tograph by F. Hanfstaengl.

29. THE MORETT PORTRAIT 152
Oils. (Dresden Gallery.) From a photograph by F. Hanfstaengl.

30. QUEEN JANE SEYMOUR 158
Oils. (Vienna Gallery.) From a photograph by F. Hanfstaengl.

31. KING HENRY VIII. AND HIS FATHER 160
Fragment of cartoon used for the Whitehall wall-painting.
(Duke of Devonshire's Collection.)

32. KING HENRY VIII. 162
(Life Study; probably for the Whitehall Painting.)
Chalks. (Munich Collection.) From a photograph by F. Hanfstaengl.

33. DESIGN FOR THE "JANE SEYMOUR CUP" 164
(Bodleian Library.)

34. CHRISTINA OF DENMARK, DUCHESS OF MILAN 166
Oils. (National Gallery.) Lent by the Duke of Norfolk.

35. ANNE OF CLEVES 172
Oils. (The Louvre.) From a photograph by A. Giraudon, Paris.

36. THOMAS HOWARD, THIRD DUKE OF NORFOLK 174
Oils. (Windsor Castle.) From a photograph by F. Hanfstaengl.

37. CATHERINE HOWARD 176
Chalk drawing. (Windsor Castle.)

38. DR. CHAMBER 180
Oils. (Vienna Gallery.) From a photograph by F. Hanfstaengl.

HOLBEIN[1]

CHAPTER I

HOLBEIN'S PERIOD, PARENTAGE, AND EARLY WORK

Historical epoch and antecedents--Special conditions and character
of early Christian art--Ideals and influence of the monk--Holbein's
relation to mediaeval schools--His father, uncle, and Augsburg
home--Probable dates for his birth and his father's death--Troubles
and dispersion of the Augsburg household--From Augsburg to Basel--His
brother Ambrose--Erasmus and the _Praise of Folly_; some erroneous
impressions of both--Erasmus and Holbein no Protestants at
heart--Holbein and the Bible--Illustrated vernacular Bibles in
circulation before Luther and Holbein were born--Holbein's earliest
Basel oil paintings--Direct and indirect education--Historical,
geographical, and scientific revolutions of his day--Beginning of
his connection with the Burgomaster of Basel--Jacob Meyer zum
Hasen--Holbein's woodcuts--His studies from nature--Sudden visit to
Lucerne--Italian influence