the crown twenty-six or, according to Strype, thirty-four rich manors belonging to his see, though ‘not by his fault.’ In 1548 he was appointed with others to draw up the Book of Common Prayer, and is said to have done good service. He also served on a commission to consider the question of the remarriage of the innocent party in a divorce, with reference to the case of the Marquis of Northampton. John Hooper [q. v.], afterwards bishop of Worcester, had a high opinion of him; his opinions may be inferred from a letter in which Hooper tells Bullinger that he thoroughly comprehended the doctrine of Christ about the Lord's Supper, adding, however, that he and other bishops were held back from reformation by the fear of losing their property. He was one of the king's visitors for Oxford in 1549, and assisted at the disputation held there in May [see under Cox, Richard], and was appointed on the commissions for the trial of Bishop Gardiner and for the correction of anabaptists and irregular ministers of the sacraments in 1550. In July 1551 he received the young Duke of Suffolk and his brother [see under Brandon, Henry] at his house at Buckden, Huntingdonshire. He died on 2 Aug. 1551 at Nettleham, Lincolnshire, and was buried there. He was married, his wife Joan proving his will on 5 Oct., and left a son named Thomas.
[Cooper's Athenæ Cantabr. i. 105; Strype's Memorials, II. i. 134, 385, ii. 167, 168, 200, Whitgift, iii. 352, 8vo edit.; Latimer's Works, ii. 371, 407, 412, and Zurich Letters, iii. 74, 76, 391, 576 (Parker Soc.); Burnet's Hist. of the Reformation, ii. 117, iii. 203 (Pocock); Godwin, De Præsulibus, p. 300 (Richardson); Tanner's Notitia, p. 54; Wharton's Anglia Sacra, i. 550; Dugdale's Monasticon, i. 581; Rymer's Fœdera, xv. 166; Chambers's Biog. Illustrations of Worcestershire, p. 46.]
HOLBEIN, HANS (1497–1543), painter, born at Augsburg in Swabia in 1497, was the younger son of Hans Holbein, a painter of that town, and grandson of Michel Holbein, who some time before 1454 came from the neighbouring village of Schönenfeld to settle in Augsburg. The name of Holbein's mother has not been ascertained. His father was a painter of great merit, and has left many pictures and drawings; in some cases his work has been with difficulty distinguished from that of his son. The latter and his elder brother Ambrosius were no doubt educated as painters in Augsburg by their father, and perhaps under their uncle Sigmund, also a painter there. In the elder Holbein's picture of the ‘Basilica of St. Paul’ (in the Augsburg Gallery), a group of an elderly man and two boys has been conjectured to represent the father and his two sons, and a silver-point drawing by the father (in the print room at Berlin) gives a portrait of the two brothers in 1511, Hans Holbein the younger being then fourteen. Only one unimportant picture by the younger Holbein, a Madonna dated 1514, can be regarded as authentic among the pictures now preserved at Augsburg. He has been credited, however, with a share in the splendid ‘St. Sebastian’ altarpiece by the elder Holbein (in the Munich Gallery). In or before 1515 the Holbein family left Augsburg. It seems probable that the father removed with his family to Lucerne, where he found a patron in the chief magistrate, Jacob von Hertenstein, but the sons soon appear as resident in Basle. Basle was the centre of the humanist revival in literature, and from its printing-presses the humanists' principal works were issued. Johann Froben, the chief printer of Basle, was the first to draw on classical antiquity for illustrations and title-pages to his books. The third title-page of this description printed by him, that to Leo X's ‘Breve ad Erasmum,’ 1515, is the first one known to have been designed by Hans Holbein for engraving on wood or metal. Others by him or Ambrosius appear in the works of Froben's press during the next few years. The corrector for Froben's press was Beatus Rhenanus, to whom the employment of Holbein was possibly due. Curious relics of Holbein's work at this time are preserved in the Zürich Library in a painted allegorical table, done for the wedding of Hans Bär in Basle, on 24 June 1515, and in the so-called ‘Schulmeisterbild’ in the museum at Basle. For another distinguished humanist scholar and reformer at Basle, Oswald Molitor or Myconius of Lucerne, Holbein drew a series of marginal illustrations, or pictorial glosses, in a copy of Erasmus's ‘Encomium Moriæ,’ published by Froben in 1515; these drawings were done under Myconius's supervision, and probably in his house, and were finished on 29 Dec. 1515. A manuscript note by Myconius states that Erasmus derived much entertainment from them. The book is now in the museum at Basle. Holbein at this time also showed signs of his pre-eminence as a portrait-painter. In 1516 he painted the two portraits of the burgomaster Jacob Meyer ‘zum Hasen’ and his wife (in the museum at Basle), and the portrait of the painter Hans Herbster (in the Earl of Northbrook's collection). In 1517 he was resident in Lucerne, where he (or his father) was elected into the guild of St. Luke there. On 10 Dec. 1517 he was fined for a brawl, and seems to have quitted Lucerne for a time. He is supposed to have gone to
