persons, who played their instruments as the procession went by, while the white marble fountain splashed its Rhenish wine. Footnote 67: Woltmann, 175. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 30, and in _Holbein_, p. 178; Davies, p. 146; His, Pl. 51. The sketch is a very hasty one, but would be quite sufficient to indicate to the Steelyard the artist’s intentions. Holbein himself, no doubt, superintended the erection of the archway. Slight as it is, it is masterly in draughtsmanship, displaying Holbein’s delicacy and certainty of touch in every stroke. The two seated figures, more particularly the one on the right, are rapidly drawn with the greatest grace and charm. According to Woltmann the Imperial eagle on the summit has only one head; the drawing is rubbed at the top, but there seem to be indications that the split or two-headed bird, which was then customary, was intended. Mr. W. F. Dickes denies that this drawing was intended for the Steelyard arch; he considers it to be a sketch for one of the Apollo musical festivals of Holbein’s Guild “zum Himmel” at Basel, and uses it as a proof that the painter had returned to his adopted city in 1533.[68] He bases this on an entry in the Banner Book of the Guild, dated November 23rd, 1533, which he reads as a payment to Holbein for banners painted for some festivity.[69] The symbol of the Basel Painters’ Guild was a pigeon with outstretched wings, within a wreath or bower, and Mr. Dickes sees in the eagle of the Berlin drawing, which is not within a bower, the pigeon of the Guild. He states, too, that as the Hanseatic League included merchants of other than German nationality they would have been unwilling to use an emblem so limiting as the Imperial bird. This statement is, however, incorrect. No doubt exists as to the use of the eagle on this particular occasion. It was, indeed, viewed with extreme distaste by the new Queen. Eustace Chapuys, writing to Charles V on July 11th, less than six weeks after the event, says: “I understand the lady (_i.e._, Anne) complains daily of the Easterlings, who on the day of her entry had set the Imperial eagle predominant over the King’s arms and hers.... This may serve as an indication of her perverse and malicious nature.”[70] And again, on the 30th of the same month, he returns to the same subject: “... the Lady who, as I am told, was not at all pleased with the Easterlings and other Germans for bringing me to see their fleet, which is greater than any that has been seen here for a long time; or that, at a solemn banquet which they made, the ships did march with their artillery. She is in a still worse humour because this was done near Greenwich park; and this has renewed the regret she felt for the eagle which the Easterlings carried in triumph the day of her entry here.”[71] These letters afford additional evidence that Holbein made this drawing for the occasion of Anne’s coronation,