I. PORTRAIT OF ERASMUS. By Quentin Metsys. 1517. Rome, Galleria Corsini. Facing p. 14

One half of a diptych, the pendant being a portrait of Erasmus's friend, Pierre Gilles (Petrus Aegidius), town clerk of Antwerp. The diptych was sent to Sir Thomas More in London; the portrait of Gilles is now in the collection of the Earl of Radnor at Longford Castle.

II. VIEW OF ROTTERDAM at the beginning of the sixteenth century. Contemporary engraving, hand-coloured. Facing p. 15

III. PORTRAIT BUST OF JOHN COLET, Dean of St. Paul's (1467-1519). By Pietro Torrigiano. St. Paul's School, Hammersmith, London. Facing p. 30

John Colet, a close friend of Erasmus (see pp. 30-1), founded St. Paul's School. The artist, a Florentine sculptor, was active in London for many years and is best known for his effigies on some of the royal tombs in Westminster Abbey. The attribution of this bust is due to F. Grossmann (Journal of the Warburg and Courtauld Institutes, XIII, July 1950), who identified it as a cast from Torrigiano's original bust on Colet's tomb (destroyed in the Great Fire of 1666) and also pointed out that Holbein's drawing of Colet in the Royal Library at Windsor Castle (No. 12199) was made from the lost monument after Colet's death.

IV. PORTRAIT OF SIR THOMAS MORE (1477-1535). Dated 1527. By Hans Holbein. New York, Frick Collection. Facing p. 31

See also Holbein's drawing of Thomas More with his family, Pl. XXIX.

V. Pen and ink sketches by Erasmus. 1514. Basle, University Library (MS A. IX. 56). Facing p. 46

These doodles of grotesque heads and other scribbles are found in Erasmus's manuscript copy of the Scholia to the Letters of St. Jerome, preserved in the Library of Basle University and published by Emil Major (Handzeichnungen des Erasmus von Rotterdam, Basle, 1933). Erasmus worked on this manuscript shortly after his arrival in Basle in August 1514. His edition of the Letters of Jerome was published by Froben in 1516 (see p. 90).

VI. A Manuscript Page of Erasmus. Basle, University Library. Facing p. 47

See note on Pl. V.

VII. Title-page of the Adagia, printed by Aldus Manutius in 1508. Facing p. 62

The printing of this edition was supervised by Erasmus during his visit to Venice (see pp. 64-5). On this title-page is the emblem of the Aldine Press, which is found again on the reverse of Aldus's portrait medal (Pl. IX).

VIII. VIEW OF VENICE, 1493. Woodcut. After p. 62

From Schedel's Weltchronik, Nuremberg, 1493.

IX. PORTRAIT MEDAL OF ALDUS MANUTIUS. By an unknown Venetian medallist. Venice, Museo Correr. After p. 62

On the reverse, the emblem adopted by Aldus in 1495 from an antique coin, an anchor entwined by a dolphin. The Greek inscription, spe?de ?ade?? (Hasten slowly), is also of antique origin. Cf. Hill, Corpus of Italian Medals, 1930, No. 536.

X. A page from the printed copy of the Praise of Folly with a drawing by Hans Holbein. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 63

This copy of the Laus Stultitiae, which Holbein decorated with marginal drawings in 1515, belonged at that time to Oswald Myconius, a friend of Froben's. Apparently not all the drawings in the book are by Hans Holbein.

The drawing shows Erasmus working at his desk, fol. S.3 recto. Above this thumbnail sketch there is a Latin note in the handwriting of Myconius: 'When Erasmus came here and saw this portrait, he exclaimed, "Heigh-ho, if Erasmus still looked like that, he would quickly find himself a wife!"'

XI. A page from the printed copy of the Praise of Folly with a drawing by Hans Holbein. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 78

See note on Pl. X. This is the last page of the book, fol. X.4 recto; the drawing shows Folly descending from the pulpit at the close of her discourse.

XII. THE PRINTING PRESS OF JOSSE BADIUS. Woodcut by Albrecht DÜrer, 1520-1. Facing p. 79

Josse Badius of Brabant had established in Paris the Ascensian Press (named after his native place, Assche); he printed many books by Erasmus. See pp. 60, 79-83.

XIII. PORTRAIT OF JOHANNES FROBEN (1460-1527). By Hans Holbein. About 1522-3. Hampton Court, H.M. The Queen. Facing p. 86

On this portrait of Erasmus's printer, publisher and friend, see Paul Ganz, The Paintings of Hans Holbein, 1950, Cat. No. 33.

XIV. DESIGN FOR THE PRINTER'S EMBLEM OF JOHANNES FROBEN. Tempera on canvas, heightened with gold. By Hans Holbein. 1523. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 87

The emblem shows the wand of Mercury, and two serpents with a dove, an allusion to the Gospel of St. Matthew, x. 16: 'Be ye therefore wise as serpents and harmless as doves.'

XV. THE HANDS OF ERASMUS. Drawing by Hans Holbein. 1523. Paris, Louvre. Facing p. 102

These studies were used by Holbein for his portraits of Erasmus now at Longford Castle (Pl. XVI) and in the Louvre (Pl. XXVIII).

XVI. PORTRAIT OF ERASMUS AT THE AGE OF 57. Dated 1523. By Hans Holbein. Longford Castle, Earl of Radnor. Facing p. 103

The Greek inscription, 'The Labours of Hercules', alludes to Erasmus's own view of his life (see p. 125). On this portrait see P. Ganz, op. cit., Cat. No. 34.

XVII. VIEW OF BASLE. Woodcut. Facing p. 134

From the Chronik by Johann Stumpf, 1548.

XVIII. Title-page of the New Testament, printed by Froben in 1520. Designed by Hans Holbein. Facing p. 135

XIX. THE ERASMUS HOUSE AT ANDERLECHT NEAR BRUSSELS. Facing p. 150

From May to November 1521 Erasmus stayed here as the guest of his friend, the canon Pierre Wichmann. The house was built in 1515 under the sign of the Swan. It is now a museum in which are preserved numerous relics of Erasmus and his age.

XX. The Room used by Erasmus as study during his stay at Anderlecht. Facing p. 151

XXI. PORTRAIT OF MARTIN LUTHER AS A MONK. Engraving by Lucas Cranach. 1520. Facing p. 158

XXII. PORTRAIT OF ULRICH VON HUTTEN (1488-1523). Anonymous German woodcut. Facing p. 159

XXIII. THE HOUSE 'ZUM WALFISCH' AT FREIBURG-IM-BREISGAU. Facing p. 174

When Erasmus arrived in Freiburg in 1529, he was invited by the Town Council to live in this house, which had been built for the Emperor Maximilian. See p. 176.

XXIV. PORTRAIT OF CARDINAL HIERONYMUS ALEANDER. Drawing. Arras, Library. Facing p. 175

One of the 280 portrait drawings collected in the codex known as the Recueil d'Arras.

XXV. PORTRAIT OF ERASMUS. By Hans Holbein. 1531-2. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 190

'Holbein may have painted this little roundel on the occasion of a visit to Erasmus at Freiburg' (P. Ganz, op. cit.).

XXVI. ERASMUS DICTATING TO HIS SECRETARY. Woodcut, 1530. Facing p. 191

The woodcut shows the aged Erasmus dictating to his amanuensis Gilbertus Cognatus in a room of the University of Freiburg. From Effigies Desiderii Erasmi Roterdami ... & Gilberti Cognati Nozereni, Basle, Joh. Oporinus, 1533.

XXVII. PORTRAIT MEDAL OF ERASMUS. By Quentin Metsys. 1519. London, British Museum. Facing p. 206

The reverse shows Erasmus's device, Terminus, and the motto Concedo nulli, both of which were also engraved on his sealing ring. For Erasmus's own interpretation see his letter, pp. 246-8. The Greek inscription means, 'His writings will give you a better picture of him'.

XXVIII. PORTRAIT OF ERASMUS. After 1523. By Hans Holbein. Paris, Louvre. Facing p. 207

XXIX. THOMAS MORE AND HIS FAMILY. Pen and ink sketch by Hans Holbein, 1527. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 238

'The portrait, probably commissioned on the occasion of the scholar's fiftieth birthday, shows him surrounded by his large family. It is the first example of an intimate group portrait not of devotional or ceremonial character painted this side of the Alps. At that time Thomas More was living in his country house at Chelsea with his second wife, Alice, his father, his only son and his son's fiancÉe, three married daughters, eleven grandchildren and a relative, Margaret Giggs. The artist, who had been recommended to him by his friend Erasmus, was also enjoying his hospitality.' (P. Ganz, op. cit., Cat. No. 175).

The original painting is lost; a copy by Richard Locky, dated 1530, is at Nostell Priory. The drawing was sent by More to Erasmus at Basle so as to introduce his family, for which purpose the names and ages were inscribed. In two letters to Sir Thomas and his daughter, dated 5 and 6 September 1530, Erasmus sent his enthusiastic thanks: 'I cannot put into words the deep pleasure I felt when the painter Holbein gave me the picture of your whole family, which is so completely successful that I should scarcely be able to see you better if I were with you.' (Allen, vol. 8, Nos. 2211-2).

Compare also Erasmus's pen portrait of Sir Thomas More in his letter to Hutten, pp. 231-9.

XXX. PORTRAIT OF ERASMUS. Charcoal drawing by Albrecht DÜrer, dated 1520. Paris, Louvre. Facing p. 239

Drawn at Antwerp, during DÜrer's journey to the Netherlands. When he received the false news of the murder of Luther at Whitsuntide 1521, DÜrer wrote in his diary: 'O Erasmus of Rotterdam, where art thou? Listen, thou Knight of Christ, ride out with the Lord Christ, defend the truth and earn for thyself the martyr's crown!'

XXXI. PORTRAIT OF ERASMUS. Engraving by Albrecht DÜrer, dated 1526. Facing p. 246

In his Diary of a Journey to the Netherlands, DÜrer noted in late August 1520: 'I have taken Erasmus of Rotterdam's portrait once more', but he does not say when he took his first portrait. The earlier work is assumed to have been done one month before, and to be identical with the drawing in the Louvre (Pl. XXX). This drawing is mentioned by Erasmus himself in a letter to Pirckheimer of 1525 (p. 240); in an earlier letter to the same friend (1522) he says that DÜrer had started to paint him in 1520. The second portrait drawing is lost; hence it cannot be proved that this second portrait was made in metal point—as is usually assumed—and not in charcoal, or that the engraving here reproduced was based on it.

XXXII. TERMINUS. Erasmus's device. Pen and ink drawing by Hans Holbein. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 247

Frontispiece: DECORATIVE PORTRAIT OF ERASMUS WITH HIS DEVICE, TERMINUS. Engraving by Hans Holbein, 1535.

ACKNOWLEDGEMENTS

For help in the collection of illustrations we are specially indebted to M. Daniel van Damme, Curator of the Erasmus Museum at Anderlecht and author of the EphÉmÉride illustrÉe de la Vie d'Erasme, published in 1936 on the occasion of the fourth centenary of Erasmus's death. For photographs and permission to reproduce we have to thank also the Frick Collection, New York (Pl. iv), the Öffentliche Kunstsammlung, Basle (Pl. X-XI, XIV, XXV, XXIX, XXXII), the Library of Basle University (Pl. V-VI), and the Warburg Institute, University of London (Pl. iii). The photographs for Pl. II, VII, XVIII-XX and XXVI are by M. Mauhin, Anderlecht, those for Plates VIII and XVII by Dr. F. Stoedtner, DÜsseldorf, and that for Plate IX by Fiorentini, Venice.