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.