Chapter xxi
., Vol. ii. p. 138 _et seq._
Footnote 405:
See Vol. ii. p. 162.
Footnote 406:
Reproduced in the _Burlington Magazine_, vol. xvi., November 1909, frontispiece; Ganz, _Holbein_, p. 91.
Footnote 407:
_Burlington Magazine_, vol. xvi., November 1909, pp. 67-71.
Footnote 408:
Only one of these has Holbein’s name attached to it in the Arundel inventory of 1655. The two are entered as “Erasmo di Holbein” and “Ritratto d’Erasmo Roterodamo.” See above, p. 171, note 4.
Footnote 409:
Reproduced in _Burlington Magazine_, vol. xvi., November 1909.
Footnote 410:
Woltmann, 240. Reproduced by Ganz, _Holbein_, p. 86.
Footnote 411:
The much inferior version in the Besançon Museum (reproduced by Ganz, _Holbein_, p. 215) is an almost exact replica of the Parma picture.
Footnote 412:
See M. Curtze, _Beiblatt der Zeitschrift für bildende Kunst_, 1874, ix. 537 ff.; Woltmann, vol. ii. p. 15; and Colvin, _Burlington Magazine_, vol. xvi. p. 68.
Footnote 413:
Woltmann, 13. Reproduced by Davies, p. 112; Knackfuss, fig. 114; Ganz, _Holbein_, p. 90.
Footnote 414:
Woltmann, 23.
Footnote 415:
Reproduced by Ganz, _Holbein_, p. 214; the hands and body follow the Longford picture, while the head is like the Parma version.
Footnote 416:
Woltmann, 250. Reproduced by André Machiels, _Gaz. des Beaux-Arts_, November 1911, p. 359, who regards it as an original work by Holbein.
Footnote 417:
Woltmann, 171.
Footnote 418:
Woltmann, 207. Reproduced by Knackfuss, fig. 51.
Footnote 419:
Woltmann, 206. Reproduced by Woltmann, i. 357, fig. 63; Knackfuss, fig. 112; Machiels, _Gaz. des Beaux-Arts_, November 1911, p. 358; and elsewhere.
Footnote 420:
Reproduced by Law, _Holbein’s Pictures in Windsor Castle_, viii. p. 27, and in _Royal Gallery of Hampton Court_, p. 220; Sir C. Phillips, “The Picture Gallery of Charles I,” _Portfolio Monograph_, 1896, p. 111; Davies, p. 28; Ganz, _Holbein_, p. 207.
Footnote 421:
Reproduced by Ganz, _Holbein_, p. 208.
Footnote 422:
Law, _Holbein’s Pictures_, &c., p. 28.
Footnote 423:
Woltmann, i. p. 289.
Footnote 424:
Knackfuss, p. 78.
Footnote 425:
Woltmann, 164. Reproduced by Knackfuss, fig. 113; Ganz, _Holbein_, p. 92.
Footnote 426:
Reproduced by Ganz, _Holbein_, p. 92.
Footnote 427:
On this point see Koegler, _Jahrbuch d. Pr. K.-S._, 1911, and Ganz, _Holbein_, p. 239.
Footnote 428:
Woltmann, ii. p. 359.
Footnote 429:
Woltmann, 43. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 50 (in colours), and _Holbein_, frontispiece; Davies, p. 100; Knackfuss, fig. 21; Wornum, frontispiece, eng. by C. W. Sharpe.
Footnote 430:
According to Dr. Ganz, _Holbein_, p. 232, this cutting-out was in all probability done in the eighteenth century, when at the same time the hat and mantle were freshened with water-colours.
Footnote 431:
Dr. Ganz points out (_Holbein_, p. 232), that it was not until after his journey into France, in 1523-4, that he made use of coloured chalks in his drawings.
Footnote 432:
Another drawing of this period in the Basel Gallery, the Young Man with the big hat, is described in Vol. ii. pp. 259-60.
Footnote 433:
Including Woltmann, in the first edition of his book, Eng. trans., p. 205.
Footnote 434:
The same initials occur on the title-page to Hall’s _Chronicle_, 1548. See Vol. ii. p. 79.
Footnote 435:
Woltmann, Eng. trans., p. 205.
Footnote 436:
See Campbell Dodgson, _Burlington Magazine_, vol. x., Feb. 1907, pp. 319-22; also the same writer’s Catalogue of Early German and Flemish Woodcuts in the British Museum, vol. ii., 1911, p. 295, &c.
Footnote 437:
See His, “Hans Lützelburger,” &c., in _Gazette des Beaux-Arts_, 2^e Période, vol. iv. pp. 481-9 (December 1871).
Footnote 438:
Mr. Frederic Lees, however, mentions as clearly by Holbein, “a drawing for the celebrated _Dance of Death_ series, and the only one of the forty which now exists,” which is in the collection of M. Emile Wauters in Paris.—_The Studio_, vol. li. No. 213, p. 213 (December 1910).
Footnote 439:
See pp. 44-5 and Pl. 11.
Footnote 440:
Woltmann, 223. Reproduced by Butsch, _Die Bücher-Ornamentik der Renaissance_, Pl. 45; and by Mantz, _Hans Holbein_, p. 26.
Footnote 441:
_Calendars of Letters and Papers, Hen. VIII_, vol. ii. pt. i. 2540.
Footnote 442:
Woltmann, A. H., 4. Reproduced by Butsch, Pl. 43. Already used by Froben in more than one book in the previous year (1517).
Footnote 443:
Woltmann, 217, 218. See p. 111.
Footnote 444:
Woltmann, 227. Reproduced by Butsch, Pl. 54; Knackfuss, fig. 50; Mantz, p. 43.
Footnote 445:
Woltmann, 215. Reproduced by Butsch, Pl. 57.
Footnote 446:
Woltmann, 216.
Footnote 447:
Woltmann, 184-7.
Footnote 448:
Woltmann, 188-91.
Footnote 449:
Woltmann, 192. Reproduced in _Holbein_, “Great Engravers” Series (A. M. Hind), 1912.
Footnote 450:
Woltmann, 213.
Footnote 451:
Woltmann, 150-70.
Footnote 452:
See Woltmann, i. 218-20.
Footnote 453:
Woltmann, 171.
Footnote 454:
Woltmann, 226.
Footnote 455:
Woltmann, 212.
Footnote 456:
Woltmann, 195, 196. Reproduced by Woltmann, i. pp. 237-38.
Footnote 457:
Woltmann, 231. Reproduced by Butsch, Pl. 64; Woltmann, i. p. 200.
Footnote 458:
Woltmann, 232. Reproduced by Butsch, Pl. 64; Wornum, p. 13, &c.
Footnote 459:
Woltmann, 233.
Footnote 460:
Woltmann, 253. Four of the letters reproduced by Woltmann, Eng. trans., p. 218.
Footnote 461:
Woltmann, 254.
Footnote 462:
Woltmann, 255-9.
Footnote 463:
Woltmann, 251.
Footnote 464:
Woltmann, 266-8.
Footnote 465:
Woltmann, 238_a_, 238_b._
Footnote 466:
Woltmann, 239-41.
Footnote 467:
Woltmann, 242, 243.
Footnote 468:
Woltmann, 244, 245.
Footnote 469:
Woltmann, 246-8.
Footnote 470:
Woltmann, 249. A number of these marks reproduced by Butsch, Pls. 50, 51.
Footnote 471:
See Appendix (G).
Footnote 472:
Woltmann, 209.
Footnote 473:
Woltmann, 205.
Footnote 474:
See Vol. ii. pp. 76-9.
Footnote 475:
See Woltmann, i. chap. xi.; Chatto, _Treatise on Wood Engraving_, ed. Bohn, chap. vi.; Douce, _Dance of Death_, 1858, pp. 30-37.
Footnote 476:
Woltmann, 92-149.
Footnote 477:
See p. 190.
Footnote 478:
Chatto, _A Treatise on Wood Engraving_, ed. 1861, pp. 330-1.
Footnote 479:
See Woltmann, i. 269.
Footnote 480:
See Campbell Dodgson, _Catalogue of Early German and Flemish Woodcuts_, &c., vol. ii. p. 207. The cut of “The Duchess” has the date 1542, and that of “The Advocate” the engraver’s monogram, HVE, from which it appears that Jost de Negker did not cut the blocks himself, but was only the publisher.
Footnote 481:
See introductory note by Austin Dobson to the edition published by George Bell & Sons, 1898. The whole set reproduced by Mantz, pp. 83-87; and by Davies, pp. 196-200, from the proofs in the British Museum; and in Heinemann’s “Great Engravers” Series, _Holbein_, ed. A. M. Hind, 1912, which includes the cuts of the 1562 edition.
Footnote 482:
Chatto, _Treatise_, &c., pp. 324-5.
Footnote 483:
Chatto, _Treatise_, &c., p. 365; Woltmann, i. p. 240; Wornum, p. 25.
Footnote 484:
Woltmann, 252. The set reproduced by Davies, p. 194; Knackfuss, fig. 71; and elsewhere. They are used as the initial letters in this book.
Footnote 485:
Woltmann, 1-91. The whole series reproduced by Mantz, pp. 92-108; and, with the exception of seven, by A. M. Hind, in _Holbein_, “Great Engravers” series, 1912; thirteen by Davies, p. 188.
Footnote 486:
Chatto, _Treatise_, &c., p. 366.
Footnote 487:
Woltmann, 1st ed., Eng. trans., p. 233.
Footnote 488:
A considerable number of the subjects appear to have been suggested to Holbein by the small woodcuts in the Malermi Bible, published in Venice in 1490, which, in turn, had been more or less adapted from the Cologne Bible of 1480; but the material so used by Holbein was completely transformed by the magic of his pencil. See A. M. Hind, _Holbein_, in “Great Engravers” series, p. 10.
Footnote 489:
See pp. 160-1.
Footnote 490:
Woltmann, 251.
Footnote 491:
Woltmann, i. 316.
Footnote 492:
Woltmann, 143. Reproduced by Knackfuss, fig. 89; Ganz, _Holbein_, p. 65; and elsewhere.
Footnote 493:
Dr. Ganz points out the resemblance between this picture and Mantegna’s “Madonna of Victory” in the Louvre. In the latter the kneeling suppliants are also protected by the Virgin’s cloak, and the movement of her hand, outstretched in benediction over Gonzaga’s head, is just the same as that of the Infant Christ in the Meyer votive picture (_Holbein_, p. xxviii.).
Footnote 494:
Woltmann, 40-42.
Footnote 495:
Reproduced by Davies, p. 90; Knackfuss, fig. 86.
Footnote 496:
Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 18 (in colour); Davies, p. 92; Knackfuss, fig. 87.
Footnote 497:
Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 56; Davies, p. 94; Knackfuss, fig. 88.
Footnote 498:
Reproduced by Davies, p. 88; Knackfuss, fig. 90; Ganz, _Holbein_, p. 209.
Footnote 499:
See Wornum, p. 166; Woltmann, i. pp. 300-14.
Footnote 500:
December 1871, iv., 2nd period, pp. 516-19.
Footnote 501:
Woltmann, ii. pp. 49-50. See Appendix (E).
Footnote 502:
Woltmann, i. p. 296.
Footnote 503:
Wornum, p. 171.
Footnote 504:
_Anzeiger für Schweiz. Altertumskunde_, N. F. xii. 4. Sarburgh painted a portrait of Remigius Faesch. See Appendix (E).
Footnote 505:
Sainsbury, _Original unpublished Papers, illustrative of the Life of P. P. Rubens_, &c., 1859, Appendix, No. liii. p. 290. Quoted by Wornum, p. 170.
Footnote 506:
Woltmann, i. p. 298; ii. p. 56.
Footnote 507:
The history of the Dresden copy, given below, bears out this supposition.
Footnote 508:
Elsewhere he speaks of it as the sixth.
Footnote 509:
Walpole, _Anecdotes_, &c., ed. Wornum, 1888, i. 93.
Footnote 510:
Ruskin, “Sir Joshua and Holbein,” _Cornhill Magazine_, March 1860, p. 328; reprinted in _On the Old Road_, vol. i. pt. i., pp. 221-236.
Footnote 511:
Davies, p. 94-5.
Footnote 512:
See p. 158.
Footnote 513:
She was, however, born in 1508, and so would be too young for the lady of these pictures.
Footnote 514:
Woltmann, 17. Reproduced by Knackfuss, fig. 91; Ganz, _Holbein_, p. 40.
Footnote 515:
Woltmann, 18. Reproduced by Davies, p. 102; Knackfuss, fig. 92; Ganz, _Holbein_, p. 41.
Footnote 516:
Woltmann, 1st ed., Eng. trans., p. 289. Omitted in 2nd ed.
Footnote 517:
Wornum, p. 163.
Footnote 518:
Mrs. G. Fortescue, _Holbein_, p. 105-6.
Footnote 519:
T. de Wyzewa, “À propos d’un Livre nouveau sur Holbein le Jeune,” _Revue des Deux Mondes_, 15th Jan. 1912.
Footnote 520:
See pp. 79 and 137-8.
Footnote 521:
Knackfuss, p. 115.
Footnote 522:
Wornum, pp. 162-4.
Footnote 523:
Davies, pp. 102-3.
Footnote 524:
_Burlington Magazine_, vol. iv. No. xi. (Feb. 1904) p. 187.
Footnote 525:
See p. 233.
Footnote 526:
_Calendars of Letters and Papers, &c., Hen. VIII_, iv. Pt. i. 1547.
Footnote 527:
See p. 22.
Footnote 528:
Woltmann, 1st ed., Eng. trans., p. 292.
Footnote 529:
_Erasmi Opera_, iii. 951.
Footnote 530:
_Calendars of Letters and papers, &c., Hen. VIII_, i. preface, p. xxv.
Footnote 531:
_C. L. P._, i. 2053.
Footnote 532:
_C. L. P._, i. 5720.
Footnote 533:
_C. L. P._, ii. Pt. ii., Revels Accounts, p. 1499.
Footnote 534:
_C. L. P._, i. 4954.
Footnote 535:
18th April 1520. _C. L. P._, iii. Pt. i. 750.
Footnote 536:
21st May 1520. _C. L. P._, iii. Pt. i. 825.
Footnote 537:
_C. L. P._, iii. Pt. ii., Revels Accounts, p. 1551.
Footnote 538:
_Memoir of Henry FitzRoy, Duke of Richmond and Somerset_, Camden Society, 1855, p. 87.
Footnote 539:
_C. L. P._, iii. Pt. ii. 3517.
Footnote 540:
_C. L. P._, iv. Pt. i. 965.
Footnote 541:
_C. L. P._, iv. Pt. ii. 3564.
Footnote 542:
J. Gough Nichols, _Archæologia_, xxxix. pp. 23-25 (1862).
Footnote 543:
See _Archæologia_, xxxix. p. 25.
Footnote 544:
Walpole, _Anecdotes of Painting_, ed. Wornum, 1888, i. 64.
Footnote 545:
_C. L. P._, v. 1139 (30).
Footnote 546:
_C. L. P._, v., Privy Purse Expenses of Hen. VIII, Feb. 1532.
Footnote 547:
_C. L. P._, v. 952.
Footnote 548:
_C. L. P._, x. 914.
Footnote 549:
_C. L. P._, xiv. Pt. ii. 238.
Footnote 550:
_C. L. P._, xiv. Pt. ii. 782 (p. 336).
Footnote 551:
_C. L. P._, xvi. 1489 (f. 188).
Footnote 552:
J. Gough Nichols, _Archæologia_, xxxix. p. 27.
Footnote 553:
See p. 276.
Footnote 554:
J. Gough Nichols, _Archæologia_, xxxix. p. 34.
Footnote 555:
Walpole, _Anecdotes of Painting_, ed. Wornum, 1888, p. 62.
Footnote 556:
_Archæologia_, xxxix. p. 30.
Footnote 557:
Wornum, p. 22.
Footnote 558:
Lionel Cust, _Introductory Notes to the Catalogue of the Burlington Fine Arts Club Exhibition of Early English Portraiture_, 1909, pp. 47, 48.
Footnote 559:
See Nichols, _Archæologia_, xxxix. p. 29.
Footnote 560:
Lionel Cust, _Introductory Notes, Catg. Burl. Fine Arts Club Exhib. Early English Portraiture_, 1909, p. 48.
Footnote 561:
_C. L. P._, vii. 922 (14 and 15).
Footnote 562:
Wornum, p. 32.
Footnote 563:
_C. L. P._, iv. Pt. ii. 3169.
Footnote 564:
_C. L. P._, iv. Pt. i. 2152.
Footnote 565:
_C. L. P._, iv. Pt. ii. 4435, 4572, 4574-77, 4652.
Footnote 566:
_C. L. P._, iv. Pt. iii. 5163.
Footnote 567:
_C. L. P._, iv. Pt. ii. 5117.
Footnote 568:
_C. L. P._, v. 978 (15).
Footnote 569:
_Loseley Manuscripts._
Footnote 570:
_C. L. P._, xiii. Pt. ii. 1280, f. 55 b.
Footnote 571:
_C. L. P._, i. 5604.
Footnote 572:
See Vol. ii. pp. 238-9.
Footnote 573:
_C. L. P._, xvi. 305 (25).
Footnote 574:
Burl. Fine Arts Club Exhib., 1909, No. 29.
Footnote 575:
Lionel Cust, _Introductory Notes_, _Burl. Fine Arts Club Exhib. Catg._, 1, 1909, pp. 45, 46.
Footnote 576:
See also Scharf, _Archæologia_, xxxix. pp. 47-9.
Footnote 577:
See _Burlington Magazine_, vol. xiv., March 1909, pp. 366-8.
Footnote 578:
See Cust, _Catg. Burl. Fine Arts Club Exhib._, 1909, p. 60.
Footnote 579:
_C. L. P._, i. 775.
Footnote 580:
See M. Digby Wyatt, “On the Foreign Artists employed in England during the Sixteenth Century,” _Transactions of the Royal Institute of British Architects_, 1868, p. 220.
Footnote 581:
Cust, _Catg. Burlington Fine Arts Club Exhibition_, 1909, p. 61.
Footnote 582:
Cust, p. 61.
Footnote 583:
_C. L. P._, i. 5720.
Footnote 584:
_C. L. P._, i. 4954.
Footnote 585:
_C. L. P._, ii. Pt. ii. p. 1461.
Footnote 586:
_C. L. P._, ii. Pt. ii. p. 1472.
Footnote 587:
_C. L. P._, ii. Pt. ii. 3862.
Footnote 588:
_C. L. P._, iii. Pt. i. 826. See p. 259.
Footnote 589:
_C. L. P._, iv. Pt. i. 366.
Footnote 590:
_C. L. P._, iv. Pt. ii. 3104.
Footnote 591:
_C. L. P._, v., Privy Purse Expenses.
Footnote 592:
_C. L. P._, v. 686.
Footnote 593:
_Archæologia_, xxxix. p. 28.
Footnote 594:
_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 305.
Footnote 595:
See above, p. 273.
Footnote 596:
_Transactions of the Royal Institute of British Architects_, p. 227.
Footnote 597:
Lewis Einstein, _The Italian Renaissance in England_, 1902, p. 196, and Cust, _Catg. Burl. Fine Arts Club Exhib._, 1909, p. 64.
Footnote 598:
_C. L. P._, v., 952 (p. 446).
Footnote 599:
_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 307.
Footnote 600:
Mr. Cust gives his salary as £20 per annum, but the entry in the accounts is always 33_s._ 4_d._ a quarter, not a month, though this, of course, may be an error of book-keeping.
Footnote 601:
See M. Digby Wyatt, _Transactions_, &c., p. 225.
Footnote 602:
_Transactions_, &c., p. 225.
Footnote 603:
_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 319.
Footnote 604:
_C. L. P._, v., Privy Purse Expenses, March 1531. “To Anthony Pene and Bartilmew Tate, paynters, for ther lyveray at 22_s._ 6_d._ a pece, 45_s._”
Footnote 605:
Vol. c. 6, 12. Quoted by Wornum, p. 204, note.
Footnote 606:
_Hampton Court Accounts_, Wornum, p. 205, note.
Footnote 607:
_C. L. P._, v., Privy Purse Expenses.
Footnote 608:
_C. L. P._, xiii. Pt. i. 1309 (35).
Footnote 609:
_C. L. P._, xiv. Pt. ii. 782 (p. 335).
Footnote 610:
_C. L. P._, xiii. Pt. ii. 967 (46).
Footnote 611:
_C. L. P._, xiii. Pt. ii. 1280 (f. 53_b_).
Footnote 612:
_C. L. P._, xvi. 1489 (f. 165).
Footnote 613:
_C. L. P._, xvi. 779 (18).
Footnote 614:
_C. L. P._, xvii. 1251 (13).
Footnote 615:
_Loseley Manuscripts_, edit. Kempe, pp. 81, 84, 89.
Footnote 616:
_Archæologia_, xii. pp. 381, 391.
Footnote 617:
_C. L. P._, iii. Pt. ii. 2486.
Footnote 618:
See J. Gough Nichols, _Archæologia_, xxxix. p. 38: and Cust, _Catg. Burl. Fine Arts Club Exhib._, 1909, p. 63.
Footnote 619:
See Dimier, _French Painting in the Sixteenth Century_, pp. 115, 116.
Footnote 620:
_C. L. P._, xvi. 1308 (4).
Footnote 621:
_C. L. P._, iii. Pt. i. 1355.
Footnote 622:
_C. L. P._, v., Treasurer of the Chamber’s Accounts, p. 305.
Footnote 623:
_Catg. Burl. Fine Arts Club Exhib._, 1909, p. 65.
Footnote 624:
See Dimier, _French Painting in the Sixteenth Century_, pp. 60, 86. Also the same writer’s _Le Primatice_, 1900. The name was sometimes spelt Belin.
Footnote 625:
p. 75.
Footnote 626:
Quoted in _Burlington Gazette_, II. i. May 1903, p. 55.
Footnote 627:
_C. L. P._, xiii., Pt. ii. 1280 (f. 47b).
Footnote 628:
_C. L. P._, xiv. Pt. ii. 781 (f. 68).
Footnote 629:
_C. L. P._, xvi. 37.
Footnote 630:
_C. L. P._, xvi. 59.
Footnote 631:
_C. L. P._, xvi. 60.
Footnote 632:
_C. L. P._, xvi. 82.
Footnote 633:
_C. L. P._, xvi. 115.
Footnote 634:
_C. L. P._, xvi. 163, 168.
Footnote 635:
_C. L. P._, xvi. 182.
Footnote 636:
_C. L. P._, xvi. 276. See also Appendix (H).
Footnote 637:
See Appendix (H).
Footnote 638:
_C. L. P._, xvi. 308 (f. 119b).
Footnote 639:
_C. L. P._, xvi. 1308 (5).
Footnote 640:
_Archæologia_, xxxix. p. 37.
Footnote 641:
Loseley Manuscripts, “Revels at Hampton, 16 July to 6 Sep., 38 Hen. VIII.”
Footnote 642:
Loseley Manuscripts, “Coronation of Ed. VI.”
Footnote 643:
Loseley Manuscripts, “Shrovetide Revels, 2 Ed. VI.”
Footnote 644:
Quoted by Nichols, _Archæologia_, xxxix. p. 37.
Footnote 645:
_Archæologia_, xxxix. p. 55.
Footnote 646:
Cust, _Cat. Burl. F.A. Club Exhib._, 1909, p. 64; National Gallery Catalogue.
Footnote 647:
Vasari, as quoted by Scharf, _Archæologia_, xxxix. pp. 53, 54.
Footnote 648:
See above, p. 245.
Footnote 649:
Davies, p. 115.
Footnote 650:
See page 245. Davies, p. 94.
Footnote 651:
See below, p. 315.
Footnote 652:
See p. 169.
Footnote 653:
_C. L. P._, iv. pt. i. 1826; _Erasmi Opera_, iii. 951.
Footnote 654:
_Proceedings of the Society of Antiquaries_, Second Series, xvii. No. i. pp. 132-145.
Footnote 655:
_Proceedings_, Second Series, xvi. No. iii. pp. 321-327.
Footnote 656:
Walpole, _Anecdotes_, &c., ed. Wornum, 1888, i. 90. The sixth picture to which he refers is the Meyer Madonna.
Footnote 657:
Woltmann, 35. Reproduced by Ganz, _Holbein_, p. 192, _Hdz. Schwz. Mstr._, i. 55, and _Hdz. von H. H. dem Jüng._, Pl. 23; Davies, p. 116; Knackfuss, fig. 93.
Footnote 658:
Engraved by Dean for _The Bijou_, 1829.
Footnote 659:
One of the versions of the picture was in the Earl of Arundel’s collection, and is entered in the 1655 inventory as “Tomaso Moro con la sua famiglia.” In the same collection there was a portrait of More’s son, entered as “Il figliolo de Tomaso Moro,” but without the name of the artist. See Appendix (I) for the history of the Nostell picture.
Footnote 660:
Roper’s _Life and Death of Sir Thomas More_, &c., ed. Rev. J. Lewis, 1731, p. 169.
Footnote 661:
The heads in the Windsor Collection.
Footnote 662:
Walpole, _Anecdotes_, &c., ed. Wornum, 1888, p. 92.
Footnote 663:
Wornum, p. 244.
Footnote 664:
Woltmann, 1st ed., Eng. trans, p. 322. For Vertue’s account, see Appendix (I).
Footnote 665:
Nos. lviii. and lix., “Nostell Priory, Wakefield,” _Athenæum_, Sept. 18, 25, 1880.
Footnote 666:
See pp. 311-16.
Footnote 667:
Woltmann, i. 350, note.
Footnote 668:
Wornum, pp. 231-246.
Footnote 669:
See Appendix (I).
Footnote 670:
Wornum, pp. 245-6.
Footnote 671:
Reproduced by Ganz, _Holbein_, p. 193.
Footnote 672:
According to Mr. W. Roberts, _Memorials of Christie’s_, 1897, vol. i. p. 81, the measurements of the picture, as given in the sale catalogue of 1808, are 10 ft. by 15 ft.
Footnote 673:
Reproduced in the catalogue, p. 214.
Footnote 674:
Walpole, _Anecdotes_, &c., ed. Wornum, 1888, p. 92.
Footnote 675:
Vol. iii. pt. i. p. 490.
Footnote 676:
Woltmann, 275; Wornum, i. 6; Sir R. Holmes, i. 4.
Footnote 677:
Woltmann, 276; Wornum, i. 42; Sir R. Holmes, i. 7.
Footnote 678:
Wrongly inscribed “The Lady Barkley.” Woltmann, 278; Wornum, ii. 34; Sir R. Holmes, i. 5.
Footnote 679:
Woltmann, 279; Wornum, ii. 12; Sir R. Holmes, i. 6.
Footnote 680:
Woltmann, 277; Wornum, ii. 35; Sir R. Holmes, i. 8.
Footnote 681:
Wrongly inscribed “Mother Jak.” Woltmann, 280; Wornum, ii. 40; Sir R. Holmes, i. 9.
Footnote 682:
Woltmann, 273, 274; Wornum, i. 3, 4; Sir R. Holmes, i. 3 and ii. 18.
Footnote 683:
Woltmann, 207. Reproduced by Davies, p. 118; _Catalogue of the Tudor Exhibition_, 1890, p. 44; A. F. Pollard, _Henry VIII_, p. 114; _Burlington Fine Arts Club Exhib. Catg._, Pl. xviii.; Ganz, _Holbein_, p. 69. The portrait is now in America. See Appendix (I).
Footnote 684:
_Catg. Burl. Fine Arts Club Exhib._, 1909, p. 95. The entry in the Lumley inventory is—“Of Sir Thomas Moore, Lo. Chancello^r, drawne by Haunce Holbyn.”
Footnote 685:
One of these copies was in 1867 in the possession of Mr. Charles J. Eyston, of East Hendred (Wornum, p. 246), and a second in the collection of the Marquis of Lothian. There was a small circular portrait of More, on wood, 4 in. in diameter, in Charles I’s collection (No. 48), in a black cap, furred gown, and red sleeves. Evelyn notes in his Diary, under the date Feb. 15th, 1649:—“Sir William Ducy shew’d me some excellent things in miniature, and in oyle of Holbein’s _Sir Tho. More’s_ head.” Among the numerous copies in existence is one by Rubens in the Prado, Madrid. A portrait of More, “invested with the collar of the Garter, by Holbein; upon a pedestal is inscribed the date, MDXXVII,” was included in the sale of the Duke of Bedford’s pictures from Woburn Abbey, on 30th June 1827, and fetched 70 guineas.
Footnote 686:
See p. 335.
Footnote 687:
Mr. W. F. Dickes, however, reproduces it in his book, _Holbein’s “Ambassadors” Unriddled_, p. 80, as a portrait by Holbein of the Count Palatine Philipp! Engraved by Vorsterman as a portrait of More by Holbein. Reproduced by Ganz, _Holbein_, p. 225.
Footnote 688:
_Athenæum_, June 19, 1886, No. 3060, p. 820.
Footnote 689:
Quoted by Wornum, p. 248.
Footnote 690:
Wornum, pp. 248, 249.
Footnote 691:
_Il Microcosmo della Pittura_, 1657, ii. 265.
Footnote 692:
_History of Portrait Miniatures_, 1904, vol. i. p. 8.
Footnote 693:
Reproduced in Dr. Williamson’s book, Pl. iii. No. 2, and in colours in the _édition de luxe_ of Mr. Pierpont Morgan’s Catalogue, No. 5; and by Ganz, _Holbein_, p. 227 (1), who includes it among the copies after Holbein.
Footnote 694:
In the exhibition of miniatures held at South Kensington in 1865 there was one of “Alicia, wife of Sir Thomas More,” attributed to Holbein, lent by Mr. J. Heywood Hawkins (No. 1146).
Footnote 695:
Reproduced in the _Burl. Fine Arts Club Exhib. Catg._, Pl. xiv; Ganz, _Holbein_, p. 194.
Footnote 696:
Reproduced by Vasari Society, Pt. i. No. 31; _Burl. Fine Arts Club Exhib. Catg._, Pl. xxix.
Footnote 697:
_Daily Telegraph_, 23rd March 1910.
Footnote 698:
Reproduced in _The Ancestor_, vi., June 1903.
Footnote 699:
The drawing in the Windsor Collection inscribed “Lady Henegham” bears considerable likeness to the Margaret Roper of the Basel sketch, and some writers hold that it represents her, and that it is a study for the Family Group. The position, however, in the Windsor study is exactly reversed, the sitter being shown in profile to the right, so that it is not probable that it was a preliminary drawing for the big group. Though the resemblance is marked, it is not so close as that between the “Queen Katherine” portrait at Knole and the Basel sketch, and the same criticism applies to the ornaments and dress, which in the two last-named are identical, whereas the “Lady Henegham” drawing shows differences, particularly in the jewellery. See also vol. ii. p. 258. The question of the authorship of the various versions of the More Family Group is dealt with more fully in Appendix (I).
Footnote 700:
_Proceedings of the Society of Antiquaries_, Second Series, vol. xvii. No. i. pp. 132-145, from which the quotations from Hall, and other facts in this chapter, have been taken.
Footnote 701:
For these and the following extracts, see _C. L. P._, iv. pt. ii. 3097-98, 3104, 3107.
Footnote 702:
_C. L. P._, v. 952. See p. 262. The name suggests Nicholas Lysard or Lyzarde, serjeant-painter to Queen Elizabeth, who was also in the service of Henry and Edward VI. He died in 1570, and has been usually regarded as an Englishman. See vol. ii., pp. 309-10. Possibly, however, Lasora was not an Italian. He may have been the “Nic. Leysure, a German,” mentioned in the royal accounts, in September 1539, as receiving payment under a warrant for 200 _cr. soleil_ for life.
Footnote 703:
Woltmann, 264. Reproduced by Law, _Holbein’s Pictures at Windsor Castle_, Pl. i.; Davies, p. 130; Knackfuss, fig. 100; Ganz, _Holbein_, p. 72.
Footnote 704:
_C. L. P._, iv. pt. iii. 5774.
Footnote 705:
Law, _Holbein’s Pictures_, &c., p. 3.
Footnote 706:
Woltmann, 282; Wornum, i. 1; Sir R. Holmes, i. 11. Reproduced by Davies, p. 210. A second fine drawing of Guldeford, on a reddish a different version from the one at Windsor, was in Mr. J. P. Heseltine’s collection of drawings, dispersed in 1912.
Footnote 707:
Mr. Lionel Cust notes a roundel painting of Guldeford in the collection of Lord Kinnaird at Rossie Priory (_Burl. Mag._, August 1912, p. 258).
Footnote 708:
On panel, 25½ in. × 20½ in.
Footnote 709:
Woltmann, “Holbein at the National Portrait Gallery,” _Fortnightly Review_, vol. vi. 1866, p. 160; also _Life_, i. 344.
Footnote 710:
_The English Connoisseur_, 1776, vol. i. p. 145; Dodsley’s _London and its Environs Described_, vol. iii. p. 268 (quoted by Mr. Law, p. 4).
Footnote 711:
See Law, p. 4.
Footnote 712:
Woltmann, 206.
Footnote 713:
_Athenæum_, 17th January 1880.
Footnote 714:
Reproduced by Ganz, _Holbein_, p. 227 (2).
Footnote 715:
Parthey, 1410. Reproduced by Ganz, _Holbein_, p. 260.
Footnote 716:
Woltmann, 32. Reproduced by Davies, p. 224; Knackfuss, fig. 105; Mantz, p. 175.
Footnote 717:
Woltmann, 37. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 11.
Footnote 718:
Woltmann, 36.
Footnote 719:
Woltmann, 281; Wornum, i. 2; Sir R. Holmes, i. 12. Reproduced by Davies, p. 126; Knackfuss, fig. 96.
Footnote 720:
Woltmann, 208. Reproduced by Ganz, _Holbein_, p. 70.
Footnote 721:
Woltmann, 225. Reproduced by Davies, p. 126; Knackfuss, fig. 97; Ganz, _Holbein_, p. 71.
Footnote 722:
Wornum, p. 218, quoting from Lysons and Brayley.
Footnote 723:
Walpole, _Anecdotes_, &c., ed. Wornum, 1888, i. 79.
Footnote 724:
Reproduced in the illustrated edition of Catalogue, p. 64.
Footnote 725:
Reproduced in the illustrated edition of the Oxford Catalogue.
Footnote 726:
Woltmann, 283; Wornum, i. 24; Sir R. Holmes, i. 13. Reproduced by Davies, p. 128; Knackfuss, fig. 98.
Footnote 727:
British Museum, 9; Woltmann, 198. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 24.
Footnote 728:
Froude, _Henry VIII_, i. 301.
Footnote 729:
Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 81.
Footnote 730:
Woltmann, 144. Reproduced by Knackfuss, fig. 103; Ganz, _Holbein_, p. 74.
Footnote 731:
It was at one time in the Arundel Collection, and is entered in the 1655 inventory as “2 Ritratti in un quadro col nome de Thomas Godsalve.” It was purchased for Dresden in Paris in 1749.
Footnote 732:
Woltmann, 286; Wornum, i. 31; Sir R. Holmes, i. 36. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 25; Davies, p. 218.
Footnote 733:
Woltmann, i. 345.
Footnote 734:
_Norfolk_, vii. 214.
Footnote 735:
_C. L. P._, v. 514.
Footnote 736:
_C. L. P._, vii. 1189 (25th Sept. 1534).
Footnote 737:
_C. L. P._, vi. 576.
Footnote 738:
_C. L. P._, v. 1598 (12).
Footnote 739:
_C. L. P._, vii. 1026 (2).
Footnote 740:
_C. L. P._, viii. 802 (26).
Footnote 741:
Woltmann, 226. Reproduced by Davies, p. 132; Knackfuss, fig. 102; Ganz, _Holbein_, p. 73.
Footnote 742:
It appears to have been at one time in the Arundel Collection, and is entered in the inventory of 1655 as “Ritratto d’un Mathematico.” As all the other portraits just mentioned were also in the Earl’s possession, it is natural to suppose that they were obtained by him directly from De Loo.
Footnote 743:
Wornum, p. 222.
Footnote 744:
According to Walpole, the Kratzer which was at Holland House “till the death of the Countess of Warwick, wife of Mr. Addison,” was a second version; perhaps the one now belonging to Viscount Galway. This version, according to the same authority, appears to have been in the possession of Sir Walter Cope before passing into the Holland House collection.
Footnote 745:
Walpole, _Anecdotes_, &c., ed. Wornum, i. 79.
Footnote 746:
See chap, xxi., vol. ii. p. 152.
Footnote 747:
_C. L. P._, iii. pt. i. 1018, 1019. It was during this same visit to Antwerp that Dürer drew Kratzer’s portrait.
Footnote 748:
_C. L. P._, iv. pt. ii. 3540 (28).
Footnote 749:
_C. L. P._, v., Privy Purse Expenses.
Footnote 750:
Ed. Howes, p. 570.
Footnote 751:
Woltmann, 219. Reproduced by Knackfuss, fig. 104; Ganz, _Holbein_, p. 211.
Footnote 752:
Wornum, p. 295.
Footnote 753:
See Ganz, _Holbein_, note to 211, p. 251; and K. Voll, _Suddeutsche Monatshefte_, 1905, ii. 8, p. 177.
Footnote 754:
Woltmann, 213. Wornum, p. 294.
Footnote 755:
Reproduced in the _Burl. Fine Arts Club Exhib. Cat._, Pl. xiii.; Ganz, _Holbein_, p. 79.
Footnote 756:
See _Notes and Queries_, 4th series, v. p. 313; _Athenæum_, Nos. 2186, 2187 (Sept. 18, 25, 1869); and _Dict. of Nat. Biog._, under “Tuke.”
Footnote 757:
Hampton Court, 610 (325). Woltmann, 162. Reproduced by Ernest Law, _Holbein’s Pictures_, &c., Pl. ix.; Davies, p. 184; Cat. Tudor Exhib., 1890, No. 72, p. 32; Ganz, _Holbein_, p. 113.
Footnote 758:
Woltmann, 308; Wornum, i. 17; Sir R. Holmes, i. 48. Reproduced by Knackfuss, fig. 143.
Footnote 759:
Wornum, p. 216.
Footnote 760:
_C. L. P._, v. 1363.
Footnote 761:
See Law, _Holbein’s Pictures_, &c., p. 29.
Footnote 762:
Woltmann, 217. Reproduced by Knackfuss, fig. 101; Ganz, _Holbein_, p. 224.
Footnote 763:
Woltmann, 227. Reproduced in _Masterpieces of Holbein_ (Gowan’s Art Books, No. 13), p. 19; Ganz, _Holbein_, p. 78.
Footnote 764:
_Burlington Magazine_, December 1909, p. 159.
Footnote 765:
On panel, 14 in. high by 12½ in. wide.
Footnote 766:
_Burlington Magazine_, December 1909, p. 154.
Footnote 767:
Woltmann, i. 341.
Footnote 768:
Woltmann, 284; Wornum, i. 34; Sir R. Holmes, i. 38. Reproduced by Davies, p. 216.
Footnote 769:
Woltmann, 285; Wornum, ii. 19; Sir R. Holmes, i. 39. Reproduced by Davies, p. 216.
Footnote 770:
Woltmann, 140. Reproduced by S. Arthur Strong in _Drawings by the Old Masters at Chatsworth_, 1902, Pl. liv.; _Burlington Magazine_, vol. i., April 1903, p. 224.
Footnote 771:
S. Arthur Strong, _Drawings, &c._, and in _Critical Studies and Fragments_, p. 133.
Footnote 772:
Woltmann, 141. Reproduced by Strong in _Drawings_, &c., 1902, Pl. lv.; _Burlington Magazine_, vol. i., May 1903, p. 354.
Footnote 773:
Reproduced by Law, _Holbein’s Pictures_, &c., Pl. iv.; Knackfuss, fig. 99.
Footnote 774:
See Vol. ii. pp. 87-9.
Footnote 775:
_Die Basler Archive über H. H. dem Jüngern_, in Zahn’s _Jahrbücher für Kunstwissenschaft_, iii. 123, 1870.
Footnote 776:
Woltmann, i. 354.
Footnote 777:
See pp. 75-6.
Footnote 778:
Woltmann, i. 355.
Footnote 779:
_C. L. P._, iv. pt. iii. 5922. _Eras. Ep._, p. 1230.
Footnote 780:
_C. L. P._, iv. pt. iii. 5924. _Eras. Ep._, p. 1232.
Footnote 781:
_C. L. P._, iv. pt. iii. 6048. _Eras. Ep._, p. 1743.
Footnote 782:
Woltmann, i. 356.
Footnote 783:
Woltmann, 15. Reproduced by Davies, p. 134; Knackfuss, fig. 107; _Œffentliche Kunstsammlung in Basel_, 57th annual report, new series, iii. p. 1, 1907; Ganz, _Holbein_, p. 83.
Footnote 784:
Reproduced by Ganz, _Holbein_, p. 213, who mentions other copies at Aix-les-Bains, Constance, in the Albertina, &c. At the time Dr. Woltmann was writing his book it was in Cologne, in the possession of Herr Brasseur, the picture-dealer.
Footnote 785:
Reproduced by Ganz, _Holbein_, p. 212.
Footnote 786:
“A propos d’un Livre nouveau sur Holbein le Jeune,” in _Revue des Deux Mondes_, 15th January 1912.
Footnote 787:
Woltmann, 46. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 23 (in colour); and in _Holbein_, p. 89. Possibly it represents a sister or near relation of Elsbeth Holbein.
Footnote 788:
See Woltmann, i. p. 159.
Footnote 789:
Woltmann, 21. Reproduced by Ganz, _Holbein_, p. 84.
Footnote 790:
Woltmann, 65. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 4 (in colour), and in _Holbein_, p. 172; Knackfuss, fig. 115.
Footnote 791:
Woltmann, 21. Reproduced by Ganz, _Holbein_, p. 85.
Footnote 792:
Woltmann, 64. Reproduced by Ganz, _Hdz. Schwz. Mstr._, iii. 23, and in _Hdz. von H. H. dem Jüng._, Pl. 27 (both in colours), and in _Holbein_, p. 173; Knackfuss, fig. 116.
Footnote 793:
Woltmann, 56. See Vol. ii. p. 278.
Footnote 794:
See Vol. ii. pp. 277-8, 281.
Footnote 795:
Ganz, _Holbein_, p. xxxiv.
Footnote 796:
Koegler, _Jahrbuch der preuss. Kunstsammlungen_, 1911.
Footnote 797:
See pp. 179-80 and 184-5.
Footnote 798:
Woltmann, i. 362.
Footnote 799:
_Holbein_, p. 136.
Footnote 800:
See Appendix (J).
------------------------------------------------------------------------
● Transcriber’s Notes: ○ Appendices A through K referenced in this volume are in volume 2. ○ Missing or obscured punctuation was silently corrected. ○ Typographical errors were silently corrected. ○ Inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book. ○ Text that was in italics is enclosed by underscores (_italics_).