Biography of Hans Holbein The Younger Painter 1497-1543

Around 1497 Hans Holbein The Younger Painter 1497-1543 was born in Augsburg.

Around 1526 Hans Holbein The Younger Painter 1497-1543 (29) made his first visit to England being welcomed by Thomas More Chancellor Speaker 1478-1535 (47).

1527 Hans Holbein The Younger Painter 1497-1543. Portrait of Thomas More Chancellor Speaker 1478-1535 wearing a Lancastrian Esses Collar with Beaufort Portcullis and Tudor Rose Pendant.

Around 1526 Hans Holbein The Younger Painter 1497-1543 (29). Portrait of John More 1508-1547 (18).

1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Thomas More Chancellor Speaker 1478-1535 (48) wearing a Lancastrian Esses Collar with Beaufort Portcullis and Tudor Rose Pendant.

Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of John More 1451-1530 (76).

Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Drawing of Nicholas Carew of Beddington in Surrey KG 1496-1539 (31).

1527 Hans Holbein The Younger Painter 1497-1543 (30). Known as "Lady with a Squirrel and a Starling". The subject is believed to be Anne Ashby -1539 wife of Francis Lovell 1508-1552 (19). The starling is probably intended as a rhyming pun of East Harling, where the family had recently inherited the estate of East Harling Hall East Harling. Squirrels nibbling on nuts feature on the heraldry of the Lovell family: the windows of the Church of St Peter and St Paul East Harling include two of the family's arms in stained glass, each showing six red squirrels. The commission may commemorate the birth of a son to the couple in the spring of 1526, but it also showed off their new status as wealthy landowners.

Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Brian Tuke Secretary -1545.

In 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Henry Guildford 1489-1532 (38) wearing the Garter and Inter twined Knots Collar with St George Pendant. Standing three-quarter length, richly dressed in velvet, fur and cloth-of-gold. Holbein has meticulously shown the varied texture of his cloth-of-gold double which is woven into a pomegranate pattern with a variety of different weaves including loops of gold thread. Similarly, he has carefully articulated the band of black satin running down Guildford's arm against the richer black of the velvet of his sleeve. A lavish use of both shell-gold paint and gold leaf (which has been used to emulate the highlights of the gold thread in the material) emphasises the luxuriousness of the sitter's dress and his high status. In his right-hand he holds the Comptroller of the Household Staff of Office.

Around 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Cecily More 1507- (20).

In 1527 Hans Holbein The Younger Painter 1497-1543 (30). Portrait of Mary Wotton 1499-1535 (28) when she was twenty-seven commissioned with that of her husband Henry Guildford 1489-1532 (38) possibly to celebrate their marriage. Hung with gold chains and embellished with pearls, Baroness Guildford embodies worldly prosperity, and with her prayer book she is also the very image of propriety.

Around 1528 Hans Holbein The Younger Painter 1497-1543 (31). Portrait of Nicholas Kratzer 1487-1550 (41) surrounded by the tools of his trade, and with an unfinished polyhedral sundial.

Around Aug 1528. Hans Holbein The Younger Painter 1497-1543 (31). Portrait of his wife and children.

In Aug 1528 Hans Holbein The Younger Painter 1497-1543 (31) returned to Basel, possibly to preserve his citizenship, buying a house in St.Johanns-Vorstadt paying a third in advance. The adoption of iconoclasm resulted in his receiving less commissions which may, eventually, have influenced his decision to return to England in 1532.

Before 1532 Hans Holbein The Younger Painter 1497-1543 (35). Portrait of William Warham Archbishop of Canterbury 1450-1532 (81).

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Drawing of Ambassador Philip Hoby 1505-1558 (27).

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Portrait of [possibly] Anne Parr Countess Pembroke 1515-1552 (16).

1532. Hans Holbein The Younger Painter 1497-1543 (35). Portrait of George Geise of Gdańsk 1497-1562 (34). The painting is believed to be full of symbolism include the vase near the esge of the table representeding the precarious nature of life, carnations representing engagement, rosemary representing friendship.

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Probably Elizabeth Stonor 1500- (32).

In 1532 Hans Holbein The Younger Painter 1497-1543 (35) returned to England where he completed a number or portraits of German merchants of the Steelyard which was near to his rented house in Maiden Lane.

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Drawing of Edward Stanley 3rd Earl Derby 1509-1572 (22).

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Drawing of (probably) Charles Wingfield 1513-1540 (19).

1532. Hans Holbein The Younger Painter 1497-1543 (35). Portrait of a Member of the Wedigh Family.

Around 1532 Hans Holbein The Younger Painter 1497-1543 (35). Drawing of an unknown lady. Possibly Maud Green Lady in Waiting 1492-1531 (39).

Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Henry Howard 1516-1547 (17).

1533 Hans Holbein The Younger Painter 1497-1543 (36). Portrait of Thomas Cranmer Archbishop of Canterbury 1489-1556 (43).

1533 Hans Holbein The Younger Painter 1497-1543 (36). The Ambassadors.

Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Frances Vere Countess Surrey 1517-1577 (16).

Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Margaret Barrow 1500-1560 (33).

Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Henry Howard 1516-1547 (17).

Around 1533 Hans Holbein The Younger Painter 1497-1543 (36). Drawing of Thomas Elyot 1490-1546 (43).

Around 1534 Hans Holbein The Younger Painter 1497-1543 (37). Drawing of Queen Anne Boleyn of England (33). The attribution is contentious.

Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Portrait of Thomas Wriothesley 1st Earl of Southampton 1505-1550 (29).

Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Drawing of Catherine Willoughby Duchess Suffolk 1519-1580 (15).

Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Portrait of William Roper 1496-1578 (39).

Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Drawing of Nicholas Poyntz 1510-1556 (25).

Around 1535 Hans Holbein The Younger Painter 1497-1543 (38). Drawing of John Poyntz 1484-1544 (51).

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Richard Southwell 1503-1564 (33).

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Thomas Wyatt 1503-1542 (33).

1536 Hans Holbein The Younger Painter 1497-1543 (39). Portrait of William Roper 1496-1578 (40).

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Thomas Vaux 2nd Baron Vaux Harrowden -1556.

1536 Hans Holbein The Younger Painter 1497-1543 (39). Portrait of King Henry VIII of England and Ireland 1491-1547 (44).

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Margaret More 1505-1544 (31) known by her married name of "Margaret Roper".

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Elizabeth Cheney Baroness Vaux Harrowden 1505-1556 (31)

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Drawing of Thomas Strange of Hunstanton 1493-1545 (43).

1536. Hans Holbein The Younger Painter 1497-1543 (39). Portrait of Derick Berck of Cologne 1506- (30). The sitter is identified by the letter in his hand, which is addressed "To the honorable and pious Derick Berck, London, at the Steelyard [. . .] Deliver to the carrier". The other inscription on the cartellino refers to a passage from Virgil’s Aeneid that reads, "Olim meminisse iuvabit ie "One day, we'll look back on this and smile" from Virgil's, Aeneid, Line 204." Exhorting perseverance, this statement might have been the sitter’s personal motto.

Around 1536 Hans Holbein The Younger Painter 1497-1543 (39). Portrait of William Fitzwilliam 1st Earl of Southampton 1490-1542 (46).

Before 1537 Hans Holbein The Younger Painter 1497-1543 (40). Portrait of Thomas Boleyn 1st Earl Wiltshire and Ormonde 1477-1539 (59).

1537 Hans Holbein The Younger Painter 1497-1543 (40). Portrait of Mary Brandon Baroness Monteagle 1510-1542 (27).

1537. Hans Holbein The Younger Painter 1497-1543 (40). Portrait of Queen Jane Seymour 1509-1537 (28) wearing a pendant with the letters IHS ie the first three letters of Christ's name in Greek.

Around 1537 Hans Holbein The Younger Painter 1497-1543 (40). Drawing of Elizabeth Jenks Baroness Rich 1510-1558 (27).

Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of Mary Shelton 1510-1571 (28).

Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of the wife of Robert Radclyffe 1st Earl of Sussex 1483-1542 (55). He had three wives. The sitter is believed to his third wife.

Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of Mary Zouche 1512- (26).

Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of Edward Clinton 1st Earl Lincoln 1512-1585 (26).

Around 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of George Brooke 9th Baron Cobham 1497-1558 (41).

1538 Hans Holbein The Younger Painter 1497-1543 (41). Portrait of Christina of Denmark (16).

After 1538 Hans Holbein The Younger Painter 1497-1543 (41). Drawing of Elizabeth Grey Baroness Audley Walden -1564 based on she having become Baroness Audley on 29 Nov 1538. Coloured chalks, silverpoint, pen and ink on pink-primed paper, 29.2 × 20.7 cm, Royal Collection, Windsor Castle. The drawing is inscribed, by a later hand than Holbein's, "The Baroness Audley".

On 10 Mar 1538 Ambassador Philip Hoby 1505-1558 (33) arrived in Brussels with Hans Holbein The Younger Painter 1497-1543 (41) having been sent by Thomas Cromwell 1st Earl Essex 1485-1540 (53) to procure a portrait of Christina of Denmark (16). King Henry VIII of England and Ireland 1491-1547 (46) received the protrait on 18 Mar 1538 and was reported to have been pleased. See Cromwell's instructions to Hoby.

Around 1532 Hans Holbein The Younger Painter 1497-1543. Drawing of Ambassador Philip Hoby 1505-1558. Around 1625 based on a work of 1532.Unknown Painter. Portrait of Thomas Cromwell 1st Earl Essex 1485-1540. 1538 Hans Holbein The Younger Painter 1497-1543. Portrait of Christina of Denmark. 1536 Hans Holbein The Younger Painter 1497-1543. Portrait of King Henry VIII of England and Ireland 1491-1547. 1540 Hans Holbein The Younger Painter 1497-1543. Miniature portrait of King Henry VIII of England and Ireland 1491-1547. Around 1525 Unknown Painter. Netherlands. Portrait of King Henry VIII of England and Ireland 1491-1547.

Letters and Papers Foreign and Domestic Henry VIII Volume 13 Part 1 Jan Jul 1538 Mar 1538 21 25. 23 Mar 1538. Spanish Calendar, V. ii. No. 220. 583. Chapuys (48) to the Queen of Hungary (32).

She has done well in writing to Cromwell (53), who was much gratified by her letter. The French ambassadors have had difficulty in getting an interview with the King (46), and were ill received; on which the bp. of Tarbes said to the Venetian secretary he would do his best to promote a peace between the Emperor and France. Next day the bp. received a present of 500 cr. and 150 cr. for a gentleman of his suite; but he has not yet got his passports, which the King (46) will probably not give till he has heard from Spain. On the same day, the 18th, the painter (41) returned with the Duchess' (16) likeness, which has pleased the King (46) much, and put him in much better humour. He has been masking and visiting the duchess of Suffolk (19), &c. Does not think, however, that he is pleased at the meeting arranged between the Pope, the Emperor, and Francis. London, 23 March 1538.

From a MS. at Vienna.

Around 1535 Hans Holbein The Younger Painter 1497-1543. Drawing of Catherine Willoughby Duchess Suffolk 1519-1580.

In Aug 1538 Ambassador Philip Hoby 1505-1558 (33) and Hans Holbein The Younger Painter 1497-1543 (41) travelled to Joinville to procure a portrait of Margaret Valois Angoulême Duchess Berry and Savoy 1523-1574 (15).

On 22 Dec 1572 François Clouet Painter 1510-1572. Portrait of Margaret Valois Angoulême Duchess Berry and Savoy 1523-1574.

Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Portrait believed to be of Elizabeth Seymour Baroness Cromwell Oakham 1518-1556 (21).

Around 1539. Possibly Hans Holbein The Younger Painter 1497-1543 (42). Portrait of Thomas Parry 1515-1560 (24). K. T. Parker, in his study of the Windsor drawings, wrote: "The attribution is particularly difficult. Ganz's omission of the drawing may not be unjustified; but in spite of a rather soft and flabby dilineation, there is yet much of Holbein in it, and the way in which the hat badge is rendered in a separate sketch could not accord better with his common practice

Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Drawing of William Parr 1st Marquess Northampton 1512-1571 (27).

Around 1539 Hans Holbein The Younger Painter 1497-1543 (42). Portrait of Anne of Cleves (23).

1540 Hans Holbein The Younger Painter 1497-1543 (43). Miniature portrait of King Henry VIII of England and Ireland 1491-1547 (48).

Around 1540 Hans Holbein The Younger Painter 1497-1543 (43). Portrait of Edward VI King England and Ireland 1537-1553 (2)

Around 1541 Hans Holbein The Younger Painter 1497-1543 (44). Henry VIII Handing Over a Charter to Thomas Vicary, Commemorating the Joining of the Barbers and Surgeons Guilds. See Diary of Samuel Pepys 27 February 1663.

1541 Hans Holbein The Younger Painter 1497-1543 (44). Miniature portrait of Henry Brandon 2nd Duke Suffolk 1535-1551 (5).

1541 Hans Holbein The Younger Painter 1497-1543 (44). Miniature portrait of Charles Brandon 3rd Duke Suffolk 1537-1551 (4).

Around 1542 Hans Holbein The Younger Painter 1497-1543 (45). Drawing of William Sharington 1495-1553 (47).

Before 29 Nov 1543 Hans Holbein The Younger Painter 1497-1543 died.

Around 1627 Hans Holbein The Younger Painter 1497-1543. Portrait of Anne Cresacre 1511-1577.

John Evelyn's Diary 15 February 1649. 15 Feb 1649. I went to see the collection of one Trean, a rich merchant, who had some good pictures, especially a rare perspective of Stenwyck; from thence, to other virtuosos.

The painter, La Neve has an Andromeda, but I think it a copy after Vandyke (49) from Titian, for the original is in France. Webb, at the Exchange, has some rare things in miniature, of Breughel's, also Putti, in twelve squares, that were plundered from Sir James Palmer (64).

At Du Bois, we saw two tables of Putti, that were gotten, I know not how, out of the Castle of St. Angelo, by old Petit, thought to be Titian's; he had some good heads of Palma, and one of Stenwyck. Bellcar showed us an excellent copy of his Majesty's Sleeping Venus and the Satyr, with other figures; for now they had plundered, sold, and dispersed a world of rare paintings of the King's, and his loyal subjects. After all, Sir William Ducy showed me some excellent things in miniature, and in oil of Holbein's; Sir Thomas More's head, and a whole-length figure of Edward VI., which were certainly his Majesty's; also a picture of Queen Elizabeth; the Lady Isabella Thynne (25); a rare painting of Rothenhamer, being a Susanna; and a Magdalen, of Quintin, the blacksmith; also a Henry VIII., of Holbein; and Francis I., rare indeed, but of whose hand I know not.

John Evelyn's Diary 08 May 1654. 08 May 1654. I went to Hackney, to see Lady Brook's garden, which was one of the neatest and most celebrated in England, the house well furnished, but a despicable building. Returning, visited one Mr. Tomb's garden; it has large and noble walks, some modern statues, a vineyard, planted in strawberry borders, staked at ten feet distances, the banqueting-house of cedar, where the couch and seats were carved à l'antique; some good pictures in the house, especially one of Vandyke's (55), being a man in his shirt; also some of Stenwyck. I also called at Mr. Ducie's, who has indeed a rare collection of the best masters, and one of the largest stories of H. Holbein. I also saw Sir Thomas Fowler's aviary, which is a poor business.

John Evelyn's Diary 10 August 1655. 10 Aug 1655. To Albury, to visit Mr. Howard (27), who had begun to build, and alter the gardens much. He showed me many rare pictures, particularly the Moor on horseback; Erasmus, as big as the life, by Holbein; a Madonna, in miniature, by Oliver (90); but, above all, the skull, carved in wood, by Albert Durer, for which his father was offered £100; also Albert's head, by himself, with divers rare agates, intaglios, and other curiosities.

Around 1672 Gilbert Soest Painter 1605-1681. Portrait of Henry Howard 6th Duke Norfolk 1628-1684. Around 1669 John Michael Wright 1617-1694. Portrait of Henry Howard 6th Duke Norfolk 1628-1684. Before 1694 John Michael Wright 1617-1694. Portrait of Henry Howard 6th Duke Norfolk 1628-1684.

John Evelyn's Diary 06 December 1660. 06 Dec 1660. I waited on my brother (43) and sister Evelyn to Court. Now were presented to his Majesty (30) those two rare pieces of drollery, or rather a Dutch Kitchen, painted by Dowe, so finely as hardly to be distinguished from enamel. I was also shown divers rich jewels and crystal vases; the rare head of Jo. Bellino, Titian's master; Christ in the Garden, by Hannibal Caracci; two incomparable heads, by Holbein; the Queen-Mother (51) in a miniature, almost as big as the life; an exquisite piece of carving; two unicorn's horns, etc. This in the closet.

Around 1642. William Dobson Painter 1611-1646. Portrait of the future King Charles II of England Scotland and Ireland 1630-1685. Before 1691. John Riley Painter 1646-1691. Portrait of King Charles II of England Scotland and Ireland 1630-1685. Around 1665 John Greenhill Painter 1644-1676. Portrait of King Charles II of England Scotland and Ireland 1630-1685 in his Garter Robes. Around 1661 John Michael Wright 1617-1694. Portrait of King Charles II of England Scotland and Ireland 1630-1685 in his coronation robes. Before 11 Jul 1671 Adriaen Hanneman Painter 1603-1671. Portrait of King Charles II of England Scotland and Ireland 1630-1685. 1675. Hendrick Danckerts Painter 1625-1680. Portrait of Royal Gardener John Rose presenting a pineappel to King Charles II Around 1625 John Hoskins Painter 1590-1664. Portrait of Henrietta Maria Bourbon Queen Consort England 1609-1669. Before 09 Dec 1641 Anthony Van Dyck Painter 1599-1641. Portrait of Henrietta Maria Bourbon Queen Consort England 1609-1669 and the dwarf Jeffrey Hudson. Before 09 Dec 1641 Anthony Van Dyck Painter 1599-1641. Portrait of Henrietta Maria Bourbon Queen Consort England 1609-1669 and her son Charles James Stewart 1629-1629. Before 09 Dec 1641 Anthony Van Dyck Painter 1599-1641. Portrait of Henrietta Maria Bourbon Queen Consort England 1609-1669.

Diary of Samuel Pepys 27 February 1663. 27 Feb 1663. Up and to my office, whither several persons came to me about office business. About 11 o'clock, Commissioner Pett (52) and I walked to Chyrurgeon's Hall (we being all invited thither, and promised to dine there); where we were led into the Theatre; and by and by comes the reader, Dr. Tearne, with the Master and Company, in a very handsome manner: and all being settled, he begun his lecture, this being the second upon the kidneys, ureters, &c., which was very fine; and his discourse being ended, we walked into the Hall, and there being great store of company, we had a fine dinner and good learned company, many Doctors of Phisique, and we used with extraordinary great respect. Among other observables we drank the King's health out of a gilt cup given by King Henry VIII to this Company, with bells hanging at it, which every man is to ring by shaking after he hath drunk up the whole cup. There is also a very excellent piece of the King, done by Holbein, stands up in the Hall, with the officers of the Company kneeling to him to receive their Charter.

1667. Remigius van Leemput Painter 1607-1675 (59). Copy (for which he received £150) of Hans Holbein's "Whitehall Mural" of King Henry VIII of England and Ireland 1491-1547, Henry VII King England and Ireland 1457-1509, Elizabeth York Queen Consort England 1466-1503 and Queen Jane Seymour 1509-1537. The original was destroyed in a fire in 1698.

Diary of Samuel Pepys 08 October 1667. 08 Oct 1667. Up pretty betimes, though not so soon as we intended, by reason of Murford's not rising, and then not knowing how to open our door, which, and some other pleasant simplicities of the fellow, did give occasion to us to call him. Sir Martin Marrall, and W. Hewer (25) being his helper and counsellor, we did call him, all this journey, Mr. Warner, which did give us good occasion of mirth now and then.

At last, rose, and up, and broke our fast, and then took coach, and away, and at Newport did call on Mr. Lowther (26), and he and his friend, and the master of the house, their friend, where they were, a gentleman, did presently get a-horseback and overtook us, and went with us to Audley-End, and did go along with us all over the house and garden: and mighty merry we were. The house indeed do appear very fine, but not so fine as it hath heretofore to me; particularly the ceilings are not so good as I always took them to be, being nothing so well wrought as my Chancellor's (58) are; and though the figure of the house without be very extraordinary good, yet the stayre-case is exceeding poor; and a great many pictures, and not one good one in the house but one of Harry the Eighth, done by Holben; and not one good suit of hangings in all the house, but all most ancient things, such as I would not give the hanging-up of in my house; and the other furniture, beds and other things, accordingly1. Only the gallery is good, and, above all things, the cellars, where we went down and drank of much good liquor; and indeed the cellars are fine: and here my wife and I did sing to my great content.

And then to the garden, and there eat many grapes, and took some with us and so away thence, exceeding well satisfied, though not to that degree that, by my old esteem of the house, I ought and did expect to have done, the situation of it not pleasing me. Here we parted with Lowther (26) and his friends, and away to Cambridge, it being foul, rainy weather, and there did take up at the Rose, for the sake of Mrs. Dorothy Drawwater, the vintner's daughter, which is mentioned in the play of Sir Martin Marrall. Here we had a good chamber, and bespoke a good supper; and then I took my wife, and W. Hewer (25), and Willet, it holding up a little, and shewed them Trinity College and St. John's Library, and went to King's College Chapel, to see the outside of it only; and so to our inne, and with much pleasure did this, they walking in their pretty morning gowns, very handsome, and I proud to find myself in condition to do this; and so home to our lodging, and there by and by, to supper, with much good sport, talking with the Drawers concerning matters of the town, and persons whom I remember, and so, after supper, to cards; and then to bed, lying, I in one bed, and my wife and girl in another, in the same room, and very merry talking together, and mightily pleased both of us with the girl. Saunders, the only violin in my time, is, I hear, dead of the plague in the late plague there.

1. Mr. George T. Robinson, F.S.A., in a paper on "Decorative Plaster Work", read before the Society of Arts in April, 1891, refers to the ceilings at Audley End as presenting an excellent idea of the state of the stuccoer's art in the middle of James I's reign, and adds, "Few houses in England can show so fine a series of the same date ... The great hall has medallions in the square portions of the ceiling formed by its dividing timber beams. The large saloon on the principal floor-a room about 66 feet long by 30 feet wide-has a very remarkable ceiling of the pendentive type, which presents many peculiarities, the most notable of which, that these not only depend from the ceiling, but the outside ones spring from the walls in a natural and structural manner. This is a most unusual circumstance in the stucco work of the time, the reason for the omission of this reasonable treatment evidently being the unwillingness of the stuccoer to omit his elaborate frieze in which he took such delight" ("Journal Soc. of Arts", vol. xxxix., p. 449).

In 1689 Godfrey Kneller 1646-1723. Portrait of William Hewer 1642-1715. Around 1643. William Dobson Painter 1611-1646. Portrait of Edward Hyde 1st Earl Clarendon 1609-1674. Before 04 Jan 1674 Peter Lely Painter 1618-1680. Portrait of Edward Hyde 1st Earl Clarendon 1609-1674.

Read More ...

John Evelyn's Diary 10 September 1677. 10 Sep 1677. To divert me, my Lord (59) would needs carry me to see Ipswich, when we dined with one Mr. Mann by the way, who was Recorder of the town. There were in our company my Lord Huntingtower (28), son to the Duchess of Lauderdale (50), Sir Edward Bacon, a learned gentleman of the family of the great Chancellor Verulam, and Sir John Felton, with some other knights and gentlemen. After dinner came the bailiff and magistrates in their formalities with their maces to compliment my Lord (59), and invite him to the town-house, where they presented us a collation of dried sweetmeats and wine, the bells ringing, etc. Then, we went to see the town, and first, the Lord Viscount Hereford's (3) house, which stands in a park near the town, like that at Brussels, in Flanders; the house not great, yet pretty, especially the hall. The stews for fish succeeded one another, and feed one the other, all paved at bottom. There is a good picture of the blessed virgin in one of the parlors, seeming to be of Holbein, or some good master. Then we saw the Haven, seven miles from Harwich. The tide runs out every day, but the bedding being soft mud, it is safe for shipping and a station. The trade of Ipswich is for the most part Newcastle upon Tyne coals, with which they supply London; but it was formerly a clothing town. There is not any beggar asks alms in the whole place, a thing very extraordinary, so ordered by the prudence of the magistrates. It has in it fourteen or fifteen beautiful churches: in a word, it is for building, cleanness, and good order, one of the best towns in England. Cardinal Wolsey was a butcher's son of Ipswich, but there is little of that magnificent Prelate's foundation here, besides a school and I think a library, which I did not see. His intentions were to build some great thing. We returned late to Euston, having traveled about fifty miles this day.

Since first I was at this place, I found things exceedingly improved. It is seated in a bottom between two graceful swellings, the main building being now in the figure of a Greek II with four pavilions, two at each corner, and a break in the front, railed and balustered at the top, where I caused huge jars to be placed full of earth to keep them steady upon their pedestals between the statues, which make as good a show as if they were of stone, and, though the building be of brick, and but two stories besides cellars and garrets covered with blue slate, yet there is room enough for a full court, the offices and outhouses being so ample and well disposed. the King's (47) apartment is painted à fresco, and magnificently furnished. There are many excellent pictures of the great masters. The gallery is a pleasant, noble room; in the break, or middle, is a billiard table, but the wainscot, being of fir, and painted, does not please me so well as Spanish oak without paint. The chapel is pretty, the porch descending to the gardens. The orange garden is very fine, and leads into the greenhouse, at the end of which is a hall to eat in, and the conservatory some hundred feet long, adorned with maps, as the other side is with the heads of the Cæsars, ill cut in alabaster; above are several apartments for my Lord, Lady, and Duchess, with kitchens and other offices below, in a lesser form; lodgings for servants, all distinct for them to retire to when they please and would be in private, and have no communication with the palace, which he tells me he will wholly resign to his son-in-law and daughter, that charming young creature.

The canal running under my Lady's (43) dressing room chamber window, is full of carps and fowl, which come and are fed there. The cascade at the end of the canal turns a cornmill that provides the family, and raises water for the fountains and offices. To pass this canal into the opposite meadows, Sir Samuel Morland (52) has invented a screw bridge, which, being turned with a key, lands you fifty feet distant at the entrance of an ascending walk of trees, a mile in length,—as it is also on the front into the park,—of four rows of ash trees, and reaches to the park pale, which is nine miles in compass, and the best for riding and meeting the game that I ever saw. There were now of red and fallow deer almost a thousand, with good covert, but the soil barren and flying sand, in which nothing will grow kindly. The tufts of fir, and much of the other wood, were planted by my direction some years before. This seat is admirably placed for field sports, hawking, hunting, or racing. The Mutton is small, but sweet. The stables hold thirty horses and four coaches. The out-offices make two large quadrangles, so as servants never lived with more ease and convenience; never master more civil. Strangers are attended and accommodated as at their home, in pretty apartments furnished with all manner of conveniences and privacy.

There is a library full of excellent books; bathing rooms, elaboratory, dispensary, a decoy, and places to keep and fat fowl in. He had now in his new church (near the garden) built a dormitory, or vault, with several repositories, in which to bury his family.

In the expense of this pious structure, the church is most laudable, most of the houses of God in this country resembling rather stables and thatched cottages than temples in which to serve the Most High. He has built a lodge in the park for the keeper, which is a neat dwelling, and might become any gentleman. The same has he done for the parson, little deserving it for murmuring that my Lord put him some time out of his wretched hovel, while it was building. He has also erected a fair inn at some distance from his palace, with a bridge of stone over a river near it, and repaired all the tenants' houses, so as there is nothing but neatness and accommodations about his estate, which I yet think is not above £1,500 a year. I believe he had now in his family one hundred domestic servants.

His lady (43) (being one of the Brederode's (75) daughters, grandchild to a natural son of Henry Frederick, Prince of Orange (93)) [Note. Evelyn confused here. Elisabeth Nassau Beverweert Countess Arlington 1633-1718 (43) was the daughter of Louis Nassau Beverweert 1602-1665 (75) who was the illegitimate son of Prince Maurice I of Orange 1567-1625. Frederick Henry Orange Nassau II Prince Orange 1584-1647 (93) was the younger brother of Prince Maurice I of Orange 1567-1625.] is a good-natured and obliging woman. They love fine things, and to live easily, pompously, and hospitably; but, with so vast expense, as plunges my Lord (59) into debts exceedingly. My Lord (59) himself is given into no expensive vice but building, and to have all things rich, polite, and princely. He never plays, but reads much, having the Latin, French, and Spanish tongues in perfection. He has traveled much, and is the best bred and courtly person his Majesty (47) has about him, so as the public Ministers more frequent him than any of the rest of the nobility. While he was Secretary of State and Prime Minister, he had gotten vastly, but spent it as hastily, even before he had established a fund to maintain his greatness; and now beginning to decline in favor (the Duke being no great friend of his), he knows not how to retrench. He was son of a Doctor of Laws, whom I have seen, and, being sent from Westminster School to Oxford, with intention to be a divine, and parson of Arlington, a village near Brentford, when Master of Arts the Rebellion falling out, he followed the King's (47) Army, and receiving an HONORABLE WOUND IN THE FACE, grew into favor, and was advanced from a mean fortune, at his Majesty's (47) Restoration, to be an Earl and Knight of the Garter, Lord Chamberlain of the Household, and first favorite for a long time, during which the King (47) married his natural son, the Duke of Grafton (13), to his only daughter (22) and heiress, as before mentioned, worthy for her beauty and virtue of the greatest prince in Christendom. My Lord is, besides this, a prudent and understanding person in business, and speaks well; unfortunate yet in those he has advanced, most of them proving ungrateful. The many obligations and civilities I have received from this noble gentleman, extracts from me this character, and I am sorry he is in no better circumstances.

Having now passed near three weeks at Euston, to my great satisfaction, with much difficulty he suffered me to look homeward, being very earnest with me to stay longer; and, to engage me, would himself have carried me to Lynn-Regis, a town of important traffic, about twenty miles beyond, which I had never seen; as also the Traveling Sands, about ten miles wide of Euston, that have so damaged the country, rolling from place to place, and, like the Sands in the Deserts of Lybia, quite overwhelmed some gentlemen's whole estates, as the relation extant in print, and brought to our Society, describes at large.

Around 1676 Peter Lely Painter 1618-1680. Portrait of Henry Bennet 1st Earl Arlington 1618-1685 wearing his Garter Robes. Before 07 Dec 1680 Peter Lely Painter 1618-1680. Portrait of Henry Bennet 1st Earl Arlington 1618-1685. Around 1641 Peter Lely Painter 1618-1680. Portrait of Elizabeth Murray Duchess Lauderdale 1626-1698. Around 1648 Peter Lely Painter 1618-1680. Portrait of Elizabeth Murray Duchess Lauderdale 1626-1698. Around 1665 Peter Lely Painter 1618-1680. Portrait of Elizabeth Murray Duchess Lauderdale 1626-1698. Around 1675 Peter Lely Painter 1618-1680. Portrait of John Maitland 1st Duke Lauderdale 1616-1682 and Elizabeth Murray Duchess Lauderdale 1626-1698. Around 1647 John Weesop Painter -1652. Portrait of Elizabeth Murray Duchess Lauderdale 1626-1698. In 1651 Gerrit van Honthorst Painter 1592-1656. Portrait of Elisabeth Nassau Beverweert Countess Arlington 1633-1718. 1645 Peter Lely Painter 1618-1680. Portrait of Samuel Morland Polymath 1st Baronet 1625-1695. Around 1650. Unknown Painter. Portrait of Louis Nassau Beverweert 1602-1665. In 1623 Michiel Janszoon van Mierevelt Painter 1566-1641. Portrait of Frederick Henry Orange Nassau II Prince Orange 1584-1647. Around 1634 Anthony Van Dyck Painter 1599-1641. Portrait of Frederick Henry Orange Nassau II Prince Orange 1584-1647. Before 27 Jun 1641 Michiel Janszoon van Mierevelt Painter 1566-1641. Portrait of Prince Maurice I of Orange 1567-1625. In 1756 Joshua Reynolds 1723-1788. Portrait of Henry Fitzroy 1st Duke Grafton 1663-1690 in his Garter Robes. Around 1700 Godfrey Kneller 1646-1723. Portrait of Isabella Bennet Duchess Grafton 1655-1723. One of the Hampton Court Beauties. In 1686 Willem Wissing Painter 1656-1687. Portrait of Isabella Bennet Duchess Grafton 1655-1723.

Read More ...

John Evelyn's Diary 23 August 1678. 23 Aug 1678. Upon Sir Robert Reading's (38) importunity, I went to visit the Duke of Norfolk (50), at his new palace at Weybridge, where he has laid out in building near £10,000, on a copyhold, and in a miserable, barren, sandy place by the street side; never in my life had I seen such expense to so small purpose. The rooms are wainscotted, and some of them richly pargeted with cedar, yew, cypress, etc. There are some good pictures, especially that incomparable painting of Holbein's, where the Duke of Norfolk, Charles Brandon and Henry VIII., are dancing with the three ladies, with most amorous countenances, and sprightly motion exquisitely expressed. It is a thousand pities (as I told my Lord of Arundel (23), his son), that that jewel should be given away.

John Evelyn's Diary 27 August 1678. 27 Aug 1678. I took leave of the Duke (50), and dined at Mr. Henry Bruncker's (51), at the Abbey of Sheene, formerly a monastery of Carthusians, there yet remaining one of their solitary cells with a cross. Within this ample inclosure are several pretty villas and fine gardens of the most excellent fruits, especially Sir William Temple's (50) (lately Ambassador into Holland), and the Lord Lisle's (29), son to the Earl of Leicester (59), who has divers rare pictures, above all, that of Sir Brian Tuke's, by Holbein.

After dinner I walked to Ham, to see the house and garden of the Duke of Lauderdale (62), which is indeed inferior to few of the best villas in Italy itself; the house furnished like a great Prince's; the parterres, flower-gardens, orangeries, groves, avenues, courts, statues, perspectives, fountains, aviaries, and all this at the banks of the sweetest river in the world, must needs be admirable.

Hence, I went to my worthy friend, Sir Henry Capel (40) [at Kew], brother to the Earl of Essex (46); it is an old timber-house; but his garden has the choicest fruit of any plantation in England, as he is the most industrious and understanding in it.

Around 1527 Hans Holbein The Younger Painter 1497-1543. Portrait of Brian Tuke Secretary -1545. Before 05 Aug 1661 Cornelius Johnson Painter 1593-1661. Portrait of Thomas Hales 3rd Baronet Hales 1695-1762 and John Maitland 1st Duke Lauderdale 1616-1682. Ham House Ham Richmond. Around 1665 Peter Lely Painter 1618-1680. Portrait of John Maitland 1st Duke Lauderdale 1616-1682. Around 1675 Peter Lely Painter 1618-1680. Portrait of John Maitland 1st Duke Lauderdale 1616-1682 and Elizabeth Murray Duchess Lauderdale 1626-1698. Before 07 Dec 1680 Peter Lely Painter 1618-1680. Portrait of John Maitland 1st Duke Lauderdale 1616-1682 wearing his Garter Robes. Around 1670 Jacob Huysmans Painter 1633-1696. Portrait of John Maitland 1st Duke Lauderdale 1616-1682. Around 1655 John Hoskins Painter 1590-1664. Portrait of Henry Capell 1st Baron Capell Tewkesbury 1638-1696.

John Evelyn's Diary 02 September 1680. 02 Sep 1680. I had an opportunity, his Majesty (50) being still at Windsor, of seeing his private library at Whitehall, at my full ease. I went with expectation of finding some curiosities, but, though there were about 1,000 volumes, there were few of importance which I had not perused before. They consisted chiefly of such books as had from time to time been dedicated, or presented to him; a few histories, some Travels and French books, abundance of maps and sea charts, entertainments and pomps, buildings and pieces relating to the navy, some mathematical instruments; but what was most rare, were three or four Romish breviaries, with a great deal of miniature and monkish painting and gilding, one of which is most exquisitely done, both as to the figures, grotesques, and compartments, to the utmost of that curious art. There is another in which I find written by the hand of King Henry VII., his giving it to his dear daughter, Margaret, afterward Queen of Scots, in which he desires her to pray for his soul, subscribing his name at length. There is also the process of the philosophers' great elixir, represented in divers pieces of excellent miniature, but the discourse is in high Dutch, a MS. There is another MS. in quarto, of above 300 years old, in French, being an institution of physic, and in the botanical part the plants are curiously painted in miniature; also a folio MS. of good thickness, being the several exercises, as Themes, Orations, Translations, etc., of King Edward VI., all written and subscribed by his own hand, and with his name very legible, and divers of the Greek interleaved and corrected after the manner of schoolboys' exercises, and that exceedingly well and proper; with some epistles to his preceptor, which show that young prince to have been extraordinarily advanced in learning, and as Cardan, who had been in England affirmed, stupendously knowing for his age. There is likewise his journal, no less testifying his early ripeness and care about the affairs of state.

There are besides many pompous volumes, some embossed with gold, and intaglios on agates, medals, etc. I spent three or four entire days, locked up, and alone, among these books and curiosities. In the rest of the private lodgings contiguous to this, are divers of the best pictures of the great masters, Raphael, Titian, etc., and in my esteem, above all, the "Noli me tangere" of our blessed Savior to Mary Magdalen after his Resurrection, of Hans Holbein; than which I never saw so much reverence and kind of heavenly astonishment expressed in a picture.

There are also divers curious clocks, watches, and pendules of exquisite work, and other curiosities. An ancient woman who made these lodgings clean, and had all the keys, let me in at pleasure for a small reward, by means of a friend.

Read More ...

John Evelyn's Diary 10 March 1687. 10 Mar 1687. His Majesty (53) sent for the Commissioners of the Privy Seal this morning into his bedchamber, and told us that though he had thought fit to dispose of the Seal into a single hand, yet he would so provide for us, as it should appear how well he accepted our faithful and loyal service with many gracious expressions to this effect; upon which we delivered the Seal into his hands. It was by all the world both hoped and expected, that he would have restored it to my Lord Clarendon; but they were astonished to see it given to Lord Arundel, of Wardour (80), a zealous Roman Catholic. Indeed it was very hard, and looked very unkindly, his Majesty (53) (as my Lord Clarendon protested to me, on my going to visit him and long discoursing with him about the affairs of Ireland) finding not the least failure of duty in him during his government of that kingdom, so that his recall plainly appeared to be from the stronger influence of the Papists, who now got all the preferments.

Most of the great officers, both in the Court and country, Lords and others, were dismissed, as they would not promise his Majesty (56) their consent to the repeal of the test and penal statutes against Popish Recusants. To this end, most of the Parliament men were spoken to in his Majesty's (56) closet, and such as refused, if in any place of office or trust, civil or military, were put out of their employments. This was a time of great trial; but hardly one of them assented, which put the Popish interest much backward. The English clergy everywhere preached boldly against their superstition and errors, and were wonderfully followed by the people. Not one considerable proselyte was made in all this time. The party were exceedingly put to the worst by the preaching and writing of the Protestants in many excellent treatises, evincing the doctrine and discipline of the reformed religion, to the manifest disadvantage of their adversaries. To this did not a little contribute the sermon preached at Whitehall before the Princess of Denmark (22) and a great crowd of people, and at least thirty of the greatest nobility, by Dr. Ken, Bishop of Bath and Wells (49), on John viii. 46 (the Gospel of the day), describing through his whole discourse the blasphemies, perfidy, wresting of Scripture, preference of tradition before it, spirit of persecution, superstition, legends, and fables of the Scribes and Pharisees, so that all the auditory understood his meaning of a parallel between them and the Romish priests, and their new Trent religion. He exhorted his audience to adhere to the written Word, and to persevere in the Faith taught in the Church of England, whose doctrine for Catholic and soundness he preferred to all the communities and churches of Christians in the world; concluding with a kind of prophecy, that whatever it suffered, it should after a short trial emerge to the confusion of her adversaries and the glory of God.

I went this evening to see the order of the boys and children at Christ's Hospital. There were near 800 boys and girls so decently clad, cleanly lodged, so wholesomely fed, so admirably taught, some the mathematics, especially the forty of the late King's foundation, that I was delighted to see the progress some little youths of thirteen or fourteen years of age had made. I saw them at supper, visited their dormitories, and much admired the order, economy, and excellent government of this most charitable seminary. Some are taught for the Universities, others designed for seamen, all for trades and callings. The girls are instructed in all such work as becomes their sex and may fit them for good wives, mistresses, and to be a blessing to their generation. They sang a psalm before they sat down to supper in the great Hall, to an organ which played all the time, with such cheerful harmony, that it seemed to me a vision of angels. I came from the place with infinite satisfaction, having never seen a more noble, pious, and admirable charity. All these consisted of orphans only. The foundation was of that pious Prince King Edward VI., whose picture (held to be an original of Holbein is in the court where the Governors meet to consult on the affairs of the Hospital, and his statue in white marble stands in a niche of the wall below, as you go to the church, which is a modern, noble, and ample fabric. This foundation has had, and still has, many benefactors.

Before 1694 John Michael Wright 1617-1694. Portrait of King James II when Duke of York. Around 1666 Peter Lely Painter 1618-1680. Portrait of King James II and Anne Hyde Queen Consort England 1637-1671. See Diary of Samuel Pepys 24 March 1666. Before 04 Jan 1674 Peter Lely Painter 1618-1680. Portrait of King James II wearing his Garter Robes. Around 1672 Henri Gascar Painter 1635-1701. Portrait of King James II. Before 1661. Remigius van Leemput Painter 1607-1675. Copy of Peter Lely Painter 1618-1680 portrait of Henry Hyde, Viscount Cornbury and his first wife Theodosia Capell. In 1703 John Closterman Painter 1660-1711. Portrait of Queen Anne of England Scotland and Ireland 1665-1714. Before 24 May 1711 John Closterman Painter 1660-1711. Possibly school of. Portrait of Queen Anne of England Scotland and Ireland 1665-1714. In 1686 Willem Wissing Painter 1656-1687. Portrait of Queen Anne of England Scotland and Ireland 1665-1714. Around 1705. Michael Dahl Painter 1659-1743. Portrait of Queen Anne of England Scotland and Ireland 1665-1714.

Read More ...

John Evelyn's Diary 23 April 1696. 23 Apr 1696. I went to Eton, and dined with Dr. Godolphin, the provost. The schoolmaster assured me there had not been for twenty years a more pregnant youth in that place than my grandson (14). I went to see the King's House at Kensington. It is very noble, though not great. The gallery furnished with the best pictures [from] all the houses, of Titian, Raphael, Correggio, Holbein, Julio Romano, Bassan, Vandyke (97), Tintoretto, and others; a great collection of porcelain; and a pretty private library. The gardens about it very delicious.

Survey London Volume 4 Chelsea Part II. Sir Thomas More lived here for some fourteen years until his attainder in 1535. He loved to escape from London and from the Court, and to give himself up to his family and his own literary pursuits in his Chelsea home, and here he entertained many friends, among whom were Erasmus and Holbein. The latter may well have designed the beautiful capitals in the More chapel, in the old church (dated 1528), which show his hand as plainly as the ceiling of the Chapel Royal of St. James's Palace, which was executed in 1540.