy, ii. 319

—— —— Winter Exhibitions (1879), ii. 221, 230; (1880), i. 320, 332; ii. 135; (1901), ii. 209; (1907), ii. 82; (1910), ii. 307; (1870-1912), ii. 368-373

—— Payments and Household Accounts (Hen. VIII), i. 261, 264, 268, 273-274, 276, 277 note, 280, 317, 330; ii. 12, 68, 90, 124-125, 143, 148, 150-151, 155, 175, 180, 190-191, 239

—— Society, ii. 219

Rubens, i. 224, 240, 242, 304 note

Rüdiswil, i. 58

Rüdiswiler, Von, family, i. 58, 185

Rumohr, i. 92, 250; ii. 67

Rushden, Northamptonshire, ii. 228

Rushton Hall, Northamptonshire, ii. 169

Ruskin, John, i. 244; ii. 8, 321, 397

Russell, Lord High Admiral, ii. 179

Russell, Sir John, ii. 141-142

Rutland, fourth Duke of, ii. 100

Rydham, Norfolk, i. 327

“Rye, plat of,” i. 274

Ryff, Andreas, i. 80

Rynach, Uly von, fisherman of Basel, i. 339

Rypyngale, Richard, painter-stainer, i. 261

Sackville, Lord (collection), i. 308; ii. 104, 112-113, 167, 169, 201, 352

Saffron Walden, i. 332

Saffroy, Mons., of Pré-Saint-Gervais, ii. 39

Sainsbury, Original Unpublished Papers, &c., (1859), ii. 342, 397

St. Albans, ii. 58, 332

—— Andrew Undershaft, see London

St. Albans, Anthony, Monastery, Isenheim, i. 13. 22

—— Bartholomew’s Hospital, i. 266; ii. 101, 103, 234

—— Benedictus, patron saint of Lucerne, i. 70

—— Catherine, Augsburg, i. 4, 7, 8, 10, 14-15, 23-24

—— Denis, Paris, i. 271

Saint-Dizier, ii. 147

St. Dunstans, near Canterbury, ii. 334

St. Edith, Monastery of, Wilton, ii. 268

—— Gotthard, i. 74, 80, 138; ii. 325

St. Ildefonse, Spain, ii. 327

—— Moritz, Augsburg, i. 13

—— Nicholas Acon, see London

“St. Nobody” (Zürich Painted Table), i. 37

St. Oswald, Lord, i. 295; ii. 334, 339, 352

—— Paul’s Cathedral, i. 205

—— Petersburg, Hermitage Gallery, i. 61, 180; ii. 62, 245-246

—— Pierre de Reims, ii. 144

—— Sauveur, Augsburg, i. 15

—— Ulrich, the monks of, i. 19, 20

—— Ursus, patron saint of Solothurn, i. 103-104, 109, 111, 149, 160

“Saints connected with the House of Habsburg,” woodcuts, i. 189

Salford, ii. 6

Salting, George, Collection, i. 28, 309; ii. 14, 69 note, 181-182, 232, 239-240, 248, 252, 350

Samm, Herr, of Mergenthau, i. 3

Sancroft, Archbishop, i. 322

Sandby, Paul, ii. 346

—— Thomas, R. A., ii. 346

Sanderson, Mr. R., Sale (1848), i. 332

Sandon Hall, Stafford, ii. 342

Sandrart, Joachim von, i. 3, 28, 36, 50, 92, 147, 157, 224, 240-241, 243; ii. 25, 27, 77, 133, 135, 187, 217, 231, 298-299, 310, 342, 397

Sandwich, i. 331

Sarburgh, Bartholomäus, painter, i. 88, 241; ii. 328-330

Savoie, Jacques de, Duc de Nemours, portrait by Flicke, ii. 306

Saxony, i. 168

—— King Frederick Augustus of, ii. 67

—— Augustus III, Elector of, i. 242; ii. 67

—— Johann Ernst, Duke of, ii. 94-95

—— Duke of, ii. 152-153, 172-174

Scannelli, Francesco, i. 306; ii. 66

Schaeufelin, Hans, ii. 47

Schaffhausen, i. 91; ii. 326

Schaffner, Martin, i. 20

Scharf, Sir George, i. 286, 320; ii. 26 note, 95 note, 110, 125-126, 129-130, 137, 194, 231, 233, 237-238, 397-398

Schiavonetti, i. 320

Schijverts von Merode, Willem, ii. 342

Schinz, von, family, of Zürich, i. 50

Schlegel, Friedrich, i. 244

Schleissheim, i. 9

Schlotthauer, Joseph, i. 214

Schmid, tanner, i. 109

—— Elsbeth, see Holbein, Elsbeth

—— Franz, i. 83; ii. 162-163, 300

Schmid, H. A., ii. 398

Schneeli, G., ii. 398

Schöffer, printer of Maintz, i. 190

Schönborn, Count von, Vienna (collection), ii. 15, 16, 349

Schöner, Johann, ii. 50

Schongauer, Kaspar, i. 6

—— Martin, i. 5, 6, 18

Schrott, Johannes, i. 19, 20

Schuman, Michel, i. 83

Schwartz, Christopher, of Munich, painter, i. 98

—— Gumpret, i. 20

—— Hans, i. 20

Schwartzensteiner, wife of Burgomaster, i. 20

Schwegler, painter of Lucerne, i. 72

Schweiger, Jörg, Basel goldsmith, i. 59

Scots, Mary, Queen of, i. 353, 357, ii. 147

Scrope, Maria, i. 301

Seder, Herr Anton, i. 33

Seeman, A., ii. 398

Seine, ii. 272

Seld, Jörig, i. 19

Selve, George de, Bishop of Lavaur, ii. 17 note, 35-36, 39-43, 48-51, 255

—— Jean de, Premier President of Parliament, Paris, ii. 40-41

“Selve et d’Avaux, MM. de,” ii. 37, 46-47

“Semel” (Seymour), Edward, ii. 112

Seneca, i. 296

Serlby, ii. 104

Sessac, Sieur de, ii. 42

Sesto, Cesare da, i. 250-251

Settignano, i. 273

Seville, i. 272

Seward, Mr. Edwin, ii. 27 note

Seymour family, ii. 101, 200, 237

—— Queen Jane, ii. 65, 90-91, 94-96, 101, 109, 111-117, 138-139, 169, 180-181, 208, 234, 237, 254, 259, 274, 276, 280, 286, 313

Sforza, Francesco Maria, last Duke of Milan, ii. 117, 128, 137

—— Lodovico (“Il Moro”), ii. 66-67

Shakespeare, Henry VIII, ii. 211

Shelley, Edward, portrait by Eworthe, ii. 307

Shelton, Norfolk, ii. 272

—— Sir John and Lady, ii. 272-273

—— Mrs., ii. 116

Shepherd, Rev. Charles, ii. 57

Sheppard, Dr. Edgar, Old Royal Palace of Whitehall, ii. 185, 346, 398

Shere, i. 309

Sherrington, Sir William, ii. 256

Shoreditch, i. 272

Short, Robert, painter-stainer, i. 261

Shrewsbury, Earl of (temp. Henry VIII), ii. 211

Shute, John, painter, ii. 308

Silvestre, J., engraver, ii. 346

Simon, K., ii. 398

Simson, John, painter, i. 287

Singer’s edition of Cavendish’s Life of Wolsey (1825), ii. 109

Singh, Prince Frederick Duleep, ii. 210

Sketchley, R. E. D., Holbein as Goldsmiths’ Designer, ii. 286 note, 398

Slingelandt, G. von (collection), i. 107

Sloane, Sir Hans, ii. 276, 278

Smetyng, Elard, of the Steelyard, ii. 6

Smid, Ludwig, i. 13

Smirke, Sir R., ii. 270

Smith, H. Clifford, Jewellery, ii. 281-282, 398

—— John Russell, i. 214

—— J. T., ii. 267

Snecher, Anthony, witness to Holbein’s will, ii. 295, 297-298

Society of Antiquaries, see Antiquaries

Socrates, i. 193

Solace and Consolation of Princes (Spalatinus), ii. 153

Soliers, Charles de, see Morette

Solimar, Thomas, King’s secretary, ii. 73

Solly Collection, ii. 6

Solothurn, i. 58, 106, 109-110

—— Gallery, i. 111; ii. 358; Minster, i. 109

Somerset, Charles, Duke of, ii. 237

—— Lord Protector, i. 305

Sotheby, Colonel, ii. 216 note

—— Major-General F. E., i. 302; ii. 216 note

Souch, Mary, see Zouch

Sourdis, De, Collection, ii. 246

Southam Delabere, near Cheltenham, ii. 169

Southampton, William Fitzwilliam, Earl of, ii. 65, 204 and note, 205, 211, 304

South Kensington, i. 308 note; ii. 228

South Kensington Museum, Exhibition of Portrait Miniatures (1862), ii. 361; (1865), ii. 362-363

—— Exhibition of National Portraits (1866), ii. 363-367; (1868), ii. 367