In the Basel sketch he has written above his own portrait, _Thomas Morus anno 50_—that is, _anno quinquagesimo_, “in his fiftieth year”—and, according to the corrected birth-date, Sir Thomas was in his fiftieth year from 7th February 1526 to 7th February 1527, which proves that the big picture had been completely planned out, and probably well advanced, before the latter date. In support of this contention, it will be found that not only the age of More himself, but that of other members of his family where they can be verified, point to the same date. Thus, Erasmus, who prided himself on his remarkable memory for the ages of his friends, says that John More, Sir Thomas’s only son, was just about thirteen in the summer of 1521, so that he would be in his nineteenth year in the autumn and winter of 1526, which is the age attributed to him on the sketch; while the dates of the birth and death of John More’s wife, Anne Cresacre, are known, and tally with the “anno 15” on the same drawing. More’s eldest child, Margaret Roper, is described as in her twenty-second year, and though the precise date of her birth is not known, the marriage of her parents took place in the twentieth year of Henry VII (21st August 1504-21st August 1505), which is consistent with her birth at any time between the summer of 1505 and the 7th February 1506, and therefore with her being in her twenty-second year at the date attributed to the sketch. It appears, therefore, that the evidence of all these inscriptions either confirms that date or is not inconsistent with it. This proves that the Family Group was the first work undertaken by Holbein in England, and that in the intervals of painting the larger picture he was engaged upon a single portrait of Sir Thomas More and upon others of certain of the latter’s friends. Unfortunately, the picture itself, if ever completed by Holbein, has disappeared. “For nothing,” says Walpole, “has Holbein’s name been oftener mentioned than for the picture of Sir Thomas More’s family. Yet of six pieces extant on this subject, the two smaller are certainly copies, the three larger probably not painted by Holbein, and the sixth, though an original picture, most likely not of Sir Thomas and his family.”[656]