[691]. Il Microcosmo della Pittura, 1657, ii. 265.
[692]. History of Portrait Miniatures, 1904, vol. i. p. 8.
[693]. Reproduced in Dr. Williamson’s book, Pl. iii. No. 2, and in colours in the édition de luxe of Mr. Pierpont Morgan’s Catalogue, No. 5; and by Ganz, Holbein, p. 227 (1), who includes it among the copies after Holbein.
[694]. In the exhibition of miniatures held at South Kensington in 1865 there was one of “Alicia, wife of Sir Thomas More,” attributed to Holbein, lent by Mr. J. Heywood Hawkins (No. 1146).
[695]. Reproduced in the Burl. Fine Arts Club Exhib. Catg., Pl. xiv; Ganz, Holbein, p. 194.
[696]. Reproduced by Vasari Society, Pt. i. No. 31; Burl. Fine Arts Club Exhib. Catg., Pl. xxix.
[697]. Daily Telegraph, 23rd March 1910.
[698]. Reproduced in The Ancestor, vi., June 1903.
[699]. The drawing in the Windsor Collection inscribed “Lady Henegham” bears considerable likeness to the Margaret Roper of the Basel sketch, and some writers hold that it represents her, and that it is a study for the Family Group. The position, however, in the Windsor study is exactly reversed, the sitter being shown in profile to the right, so that it is not probable that it was a preliminary drawing for the big group. Though the resemblance is marked, it is not so close as that between the “Queen Katherine” portrait at Knole and the Basel sketch, and the same criticism applies to the ornaments and dress, which in the two last-named are identical, whereas the “Lady Henegham” drawing shows differences, particularly in the jewellery. See also vol. ii. p. 258. The question of the authorship of the various versions of the More Family Group is dealt with more fully in Appendix (I).
[700]. Proceedings of the Society of Antiquaries, Second Series, vol. xvii. No. i. pp. 132-145, from which the quotations from Hall, and other facts in this chapter, have been taken.