One of the 280 portrait drawings collected in the codex known as the Recueil d'Arras.
XXV. PORTRAIT OF ERASMUS. By Hans Holbein. 1531-2. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 190
'Holbein may have painted this little roundel on the occasion of a visit to Erasmus at Freiburg' (P. Ganz, op. cit.).
XXVI. ERASMUS DICTATING TO HIS SECRETARY. Woodcut, 1530. Facing p. 191
The woodcut shows the aged Erasmus dictating to his amanuensis Gilbertus Cognatus in a room of the University of Freiburg. From Effigies Desiderii Erasmi Roterdami ... & Gilberti Cognati Nozereni, Basle, Joh. Oporinus, 1533.
XXVII. PORTRAIT MEDAL OF ERASMUS. By Quentin Metsys. 1519. London, British Museum. Facing p. 206
The reverse shows Erasmus's device, Terminus, and the motto Concedo nulli, both of which were also engraved on his sealing ring. For Erasmus's own interpretation see his letter, pp. 246-8. The Greek inscription means, 'His writings will give you a better picture of him'.
XXVIII. PORTRAIT OF ERASMUS. After 1523. By Hans Holbein. Paris, Louvre. Facing p. 207
XXIX. THOMAS MORE AND HIS FAMILY. Pen and ink sketch by Hans Holbein, 1527. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 238
'The portrait, probably commissioned on the occasion of the scholar's fiftieth birthday, shows him surrounded by his large family. It is the first example of an intimate group portrait not of devotional or ceremonial character painted this side of the Alps. At that time Thomas More was living in his country house at Chelsea with his second wife, Alice, his father, his only son and his son's fiancée, three married daughters, eleven grandchildren and a relative, Margaret Giggs. The artist, who had been recommended to him by his friend Erasmus, was also enjoying his hospitality.' (P. Ganz, op. cit., Cat. No. 175).