[651]. See below, p. 315.
[652]. See p. 169.
[653]. C. L. P., iv. pt. i. 1826; Erasmi Opera, iii. 951.
[654]. Proceedings of the Society of Antiquaries, Second Series, xvii. No. i. pp. 132-145.
[655]. Proceedings, Second Series, xvi. No. iii. pp. 321-327.
[656]. Walpole, Anecdotes, &c., ed. Wornum, 1888, i. 90. The sixth picture to which he refers is the Meyer Madonna.
[657]. Woltmann, 35. Reproduced by Ganz, Holbein, p. 192, Hdz. Schwz. Mstr., i. 55, and Hdz. von H. H. dem Jüng., Pl. 23; Davies, p. 116; Knackfuss, fig. 93.
[658]. Engraved by Dean for The Bijou, 1829.
[659]. One of the versions of the picture was in the Earl of Arundel’s collection, and is entered in the 1655 inventory as “Tomaso Moro con la sua famiglia.” In the same collection there was a portrait of More’s son, entered as “Il figliolo de Tomaso Moro,” but without the name of the artist. See Appendix (I) for the history of the Nostell picture.
[660]. Roper’s Life and Death of Sir Thomas More, &c., ed. Rev. J. Lewis, 1731, p. 169.