[481]. See introductory note by Austin Dobson to the edition published by George Bell & Sons, 1898. The whole set reproduced by Mantz, pp. 83-87; and by Davies, pp. 196-200, from the proofs in the British Museum; and in Heinemann’s “Great Engravers” Series, Holbein, ed. A. M. Hind, 1912, which includes the cuts of the 1562 edition.
[482]. Chatto, Treatise, &c., pp. 324-5.
[483]. Chatto, Treatise, &c., p. 365; Woltmann, i. p. 240; Wornum, p. 25.
[484]. Woltmann, 252. The set reproduced by Davies, p. 194; Knackfuss, fig. 71; and elsewhere. They are used as the initial letters in this book.
[485]. Woltmann, 1-91. The whole series reproduced by Mantz, pp. 92-108; and, with the exception of seven, by A. M. Hind, in Holbein, “Great Engravers” series, 1912; thirteen by Davies, p. 188.
[486]. Chatto, Treatise, &c., p. 366.
[487]. Woltmann, 1st ed., Eng. trans., p. 233.
[488]. A considerable number of the subjects appear to have been suggested to Holbein by the small woodcuts in the Malermi Bible, published in Venice in 1490, which, in turn, had been more or less adapted from the Cologne Bible of 1480; but the material so used by Holbein was completely transformed by the magic of his pencil. See A. M. Hind, Holbein, in “Great Engravers” series, p. 10.
[489]. See pp. 160-1.
[490]. Woltmann, 251.