STUDY FOR THE MORE FAMILY GROUP _Drawing in Indian ink, with corrections and inscriptions in brown_ BASEL GALLERY ] [Sidenote: THE NOSTELL PRIORY PICTURE] The whole arrangement is of a somewhat formal and stately character, and both in the attitudes and occupations of the figures indicates a house of learning; even in the foreground books are scattered all over the floor. This masterly sketch, small as it is, is full of character. Each figure has marked individuality, and Holbein, with a few slight touches of his pencil, has in every case given a most truthful likeness, as may be proved by comparison with the larger studies of seven of the heads now in the Windsor Collection. From this brilliant study it is quite possible to gain a very adequate idea of how splendid the finished picture must have been, if, indeed, Holbein ever completed it. Whether the Basel drawing was merely Holbein’s first arrangement of the grouping, hastily done, or a drawing made at More’s request from the outlined design on the canvas for the purpose of sending it to Erasmus, is uncertain; but, in any case, the portraiture of all the heads, which are only sketched in a few lines, is complete and striking, and every touch stamps it as the work of one who was a master before he had reached his thirtieth year. There are various copies of this great family picture in England, mostly of late origin and showing numerous differences. The only one which has any real claim to be considered the original work is the large canvas belonging to Lord St. Oswald at Nostell Priory, near Wakefield, which has been for many years in the possession of the Winn family (Pl. 75).[658] Most writers have identified it with the picture mentioned by Carel van Mander, whose book was first published in 1604, as seen by him in London in the possession of Andries de Loo, who had collected a number of Holbein’s works. “This lover of art,” he says, “had a large canvas, painted in water-colours, on which was depicted, as large as life, from head to foot, the learned and famous Thomas Morus, with his wife, sons, and daughters, all magnificently arrayed, a piece worthy to be seen and highly extolled.” On De Loo’s death, he continues, it was purchased by one of More’s grandsons, who was also named More. According to the family history, however, the buyer was the son of Margaret Roper, of Well Hall, Eltham, near Blackheath, where it still remained in 1731, when it was carefully described by the Rev. J. Lewis. It eventually passed by marriage to Sir Rowland Winn, of Nostell Priory, the ancestor of the present owner. Van Mander, it will be noted, says that this picture was in water-colours, or tempera, on canvas, which, if true, seems to indicate that it was not the work now at Nostell Priory, though repeated repairing and varnishing may have rendered the method of its painting uncertain to decide. Van Mander’s account of Holbein’s career