Another story, which has been often repeated, gives as the reason of his departure the desire to escape from the constant tempers of an ill-humoured wife, and that he therefore left Basel surreptitiously, without obtaining the necessary leave of absence from the Town Council. His earlier biographers all describe his relationships with his wife as not very cordial ones, but they merely copied from one another, and this again may be mere legend. Patin, in particular, whose account of Holbein is palpably exaggerated and often false, describes him as a drunkard, who led a disorderly life, and was always so poverty-stricken that Erasmus and Amerbach had frequently to come to his assistance—a statement entirely devoid of fact, and sufficiently disproved by Holbein’s brilliant performances in many branches of art. Patin also, when speaking of Holbein’s journey to England, makes use of another favourite story told of numerous artists. He says that on his way he passed through Strasburg, and called on the principal painter of the town, but found him out. An unfinished portrait stood on the easel, whereupon Holbein painted a fly on the forehead, and then left. When the painter returned he attempted to brush it away, imagining it to be a real one, and was so impressed by his unknown visitor’s skill, that he at once sought him out, but found that he had already left the town. [Sidenote: REASONS FOR LEAVING BASEL] It is, of course, possible that Holbein’s domestic relations by that time were not as cordial as in earlier days, and that his supposed connection with Magdalena Offenburg may have rendered them still less pleasant, and that this may have had something to do with his departure; but this again is mere conjecture, of which no actual proof is forthcoming. Want of work was undoubtedly the chief, and possibly the only cause of his journey, and no doubt it was largely the advice of Erasmus which finally decided him to take the step. Erasmus, who had already sent more than one example of Holbein’s skill as a portrait-painter to England, had a large circle of friends and patrons here, to whom he could recommend the artist. To Warham and More, at least, Holbein’s portrait of Erasmus had already provided an informal introduction, and they may have been aware, also, though this is less likely, that it was he who designed the title-page used in the edition of the _Utopia_ published by Froben in 1518, signed “Hans Holb.” In 1525 a certain Thomas Grey and his youngest son were living with Erasmus in Basel, according to a letter from the latter to Lupset;[526] and Grey, too, may have advised Holbein to seek fortune at Henry’s court. “Grey,” says Erasmus, “reports that there is no disturbance in England,” and this news may have proved an added inducement to the painter to quit a country agitated with religious and civil contention for a more peaceful locality where the arts could flourish in peace.