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. Chancello^r, 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.