[361]. This drawing is only the central part of the design, the left-hand half being in the Albertina, Vienna (Woltmann, 259). For the drawing at Frankfurt of the transport ship with landsknechte, see Vol. ii. p. 264.
[362]. Woltmann, 105. Reproduced by Knackfuss, fig. 17.
[363]. Woltmann, 106. Reproduced by Knackfuss, fig. 18.
[364]. Ægidius was thirty-one when the portrait was painted, and had been appointed town-clerk seven years previously.
[365]. Archæologia, xliv. pp. 435 et seq.
[366]. Reproduced by Sir Claude Phillips, Art Journal, 1897, p. 101; Arundel Club, 1905; Catalogue of the Pictures in the Earl of Radnor’s Collection, 1909, vol. i. No. 80; A. Machiels, Gaz. des Beaux-Arts, Nov. 1911, heliotype.
[367]. Inscribed “Viro Literatissimo Petro Egidio Amico Charissimo Antuerpiæ.”
[368]. Eng. by F. Leuwers, 1873. For a description and history of the two pictures, see H. Barclay Squire, in Lord Radnor’s Catalogue, note to No. 80, vol. i. pp. 44, 45.
[369]. Law, Royal Gallery of Hampton Court, 1898, p. 215.
[370]. A poor reproduction of this portrait—which Wornum (p. 143) regarded as a fine, genuine work by Holbein, but in some of its details recalling Metsys—accompanies M. Henri Hymans’ article “Quentin Metsys et son Portrait d’Erasme,” in the Bulletin des Commissions Royales d’Art et d’Archéologie, 1882; reproduced also by J. R. Haarhaus, “Bildnisse des Erasmus,” Zeits. für bild. Kunst, Nov. 1898.