^{page 19 note a} Dr. Waagen mentions, as in Mr. Neeld's collection, “A male portrait: inscribed Æt suæ 48, Anno Domini 1547. This has quite the natural and animated air of Holbein, and the admirable drawing of the hands which distinguishes his later pictures. It is finely executed in a powerful brown-red tone.” (The Treasures of Art in Great Britain, vol. I. p. 245.) In many other places the critic speaks of Holbein's later style, observed from pictures which, like this, were certainly produced after Holbein's death. It might appear invidious to collect all the instances of this; but the reader of Dr. Waagen's criticisms should in future never lose sight of this circumstance.

^{page 20 note a} It is a child holding flowers, and probably an Italian picture, in the style of Bronzino or Federigo Barocci (somewhat later than Holbein's time).

^{page 21 note b} The picture of Edward the Sixth, at Loseley, was painted at the time of his coronation, as stated in this inscription (here copied literally): Edvardi sexti anglie francie et hibernice regis vera effigies eo primum tempore quo regia corona est insignitus,.ætatis sue 10. a'no 1549 (in error for 1547). It is a three-quarters length. The king is attired in a coat of cloth of gold, furred; having sleeves of white satin, worked with black thread, and many jewels set on; a doublet of crimson velvet, worked with gold thread; a collar of pearls having larger jewels at intervals; a black cap, and feather falling to the left. His right hand is partly in a pocket; the left on the hilt of his sword, which is of silver, inlaid as with niello. The face is well painted and expressive.

^{page 20 note c} Of this picture, as it is unnoticed in my catalogue, I am glad to supply the following description, communicated to me by W. S. Walford, Esq. F.S.A: It is on canvas, almost square, and represents the King nearly to the knees, standing, his face not quite full, but turned a little to the right. He is in a mulberry-coloured suit—coat, doublet, and hose, with a gold pattern on it; the coat loose, and edged with ermine, and a narrow line of ermine spots runs down each arm. There is a short perpendicular line of such spots on the neck or collar of the doublet in front. The George is suspended by a blue ribbon passing round the neck (Edward was not a Knight of the Garter before his accession to the throne). The cap is black, with a white feather. The right arm rests at the elbow on a table, upon which lies an octavo book, bound in red. The right hand, on the forefinger of which is a ring, holds a pair of gloves near the body. The left hand, on the little finger of which is also a ring, rests against the hip, the little finger being about three inches above the upper part of the hilt of the sword. There is neither crown nor sceptre, nor any other emblem of royalty. This is the only picture of Edward in which a book has been observed. It was purchased by its present owner with the house, which was formerly that of the wellknown virtuoso, Mr. Greene; and it is possibly the same picture of King Edward that was formerly at Maple Hayes, which is about a mile from Lichfield. Like others, it has been attributed to Holbein.

^{page 23 note a} Pat. 3 Hen. VIII. p. 3, m. 8. Letters and Papers of the reign of Henry VIII. catalogued by J. S. Brewer, M.A. 1862, art. 2053.

^{page 23 note b} Memoir of FitzRoy, Henry, Duke of Richmond and Somerset (Camden Society, 1855), p. lxxxvii.Google Scholar

^{page 23 note c} These curious particulars, and those which follow, are derived from the City Records at Guildhall.

^{page 23 note d} By access to the documents of the Court of Probate, recently accorded to historical and liferary inquirers pursuant to the liberal and judicious arrangements of Sir Cresswell Cresswell, I am enabled to offer the following abstract of this Serjeant-Painter's testamentary injunctions:—

The will of John Browne, citizen and haberdasher, and late alderman of London, made the 17 Sept. 1532. He desires to be buried in the parish church of Saint Vedast “in a chapel there dedicat of our Lady, in the north partie of the same chapel before our Lady there.” He leaves all his goods moveable and unmoveable, catalles, and debts desperat and sperat, to be equally divided in three equal parts: to Anne his wife one part after the use and custom of the city of London; another to Elizabeth and Isabell his daughters at their full and lawful age of twenty-one or marriage; and the third to the performance of his legacies and bequests. To the high altar of Saint Vedast “where I am parishener,” for tithes forgotten, x s.; twenty torches and four great tapers to brenne and serve at his dirige and mass of requiem, and to each of twentyfour poor men holding them, viij d. To the two orders of Black and Grey Friars of London “to th' intent they bringe my body to erthe,” viij s. to each. A priest to pray for his soul and the soul of Alice his late wife, his father, mother, and children's souls, for one year, vij l. “And I will that immediately after my death, in as convenient tyme as may be, there shalbe saide and doone in the said church of Saint Vedast, for my soule and the soules above rehersed, one trentelle of masses, and also oone solempne Dirge and masse of requiem by note. Item, I will that there shalbe expended of my goodes at the solempnization of the saide Dirige and masse, in wax and black clothe as hereafter shalbe expressed to be gevyne; for drynkinges and an honest dynner to be had and made amongs myne honest neighbours and my ffeliships of Haberdashers and Paynterstayners, the tyme of my burying, and other necessary charges at the same tyme, the sum of fourty poundes stirlinges. Item, I will that myne executrice provide asmoche black clothe for gownes with parcell of the said xl li. to these persones folowing: First, to my wife, children, and all that be my servauntes the day of my dethe, Richard Calard and his wife, Edmund Lee and his wife, to every of them a black gowne. Item, I give and bequethe to every man and woman dwelling in the village of Kyngslonde the tyme of my decese “foure pens a pece.” Anne his wife to have his dwelling house in Kingslonde, in the parish of Hackney, with his tenantry there, garden, orchard, and close, charged to pay during her life xxvj s. viij d. yerely to a priest to sing masse every Sunday and Friday in the Spitall house of Kingslonde. Anne his wife to have all his interest in the house he now dwelt in by lease from the prior and covent of St. Bartholomew in London; also a warehowse and howsing in the parish of St. Vedast which he held by lease from the parson and churchwardens of that church; also his new howse that he had buylded that he had purchased of maister Solicitor, the chief Baron of the King's exchequer, and maister Milles of Hampton; also his lease of a garden at London Wall held of the chamber of London; also the remainder of a lease for 99 years (whereof more than fifty years were past) from the dean and chapter of Newark by Leicester of a brewhouse called the Swan on the hope without the Barre of the new Temple of London, to be charged with keeping an obit or anniversary in the church of St. Mary le Strand at the expense of iiij s. Five marks to the marriage of poor maidens, to every poor maid vj s. viij d. He remits and forgives to Nicolas Golafre, his wife's brother, the xx li. that he borrowed from him, and all other sums owed by him. “Item, I bequethe my great boke of armys, and my boke of trickys of armes, and my boke of armys and badges in my studye, unto Rychard Bygnalle now being my servaunte, with a grynding stone and a moler, so alweys that my wife enjoy the same during her widowhode. Item, I will that John Childe shalhave all my other grynding stones with other implementes belonging to my craft at such prises as I paide for them myself, and other thinges necessarie, be it coloures, silke, or golde, as shall amount in all to the value of xx li. sterlinges at the prices as they cost, soo always and upon condicion that he be at my wife's comaundment, and to werke her werke and noone other during hir widowhode, or elles my said wife to kepe the same goodes for so longe tyme as she occupieth myne occupation.” To the fraternity of Jesu holden under Powles xl s. To his cousin Edmund Lee, goldsmyth, his second violet gowne furred with martern pootes; to his wife his best black gown single. To Richard Calard his best prymmer that John Worsopp gave him. Among poor householders in the parish of Saint Vedast xl s. To poor prisoners within Newgate every year during his wife's life one cartload of straw. To the church of Saint Vedast two banners and two stremers “of the best sorte that I shalhave at the tyme of my deathe, with a remembraunce on them for me to be prayed for.” To the parish church of St. Mary Axe where his father and mother lyen buried a banner cloth of silk and a torch. Eleven other torches to various churches, two of them to Saint Vedast, one to St. Michael in Hoggane lane, one to St. Peter in Chepe, one to St. Mathewe in Friday street, one to St. Mighell at the querne, one to St. Martin within Ludgate, one to our Lady Staynynges, one to our blessed Lady atte Strande without Temple bar, one to Hackney, and one to Newington in Middlesex. To John Baynard goldsmith, his flat ring of gold. To Sir John Parr, priest, a black gown. To John Howell, painter, a doblet. To the sexton of Saint Vedast a doblet; to Lambe, late his bedyll [as alderman], a doblet; to John Hare a doblet; to Thomas Edward, skynner, a doblet. To the Spitelle howse of Kyngeslonde vj s. viij d. To the Spitell howse called the Lock in Kent street vj s. viij d. (Other legacies to servants.) To the poor people of the occupacion of Paynter-stayners xx s. to be delt at the tyme of his death. Whereas the convent of Crossed friars in London owed him c li. he desired that, to provide for masses at the altar of Scala Celi in their conventual church for fifteen years, there should be yearly abated the sum of vj li. xiij s. iiij d. His executrix to distribute yearly in the parish of St. Vedast between Michaelmas and Christmas a cartload of coals. To Christopher More, gentleman, his standing cupp with a cover of silver and gilt, with a pomegranate on the top, of the value of v li. To the parish clerk or conducte of Saint Vedast vj s. viij d. yerely (during his wife's life), that is to say, quarterly xx d. “to cause his children to say De profundis every night after that antem is doone, over my grave, for my soule, my children's soules, and all Christian soules.” His wife executrix, and as overseers Richard Calard, paynter-stayner, and Edmund Lee, goldsmith. His messuage in Brede otherwise Brothe street, in the parish of Allhallows Bredestreet, bought of Thomas Candisshe late of the Exchequer, to his wife, charged with the maintenance of an obit or anniversary during her natural life in the church of St. Vedast, at the cost of x s., remainder to Isabell his daughter, and the heirs of her body, which failing, to his daughter Elizabeth, her heirs and assigns. Proved by Anne the widow and executrix 2 Dec. 1532. (Prer. Court of Canterb. Trower 21.)

^{page 25 note a} “In Trinity Lane, on the west side thereof, is the Painter-Stayners' Hall, for so of olde time were they called: but now that workemanship of stayning is departed out of use in England.”—Stowe's Survay of London, 1598. The site of the hall is first described in 2 Hen. VI. as a tenement with shops and appurtenances in Hoggen lane and Trinity lane, in the parish of the Holy Trinity the Little, near Queenhithe, of which the reversion then belonged to John de Padyngton, son and heir of Henry de Padyngton, after the decease of Katharine daughter of John atte Pitte, by virtue of the will of Henry de Padyngton dated 49 Edw. III.; situate between the garden of Edward Salle cloth worker on the north, the tenement of Ralph Marke brewer on the south, the highway of Hoggen lane on the west, and the highway of Trinity lane on the east. It was sold to John Browne, paynter-stayner of London, for the sum of xxx^li sterling, by Thomas Lupsett citizen and goldsmith of London, pursuant to indenture dated 14th Oct. 20 Hen. VII. By deed dated 21 Sept. 24 Hen. VIII., John Browne, citizen and haberdassher of the city of London, conveyed the estate to Richard Rypyngale, Richard Laine, Thomas Alexander, John Hethe, Richard Gates, Andrew Wright, Thomas Crystyne, William Lucas, William Hauntlowe, and Robert Cope, citizens and painter-stayners; and appointed Richard Callard, citizen and painter-stayner, to given seizin of the same, which was done in the presence of Richard Madok carpenter, James Cokke haberdasher, William Watton tailor, William Adnet miller, William Stokeley baker, Christopher Wright painter-stayner, and Henry Rowce notary. In 1549 a fresh feoffment was made, whereby the tenement, “nunc vulgariter dictum Paynters' hall,” was conveyed by Thomas Alexander, John Hethe, and William Lucas (the survivors of the first feoffment) to John Wysdom senior, David Playne, Thomas Ballard, Thomas Uncle, Thomas Cob, Thomas Spenser, John Feltes, William Wagynton, Melchior Engleberd, John Wysdom junior, George Wysdom, William Cudnor, Richard Flynte, and Richard Wright, citizens and painter-stayners. On this occasion seizin was given on the 3rd August, in the presence of John Robynson and Henry Machyn merchaunt taylors (the latter the writer of the Diary printed for the Camden Society), Thomas North and Henry Patynson clothworkers, William Drowght brownebaker, and Edward Braynewoode court letter writer, citizens of London, William Watson botcher, Thomas Dyx yoman, Richard Canton yoman, and many others there present.

I have derived these particulars, hitherto unpublished, from the archives of the Company, by permission of the Court of Assistants, and by the courteous accommodation of Mr. P. N. Tomlins and Mr. F. G. Tomlins, their clerks.

^{page 26 note a} These are said, in the E. D. N. Alphabet of Arms, to have been altered to a totally different coat and crest, but which, in the Visitation of London 1568, G. 10, f. 60, appear to belong to the family of Gardiner, by grant of Gilbert Dethick, Garter, to Thomas Gardiner, of South Brent, Somerset, gent., dated 2 July, 3 and 5 Phil, et Mary. See also Register of Nobility and Gentry, vol. i. f. 214. (All at Coll. Arm.)

^{page 26 note b} It is on canvas, and the head is set within an oval border painted to represent a carved frame. This was a fashion prevalent in the reign of Charles the Second, as appears in portraits of the Duchess of York, the Duchess of Cleveland, Bishop Burnet, and others.

^{page 26 note c} Privy Purse Expenses of Henry the Eighth, (edit. Nicolas,) p. 195.

^{page 27 note a} The will of Andrew Wright, citizen and paynter-stayner of London, is dated on the 15th March, 1543, 34 Hen. VIII. He desires his body to be buried within the church of Saint Vedast in Westchepe in London, and bequeaths to the high altar of that church iij s. iiij d. for tithes and oblations forgotten. He gives all his lands, free and copyhold, at Stratford the bowe to be sold for the payment of his debts, and to pay his eldest son Christopher x li., his son Richard x li., and to Richard, so long as he lived with his mother, iiij li. yearly. His lease of the houses, gardens, with the appurtenances, called The Gleane, in the parish of St. Oluffe, Southwark, to his wife for life, and after her death to his son Richard, and the heir males of his body. His two houses called The Bottle in Barmonsey Strete to his daughter Dorothy, to be sold for her best advantage, or else xxx li. in ready money. All his lands and tenements in the parish of St. Oluffs which he bought of Christopher Egglesfield to his wife for life, and after her decease to his son Christopher and the heir males of his body. “Also I give unto my said sonne Christofer all my fattes, vesselles, cawdrons, with other utensiles which is at Cowden necessary for the making of pynck, except the barelles that be full of pynck, those I geve unto my wife.” His ring of gold worth four marks, which he wore daily, to pay to the poor of St. Oluff's xxij s. viij d., and the rest as his wife should think best. The debt of seven score and ten pounds due from William Kendall to be equally divided between his wife and two sons. His daughter-in-law Leatys Wright is released from all debts. To Andrew son of George Wright deceased a gowne of pewke furryd with foynes, weltyd with black velvet, “which lieth in my best gowne.” He left his wife executor, and requested his welbeloved friend maister Garter to be overseer of his will, and to be good and aiding to his wife and children, and left him twenty shillings. Proved 29 May, 1543, by Annes relict and executrix. (Prerog. Court of Canterbury, 20 Spert.)

^{page 27 note b} My friend Mr. G. R. Corner, F.S.A., has in his possession copies of various documents relative to “the Gleane.” Its site is still denoted by Gleane Alley in Tooley Street.

^{page 27 note c} Pink was a vegetable pigment, answering to the giallo santo of the Italians, and stil-de-grain of the French. See Mrs. Merrifield's Ancient Practice of Painting, p. clxiv. The name appears to have come from the Dutch pincken, to sparkle; and Dutch pink is still in use, as well as Italian pink, brown pink, &c.

^{page 27 note d} Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII. catalogued by J. S. Brewer, M.A. 1862, vol. I. p. 781.

^{page 28 note a} In Horsfield's History of Sussex, 4to. 1835, vol. I. p. 487, is an engraving of an old view of Rye, copied from a picture in the possession of E. J. Curteis, esq. of Windmill Hill, Sussex, said to have been “painted in the 15th century.” Mr. Holloway remarks (in his History of Rye, 8vo. 1847, p. 305,) that “This view must have been taken some time after the year 1540, as the monastery within the town, and Camber Castle without, both appear represented in it. The interior of the town, as there shown, is very similar to what it is at present.” The date 1540 is named, because Camber Castle was erected in 1539 or 1540. Vincent “Volpe's plat was doubtless taken with a view to the King's works of defence on this coast.

^{page 28 note b} Trevelyan Papers, i. 144.

^{page 28 note c} Ibid. p. 157.

^{page 28 note a} Ibid. p. 177.

^{page 28 note e} In Feb. a^o xxix^o (1536–7). “Item, for Luke Hornebaud paynter lv s. vjd.” (MS. Arundel, Brit. Mus. 97, f. 3 b.) This is the same book which Walpole has misquoted both for the name and the sum, which he gives as “56 shillings and 9 pence.” Among the rewards on New year's day a^o xxx is “Item, to Luke Hornebaud y^t gave a skryne vj s. viij d.” (Ibid. f. 55 b.)

^{page 28 note f} Trevelyan Papers, i. 139, 146, 147.

^{page 28 note g} Under the name of Gerard Lucas Horebout was exhibited at Manchester in 1857 a picture belonging to Sir Culling Eardley, Bart, described as “The Root of Jesse.” This picture (it was stated) is referred to in Crowe and Cavalcaselle's Flemish Painters, pp. 126 and 360. By Waagen (Supplementary volume, 1857, p. 279) it is assigned to an earlier date—” towards 1500.”

^{page 28 note h} Het Schilder Boeck door Carel van Mander (otherwise called Carel Vermander van Molebeke), Haerlem, 1604, 4to.), fol. 204, b. La Vie des Peintres Flamands, &c. par J. B. Descamps, Paris, 1753, i. 77. De Levens en Werken der Hollandsche en Vlaamsche Kuntschilders, &c. door J. Immerzeel. Amsterdam, 1842, ii. p. 55.

^{page 29 note a} As recorded on a brass plate thus inscribed:—

Hie jacet domicella Margareta Svanders nata Gandaui Flandria, que ex magistro Gerardo Hornebolt, Gandauensi pictore nominatissimo, peperit domicellam Susannam vxorem magistri Johannis Parcker, Archarii Regis, Que obiit Anno d'nj M^occcccxxix xxvj Novēbris. Orate p' a'i'a.

This brass-plate is of Flemish work, and its design is peculiar. It is of the lozenge form of a modern hatchment, measuring inches on each side. The inscription appears upon an oblong tablet, held by two angels. Above the tablet is a demi-figure of the deceased, in a shroud: and below it a shield of arms, of which the dexter side is a chevron between three birds, and over all an inescucheon charged with a cross moline between four crescents; the impalement, quarterly, 1 and 4, a winnowing van and in chief a mullet; 2 and 3, a chevron between three Moor's heads couped. The plate was exhumed in the year 1770, in digging for the foundation of a pillar, during repairs of the church. There is an etching of it published by Simco, 1794; another, more accurate, in the Illustrations to Lysons; and a small woodcut in Faulkner's History of Fulham, 1813.

In Nicholas Charles's “Church Notes,” MS. Lansdowne 874, under Fulham, the shield is drawn, with the name “Richard Svanders.”

^{page 29 note b} John Parker was also a yeoman of the robes, (Trevelyan Papers, i. 158.) He is styled valettus robarum in a deed 20 Hen. VIII (Cart. Antiq. Brit. Mus. 75 D. 67.)

^{page 29 note c} Lodovico Guicciardini, when enumerating, in 1567, the best painters of the Netherlands, after mentioning “Luca Hurembout di Guanto grandissimo pittore, et singulare nell' arte dell' alluminare,” proceeds to notice female artists, and the first of three whom he names is “Susanna sorella di Luca Hurembout prenominato: la quale fu eccellente nella pittura, massime nel fare opere minutissime oltre a ogni credere, et eccellentissima nell' alluminare, in tanto che il gran' Re Henrico ottavo con gran' doni et gran' prouuisione la tirò in Inghilterra, doue visse molti anni in gran' fauore et gratia di tutta la Corte, et iui finalmente si mori ricca et honorata.” Descrittione, di M. Lodovico Guicciardini Patritio Fiorentino, di i tutti Paesi Bassi, altrimenti detti Germania Inferiore. In Anversa, 1567, folio, p. 98.

^{page 29 note d} “…. zijnde dochter Suzanna om hare verdiensten als schilderesse, in Engeland in hooge achting stond, en te Worcester is overleden, zijnde zij met den Engelschen beeldhouwer Whorstleij gehwd geweest.” Immerzeel, ut supra. It would be satisfactory to know from what authority this modern writer acquired his information.

^{page 30 note a} In the roll of New Year's Gifts, 30 Hen. VIII. the very last item is: “By Lewcas paynter a skrene to set afore the fyre, standing uppon a fote of woode, and the skrene blewe worsted.” He received in return a gilt cruse weighing 10½ oz.; which was the like return that was made on the same occasion to Hans Holbyne for a table of the picture of the Prince's Grace; and to Anthony Toto for a fine table painted, the subject of which is not described.

^{page 30 note b} Vasari, in his brief notices of various Flemish artists, enumerates, as miniaturists, “Lucas Hurembout of Ghent, Simon Benich of Bruges, and Gherardo, also of Ghent,” the last believed by Morelli, Notizia di disegno, &c. to be Gerard van den Meer; by others Gerard Horebout. “There are, besides, (he adds) certain women who have herein distinguished themselves; as, for example, the sister of Lucas above mentioned, who was invited to England by Henry “VIII. and lived there in great honour her whole life long.… Levina, daughter of the above named Master Simon, of Bruges, who was nobly married in England by Henry VIII. was held in great esteem by Queen Mary, and is now in much favour with Queen Elizabeth.”—Vasari's Lives of the Painters, translated by Mrs. Foster, Jonathan, (edit. Bohn, 1852,) vol. V. p. 462.Google Scholar

^{page 30 note c} Patent 26 Hen. VIII. p. 2, m. (32), communicated by James Gardiner, esq. to Notes and Queries, II. iv. 357.

^{page 30 note d} I am indebted for this information to Sir Frederic Madden, K.H.

^{page 31 a} Treasures of Art in Great Britain, 1854, iii. 482.

^{page 31 note b} Manchester Exhibition Catalogue, 1857, British Portrait Gallery, No. 48.

^{page 31 note c} Treasures of Art in Great Britain, ii. 432.

^{page 31 note d} Treasures of Art in Great Britain, iii. 215.

^{page 32 note a} See Vasari's Lives of the Painters, &c., (edit. Bohn, 1852,) vol. V. p. 5.

^{page 32 note b} Ibid. p. 12.

^{page 32 note c} Ibid. vol. IV. p. 79.

^{page 33 note a} This interesting fact, hitherto unknown to our architectural historians or to those of the county of Surrey, has been pointed out to me by W. H. Carpenter, esq. F.S.A., Keeper of the Prints and Drawings in the British Museum. Upon the general history of Nonesuch Palace I many years ago compiled a long memoir, printed in the Gentleman's Magazine for August 1837, to accompany a copy of Hoefnagle's view, which was drawn in 1582, and published in “Urbium Præcipuarum Mundi Theatrum quintum. Auctore Georgio Braunio, Agrippinate.” This view regards the palace from the rear, because the quadrangle erected by Lord Lumley concealed on the other side the more curious architecture. There is a second ruder view, but which also affords much information as to the forms and ornaments of the structure, at the corner of Speed's Map of Surrey. It is likewise taken from the rear, but within the garden wall; and the inner quadrangle, with the clock-turret, is shown by a sort of bird's-eye perspective. This is copied in the Pictorial History of England. In the list of maps, views, and portraits appended to Manning and Bray's History of Surrey, views of Nonesuch by Hoefnagle and Hogenbachius are named as distinct prints. There is none by Hogenbachius. That by Hoefnagle is copied in Lysons's Environs of London, in Queen Elizabeth's Progresses (lithog. by Bouvier), and in the Gentleman's Magazine as above. There is also an early copy of it in “Principum Christianorum Stemmata, ab Antonio Albizio nobili Florentino collecta,” folio, 1627, fol. xvi.

^{page 33 note b} Survey of the Parliamentary Commissioners in 1650.

^{page 34 note a} John Hethe, citizen and paynter-stayner of London, was in the royal employment, and was very probably one of those engaged at Nonesuch. By his will dated 1 August 1552 he bequeathed to his second son Lawrence “all my moldes and molded worlce that I served the Kinge withall” and to Lancelot his elder son “my frames, tentes, stoles, patrons, stones, mullers, with other necesaries belonging or appertaining to Payntour's crafte.” To each of his apprentices he left vj s. viij d., and a grinding stone. (Prerog. Court of Canterb. Tashe 18.) The following items of this will are also remarkable: “To the company whereof I am free, to make them a recreation or banket ymmediatlye after my decease xx s. To the knights of the Round Table (if I do it not in my lifetyme) xx s. to be spent at Myle end.” The latter were no doubt a volunteer company of bowmen. He desired his widow might “have an honest room in my house, keeping herself sole and unmarried, and using herself after an honest maner with quyetness and love;” and he desired “nothing in my hall to be moved, as tables, tresselles, stoles, portalles, virgynalls, hangynges, targettes, pictures in tables, so long as my said wife dwell in the house.” An account of John Hethe's funeral, after which the mourners were entertained “with wine and figs, and good ale, and a great dinner,” will be found in Machyn's Diary, p. 32; concluding with a statement that, as directed in the will, “his company hnd xx s. to make merry withall at the tavern,” Two autograph signatures. By me Joh'n Heth', are attached to he deed of feoffinent of 1549 mentioned in the note at p.

^{page 35 note a} Contemporary Life of the Earl of Arundel, edited by J. G. Nichols, 1833.

^{page 35 note b} “Chiudo il catalogo con due nomi illustri; Perino del Vaga nominato e da nominarsi pià. volte, et Toto del Nunziata, che gl' Inglesi computano fra' miglior Italiani che dipingessero in quel secolo nella lor isola; restuto, come non pochi altri, quas' ignoto fra noi. Nato d'ignobil pittore, riusà eccellente; e Perino stesso non ebbe nella scuola del Ghirlandajo un emolo che temesse al pari di lui.”—Storia Pittorica della Italia, di Luigi Lanzi. Milano, 1824, i. 221.

^{page 36 note a} To this suggestion I have since received the following very satisfactory reply from our Director:—

My dear Sir,—The entry respecting the reward to Toto's servant is under the rewards given on New Year's Day, anno xxx, and is at folio of the Arundel MS. 97. As you conjecture, the sum is vi s. viij d., not vij s. viij d.; but Vertue has fallen into a more serious error in misreading the name of the painted table. The MS. reads quite clearly “Calomia,” not Colonia, and the subject was, probably, the Calumny of Apelles, a favourite one with artists of this period. Apelles was falsely accused to Ptolemy, by Antiphilus, of having joined in the plot of Theodotas, and, having cleared himself, he commemorated the event in an allegorical picture, described by Lucian (De Calumnia, § 5). From his account several artists composed pictures. A drawing of the subject by Mantegna is in the British Museum, once in that of Burgomaster Six, where it was copied by Rembrandt, whose drawing is also in the national collection. An engraving of this design was executed by Mocetto early in the 16th century, and was copied in Limoges enamel by an artist named Kip. The enamel is in the collection of the Duke of Hamilton. Sandro Boticelli made another design of the same subject. His original painting is in the Uffizzi, at Florence, and is engraved in Kugler's Handbook (1855), Italian schools, vol. i. p. 201. A drawing of Calumny, by Raphael, is in the Louvre, and was engraved by Cochin in the 18th century. The subject is stated to have been painted by Benvenuto Garrofalo for the Duke of Ferrara; and by Luca Penni, from whose design an engraving was executed by George Ghisi in 1569. A painting of this subject by Federigo Zucchero is at Hampton Court, and was, according to Baglioni, engraved in 1572 by Cornelius Cort. I have been unable to identify the picture by Toto in the list of Henry VIII.'s pictures

Yours sincerely,

Augustus W. Franks.

To John Gough Nichols, Esq., F.S.A.

^{page 36 note b} Loseley Manuscripts, edit. Kempe, pp. 81, 84, 89.

^{page 36 note c} From the original roll.

^{page 37 note a} Archæologia, Vol. XII. pp. 381, 391.

^{page 37 note b} Machyn, in his account of the same funeral, uses the term picture for the effigy—“then the chariot covered with cloth of gold, and on the chariot lay a picture, lying richly with a crown of gold, and a great collar, and a sceptre in his hand, lying in his robes, and the garter about his leg, and a coat in embroidery in gold.” (Machyn's Diary, p. 40.) The same term is employed in the account of the funeral of King Henry the Seventh: on whose coffin was placed “a picture resembling his person, crowned, and richly apparelled in his parliament roobe, bearing in his right hand a sceptre and in his left hand a ball of gold.” —Leland's Collectanea, iv. 303.

^{page 37 note c} Loseley Manuscripts, edit. Kempe, p. 80. Also, in 1 Edw. VI. Nicholas Modena, stranger, and twentytwo other carvers preparing a mount for a masque.—Ibid. p. 74.

^{page 37 note d} Arundel MS. 97, fol. 47b, and fol. 119b.

^{page 38 note e} Sir Thomas Phillipps's MS.

^{page 38 note a} See Trevelyan Papers, i. 167, 170, 177, 195, 203, 205.

^{page 38 note b} Felibien, Entretiens sur les Vies et sur les Ouvrages des plus excellens Peintres, Trevoux 1725, tome i. 350. He is mentioned again in tome ii. 105.

^{page 38 note c} They are signed with a monogram of L.P. See Strutt's Biographical Dictionary of Engravers, 4to. 1785, ii. 213; Bryan's Dictionary of Painters and Engravers, 4to. 1816, ii. 181.

^{page 39 note a} Trevelyan Papers, i. 144, 148, 160, 170, 177, in all which pages she is styled “paynter.”

^{page 39 note b} Ibid. p. 161.

^{page 39 note c} See the passage of Vasari already cited in p. 30, which Ludovico Guicciardini (in 1567) copies and somewhat enlarges, as follows:—“Leuina, figliuola di maestro Simone di Bruggia gia mentionato, la quale nel miniare come il padre è tanto felice et eccellente, che il prefato Henrice Re d' Inghilterra la volle con ogni premio haver' a ogni modo alla sua corte, oue fu poi maritata nobilmente, fu molto amata dalla Regina Maria, et hora è amatissima dalla Regina Elisabetta.” Descrittione, &c. ut supra, p. 100. Levina is not known by her married name to the biographers of the artists; but there can be no doubt that Levina Terling is the same person as the daughter of Simon Benich.

^{page 39 note a} Trevelyan Papers, i. 195, 203, 205.

^{page 39 note e} Progresses of Queen Elizabeth, vol. I. p. xxxiv.

^{page 40 note a} Progresses of Queen Elizabeth, vol. I. pp. 117, 126.

^{page 40 note b} Pat. 32 Hen. VIII. p. 2, m. 38. Notes and Queries, II. iv. 357.

^{page 40 note c} Engraved by Vertue 1723, and published in Fiddes's Life of Wolsey. The portrait of Bishop Tonstall, also engraved in that work, has a very similar air to that of Fox, and may not improbably be by the same hand.

^{page 40 note d} See the letter of Mr. Scharf, hereafter.

^{page 40 note e} Walpole's Anecdotes of Painting, edit. 1828, i. 105.

^{page 40 note f} The portrait of Cranmer in Thoroton's History of Nottinghamshire, folio, 1677, that in Strype's Memorials of the Archbishop, that engraved by Vertue, and other copies, are stated to be after Holbein. But they are all alike from Flick's picture, in which the Archbishop holds a book with both hands. Besides the name of the painter, which is at the top of the picture, there are various other inscriptions. One. is, Anno etate 57, Julij 20; probably for 2°, the Archbishop having been born on the 2nd July, 1498. On the book in his hand is, Epist' Paulj. On a book on the table, Anom. de fide et operib. On another book, two words, no longer legible, from the paint having been rubbed off. On a letter this address: Too the most Reverend fathere in Gode and my syngulare goode Lorde my Lorde tharchbusshope off Canturbury his grace be thes dd. On the forefinger of his left hand is the same armorial ring of which an impression is engraved in Gorham's Reformation Gleanings, 8vo, 1857, p. 12. He is seated in an ivory chair, beautifully inlaid with ebony. In this picture Cranmer appears with a closely-shaven chin; whereas there is another portrait of him with an exceedingly long flowing beard. This will be found in Verheiden's Imagines, Holland's Heroologia, Rolt's Lives of the Reformers, &c. His biographer, Mr. Todd, condemns the latter as bearing no resemblance to the genuine portraits of him. It is possible, however, that the Archbishop may have allowed his beard to grow during his last imprisonment, and that he may have had this appearance at his martyrdom. Granger mentions that Vertue on one occasion engraved the head of Cranmer, (that by Flick,) and gave it by mistake the name of Archbishop Parker.

^{page 41 note a} Dallaway, in Walpole's Anecdotes of Painting.

^{page 41 note b} MS. Catalogue in Sir William Musgrave's collections, Addit. MS. (Brit. Mus.)

^{page 41 note c} Neale's Noblemen's and Gentlemen's Seats, 1820.

^{page 42 note a} Report, MS. Soc. Ant. 209.

^{page 42 note b} It is this portrait of the Earl of Surrey which is engraved in Lodge's Portraits. Like many others in that collection, the engraving only represents part of the original picture. The Earl's figure is cut off to a three-quarters length. The print, however, differs from every other in the book, a part of the ornamental framework being retained; still, the allegorical figures, and the shields they hold, are omitted.

^{page 42 note c} Treasures of Art in Great Britain, iii. 30.

^{page 43 note a} It is whole-length, like that at Arundel, not half-length, as stated by Dallaway in “Walpole's Anecdotes of Painting, 1828, vol. I. p. 233.

^{page 43 note b} An engraving was published (in colours) by Mr. Henry Shaw, F.S.A. in his “Dresses and Decorations of the Middle Ages.”

^{page 43 note c} It was not placed in the Gallery of British Portraits, but in that of the Antient Masters, No. 509.

^{page 44 note a} British Portrait Gallery, No. 53.

^{page 44 note b} Bigland's History of Gloucestershire; and Gentleman's Magazine, Nov. 1824, p. 393.

^{page 45 note a} Anecdotes of Painting, 1828.

^{page 45 note b} Queen Elizabeth's Progresses, vol. I. p. xxxv., and Nichols's Illustrations of Ancient Times, p. 14. The painter's name was there given as Suete, and confounded in the note with one Shute.

^{page 45 note c} The will of Nicholas Luzard, Sergeant Paynter to the Queenes Majestie, inhabiting in the parish of Saynte Martynnes in the Fyeldes, is dated 14th Feb. 1570, 13 Eliz. He bequeaths xx s. to the poor of St. Martin's, “to be paied immedyately after my decease, and be distributed by the collectors of the said parish according to their discretions.” To M^res Hill and M^res Colborne xx s. a pece. To Margaret his wife lxxx li. in money, and xx li. in household stuff. To his five sons, William, John, Nicholas, Lewes, and Henry, and to his four daughters, Hieronemy, Judithe, Christian, and Ellen, all his remaining goods &c. to be divided equally. Executors, his sons William and Lewes, and sons-in-law Thomas Lymbey and James Depree; overseers, Anthony Walker, clerk of the Queenes majesties great Wardrobe, and Thomas Fowler, comptroller of the Queenes majesties workes, and to each of them xl s. Proved 20 April, 1571. (Prerog. Court of Canterbury, Holney 18.)