At the same period were executed the portraits of Warham (Lambeth and Louvre), Wyatt (Louvre), Sir Henry Guildford and his wife (Windsor), all finished in 1527, the astronomer Nicholas Kratzer (Louvre), Thomas Godsalve (Dresden), and Sir Bryan Tuke (Munich) in 1528. In this year, 1528, Holbein returned to Basel, taking to Erasmus the sketch of More's family. With money which he brought from London he purchased a house at Basel wherein to lodge his wife and children, whose portraits he now painted with all the care of a husband and father (1528). He then witnessed the flight of Erasmus and the fury of the iconoclasts, who destroyed in one day almost all the religious pictures at Basel. The municipality, unwilling that he should suffer again from the depression caused by evil times, asked him to finish the frescoes of the town-hall, and the sketches from these lost pictures are still before us to show that he had not lost the spirit of his earlier days, and was still capable as a composer. His "Rehoboam receiving the Israelite Envoys," and "Saul at the Head of his Array meeting Samuel," testify to Holbein's power and his will, also proved at a later period by the "Triumphs of Riches and Poverty," executed for the Steelyard in London (but now lost), to prefer the fame of a painter of history to that of a painter of portraits. But the reforming times still remained unfavourable to art. With the exception of a portrait of Melanchthon (Hanover) which he now completed, Holbein found little to do at Basel. The year 1530, therefore, saw him again on the move, and he landed in England for the second time with the prospect of bettering his fortunes. Here indeed political changes had robbed him of his earlier patrons. The circle of More and Warham was gone. But that of the merchants of the Steelyard took its place, for whom Holbein executed the long and important series of portraits that lie scattered throughout the galleries and collections of England and the Continent, and bear date after 1532. Then came again the chance of practice in more fashionable circles. In 1533 the "Ambassadors" (National Gallery), and the "Triumphs of Wealth and Poverty" were executed, then the portraits of Leland and Wyatt (Longford), and (1534) the portrait of Thomas Cromwell. Through Cromwell Holbein probably became attached to the court, in the pay of which he appears permanently after 1537. From that time onwards he was connected with all that was highest in the society of London. Henry VIII. invited him to make a family picture of himself, his father and family, which obtained a post of honour at Whitehall. The beautiful cartoon of a part of this fine piece at Hardwicke Hall enables us to gauge its beauty before the fire which destroyed it in the 17th century. Then Holbein painted Jane Seymour in state (Vienna), employing some English hand perhaps to make the replicas at the Hague, Sion House and Woburn; he finished the Southwell of the Uffizi (copy at the Louvre),