  1.Anton Werner, Der Sammler, No. 143, 1907. 2.Anton Werner, Der Sammler, No. 143, 1907. 3.Entries in the Augsburg BÜrgerbuch and SteuerbÜcher. 4.See Glaser, Hans Holbein der Ältere, p. 171. 5.Katalog der Œffentlichen Kunstsammlung in Basel, 1908, p. 66. 6.Woltmann, A. H., 20. 7.Woltmann, A. H., 25. 8.Woltmann, Holbein und seine Zeit, i. 67. 9.See Willy Hes, Ambrosius Holbein, p. 149. 10.Woltmann, 1-4. The first and third reproduced by Curt Glaser, Hans Holbein der Ältere, Pl. ii. 11.The “Death of Mary” in the Basel Gallery, formerly part of the Afra altar-piece in the chapel of the Kaisheimer-Hofes in Augsburg, bears an almost illegible date, which the Basel catalogue gives as 1490, but is more probably 1495. See Curt Glaser, Hans Holbein der Ältere, p. 23, and Pl. iii. 12.Woltmann, 5. Reproduced by Glaser, Pl. v.; Davies (central part), p. 4. 13.Or Rehlingen. 14.Woltmann, 6. See Glaser, p. 36. 15.Woltmann, i. 49. First cited by Hassler in Verhandlungen des Vereins fÜr Kunst und Altertum in Ulm und Oberschwaben, ix. and x., 1855, p. 79. 16.Woltmann, 207-210. Reproduced by Glaser, Pl. xii. 17.Three of them reproduced by Glaser, Pls. x. and xi. 18.Woltmann, 238-253. Ten of the panels reproduced by Glaser, Pls. xiv.-xix. 19.Woltmann, 7. Reproduced by Glaser, Pl. xxii. 20.Woltmann, 8. Reproduced by Glaser, Pl. xxvi.; Davies (left-hand panel only), p. 12. 21.Glaser, 230. Woltmann, 277. Reproduced by Glaser, Pl. i. 22.Glaser, 218 and 153. Woltmann, 160 and 170. The first reproduced by W. Hes (Ambrosius Holbein), Pl. i. (2), and by Woltmann and Frisch in Hans Holbein des Ä. Silberstiftzeich. im Berlin, Pl. 64; the second by Glaser, Pl. xxxvii.; Davies, p. 1; Woltmann, vol. i., frontispiece; and elsewhere. 23.Glaser, 233. Reproduced by Davies, p. 14. 24.Davies, p. 16. 25.For details of these payments, taken from the account books St. Moritz, see Woltmann, ii. p. 30. 26.Woltmann, i. pp. 96-97, ii. 31. (Extracts from the Augsburger GerichtsbÜcher.) 27.The altar-piece of 1512 for the Convent of St. Catherine is referred to in the next chapter. See pp. 23-5. 28.Woltmann, 254-258. Central panel and inner sides of shutters reproduced by Glaser, Pls. xxx., xxxi.; the latter reproduced by Davies, p. 22; outer sides of shutters by Woltmann, vol. i. pp. 88, 89. 29.Woltmann, i. 95. 30.Woltmann, vol. ii. p. 132, not numbered; reproduced by Glaser, Pls. xxxii., xxxiii.; A. Seeman, in Zeitschr. f. bild. Kunst, xiv. p. 197, 1903 (in colour); Arundel Club, 1907, Pl. 4. 31.See note at end of this chapter. 32.Raczynski, Les Arts en Portugal, 1846, p. 295. 33.Glaser, p. 100; Reber, in Kunstchronik, xiv. p. 493, 1903. 34.Glaser, p. 105. 35.W., 41, 127-31, 279. G., 104-10. 36.W., 131-2, 226, 279-80. G., 109-14. 37.W., 109. G., 133. 38.W., 110. G., 134. 39.W., 117-18, 224. G., 137-9. 40.W., 119. G., 140. 41.W., 120. G., 141. 42.W., 121. G., 142. 43.W., 122. G., 143. 44.W., 149. G., 172. 45.W., 148. G., 169. 46.W., 143. G., 164. 47.W., 141-2. G., 165-6. 48.W., 111-12. G., 135-6. 49.W., 153-4. G., 156-7. 50.W., 231. G., 154. 51.W., 34. G., 170. 52.W., 145-6. G., 167-8. 53.W., 155-7. G., 209-11. 54.W., 159. G., 213. 55.W., 133-4. G., 115-17. 56.W., 124-5, 225. G., 100-2. 57.W., 126. G., 103. 58.W., 108. G., 151-2. Reproduced by Glaser, Pl. xxxvi. 59.Woltmann, 284. 60.Glaser, p. 133. 61.Burlington Magazine, October 1908, pp. 37-43. 62.Berlin, 2558. Glaser, 216. Woltmann, 158. 63.The portrait and both drawings reproduced by Mr. Dodgson in his article; and the portrait in the Illustrated Catalogue of the Burlington Fine Arts Club Exhibition, 1906, Pl. xxxi. 64.In May of the present year (1913) the “Fountain of Life” picture was removed from the Palacio das Necessidades to the Museu Nacional de Arte Antiga in Lisbon. 65.See page 254. 66.Published in 1868. 67.Woltmann, i. p. 101. 68.Woltmann, 14-17. 69.Reproduced by Glaser, Pl. xxix. 70.Glaser, p. 85. 71.Reproduced by Davies, p. 16. 72.This band of ornament, which is different in each panel, recalls the very similar scroll-work by the younger Hans used in the upper part of the organ shutters at one time in the cathedral church of Basel. 73.“IVSSV. VENER. PIENTQVE MATRIS VERONI . . W ... E. H. HOLBAIN IN AVG. ÆT. SVÆ XVII.” Wornum, p. 88. Woltmann, ii. p. 4. 74.Kunstwerke und KÜnstler in Deutschland, 1845. 75.Already mentioned, see p. 11. Glaser, 153. Woltmann, 107. 76.See page 5. 77.See Hes, p. 12, and footnote giving Woltmann’s various surmises as to the date and figures inscribed on the drawing. 78.Woltmann, 160. Glaser, 218. Reproduced by Woltmann, H. H. des Ä. Silberstiftzeichnungen, &c., Pl. lxiv.; Hes, Pl. i. 79.Woltmann, 43. Glaser, 203. Reproduced by His in his publication of the elder Holbein’s drawings, Pl. lxxiv.; Hes, Pl. iii. 80.Woltmann, 58. Glaser, 265. Reproduced by His, Pl. lvii.; Hes, Pl. iv. 81.Reproduced by Glaser, Pl. xiii.; Hes, Pl. v. 82.Reproduced by Glaser, Pl. xvii. 83.See Hes, p. 15. 84.Parthey, No. 1418. 85.Or possibly from such miniatures as those in the Duke of Buccleuch’s collection. See vol. ii. pp. 230-1. 86.Woltmann, i. 477. Dr. Paul Ganz suggests that one of these portraits may have been the small roundel belonging to Lord Spencer, traditionally known as a portrait of Holbein, but considered by him to represent the jeweller, Hans of Antwerp. See Ganz, Holbein (Klassiker der Kunst), p. 253. This large miniature is described more fully in vol. ii. pp. 14-15. 87.Walpole, Anecdotes, ed. Wornum, 1888, i. p. 93. 88.See vol. ii. pp. 230-1. 89.This small roundel is now considered to be a portrait of Hans of Antwerp. See vol. ii. p. 14. 90.Davies, p. 14. 91.Ganz, Hdz. Schwz. Mstr., note to i. 10. 92.His name does not appear in the Augsburg rate-books after 1509, and after 1512, the date on one of his brother’s portrait-studies of him, no further trace of him is to be found in his native city. 93.Reproduced by Davies, p. 33; Knackfuss, fig. 1; Ganz, Holbein, p. 3. 94.Woltmann, 359. 95.S. VÖgelin, “Ein wiedergefundenes Meisterwerk Holbeins,” in Frankfurter Zeitung, 1871 (Nos. 236-7, 244, 248), and Der Holbein-tisch auf der Stadtbibliothek in ZÜrich, Wien, 1878. Reproduced as a whole and in detail, together with a reconstruction, by Ganz in Holbein (K. der K.) pp. 6-9. 96.Woltmann, 7, 8. Reproduced by Knackfuss, figs. 2, 3; Ganz, Holbein, pp. 19, 20. 97.Woltmann, 168. Reproduced by Ganz, Holbein, p. 4; and in outline by Reinach, RÉpertoire de Peintures, i. p. 401 (as by H. H. the Elder). 98.Reproduced by Reinach, RÉpertoire, i. p. 4. 99.Reproduced by Ganz, Holbein, p. 5. Wrongly described in Reinach, RÉpertoire, as “The Flagellation.” 100.Dr. Willy Hes considers this portrait to be by Herbster himself. See p. 60. 101.Woltmann, 27. Reproduced by Knackfuss, fig. 4; Ganz, Holbein, p. 21. 102.Woltmann, 24. Reproduced by Ganz, Holbein, p. 22. 103.Woltmann, 25. Reproduced by Davies, p. 38; Ganz, Holbein, p. 23. 104.Woltmann, 26. Reproduced by Davies, p. 40; Ganz, Holbein, p. 25. 105.Woltmann, 28. Reproduced by Davies, p. 42; Knackfuss, fig. 5; Ganz, Holbein, p. 24. 106.Davies, p. 40. 107.Ganz, Holbein, p. 233. 108.Woltmann, 51. Reproduced by Ganz, Handzeichnungen Schweizerischer Meister, iii. 8; Knackfuss, fig. 66. 109.See Appendix (A). 110.Ganz, Hdz. Schwz. Mstr., note to iii. 8. 111.Woltmann, Woodcuts, 193. Reproduced by Knackfuss, fig. 67. 112.Woltmann, 234. Reproduced by Davies, p. 186; A. F. Butsch, Die BÜcher-Ornamentik der Renaissance, 1878, Pl. 41; Wornum, dedication page. 113.Woltmann, 111. 114.This inscription, however, is now regarded as a rather doubtful one, and it is possible that the book was never permanently in the possession of Erasmus. See Hes, Ambrosius Holbein, pp. 83-94, where the history of the book and the various theories as to its ownership and the authorship of the drawings are very fully discussed. 115.See Ganz, Hdz. Schweiz. Mstr., note to i. 52. 116.Dr. Hes subjects the drawings to careful analysis, and gives a complete list, together with the suggested authorship of each of them, in Ambrosius Holbein, pp. 90-94 and 161-166. 117.Twelve of them reproduced by Ganz, Hdz. Schweiz. Mstr., i. 52; the whole set by Mantz, but so badly engraved that they are of little service for purposes of comparison; the whole of the drawings now attributed to Ambrosius by Hes, Pls. xvi.-xx., and p. 139. 118.Dr. Hes points out the similarity of this figure to that of the schoolmistress in the “Schoolmaster’s Signboard,” and considers that Ambrosius had a share in the painting of the latter. See Ambrosius Holbein, p. 93. 119.By Ambrosius Holbein. 120.The name, however, was not written by Erasmus, but is a later addition. 121.Woltmann, under H. H. the Elder, 182. Reproduced by Knackfuss, fig. 6; Ganz, Holbein (K. der K.), p. 203; Hes, Pl. xxxiv. 122.Dr. Hes regards this portrait as the work of Herbster himself. See Ambrosius Holbein, p. 145. 123.Woltmann, under H. H. the Elder, 106, but he afterwards attributed it to the younger Hans. Reproduced by Ganz, Handzeichnungen Schweizerischer Meister, &c., ii. 2; Hes, Pl. xxiv. 124.Woltmann, 5, 6. Reproduced by Knackfuss, figs. 10, 11; Ganz, Holbein (K. der K.), pp. 10, 11. 125.Woltmann, 11. Reproduced by Davies, pp. 44, 46; Knackfuss, figs. 14, 15; Ganz, Holbein, pp. 12, 13. 126.On the back of the portrait of Meyer, Holbein painted, four years later, the sitter’s coat of arms, surmounted by a scroll inscribed “I.M. 1520.” (Reproduced by Ganz, Holbein, p. 30.) There is a good old copy of the wife’s portrait in the collection of Mr. Ralph Brocklebank, Haughton Hall, Tarporley, which was previously in the William Graham collection; and a copy of both portraits in the Basel Gallery, No. 350, from the Faesch collection. 127.According to StÖdtner, these portraits show the influence of Burgkmair. 128.Woltmann, 33, 34. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 18 and iii. 7, and the “Meyer” in Hdz. von H. H. dem JÜng., Pl. 2; the “Dorothea” by Davies, p. 46; both by Knackfuss, figs. 12, 13. 129.“—ogen schwarz—baret rot mosfarb—brauenn gelber dan das har—grusen wit brauenn.” 130.Woltmann, 9. Reproduced by Knackfuss, fig. 16; Ganz, Holbein (K. der K.) p. 14. 131.Ganz, Holbein (K. der K.), p. 233. 132.Reproduced by Law, Royal Gallery of Hampton Court, p. 154. 133.This theory is held by Herr Th. von Liebenau. See his H. H. des JÜng. Fresken am Hertensteinhause zu Luzern, &c., 1888. 134.Woltmann, 16. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 52; Hes, Pl. xxx. 135.E. His, “Die Baseler Archive Über H. H.,” in Zahn’s Jahrbuch, 1870, p. 113. Woltmann, i. p. 135; Hes, p. 16. 136.Woltmann, 5. Reproduced by Hes, Pl. xxxvi. 137.Woltmann, Woodcuts, 18-21. See Hes, p. 23, who reproduces all four woodcuts, Pls. xiv.-xv. 138.Woltmann, 2, 3. No. 294 reproduced in the Basel Catalogue, 1908, and both by Hes, Pl. xxxi., xxxii. 139.Woltmann, 24. Reproduced by Hes, Pl. xxix. 140.Reproduced by Hes, Pl. xxviii. 141.Woltmann, 23. See Hes, pp. 124-6. Reproduced by him, Pl. xxxiii. 142.Woltmann, 1. Reproduced by Hes, Pl. xxiii. 143.Woltmann, 4. 144.Woltmann, under Hans the Younger, 203. Reproduced by Hes, Pl. xxxvii.; Ganz, Holbein, p. 204. 145.See Hes, pp. 144-6. 146.Woltmann, 6. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 6; Hes, Pl. xxvi. 147.Woltmann, 7. Reproduced by Hes, Pl. xxvii. 148.Woltmann, 8. Reproduced by Ganz, Holbein, p. xvi.; Hes, Pl. xxv. 149.Woltmann, 10. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 22; Knackfuss, fig. 39; Hes, Pl. xxii. 150.Woltmann, 22. Reproduced by Hes, Pl. xxxv. 151.This picture was included in the Exposition de la Toison d’Or, Bruges, 1907, No. 130. 152.Woltmann, Woodcuts, 7. Reproduced by Butsch, Die BÜcher-Ornamentik der Renaissance, Pl. 46; Hes, Pl. x. 153.Woltmann, Woodcuts, 17. 154.Woltmann, Woodcuts, 16. 155.See Woltmann, ii. pp. 205-214; Hes, pp. 27-80, and Pls. vi.-xv.; also Butsch. 156.Reproduced by Ganz, Hdz. Schwz. Mstr., i. 39; Hes, Pl. xxi. 157.See Hes, p. 148. Reproduced by Vasari Society, No. 17, Pt. i., 1905-6. 158.Woltmann, 103. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 40; and in Hdz. von H. H. dem JÜng., Pl. 4; and Holbein, p. 154. 159.Woltmann, 216. 160.Woltmann, i. p. 143. Reproduced by Ganz, Holbein, p. 16. 161.Woltmann, 53. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 3; and in Holbein, p. 154; the left-hand half by His, Dessins d’Ornaments de Hans Holbein, Pl. ii. 162.Ganz, Hdz. Schwz. Mstr., note to ii. 3. 163.For completer details, see Th. von Liebenau, Hans Holbeins d. J. Fresken am Hertenstein Hause in Luzern, 1888; P. Ganz, “Hans Holbeins Italienfahrt,” in SÜddeutsche Monatshefte, 1909, vol. vi. p 596. 164.Parthey, 1548. Woltmann, ii. p. 166, who doubts that the original was by Holbein. 165.Eight of them reproduced by Ganz, together with a reconstruction of the faÇade by A. Landerer, in Holbein, pp. 153-158. 166.Reproduced in the Bulletin of the Metropolitan Museum of New York, vol. i. No. 12 (Nov. 1906); Burlington Magazine, Oct. 1906, p. 53; Ganz, Holbein, p. 15. 167.Woltmann, 58. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 41 (a). 168.See SÜddeutsche Monatshefte, 1909, p. 599. 169.See pp. 140-3, 150, &c. 170.Woltmann, 16. Reproduced by Knackfuss, fig. 19; Ganz, Holbein, p. 55. 171.See p. 40. 172.According to Dr. Ganz, the architectural motives are derived from the loggia of the Cathedral of Como. See Holbein, p. 236. 173.See chapter vii. 174.Ganz, Hdz. Schwz. Mstr., notes to ii. 3, 51, iii. 9, 35; Holbein, pp. xvi.-xviii. 175.Woltmann, 83, who calls the figure St. Pantalus. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 35. 176.For further proofs, see Appendix (B). 177.Gauthiez, Holbein, p. 52, and the same writer’s “Holbein sur la route d’Italie,” in Gazette des Beaux-Arts, Dec. 1897, Feb. 1898. 178.One is to be seen in the “Fountain of Youth” decoration for the Hertenstein house. 179.Woltmann, 29. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 53. 180.Woltmann, 107. Reproduced by Knackfuss, fig. 34. 181.For two others, see Appendix (B). 182.Woltmann, 99. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 10; and in Hdz. von H. H. dem JÜng., Pl. 5; Knackfuss, fig. 27. 183.See Ganz, Hdz. Schwz. Mstr., note to iii. 10. 184.Reproduced by His, Jahrbuch der Kgl. Preussischen Kunstsammlungen, 1894, p. 208. 185.Gauthiez, p. 56. 186.Index Operum Holbenii, appendix to MoriÆ Encomium, 1676, Nos. 47-51. Walpole, Anecdotes, ed. Wornum, p. 77. 187.Ganz, Holbein, p. 187, and note upon it, p. 249, from which this information is taken. 188.Reproduced in Hdz. Schwz. Mstr., iii. 45, with note by Meyenburg. 189.See Ganz, Holbein, p. xviii. 190.Woltmann, i. 145. 191.Reproduced by Ganz, Holbein, p. xl. 192.Woltmann, i. 145. 193.Woltmann, i. 183. 194.From Pantaleon, Heldenbuch, vol. iii. 195.For an exhaustive account of the formation and history of the Amerbach Collection, which contains transcripts from the earliest inventory, prepared by Basilius Amerbach, down to the one drawn up when the collection was taken over by the city, see Die Entstehung des Amerbach’schen Kunstkabinets und die Amerbach’schen Inventare, by Dr. Ganz and Dr. Emil Major, in the 59th annual report (1907) of the Basel Gallery. 196.Woltmann, 10. Reproduced by Davies, p. 60; Knackfuss, fig. 20; Ganz, Holbein, p. 29. 197.Wornum, Holbein, p. 117. 198.See Ganz, Holbein, p. xvi. 199.See Ganz, Holbein, p. xix. 200.See p. 138. 201.See Appendix (E). 202.Ganz, Holbein, pp. 188-191. 203.Woltmann, 155, 156. Reproduced by Knackfuss, figs. 58, 59; Ganz, Holbein, pp. 56-59. 204.There is considerable likeness between this group of the Infant Christ and the boy angels surrounding him, and the one in the beautiful “Holy Family” by Gaudenzio Ferrari at Dorchester House, more particularly in the figure of the angel with small wings and close-fitting dress, who, in Holbein’s picture, kneels in front of the Child with his back to the spectator, and in the other is shown in profile, supporting him. According to Miss Halsey (Gaudenzio Ferrari, p. 86), the Dorchester House picture was “probably painted about 1521.” 205.Knackfuss, p. 83. 206.Woltmann, i. 178. 207.Woltmann, i. 176. Wornum, p. 112 (quoting from Hegner, Hans Holbein d. J. 1827, and Schreiber, Geschichte des MÜnsters zu Freiburg, &c.). 208.Woltmann, 20. Reproduced by Knackfuss, figs. 54, 55, and 56; Ganz, Holbein, pp. 46-54; Mrs. Fortescue, Pl. 9. 209.According to Peter Ochs, it was painted for the Council Chamber of the Basel Town Hall. BoisserÉe (1829) was of opinion that the damaged panel of “The Last Supper,” already described, originally formed the central panel of this altar-piece. 210.Sandrart, Teutsche Akademie, ii. p. 82. 211.Wornum, pp. 68-71. 212.That the restorer made changes, more particularly in the colour, can be seen from two old copies of the “Betrayal” and the “Crucifixion” subjects, now in the depot of the Basel Gallery, which indicate the picture’s original state. 213.Woltmann, Eng. trans., p. 128. 214.See Ethel Halsey, Gaudenzio Ferrari, pp. 58, 69, &c.; Ganz, Holbein, p. xxii., &c. The technique, also, closely resembles that of the Milanese school, differing considerably from Holbein’s earlier practice. 215.Ganz, Holbein, p. 235. 216.Reproduced by Ernest Law, Holbein’s Pictures at Windsor Castle, Pl. x.; Davies, p. 98; Knackfuss, fig. 57; Ganz, Holbein, p. 80. 217.Knackfuss, p. 81. 218.Davies, p. 98. 219.Holbein’s Pictures at Windsor Castle, p. 32. 220.Woltmann, 19. Reproduced by Davies, p. 76; Knackfuss, figs. 60, 61; Ganz, Holbein, p. 45. 221.See Ganz, Holbein, p. 235. 222.Jahrbuch der preuss. Kunsts., 1907, vol. 28. 223. Woltmann, 62. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 51; Knackfuss, fig. 65. 224.Ganz, Hdz. Schwz. Mstr., note to ii. 51. A photograph of the sculptures on this doorway is reproduced by Dr. Ganz in his Holbein, p. xix. 225.Woltmann, 52. Reproduced by Davies, p. 224; Knackfuss, fig. 64. 226.Woltmann, 172. Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 6. 227.See also Appendix (C). 228.Woltmann, 14. Reproduced by Davies, p. vii.; Knackfuss, figs. 45 and 46; Ganz, Holbein, pp. 32, 33. 229.Woltmann, vol. i. p. 174. 230.Woltmann, 247. Reproduced by Davies, p. 80; Knackfuss, fig. 47; Ganz, Holbein, p. 36. 231.Or, according to some writers, St. Martin of Tours. 232.Holbein, p. 234. 233.See Ethel Halsey, Gaudenzio Ferrari, p. 42, and Ganz, Holbein, p. 234. 234.First deciphered by Herr F. A. Zetter-Collin. The carpet itself recalls more than one very similar carpet in Ferrari’s pictures, though the latter are much finer in design; in a “Madonna and Child” belonging to Sig. Vittadini at Arcorre, for instance, or the “Christ before Herod” in the Varallo frescoes. 235.See note to No. 91 in Basel Catalogue, 1908. 236.“Ein nackend kindlin sitzt vf einer schlangen kompt von Holbeins gemeld durch H. Bocken vf holtz mit olfarben mehrteil nachgemolt.” 237.Woltmann, No. 173. Eng. by J. C. Loedel for Weigel’s Hdz. berÜhmter Meister. 238.Woltmann, vol. i. p. 183. 239.Woltmann, 161. Reproduced by Sir Claude Phillips, The Picture Gallery of Charles I, Portfolio monograph, 1896, p. 63; Ganz, Holbein, p. 60. 240.See Ganz, Holbein, p. 237. 241.T. de Wyzewa, in a review of Dr. Ganz’ book, “À propos d’un Livre nouveau sur Holbein le Jeune,” in Revue des Deux Mondes, January 15, 1912. 242.Woltmann, 234. Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 14; Mantz, p. 45. 243.In a woodcut by Lucas Cranach, representing Sibylla of Cleves, the same motto is shown embroidered in pearls on her cap and collar. See Campbell Dodgson, Catalogue of Early German and Flemish Woodcuts, &c. in the British Museum, ii., p. 320. 244.Davies, p. 83. 245.Mrs. Fortescue, Holbein, p. 96. 246.Amiet, Hans Holbeins Madonna von Solothurn, &c., 1879. 247.See F. A. Zetter-Collin, “Die Zetter’sche Madonna von Solothurn,” in Festschrift des Kunst-Vereins der Stadt Solothurn, 1902; and Zeitschrift fÜr die Geschichte des Oberrheins, New Series, vol. xi. p. 442. 248.Woltmann, Holzschnittwerk H. H., 217 and 218. Reproduced by Knackfuss, fig. 40. 249.See Woltmann, vol. i. p. 199. 250.Woltmann, 169. Reproduced by Knackfuss, fig. 48; Ganz, Holbein, p. 35; Woltmann (woodcut by Knaus), vol. i. p. 179. 251.Woltmann, 170. Reproduced by Knackfuss, fig. 49; Ganz, Holbein, p. 34. 252.See page 79. 253.Woltmann, p. 179. 254.Davies, p. 99. 255.Woltmann, 4. Reproduced by Ganz, Holbein, pp. 61-64. 256.Quoted by Woltmann, vol. i., p. 175. 257.Reproduced by Ganz, Holbein, p. xxvii. 258.See Ganz, Holbein, p. 237. 259.Woltmann, 98. Reproduced by Ganz, Hdz. Schwz. Mstr., ii., 19, 20; Davies, p. 74; Knackfuss, figs. 62, 63; His, Desseins, &c., viii., ix. 260.See pp. 157-9. 261.See Ganz, Holbein, pp. 246-7. 262.Theodori Zwingeri methodus apodemica, 1577, p. 199—quoted by Woltmann, i. 149. 263.Woltmann, 118. Reproduced by Davies, p. 54; His, Pl. xxiv.; Ganz, Holbein, p. 160. 264.Woltmann, 94. Reproduced by him (woodcut), i. 151. 265.Reproduced by Ganz, Holbein, p. 162. 266.Reproduced by Ganz, Holbein, p. 161. 267.Reproduced by Ganz, Holbein, p. 159. 268.Woltmann, 48. Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 10; Knackfuss, fig. 41. 269.Ganz, Hdz. von H. H. dem JÜng., p. 26. 270.Woltmann, 39. Reproduced by His, Pl. xxii. (i.). 271.See pp. 68-9. 272.Woltmann, 235, who regarded it as a genuine example of Holbein’s earlier Basel period. Reproduced by His, Pls. xviii.-xx. 273.Woltmann, i. 148-9. 274.Woltmann, i. 153-4. 275.See Ganz, Holbein, p. 247. 276.Quoted by Woltmann, i. 152. 277.Woltmann, i. 159 (note), and Eng. trans., p. 173. 278.Basilea Sepulta, p. 382. 279.Geschichte der Stadt und Landschaft Basel, 1786-1822, vol. v. pp. 394-400. 280.Reproduced by Ganz, Holbein, p. 165. 281.Reproduced by Ganz, Holbein, p. 164. 282.The head of Charondas was introduced into a glass painting by H. J. Plepp in 1581. See Ganz, Holbein, p. 247. A badly over-painted fragment with the head from the wall itself is preserved in the Basel Gallery. 283.Reproduced by Ganz, Holbein, p. 167. 284.Reproduced by Ganz, Holbein, p. 166. 285.Ganz, Holbein, p. 247. 286.Reproduced by Ganz, Holbein, p. 168. 287.Reproduced by Ganz, Holbein, p. 31. 288.Woltmann, i. p. 157. 289.Woltmann, 47. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 13, and also in Hdz. von H. H. dem JÜng., Pl. xi., and Holbein. 163. 290.See Ganz, Hdz. Schwz. Mstr., note to i. 13. 291.See Ganz, Holbein, p. 247. 292.Reproduced by Ganz, Holbein, p. 171. 293.Reproduced by Ganz, Holbein, p. 171. 294.Reproduced by Ganz, Holbein, p. 169. 295.Reproduced by Ganz, Holbein, p. 170. 296.Reproduced by Ganz, Holbein, p. 170. 297.See pp. 347-50. 298.See Woltmann, i. p. 158 (note); Eng. trans., p. 172 (note). 299.“Vnnd dwyl die hindere wand noch nit gmacht vnnd gemolet ist, vnnd er vermeint an dysem das gelt verdient habenn, sol man dieselbig hindere want bis vff wytherenn bescheit lossenn an ston.”—Der Dreyer Herren GedenkbÜchlein. (Woltmann, i. 159.) 300.See pp. 78-9, and Appendix (B). 301.Woltmann, 82-89. 302.Reproduced by Knackfuss, fig. 22; His, Pl. xvii. 303.Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 35; His, Pl. xvi. 304.See Ganz, Hdz. Schwz. Mstr., note to iii. 35. 305.Reproduced by Knackfuss, figs. 23, 24. 306.Reproduced by Knackfuss, fig. 25. 307.Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 8. 308.Woltmann, 101. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 24. 309.Woltmann, 93. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 9; His, Pl. iii. 310.Ganz, Hdz. Schwz. Mstr., note to iii. 9. 311.Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 49. 312.See Ganz, Hdz. Schwz. Mstr., note to ii. 49. 313.See also Appendix (B). 314.Woltmann, 92. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 36; Knackfuss, fig. 37; His, Pl. i. 315.Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 7. 316.Woltmann, 119. Reproduced by Knackfuss, fig. 36 (in colours); His, Pl. xv. 317.Woltmann, 96. Reproduced by Knackfuss, fig. 35. 318.Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 7. 319.Appendix (B). 320.Woltmann, 121. 321.Woltmann, 49. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 24. 322.Hdz. Schwz. Mstr., note to iii. 24. 323.See Appendix (D). 324.Reproduced by Ganz, Holbein, p. xxi. 325.Woltmann, 112. Reproduced by His, Pl. v.; Ganz, Holbein, p. 30. 326.Woltmann, 102. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 38; His, Pl. iv. 327.See Ganz, Hdz. Schwz. Mstr., note to iii. 38. 328.British Museum, 13, Binyon Catg., ii. p. 329. Woltmann, 209. 329.Woltmann, 95. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 53 (see note to the plate by Meyenburg). 330.Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 54, and in Hdz. von H. H. dem JÜng., Pl. 13. See his notes to both plates. 331.See Ganz, Hdz. Schwz. Mstr., note to iii. 54. 332.See Ganz, Hdz. Schwz. Mstr., note to iii. 54. 333.Woltmann, 90. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 35; His, Pl. vii. 334.Woltmann, 91. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 42, and in Hdz. von H. H. dem JÜng., Pl. 15; Knackfuss, fig. 26; His, Pl. vi. 335.Woltmann, 66. Reproduced by Knackfuss, fig. 28; Mantz, p. 44 (No. 1). 336.Woltmann, 67. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 22; Davies, p. 72; Knackfuss fig. 29; Mantz, p. 44 (No. 2). 337.Woltmann, 68. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 39; Knackfuss, fig. 30; Mantz, p. 44 (No. 3). 338.See Ganz, Hdz. Schwz. Mstr., note to iii. 39. 339.Woltmann, 69. Reproduced by His, Pl. x.; Mantz, p. 44 (No. 4). 340.Woltmann, 70. Reproduced by Knackfuss, fig. 31; His, Pl. xi.; Woltmann, i. p. 173; Mantz, p. 44 (No. 5). 341.Woltmann, 71. Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 17; His, Pl. xii., Mantz, p. 44 (No. 6). 342.See Ganz, Hdz. von H. H. dem JÜng., p. 36. 343.Woltmann, 72. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 50; Knackfuss, fig. 32; His, Pl. xiii.; Mantz, p. 44 (No. 7). 344.Woltmann, 73. Reproduced by Mantz, p. 44 (No. 8). 345.Woltmann, 74. Reproduced by Davies, p. 68; His, Pl. xiv.; Mantz, p. 44 (No. 9). 346.Woltmann, 75. Reproduced by Davies, p. 70; Knackfuss, fig. 33; Woltmann, i. p. 174; Mantz, p. 44 (No. 10). 347.Woltmann, 177-183; British Museum, 1-7, Binyon Catg., ii. pp. 327-8. See Appendix (D). 348.Woltmann 76-81. All six reproduced by Mantz, eng. by Edouard LiÈvre, p. 128. 349.Woltmann, 76. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 11, and in Hdz. von H. H. dem JÜng., Pl. 3; Knackfuss, fig. 42. 350.Woltmann, 80. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 37; Davies, p. 136; Knackfuss, fig. 44. 351.Woltmann, 78. Also wearing a gauze cap. 352.Woltmann, 77. Reproduced by Knackfuss, fig. 43. 353.Woltmann, 79. 354.See pp. 245-6. 355.Ganz, Hdz. Schwz. Mstr., note to iii. 11. 356.Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 26; and see his note, p. 44. 357.Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 55, and in Hdz. von H. H. dem JÜng., Pl. 12. 358.Woltmann, 104. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 36, and in Hdz. von H. H. dem JÜng., Pl. 28; Knackfuss, fig. 68. 359.And the Lachner glass design. See Appendix (B). 360.Woltmann, 63. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 10; Knackfuss, fig. 69. 361.This drawing is only the central part of the design, the left-hand half being in the Albertina, Vienna (Woltmann, 259). For the drawing at Frankfurt of the transport ship with landsknechte, see Vol. ii. p. 264. 362.Woltmann, 105. Reproduced by Knackfuss, fig. 17. 363.Woltmann, 106. Reproduced by Knackfuss, fig. 18. 364.Ægidius was thirty-one when the portrait was painted, and had been appointed town-clerk seven years previously. 365.ArchÆologia, xliv. pp. 435 et seq. 366.Reproduced by Sir Claude Phillips, Art Journal, 1897, p. 101; Arundel Club, 1905; Catalogue of the Pictures in the Earl of Radnor’s Collection, 1909, vol. i. No. 80; A. Machiels, Gaz. des Beaux-Arts, Nov. 1911, heliotype. 367.Inscribed “Viro Literatissimo Petro Egidio Amico Charissimo AntuerpiÆ.” 368.Eng. by F. Leuwers, 1873. For a description and history of the two pictures, see H. Barclay Squire, in Lord Radnor’s Catalogue, note to No. 80, vol. i. pp. 44, 45. 369.Law, Royal Gallery of Hampton Court, 1898, p. 215. 370.A poor reproduction of this portrait—which Wornum (p. 143) regarded as a fine, genuine work by Holbein, but in some of its details recalling Metsys—accompanies M. Henri Hymans’ article “Quentin Metsys et son Portrait d’Erasme,” in the Bulletin des Commissions Royales d’Art et d’ArchÉologie, 1882; reproduced also by J. R. Haarhaus, “Bildnisse des Erasmus,” Zeits. fÜr bild. Kunst, Nov. 1898. 371.See AndrÉ Machiels, “Les Portraits d’Erasme,” Gazette des Beaux-Arts, November 1911, pp. 349-61, who reproduces the Rome portrait; also W. Barclay Squire, Lord Radnor’s Catalogue, addit. note to No. 80. 372.One of these drawings is in the collection of M. LÉon Bonnat, Paris, and is reproduced in the Gaz. des Beaux-Arts, 1879, i. p. 269. 373.Reproduced by A. Machiels, Gaz. des Beaux-Arts, Nov. 1911, p. 355. 374.See Appendix (E). 375.According to Walpole, Anecdotes, ed. Wornum, 1888, i. p. 344, the pictures were “altered” by Von Steenwyck for King Charles. 376.Wornum, p. 140. 377.Law, Holbein’s Pictures at Windsor Castle, 1901, p. 28. 378.Reproduced by Ganz, Holbein, p. 207. 379.See Appendix (E). 380.See A. Horawitz, Zeitschrift fÜr bildende Kunst, viii. p. 128. Quoted by Woltmann, i. p. 286. 381.F. M. Nichols, Proceedings of the Society of Antiquaries, second series, xvii. No. I., pp. 132-145. 382.Woltmann, 214. Reproduced by Davies, frontispiece; Sir Claude Phillips, Art Journal, 1897, p. 102; Earl of Radnor’s Catalogue, No. 81; Ganz, Holbein, p. 37; Machiels, Gaz. des Beaux-Arts, Nov. 1911, p. 357. Exhibited Royal Academy Winter Exhib., 1873, No. 178. 383.In JahrbÜcher des Vereins von Alterthumsfreunden im Rheinlande, 1868, p. 269, quoted by Woltmann, i. p. 288. For other readings by Grimm, &c., see W. Barclay Squire in Lord Radnor’s Catalogue, note to 81. 384.See Sir Claude Phillips, Art Journal, 1897, p. 103. Also Waagen, Galleries and Cabinets, 1857, p. 356, who says that it is “alone worth a pilgrimage to Longford Castle.” 385.Woltmann, 232. Reproduced by Davies, p. 110; Ganz, Holbein, p. xxiii. 386.Woltmann, 231. Reproduced by Davies, p. 110; Ganz, Hdz. von H. H. dem JÜng., Pl. 16. 387.It is possibly the portrait noted by Evelyn in his Diary, August 10, 1655—“I went to Alburie to visit Mr. Howard.... He shew’d me many rare pictures, particularly ... Erasmus as big as the life, by Holbein.” This could hardly refer to the small Greystoke portrait. 388.Reproduced by Ganz, Holbein, p. 206. Mr. Barclay Squire notes copies of Mr. Gay’s version in the Bodleian Library, Oxford, presented by Sir James Thornhill in 1728, and one in Archbishop Tenison’s School, Leicester Square (note to No. 81, Lord Radnor’s Catalogue). 389.See Colvin, Burlington Magazine, vol. xvi. Nov. 1909, p. 71. 390.Woltmann, 224. Reproduced by Davies, p. 108; Knackfuss, fig. 52; Sir C. Phillips, “Picture Gallery of Charles I,” Portfolio Monograph, 1896, p. 23; Ganz, Holbein, p. 39. 391.The study for this hand, in the Louvre, has aleady been mentioned (see Pl. 55). 392.Reproduced by Cust, Royal Collection of Paintings, Windsor Castle, Pl. 47. 393.Or perhaps the small roundel at Basel mentioned below. 394.Vol. xxix., 1884, p. 423. 395.Woltmann, 12. Reproduced by Woltmann, vol. i. p. 315, fig. 57; Ganz, Holbein, p. 38. 396.Woltmann, ii. p. 99. 397.Woltmann, i. p. 290. 398.Ganz, Holbein, p. xxvi. 399.See Ganz, Holbein, pp. xxv.-vi. 400.See Appendix (F). 401.He may have gone, of course, as LÜtzelburger’s representative. 402.Woltmann, 44 and 45. 403.Reproduced by Ganz, Hdz. Schwz. Mstr. iii. 25; Knackfuss, fig. 53. 404.See Chapter xxi., Vol. ii. p. 138 et seq. 405.See Vol. ii. p. 162. 406.Reproduced in the Burlington Magazine, vol. xvi., November 1909, frontispiece; Ganz, Holbein, p. 91. 407.Burlington Magazine, vol. xvi., November 1909, pp. 67-71. 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. 409.Reproduced in Burlington Magazine, vol. xvi., November 1909. 410.Woltmann, 240. Reproduced by Ganz, Holbein, p. 86. 411.The much inferior version in the BesanÇon Museum (reproduced by Ganz, Holbein, p. 215) is an almost exact replica of the Parma picture. 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. 413.Woltmann, 13. Reproduced by Davies, p. 112; Knackfuss, fig. 114; Ganz, Holbein, p. 90. 414.Woltmann, 23. 415.Reproduced by Ganz, Holbein, p. 214; the hands and body follow the Longford picture, while the head is like the Parma version. 416.Woltmann, 250. Reproduced by AndrÉ Machiels, Gaz. des Beaux-Arts, November 1911, p. 359, who regards it as an original work by Holbein. 417.Woltmann, 171. 418.Woltmann, 207. Reproduced by Knackfuss, fig. 51. 419.Woltmann, 206. Reproduced by Woltmann, i. 357, fig. 63; Knackfuss, fig. 112; Machiels, Gaz. des Beaux-Arts, November 1911, p. 358; and elsewhere. 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. 421.Reproduced by Ganz, Holbein, p. 208. 422.Law, Holbein’s Pictures, &c., p. 28. 423.Woltmann, i. p. 289. 424.Knackfuss, p. 78. 425.Woltmann, 164. Reproduced by Knackfuss, fig. 113; Ganz, Holbein, p. 92. 426.Reproduced by Ganz, Holbein, p. 92. 427.On this point see Koegler, Jahrbuch d. Pr. K.-S., 1911, and Ganz, Holbein, p. 239. 428.Woltmann, ii. p. 359. 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. 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. 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. 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. 433.Including Woltmann, in the first edition of his book, Eng. trans., p. 205. 434.The same initials occur on the title-page to Hall’s Chronicle, 1548. See Vol. ii. p. 79. 435.Woltmann, Eng. trans., p. 205. 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. 437.See His, “Hans LÜtzelburger,” &c., in Gazette des Beaux-Arts, 2e PÉriode, vol. iv. pp. 481-9 (December 1871). 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). 439.See pp. 44-5 and Pl. 11. 440.Woltmann, 223. Reproduced by Butsch, Die BÜcher-Ornamentik der Renaissance, Pl. 45; and by Mantz, Hans Holbein, p. 26. 441.Calendars of Letters and Papers, Hen. VIII, vol. ii. pt. i. 2540. 442.Woltmann, A. H., 4. Reproduced by Butsch, Pl. 43. Already used by Froben in more than one book in the previous year (1517). 443.Woltmann, 217, 218. See p. 111. 444.Woltmann, 227. Reproduced by Butsch, Pl. 54; Knackfuss, fig. 50; Mantz, p. 43. 445.Woltmann, 215. Reproduced by Butsch, Pl. 57. 446.Woltmann, 216. 447.Woltmann, 184-7. 448.Woltmann, 188-91. 449.Woltmann, 192. Reproduced in Holbein, “Great Engravers” Series (A. M. Hind), 1912. 450.Woltmann, 213. 451.Woltmann, 150-70. 452.See Woltmann, i. 218-20. 453.Woltmann, 171. 454.Woltmann, 226. 455.Woltmann, 212. 456.Woltmann, 195, 196. Reproduced by Woltmann, i. pp. 237-38. 457.Woltmann, 231. Reproduced by Butsch, Pl. 64; Woltmann, i. p. 200. 458.Woltmann, 232. Reproduced by Butsch, Pl. 64; Wornum, p. 13, &c. 459.Woltmann, 233. 460.Woltmann, 253. Four of the letters reproduced by Woltmann, Eng. trans., p. 218. 461.Woltmann, 254. 462.Woltmann, 255-9. 463.Woltmann, 251. 464.Woltmann, 266-8. 465.Woltmann, 238a, 238b. 466.Woltmann, 239-41. 467.Woltmann, 242, 243. 468.Woltmann, 244, 245. 469.Woltmann, 246-8. 470.Woltmann, 249. A number of these marks reproduced by Butsch, Pls. 50, 51. 471.See Appendix (G). 472.Woltmann, 209. 473.Woltmann, 205. 474.See Vol. ii. pp. 76-9. 475.See Woltmann, i. chap. xi.; Chatto, Treatise on Wood Engraving, ed. Bohn, chap. vi.; Douce, Dance of Death, 1858, pp. 30-37. 476.Woltmann, 92-149. 477.See p. 190. 478.Chatto, A Treatise on Wood Engraving, ed. 1861, pp. 330-1. 479.See Woltmann, i. 269. 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. 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. 482.Chatto, Treatise, &c., pp. 324-5. 483.Chatto, Treatise, &c., p. 365; Woltmann, i. p. 240; Wornum, p. 25. 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. 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. 486.Chatto, Treatise, &c., p. 366. 487.Woltmann, 1st ed., Eng. trans., p. 233. 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. 489.See pp. 160-1. 490.Woltmann, 251. 491.Woltmann, i. 316. 492.Woltmann, 143. Reproduced by Knackfuss, fig. 89; Ganz, Holbein, p. 65; and elsewhere. 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.). 494.Woltmann, 40-42. 495.Reproduced by Davies, p. 90; Knackfuss, fig. 86. 496.Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 18 (in colour); Davies, p. 92; Knackfuss, fig. 87. 497.Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 56; Davies, p. 94; Knackfuss, fig. 88. 498.Reproduced by Davies, p. 88; Knackfuss, fig. 90; Ganz, Holbein, p. 209. 499.See Wornum, p. 166; Woltmann, i. pp. 300-14. 500.December 1871, iv., 2nd period, pp. 516-19. 501.Woltmann, ii. pp. 49-50. See Appendix (E). 502.Woltmann, i. p. 296. 503.Wornum, p. 171. 504.Anzeiger fÜr Schweiz. Altertumskunde, N. F. xii. 4. Sarburgh painted a portrait of Remigius Faesch. See Appendix (E). 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. 506.Woltmann, i. p. 298; ii. p. 56. 507.The history of the Dresden copy, given below, bears out this supposition. 508.Elsewhere he speaks of it as the sixth. 509.Walpole, Anecdotes, &c., ed. Wornum, 1888, i. 93. 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. 511.Davies, p. 94-5. 512.See p. 158. 513.She was, however, born in 1508, and so would be too young for the lady of these pictures. 514.Woltmann, 17. Reproduced by Knackfuss, fig. 91; Ganz, Holbein, p. 40. 515.Woltmann, 18. Reproduced by Davies, p. 102; Knackfuss, fig. 92; Ganz, Holbein, p. 41. 516.Woltmann, 1st ed., Eng. trans., p. 289. Omitted in 2nd ed. 517.Wornum, p. 163. 518.Mrs. G. Fortescue, Holbein, p. 105-6. 519.T. de Wyzewa, “À propos d’un Livre nouveau sur Holbein le Jeune,” Revue des Deux Mondes, 15th Jan. 1912. 520.See pp. 79 and 137-8. 521.Knackfuss, p. 115. 522.Wornum, pp. 162-4. 523.Davies, pp. 102-3. 524.Burlington Magazine, vol. iv. No. xi. (Feb. 1904) p. 187. 525.See p. 233. 526.Calendars of Letters and Papers, &c., Hen. VIII, iv. Pt. i. 1547. 527.See p. 22. 528.Woltmann, 1st ed., Eng. trans., p. 292. 529.Erasmi Opera, iii. 951. 530.Calendars of Letters and papers, &c., Hen. VIII, i. preface, p. xxv. 531.C. L. P., i. 2053. 532.C. L. P., i. 5720. 533.C. L. P., ii. Pt. ii., Revels Accounts, p. 1499. 534.C. L. P., i. 4954. 535.18th April 1520. C. L. P., iii. Pt. i. 750. 536.21st May 1520. C. L. P., iii. Pt. i. 825. 537.C. L. P., iii. Pt. ii., Revels Accounts, p. 1551. 538.Memoir of Henry FitzRoy, Duke of Richmond and Somerset, Camden Society, 1855, p. 87. 539.C. L. P., iii. Pt. ii. 3517. 540.C. L. P., iv. Pt. i. 965. 541.C. L. P., iv. Pt. ii. 3564. 542.J. Gough Nichols, ArchÆologia, xxxix. pp. 23-25 (1862). 543.See ArchÆologia, xxxix. p. 25. 544.Walpole, Anecdotes of Painting, ed. Wornum, 1888, i. 64. 545.C. L. P., v. 1139 (30). 546.C. L. P., v., Privy Purse Expenses of Hen. VIII, Feb. 1532. 547.C. L. P., v. 952. 548.C. L. P., x. 914. 549.C. L. P., xiv. Pt. ii. 238. 550.C. L. P., xiv. Pt. ii. 782 (p. 336). 551.C. L. P., xvi. 1489 (f. 188). 552.J. Gough Nichols, ArchÆologia, xxxix. p. 27. 553.See p. 276. 554.J. Gough Nichols, ArchÆologia, xxxix. p. 34. 555.Walpole, Anecdotes of Painting, ed. Wornum, 1888, p. 62. 556.ArchÆologia, xxxix. p. 30. 557.Wornum, p. 22. 558.Lionel Cust, Introductory Notes to the Catalogue of the Burlington Fine Arts Club Exhibition of Early English Portraiture, 1909, pp. 47, 48. 559.See Nichols, ArchÆologia, xxxix. p. 29. 560.Lionel Cust, Introductory Notes, Catg. Burl. Fine Arts Club Exhib. Early English Portraiture, 1909, p. 48. 561.C. L. P., vii. 922 (14 and 15). 562.Wornum, p. 32. 563.C. L. P., iv. Pt. ii. 3169. 564.C. L. P., iv. Pt. i. 2152. 565.C. L. P., iv. Pt. ii. 4435, 4572, 4574-77, 4652. 566.C. L. P., iv. Pt. iii. 5163. 567.C. L. P., iv. Pt. ii. 5117. 568.C. L. P., v. 978 (15). 569.Loseley Manuscripts. 570.C. L. P., xiii. Pt. ii. 1280, f. 55 b. 571.C. L. P., i. 5604. 572.See Vol. ii. pp. 238-9. 573.C. L. P., xvi. 305 (25). 574.Burl. Fine Arts Club Exhib., 1909, No. 29. 575.Lionel Cust, Introductory Notes, Burl. Fine Arts Club Exhib. Catg., 1, 1909, pp. 45, 46. 576.See also Scharf, ArchÆologia, xxxix. pp. 47-9. 577.See Burlington Magazine, vol. xiv., March 1909, pp. 366-8. 578.See Cust, Catg. Burl. Fine Arts Club Exhib., 1909, p. 60. 579.C. L. P., i. 775. 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. 581.Cust, Catg. Burlington Fine Arts Club Exhibition, 1909, p. 61. 582.Cust, p. 61. 583.C. L. P., i. 5720. 584.C. L. P., i. 4954. 585.C. L. P., ii. Pt. ii. p. 1461. 586.C. L. P., ii. Pt. ii. p. 1472. 587.C. L. P., ii. Pt. ii. 3862. 588.C. L. P., iii. Pt. i. 826. See p. 259. 589.C. L. P., iv. Pt. i. 366. 590.C. L. P., iv. Pt. ii. 3104. 591.C. L. P., v., Privy Purse Expenses. 592.C. L. P., v. 686. 593.ArchÆologia, xxxix. p. 28. 594.C. L. P., v., Treasurer of the Chamber’s Accounts, p. 305. 595.See above, p. 273. 596.Transactions of the Royal Institute of British Architects, p. 227. 597.Lewis Einstein, The Italian Renaissance in England, 1902, p. 196, and Cust, Catg. Burl. Fine Arts Club Exhib., 1909, p. 64. 598.C. L. P., v., 952 (p. 446). 599.C. L. P., v., Treasurer of the Chamber’s Accounts, p. 307. 600.Mr. Cust gives his salary as £20 per annum, but the entry in the accounts is always 33s. 4d. a quarter, not a month, though this, of course, may be an error of book-keeping. 601.See M. Digby Wyatt, Transactions, &c., p. 225. 602.Transactions, &c., p. 225. 603.C. L. P., v., Treasurer of the Chamber’s Accounts, p. 319. 604.C. L. P., v., Privy Purse Expenses, March 1531. “To Anthony Pene and Bartilmew Tate, paynters, for ther lyveray at 22s. 6d. a pece, 45s.” 605.Vol. c. 6, 12. Quoted by Wornum, p. 204, note. 606.Hampton Court Accounts, Wornum, p. 205, note. 607.C. L. P., v., Privy Purse Expenses. 608.C. L. P., xiii. Pt. i. 1309 (35). 609.C. L. P., xiv. Pt. ii. 782 (p. 335). 610.C. L. P., xiii. Pt. ii. 967 (46). 611.C. L. P., xiii. Pt. ii. 1280 (f. 53b). 612.C. L. P., xvi. 1489 (f. 165). 613.C. L. P., xvi. 779 (18). 614.C. L. P., xvii. 1251 (13). 615.Loseley Manuscripts, edit. Kempe, pp. 81, 84, 89. 616.ArchÆologia, xii. pp. 381, 391. 617.C. L. P., iii. Pt. ii. 2486. 618.See J. Gough Nichols, ArchÆologia, xxxix. p. 38: and Cust, Catg. Burl. Fine Arts Club Exhib., 1909, p. 63. 619.See Dimier, French Painting in the Sixteenth Century, pp. 115, 116. 620.C. L. P., xvi. 1308 (4). 621.C. L. P., iii. Pt. i. 1355. 622.C. L. P., v., Treasurer of the Chamber’s Accounts, p. 305. 623.Catg. Burl. Fine Arts Club Exhib., 1909, p. 65. 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. 625.p. 75. 626.Quoted in Burlington Gazette, II. i. May 1903, p. 55. 627.C. L. P., xiii., Pt. ii. 1280 (f. 47b). 628.C. L. P., xiv. Pt. ii. 781 (f. 68). 629.C. L. P., xvi. 37. 630.C. L. P., xvi. 59. 631.C. L. P., xvi. 60. 632.C. L. P., xvi. 82. 633.C. L. P., xvi. 115. 634.C. L. P., xvi. 163, 168. 635.C. L. P., xvi. 182. 636.C. L. P., xvi. 276. See also Appendix (H). 637.See Appendix (H). 638.C. L. P., xvi. 308 (f. 119b). 639.C. L. P., xvi. 1308 (5). 640.ArchÆologia, xxxix. p. 37. 641.Loseley Manuscripts, “Revels at Hampton, 16 July to 6 Sep., 38 Hen. VIII.” 642.Loseley Manuscripts, “Coronation of Ed. VI.” 643.Loseley Manuscripts, “Shrovetide Revels, 2 Ed. VI.” 644.Quoted by Nichols, ArchÆologia, xxxix. p. 37. 645.ArchÆologia, xxxix. p. 55. 646.Cust, Cat. Burl. F.A. Club Exhib., 1909, p. 64; National Gallery Catalogue. 647.Vasari, as quoted by Scharf, ArchÆologia, xxxix. pp. 53, 54. 648.See above, p. 245. 649.Davies, p. 115. 650.See page 245. Davies, p. 94. 651.See below, p. 315. 652.See p. 169. 653.C. L. P., iv. pt. i. 1826; Erasmi Opera, iii. 951. 654.Proceedings of the Society of Antiquaries, Second Series, xvii. No. i. pp. 132-145. 655.Proceedings, Second Series, xvi. No. iii. pp. 321-327. 656.Walpole, Anecdotes, &c., ed. Wornum, 1888, i. 90. The sixth picture to which he refers is the Meyer Madonna. 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. 658.Engraved by Dean for The Bijou, 1829. 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. 660.Roper’s Life and Death of Sir Thomas More, &c., ed. Rev. J. Lewis, 1731, p. 169. 661.The heads in the Windsor Collection. 662.Walpole, Anecdotes, &c., ed. Wornum, 1888, p. 92. 663.Wornum, p. 244. 664.Woltmann, 1st ed., Eng. trans, p. 322. For Vertue’s account, see Appendix (I). 665.Nos. lviii. and lix., “Nostell Priory, Wakefield,” AthenÆum, Sept. 18, 25, 1880. 666.See pp. 311-16. 667.Woltmann, i. 350, note. 668.Wornum, pp. 231-246. 669.See Appendix (I). 670.Wornum, pp. 245-6. 671.Reproduced by Ganz, Holbein, p. 193. 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. 673.Reproduced in the catalogue, p. 214. 674.Walpole, Anecdotes, &c., ed. Wornum, 1888, p. 92. 675.Vol. iii. pt. i. p. 490. 676.Woltmann, 275; Wornum, i. 6; Sir R. Holmes, i. 4. 677.Woltmann, 276; Wornum, i. 42; Sir R. Holmes, i. 7. 678.Wrongly inscribed “The Lady Barkley.” Woltmann, 278; Wornum, ii. 34; Sir R. Holmes, i. 5. 679.Woltmann, 279; Wornum, ii. 12; Sir R. Holmes, i. 6. 680.Woltmann, 277; Wornum, ii. 35; Sir R. Holmes, i. 8. 681.Wrongly inscribed “Mother Jak.” Woltmann, 280; Wornum, ii. 40; Sir R. Holmes, i. 9. 682.Woltmann, 273, 274; Wornum, i. 3, 4; Sir R. Holmes, i. 3 and ii. 18. 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). 684.Catg. Burl. Fine Arts Club Exhib., 1909, p. 95. The entry in the Lumley inventory is—“Of Sir Thomas Moore, Lo. Chancellor, drawne by Haunce Holbyn.” 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. 686.See p. 335. 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. 688.AthenÆum, June 19, 1886, No. 3060, p. 820. 689.Quoted by Wornum, p. 248. 690.Wornum, pp. 248, 249. 691.Il Microcosmo della Pittura, 1657, ii. 265. 692.History of Portrait Miniatures, 1904, vol. i. p. 8. 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. 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). 695.Reproduced in the Burl. Fine Arts Club Exhib. Catg., Pl. xiv; Ganz, Holbein, p. 194. 696.Reproduced by Vasari Society, Pt. i. No. 31; Burl. Fine Arts Club Exhib. Catg., Pl. xxix. 697.Daily Telegraph, 23rd March 1910. 698.Reproduced in The Ancestor, vi., June 1903. 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). 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. 701.For these and the following extracts, see C. L. P., iv. pt. ii. 3097-98, 3104, 3107. 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. 703.Woltmann, 264. Reproduced by Law, Holbein’s Pictures at Windsor Castle, Pl. i.; Davies, p. 130; Knackfuss, fig. 100; Ganz, Holbein, p. 72. 704.C. L. P., iv. pt. iii. 5774. 705.Law, Holbein’s Pictures, &c., p. 3. 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. 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). 708.On panel, 25½ in. × 20½ in. 709.Woltmann, “Holbein at the National Portrait Gallery,” Fortnightly Review, vol. vi. 1866, p. 160; also Life, i. 344. 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). 711.See Law, p. 4. 712.Woltmann, 206. 713.AthenÆum, 17th January 1880. 714.Reproduced by Ganz, Holbein, p. 227 (2). 715.Parthey, 1410. Reproduced by Ganz, Holbein, p. 260. 716.Woltmann, 32. Reproduced by Davies, p. 224; Knackfuss, fig. 105; Mantz, p. 175. 717.Woltmann, 37. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 11. 718.Woltmann, 36. 719.Woltmann, 281; Wornum, i. 2; Sir R. Holmes, i. 12. Reproduced by Davies, p. 126; Knackfuss, fig. 96. 720.Woltmann, 208. Reproduced by Ganz, Holbein, p. 70. 721.Woltmann, 225. Reproduced by Davies, p. 126; Knackfuss, fig. 97; Ganz, Holbein, p. 71. 722.Wornum, p. 218, quoting from Lysons and Brayley. 723.Walpole, Anecdotes, &c., ed. Wornum, 1888, i. 79. 724.Reproduced in the illustrated edition of Catalogue, p. 64. 725.Reproduced in the illustrated edition of the Oxford Catalogue. 726.Woltmann, 283; Wornum, i. 24; Sir R. Holmes, i. 13. Reproduced by Davies, p. 128; Knackfuss, fig. 98. 727.British Museum, 9; Woltmann, 198. Reproduced by Ganz, Hdz. von H. H. dem JÜng., Pl. 24. 728.Froude, Henry VIII, i. 301. 729.Walpole, Anecdotes, &c., ed. Wornum, i. p. 81. 730.Woltmann, 144. Reproduced by Knackfuss, fig. 103; Ganz, Holbein, p. 74. 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. 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. 733.Woltmann, i. 345. 734.Norfolk, vii. 214. 735.C. L. P., v. 514. 736.C. L. P., vii. 1189 (25th Sept. 1534). 737.C. L. P., vi. 576. 738.C. L. P., v. 1598 (12). 739.C. L. P., vii. 1026 (2). 740.C. L. P., viii. 802 (26). 741.Woltmann, 226. Reproduced by Davies, p. 132; Knackfuss, fig. 102; Ganz, Holbein, p. 73. 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. 743.Wornum, p. 222. 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. 745.Walpole, Anecdotes, &c., ed. Wornum, i. 79. 746.See chap, xxi., vol. ii. p. 152. 747.C. L. P., iii. pt. i. 1018, 1019. It was during this same visit to Antwerp that DÜrer drew Kratzer’s portrait. 748.C. L. P., iv. pt. ii. 3540 (28). 749.C. L. P., v., Privy Purse Expenses. 750.Ed. Howes, p. 570. 751.Woltmann, 219. Reproduced by Knackfuss, fig. 104; Ganz, Holbein, p. 211. 752.Wornum, p. 295. 753.See Ganz, Holbein, note to 211, p. 251; and K. Voll, Suddeutsche Monatshefte, 1905, ii. 8, p. 177. 754.Woltmann, 213. Wornum, p. 294. 755.Reproduced in the Burl. Fine Arts Club Exhib. Cat., Pl. xiii.; Ganz, Holbein, p. 79. 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.” 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. 758.Woltmann, 308; Wornum, i. 17; Sir R. Holmes, i. 48. Reproduced by Knackfuss, fig. 143. 759.Wornum, p. 216. 760.C. L. P., v. 1363. 761.See Law, Holbein’s Pictures, &c., p. 29. 762.Woltmann, 217. Reproduced by Knackfuss, fig. 101; Ganz, Holbein, p. 224. 763.Woltmann, 227. Reproduced in Masterpieces of Holbein (Gowan’s Art Books, No. 13), p. 19; Ganz, Holbein, p. 78. 764.Burlington Magazine, December 1909, p. 159. 765.On panel, 14 in. high by 12½ in. wide. 766.Burlington Magazine, December 1909, p. 154. 767.Woltmann, i. 341. 768.Woltmann, 284; Wornum, i. 34; Sir R. Holmes, i. 38. Reproduced by Davies, p. 216. 769.Woltmann, 285; Wornum, ii. 19; Sir R. Holmes, i. 39. Reproduced by Davies, p. 216. 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. 771.S. Arthur Strong, Drawings, &c., and in Critical Studies and Fragments, p. 133. 772.Woltmann, 141. Reproduced by Strong in Drawings, &c., 1902, Pl. lv.; Burlington Magazine, vol. i., May 1903, p. 354. 773.Reproduced by Law, Holbein’s Pictures, &c., Pl. iv.; Knackfuss, fig. 99. 774.See Vol. ii. pp. 87-9. 775.Die Basler Archive Über H. H. dem JÜngern, in Zahn’s JahrbÜcher fÜr Kunstwissenschaft, iii. 123, 1870. 776.Woltmann, i. 354. 777.See pp. 75-6. 778.Woltmann, i. 355. 779.C. L. P., iv. pt. iii. 5922. Eras. Ep., p. 1230. 780.C. L. P., iv. pt. iii. 5924. Eras. Ep., p. 1232. 781.C. L. P., iv. pt. iii. 6048. Eras. Ep., p. 1743. 782.Woltmann, i. 356. 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. 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. 785.Reproduced by Ganz, Holbein, p. 212. 786.“A propos d’un Livre nouveau sur Holbein le Jeune,” in Revue des Deux Mondes, 15th January 1912. 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. 788.See Woltmann, i. p. 159. 789.Woltmann, 21. Reproduced by Ganz, Holbein, p. 84. 790.Woltmann, 65. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 4 (in colour), and in Holbein, p. 172; Knackfuss, fig. 115. 791.Woltmann, 21. Reproduced by Ganz, Holbein, p. 85. 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. 793.Woltmann, 56. See Vol. ii. p. 278. 794.See Vol. ii. pp. 277-8, 281. 795.Ganz, Holbein, p. xxxiv. 796.Koegler, Jahrbuch der preuss. Kunstsammlungen, 1911. 797.See pp. 179-80 and 184-5. 798.Woltmann, i. 362. 799.Holbein, p. 136. 800.See Appendix (J).
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