1 
 
 I 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 CJija.j;^/^ (Ijxjtijk^ 
 
 This book is DUB on tl 
 
 iMAL SCHOOL 
 
 w, CALLemuaA 
 
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 DRAWINGS OF HANS HOLBEIN 
 
 DRAWINGS OF THE 
 
 GREAT MASTERS
 
 FROiN'TISPIECt 
 
 Rtmooucto BY KnMii9io<i or the turoTti-t oomp* , ...roso iTHter, lonooh 
 
 THOMAS BOLEYN, EARL OF WILTS AND ORMONDE 
 
 WINDSOR
 
 ).^ 
 
 ;^ 
 
 DR/M^INGS OF 
 HOLBEIN 
 
 LONDON .GEORGE NEWNES LIMITED 
 SOUTHAMPTON STREET. STRANDw.c 
 NEW YORK .CHARLES SCRIBNEKS SONS 
 
 -^ {015 
 
 FEE 
 
 i3i7
 
 The Bau.anttnb Press 
 Tavistock St. London
 
 Alt 
 
 Libiary 
 
 LIST OF ILLUSTRATIONS 
 
 
 PLATE 
 
 THOMAS BOLEYN, EARL OF WILTS AND ORMONDE 
 
 Windsor Frontispiece 
 
 ELIZABETH, LADY AUDLEY i 
 
 EDWARD VI 2 
 
 SIR JOHN RUSSELL, AFTERWARDS FIRST EARL OF 
 
 BEDFORD 3 
 
 JANE SEYMOUR, QUEEN TO HENRY VIII. ... 4 
 
 SIR WILLIAM PARR, AFTERWARDS MARQUIS OF 
 
 NORTHAMPTON 5 
 
 FRANCES, MARCHIONESS OF DORSET .... 6 
 
 SIR JOHN MORE 7 
 
 SIR THOMAS MORE, LORD CHANCELLOR ... 8 
 
 CECILIA HERON, DAUGHTER TO SIR THOMAS MORE . 9 
 
 JOHN MORE 10 
 
 ANNA CRESACRE ii 
 
 JOHN FISHER, BISHOP OF ROCHESTER . . . .12 
 
 GEORGE BROOKE, LORD COBHAM 13 
 
 LADY BUTTS 14 
 
 SIR HENRY GUILDFORD 15 
 
 THOMAS HOWARD, EARL OF SURREY . . . .16 
 
 WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY . 17 
 
 SIMON GEORGE 18 
 
 ANNE BOLEYN, QUEEN TO HENRY VIII. . . .19 
 
 JOHN POYNS 20 
 
 ANNE, LADY BERKELEY 21 
 
 V
 
 LIST OF lLLUSTRAT101<iS— continued 
 
 PLATE 
 
 SIR NICHOLAS POYNS THE ELDER 22 
 
 PORTRAIT OF A LADY 23 
 
 PHILIP MELANCHTHON 24 
 
 SIR NICHOLAS POYNS THE YOUNGER . . . .25 
 
 PORTRAIT OF A LADY 26 
 
 SIR JOHN GAGE 27 
 
 SIR THOMAS ELIOT 28 
 
 MOTHER JAK 29 
 
 JOHN RESKYMER 30 
 
 SIR JOHN GODSALVE 31 
 
 SIR THOMAS WYATT 32 
 
 JOHN COLET, DEAN OF ST. PAUL'S 33 
 
 MRS. SOUCH 34 
 
 NICHOLAS BOURBON DE VAUDOEUVRE . . . .35 
 
 PORTRAIT OF THE ARTIST .36 
 
 LADY HEVENINGHAM ■ • 37 
 
 SIR NICHOLAS CAREW 38 
 
 SHEEP 39 
 
 WILLIAM FITZWILLIAM, EARL OF SOUTHAMPTON . 40 
 
 ANNA MEYER 41 
 
 JACOB MEYER 42 
 
 PORTRAIT OF A YOUNG MAN 43 
 
 A YOUNG WOMAN 44 
 
 PORTRAIT OF A MAN 45 
 
 RICHARD SOUTHWELL, AFTERWARDS KNlGHTi.D . 46 
 
 JACOB MEYER 47 
 
 A WAITRESS 48 
 
 VI
 
 HANS HOLBEIN 
 
 BY A. L. BALDRY 
 
 S is the case with many others of the more famous 
 masters, it is not easy to fix exactly the dates of the 
 chief events in Holbein's life. Even his name is un- 
 certain, for though he has been generally called Hans 
 by his biographers and by art historians, there seem 
 reasons for assuming that he was really named John. 
 The place and year of his birth are also disputed. Tradition assigns 
 Basle for the former and 1498 for the latter, though some critics hold 
 that he was born at Augsbourg, and support their contention by 
 reference to a picture of St. Paul, painted by his father, John Holbein 
 the elder, which bears the inscription, " This picture was completed 
 by John Holbein, a citizen of Augsbourg, in 1499." It seems 
 probable, however, that the younger Holbein was brought up at 
 Basle, and that he was trained entirely by his father, who was an artist 
 of considerable repute. The boy, indeed, lived from his earliest years 
 in an artistic atmosphere, for, besides his father, he had an uncle, 
 Sigismond, and two brothers, Ambrose and Bruno, who followed the 
 profession of painting. 
 
 The training he received was unusually comprehensive : in addiJ:ion 
 to the preparatory exercises necessary for the painter, he was instructed 
 in engraving, modelling, casting, and architecture, and so was well 
 prepared for the many and varied demands which were made upon 
 his powers in later life. That he progressed with unusual rapidity, 
 and profited remarkably by the instruction given to him, is proved by 
 the fact that, as early as 1512, he was able to paint portraits of his 
 father and uncle, which, judging by the engravings by Sandrart from 
 the original pictures, were works of notable merit, and surprising 
 achievements for so young a boy. The writers who claim Augsbourg 
 as Holbein's birthplace contend that these, his earliest recorded pro- 
 ductions of importance, were executed there, and that his residence 
 at Basle did not commence until 1515. He was certainly at Basle in 
 1520, for he received the freedom of the city in that year, and he 
 painted a portrait of Erasmus, who had about that date come to take 
 refuge there. By the patronage of Erasmus, and another influential 
 friend, Amerbach the printer, of whom also he had painted a portrait, 
 he was brought into a degree of prominence to which, despite his 
 
 I
 
 HANS HOLBEIN 
 
 unusual abilities, he might not have attained by his own exertions, for 
 he was of reckless and extravagant habits, and by no means discreet 
 in his manner of living. 
 
 However, the recommendations of his friends were so well justified 
 by the rapidly increasing merit of his work that his reputation soon 
 became considerable. He painted at this period some of his most 
 famous pictures — the Meier Madonna in 1522, the series illustrating 
 The Fassion of Christ, frescoes in the Basle Town Hall, and a number 
 of portraits ; and he drew also a large number of designs for wood 
 engraving, among them his Dance of Death and his Alphabet of 
 Death. His fame attracted the attention of the Earl of Arundel — 
 or, as some say, the Earl of Surrey — who, when he was passing 
 through Basle on his way to Italy, urged the painter to come to 
 England, so as to secure greater opportunities of advancement. 
 
 This advice Holbein at first neglected, but the troubles which 
 occurred at Basle in 1525, and the resulting diminution in the local 
 demand for his services, induced him to try the effect of a change 
 of residence. So in the following year he set out for England, with 
 letters of introduction from Erasmus to Sir Thomas More, and bringing 
 with him his portrait of Erasmus as a specimen of his work. Accord- 
 ing to Horace Walpole, some difficulties were made about his departure 
 from Basle, though he had given out that he was only going to 
 England for a visit. He had, so the story runs, just finished a portrait 
 of one of his patrons, and as a joke he painted a fly on the sitter's 
 forehead. When the owner of the picture went to brush ofi^ the 
 fly and discovered the deception, he was so impressed by the artist's 
 imitative skill that he spread the story in all directions. The result 
 of this easy trick was to give the people of Basle an opinion of 
 Holbein's ability far greater than they had ever held before, and to 
 induce them to take steps to prevent him leaving the city. He had, 
 however, departed secretly before anything could be done, and had 
 proceeded to England by way of Antwerp, where he made a short 
 stay to study the works of Quentin Matsys. 
 
 On his arrival here he was received at once into the house of 
 Sir Thomas More, at Chelsea, where he remained for nearly three 
 years, busy with portraits and portrait groups. His first sitter was 
 Sir Thomas More himself, and among the other works he executed 
 at this time were portraits of Archbishop Warham, the Bishop of 
 Rochester, Sir Henry Guildford, and a large picture of the More 
 family. It has been generally believed that he was recommended 
 to the King, Henry VIII., by Sir Thomas More. The accepted story 
 is that the Chancellor, anxious that his painter should receive the 
 2
 
 HANS HOLBEIN 
 
 king's patronage, invited Henry to an entertainment which took place 
 in a hall hung with Holbein's pictures. When the king noticed 
 these works Sir Thomas begged him to accept any that he might 
 wish to possess ; but Henry, instead, asked for the artist, and when he 
 was presented took him at once into his service, with the remark that 
 " now he had got the painter Sir Thomas might keep his pictures." 
 The anecdote is picturesque, but unfortunately it seems to lack 
 confirmation. 
 
 The actual facts are apparently that, at the end of his residence at 
 Chelsea, Holbein went back in the autumn of 1529 to Basle, and 
 worked there for some two years. Then he decided to return to 
 England, where he felt there would be more scope for him, and better 
 chances of success in his profession. His family remained at Basle, but 
 he was able to provide for them and leave his affairs there in proper 
 order. Once again settled in England his progress was uninterrupted. 
 Between the date of his return there and 1538, when appears the first 
 record of a payment made to him for work done for the king, he 
 painted a large number of important pictures, among them the famous 
 Ambassadors, and this despite the fact that his first and greatest patron. 
 Sir Thomas More, was no longer in power or able to advance his 
 interests. From 1538 onwards to his death, which tradition assigns 
 to the year 1554, though there is some evidence that it occurred as 
 early as 1543, he was constantly employed on portraits of royal 
 personages and court notabilities : and during this period he produced 
 several large canvases illustrating events in contemporary history. 
 Among these were the large representations of Henry VIII. granting 
 the charter to the Company of Surgeons, and Edward VI. delivering to 
 the Lord Mayor the charter under which the royal palace of Bridewell 
 was to be converted into a hospital. This last picture, however, must 
 obviously be assigned to some other artist, if the earlier date of 
 Holbein's death is accepted ; and anyhow there is some doubt whether 
 the work is entirely from his hand. His own portrait is said to be 
 included among those brought together in the composition. 
 
 While he held his post at court, to which was attached an annual 
 salary of ^^30 with payment in addition for the pictures he painted, 
 he was twice sent abroad to execute likenesses of princesses whom the 
 king proposed to marry, once of Christiana, Dowager Duchess of 
 Milan, and on another occasion of Anne of Cleves. The story of the 
 king's displeasure, when he found that the original of this latter 
 portrait lacked the beauty with which Holbein had flattered her, is 
 well known. Oddly enough it was not, however, the painter who 
 was blamed for the deception, but Thomas Cromwell, the adviser by 
 
 3
 
 HANS HOLBEIN 
 
 whom the marriage was advocated. Probably the artist's escape from 
 the consequences of this attempt to treat the lady more kindly than 
 her looks deserved was due to the high opinion of his capacities which 
 was held by the king, an opinion summed up in a remark which 
 Henry is said to have made, that he could of seven peasants make 
 seven lords, but not one Hans Holbein even out of seven lords. 
 Certainly Holbein never fell out of favour with his master, and, 
 judging by the array of pictures of eminent men that he produced, 
 his commanding professional position must have been universally 
 recognised. 
 
 It is unfortunate that so many of the canvases for which he was 
 responsible should either have disappeared or should have gone out of 
 this country. Some were sold by the Puritan parliament, some were 
 destroyed when the palace at Whitehall was burned, and others have 
 been unaccountably lost to sight. At one time the majority of his 
 best works were gathered in England, and though there still remain 
 many that are both characteristic and important, time and accident 
 have made curious gaps in the series. Sufficient can at all events be 
 found to prove that he was an artist of extraordinary powers, a crafts- 
 man of the rarest abihty, and a sincere and observant student of 
 character. The small number of his larger compositions which have 
 been preserved show that he had the greatest capacities as an imagina- 
 tive and historical painter, but circumstances caused him to occupy 
 himself chiefly with portraiture, and it is by his achievements in this 
 branch of practice that his place in art history is established. 
 
 Yet he was an artist of very varied possibilities, and there remains 
 sufficient of his work outside portraiture to prove that he profited to 
 the utmost by the comprehensiveness of his early training. He was 
 an admirable designer of jewellery and ornamental details, as may be 
 seen by the book of his drawings for objects of this class which is in 
 the British Museum; he was a distinguished architect and was 
 responsible for the erection of several important buildings ; he 
 modelled and carved; and he executed a large number of excellent 
 drawings for wood engraving. Despite the stories which are told 
 about his reckless and extravagant manner of life he must have been a 
 strenuous worker and must have devoted himself assiduously to his 
 profession. No man who had not an enthusiastic love of art could 
 have done so much or could have kept so consistently to such a high 
 level of accomplishment. Immense bodily and mental vigour no 
 doubt helped him to success in his many undertakings, but that he 
 worked conscientiously and with a serious intention is proved by the 
 consistent merit of his performances. 
 
 4
 
 HANS HOLBEIN 
 
 He used many mediums with equal success ; his pictures were 
 executed mostly in oil, but there are several in distemper or water- 
 colour. This last method he is supposed to have learned from Lucas 
 Cornclii after coming to England ; but if this is so he must have 
 mastered it very quickly, for his works in it, and his miniatures 
 especially, are admirable in their qualities, and have a surprising 
 degree of strength. His oil paintings have a delightful delicacy of 
 tone and a luminosity of colour which has borne well the test of time. 
 He preferred subtle effects of lighting without much depth of 
 shadow, but in spite of this absence of strong contrasts of light and 
 dark his pictures never lack roundness or variety of modelling, and are 
 especially free from the flatness which a less sensitive observer working 
 in such a manner might have given to them. His draughtsmanship, 
 too, can be especially admired on account of its wonderful suggestion 
 of refinements of form and modulations of line. In this respect his 
 mastery is beyond question, for he combined, as few other painters 
 have, perfect precision of statement with grace and freedom of 
 execution. 
 
 In his composition he was, according to the custom of the period, 
 formal and studied, preferring a certain stiffness of arrangement to 
 flowing lines. But this stiffness never degenerated into angularity, and 
 certainly never spoiled the dignity and strength of his design. Its 
 only effect was to give to his pictures a character which seems now 
 to have been appropriate enough, and to be thoroughly in keeping 
 with what is recorded of the social life during the Tudor reigns. 
 The grace of Van Dyck or the redundance of Lely would not have 
 suited the atmosphere of the court of Henry VIII., and Holbein by 
 his precision and repose of technical method reflected the character- 
 istics of his own times with a completeness that can be fully 
 appreciated. His residence at court no doubt helped to confirm him 
 in this tendency ; surrounded as he was there by stately personages, he 
 would naturally be inclined to emphasise their attributes and to bring 
 much of their formality into his art. That he could be, when the 
 occasion arose, freely fanciful is shown by many of his designs and 
 early drawings, which reveal an eminently German inclination 
 towards richness of detail. The reserve of his manner when he was 
 working in England may be taken as evidence of his artistic fidelity, 
 and of his readiness to respond fully to the impressions he received. 
 
 One other of his qualities as a painter must be noted — his imitative 
 power. This power, which had enabled him to make a painted fly 
 sufficiently like life to deceive his patron at Basle, became, as his skill 
 matured, legitimately helpful in his practice. It gave a particular 
 
 5
 
 HANS HOLBEIN 
 
 beauty of texture to his flesh surfaces and to the details of the costumes 
 of his sitters, and it aided him to secure that appearance of absolute 
 reality which is to be counted among the merits of his pictures. Few 
 artists, indeed, can be said to have equalled him in the purity and 
 delicacy of his flesh colour with its subtle gradations and play of 
 gentle tones ; and his treatment of furs, stufl^s, and jewelled trimmings, 
 and all the other accessories of the formal Tudor dress, is worthy of 
 unqualified admiration. Yet, with all his regard for actuality, he was 
 never mechanical. His imitativeness was free from trickery, and escaped 
 that suggestion of purposeless realism which became afterwards more 
 than a little wearisome in the performances of the lesser artists who 
 aped his style. He knew exactly how far he could carry his work 
 without losing spontaneity and without sacrificing its dignity for the 
 sake of asserting trivialities. As a consequence, his paintings with all 
 their elaboration have a delightful simplicity, and a marvellous 
 reticence which keeps in strict relation the various parts with which 
 they are built up. 
 
 If any proof were needed of the correctness of the principles by 
 which he was guided, it would only be necessary to refer to his 
 drawings to see how independent he was of those little technical shifts 
 and contrivances, to which the inferior artist too often resorts in the 
 struggle to gain attention. He was not one of those workers who 
 can arrive at nothing without painful labour, and can only succeed 
 when provided with a battery of appliances. The simplest means 
 often sufficed to lead him to the most admirable results. He was as 
 indisputably a master in his slighter exercises as in the more ambitious 
 paintings by which he asserted the completeness of his professional 
 equipment ; and the qualities upon which the whole of his achieve- 
 ments were based gave to his sketches and rapid notes an extraordinary 
 significance. In these there is never a suggestion that they would 
 have been better, or more expressive, if they had been treated in some 
 other way. Each one says what it has to say with perfect frankness 
 and with an absence of circumlocution that is quite refreshing. Work 
 of this summary type would reveal at once the smallest hesitation of 
 an artist about what he meant to imply ; entire agreement between his 
 mind and hand is the one and only thing by the aid of which he can 
 properly realise his intention. 
 
 It is because this agreement is so obvious in the practice of a 
 master like Holbein, that there is, among the men who appreciate and 
 study art sincerely, such a general inclination to treasure as things of 
 inestimable value those of his drawings which have been preserved to 
 the present day. Everything that has been touched by a great artist 
 6
 
 HANS HOLBEIN 
 has, of course, a supreme interest, but his sketches specially deserve 
 consideration, for in them there is a clear reflection of his personality. 
 They were executed originally, not to please his patrons or to make 
 Any appeal to the public, but solely to record the ideas which were 
 forming in his own mind. They may be regarded as notes jotted 
 down for future reference, recording some sudden impression, or a 
 stage in the working out of an artistic scheme. Therefore they have 
 an intimate connection with the man himself, and their strength or 
 their weakness can be taken as the measure of his qualification for the 
 position assigned to him in the ranks of art workers. They take us 
 into his private life and, as it were, allow us to overhear a soliloquy in 
 which he argues out his convictions and observations with himself. 
 
 Technically, too, they are instructive, on account of the light they 
 throw upon the artist's preference for, and understanding of, certain 
 mediums. In things he does for himself he naturally chooses the 
 method which seems to him most explanatory, and works in the 
 manner that he feels will be most suggestive. Some men have used 
 pen and ink, some silver point, or crayon, others have preferred sepia 
 wash, or have combined line and wash in such a way as to arrive at 
 a comparatively elaborate result with much economy of time. Hardly 
 any two artists have adopted exactly the same form of expression. 
 Nor is there any approach to uniformity in the character of the sketches 
 themselves. One may be merely an assemblage of apparently hap- 
 hazard lines, another may be precise, detailed, and perfected with the 
 minutest care, according to the temperament or mood of the executant 
 or the purpose for which the drawing may have been intended. This 
 variety in the work adds fascination to the study of such examples of 
 masterly production, and increases their claim upon the attention of 
 the art lover. Nothing shows better the extraordinary range that is 
 possible to the draughtsman or the number of permissible applications 
 of the materials available for the artist's use. 
 
 The rare charm of Holbein's drawings comes principally from the 
 exquisite combination which they present of delicacy and vigour. 
 Not often is there to be seen such sympathetic management of simple 
 line and broad, flat masses of tone, or such accurate judgment in the 
 placing of small details of modelling, and not often have things in little 
 more than outline, and with the merest hint of shading, been made so 
 decisive in manner and so firm in their presentation of all necessary 
 facts. It would have been so easy to have strayed out of the right 
 direction into either coarseness or over-refinement, to have attempted 
 to do more than would have been discreet, or to have sacrificed all 
 character in aiming at an impossible degree of subtlety. But he kept, 
 
 7
 
 HANS HOLBEIN 
 
 with the shrewdest perception of what was appropriate to his subjects, 
 exactly within the right limits of technical contrivance, and within the 
 bounds of very correct taste. That a man of his reputedly reckless 
 temperament should have been able to subject his art to such firm 
 control is in some ways surprising ; but his drawings certainly show 
 that, whatever his habit of life, his self-discipline and self-restraint 
 when he was at work were complete. 
 
 It would be a considerable undertaking to attempt to catalogue 
 all of his drawings, which are preserved in public and private collec- 
 tions in England and abroad. There are many at Basle, many more 
 in the chief continental Museums and Art Galleries, to which they 
 went when the artist's works were dispersed after the death of 
 Charles I. But in this country there remains one great group of his 
 drawn portraits — the series of eighty- seven, two of them of doubtful 
 authenticity, in the royal collection at Windsor Castle — which is 
 unrivalled for the number and the beauty of the works comprised in 
 it. This series by itself would suffice to establish his fame as a 
 draughtsman, so memorable is the quality of the accomplishment 
 throughout, and so perfect the demonstration it provides of his un- 
 failing executive resource. There is displayed, moreover, an instruc- 
 tive variety of method, some of the drawings are in crayon on 
 untinted paper, others are upon a flesh-coloured ground, with touches 
 of stronger colour in the eyes, the hair, and the costumes, and a few 
 are practically water-colours carried to a fairly high degree of finish, 
 sometimes the crayon-point is used for outlines and shading, some- 
 times a brush filled with Indian ink. No stereotyped method runs 
 through the series, each work is plainly a momentary inspiration and 
 represents a particular phase of the artist's observation. Probably, 
 many of the drawings were preliminary studies for larger oil portraits ; 
 indeed some are known to have been executed with this intention ; but 
 a fair proportion of them seem to have been complete in themselves. 
 
 Apart from their artistic importance they have the greatest 
 interest for every student of history, on account of the people they 
 represent. Holbein, by his position in the English Court, and by 
 the patronage he received from prominent personages, was enabled to 
 depict most of the men and women who were notable in English 
 sixteenth century society, and many foreigners as well. Special 
 opportunities came to him of mixing with all ranks, and these oppor- 
 tunities, as can be seen from the great number of portraits, painted 
 and drawn, which are left out of the immense mass of his production, 
 he turned to admirable account. If it had been his deliberate purpose 
 to compile a pictorial history of his contemporaries, for the information 
 8
 
 HANS HOLBEIN 
 
 of future generations, he could not have worked more sincerely or 
 with better judgment. Moreover, there is in all these portraits, 
 and in the drawings particularly, an obvious air of fidelity, which 
 implies that he represented his sitters exactly as he saw them. The 
 tradition may be true, that in the case of Anne of Cleves he used 
 an undue amount of artistic licence, but there is little reason for 
 believing that he flattered other people. Rather is he to be considered 
 as a somewhat uncompromising realist, who thought more of recording 
 decisively and clearly what he actually saw, than of persuading his 
 patrons by graceful concessions to their vanity. 
 
 The names of some of the originals of his drawings are worth 
 mentioning, to show what very diverse types of people he studied. 
 There are royalties, like Queen Anne Boleyn, Queen Jane Seymour, 
 and Edward VI. ; ecclesiastics, like John Colet, Dean of St. Paul's, 
 Chaplain to Henry VIII., and founder of St. Paul's School, and John 
 Fisher, Bishop of Rochester, who was credited apparently on in- 
 sufficient authority with the authorship of the " Assertio Septum 
 Sacramentorum," which by its attack on Luther led the Pope to 
 confer upon Henry VIII. the title of " Defender of the Faith " ; 
 people of rank, like the Marchioness of Dorset ; Lady Butts, the wife 
 of Sir W. Butts, physician to Henry VIII. ; the Earl of Ormonde, 
 the father of Anne Boleyn ; Sir Thomas More, Lord High Chancellor 
 and the author of " Utopia " ; Lord Cobham, Sir Thomas Eliot, Sir 
 William Parr ; Sir John Russell, afterwards Earl of Bedford ; William 
 Fitzwilliam, who was Earl of Southampton and High Admiral ; Sir 
 John Gage, Sir Henry Guilford, Sir Richard Southwell, Henry 
 Howard, who was the son of the Duke of Norfolk and a leader in 
 the poetic movement that heralded, during the reign of Henry VIII., 
 the great literary development of the Elizabethan Era ; and Elizabeth 
 Lady Audley, the daughter of Sir Brian Tuke, Treasurer of the 
 Chamber, and the first recorded English Postmaster- General — he is 
 described in the Records of 1533 as " Magister Nunciorum, Curso- 
 rum, sive Postarum, both in England and in other parts of the King's 
 dominions beyond the seas." 
 
 There are, too, various members of the family of Sir Thomas 
 More, his sons and daughters, and Margaret Clement, who was 
 brought up with them. Besides, there are other drawings of men 
 like Simon George of Cornwall, John Poyns of Essex, Reskymer 
 a gentleman of Cornwall, John Godsal or Godsalve, Nicholas 
 Bourbon de Vaudoeuvre the poet, and Philip Melanchthon the German 
 reformer and scholar, who collaborated with Luther in the transla- 
 tion of the Scriptures. He drew up the seventeen articles of the 
 
 9 
 
 4 \o\-^
 
 HANS HOLBEIN 
 
 Evangelical faith known as the " Augsbourg Confession," and other 
 documents, which were issued by the Reformers. The names of nearly 
 all the people whom Holbein drew are recorded in the history of the 
 Tudor period, many of them, indeed, are famous. They are scarcely 
 likely to be forgotten, but the fact that they are appended to the 
 works of such a master makes them doubly interesting. 
 
 According to tradition the Windsor collection of Holbein's be- 
 longed originally to Edward VI., and while they were in his possession 
 the names which they still bear were written upon them by Sir John 
 Cheke. Subsequently these drawings were sold and went to France, 
 and they did not return to England till the reign of Charles I., to 
 which king they were presented or sold by M. de Liancourt. 
 Charles exchanged them with the Earl of Pembroke for a St. George 
 by Raphael, and the Earl of Pembroke gave them to the Earl of 
 Arundel. When Lord Arundel died his collections were sold, and 
 at this sale Charles H., on the advice of Sir Peter Lely, bought the 
 Holbeins and some other drawings by old masters. Apparently he did 
 not attach much value to his acquisition, for no special care seems to 
 have been taken of the collection, and not long after it disappeared, 
 and remained lost to sight for seventy years. Eventually the Holbeins 
 were discovered by Caroline, Queen of George IL, hidden away in an 
 old bureau at Kensington Palace, where, seemingly, they had been 
 carelessly thrown and forgotten. The other drawings, which had 
 been purchased under Lely's recommendation, were similarly brought 
 to light at Kensington during the earlier years of the reign of 
 George IIL 
 
 It is unnecessary to go into the details of the later history of the 
 Holbein drawings. At one time they were framed and glazed and 
 hung up, first at Richmond and afterwards at Kensington ; then they 
 were mounted in folios without any precautions to preserve them from 
 injury, and not improbably they have suffered to some extent from 
 the risks to which they have been exposed. But when the Prince 
 Consort undertook the rearrangement of the royal collection, they 
 were taken out of the books, and placed in sunk mounts which would 
 protect them from being rubbed. That for the future they will be 
 given fully the consideration they deserve is only to be expected. 
 Holbein's place among the greater masters is beyond dispute, and his 
 works are too highly valued to be treated with anything but the 
 utmost care. That these, in spite of their perilous adventures, should 
 have survived to our own time is a matter for congratulation; they 
 are national records, and the destruction of them would have been in 
 every way a national loss. 
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 ANNA CRESACRE 
 
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 SIR HENRY GUILDFORD 
 
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 SIMON GEORGE 
 
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 ANNE BOLEYN, QUEEN TO HENRY VIII 
 
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 JOHN POYNS 
 
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 ANNE LADY BERKELEY 
 
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 JOHN COLET, DEAN OF SAINT PAUL'S 
 
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 LADY HEVENINGHAM 
 
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 SIR NICHOLAS CAREW 
 
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