But it is no insignificant sidelight on the history of this circle and this period to recall that the subversive theories of Copernicus,--far as even he was from anticipating how a Kepler and a Newton should one day shatter the "Crystalline Spheres," and relegate to the dustheap of antiquity the "Epicycles," to which he still clung,--had their only generous hearing from influential churchmen of Rome. Luther recoiled from them as the blasphemies of "an arrogant fool"; and even Melanchthon urged that they should be "suppressed by the secular arm." Nor let it be forgotten that these matters were never a far cry from those Basel printing-presses where the greatest master-printers were themselves thorough and eager scholars; "Men of Letters," in the noblest sense of the word. And the discussion of all these high concerns of history and letters was as much a part of the daily life surging around their printing-presses as the roar of the Rhine was in the air of Basel. Illustration: PLATE 4 JACOB MEYER (ZUM HASEN) _Oils. Basel Museum_ Illustration: PLATE 5 DOROTHEA MEYER (_nee_ KANNEGIESSER) _Oils. Basel Museum_ As has been said, the sister of that Hans Baer for whom Holbein painted the "St. Nobody" table had been the first wife, Magdalena Baer--a widow with one daughter, when she married him--of Jacob Meyer,[2] "of the Hare" (_zum Hasen_). Magdalena died in 1511, and about 1512 Meyer zum Hasen married Dorothea Kannegiesser. And now in 1516, a memorable year to Holbein on account of this influential patron, the young stranger was commissioned to paint the portraits of Meyer (Plate 4) and his second wife, Dorothea (Plate 5). These oil paintings, and the drawings for them, are now in the Basel Museum. And no one can examine them, remembering that the painter was but nineteen, without echoing the exclamation of a brilliant French writer: "Holbein ira beaucoup plus loin dans son art, mais deja il est superbe." These warm translucent browns are instinct with life and beauty. Against the rich Renaissance architecture and the blue of the sky-vista the massive head of Meyer and the blonde one of his young wife,--the latter so expressive of half-proud, half-shy consciousness,--stand out in wonderful vigour. From the scarlet cap on his thickly curling brown hair to the piece of money between his thumb and finger, the Burgomaster's picture is a virile and masterly portrait. And just as forcefully is the charm of his pretty wife,--with all her bravery of scarlet frock, gold embroidery, head-dress and chains,--her own individual charm. They are both as much themselves in this fine architectural setting as in their own good house "of the Hare" which adjoined the rising glories of the new Renaissance "Council Hall" (_Rathaus_) in which Meyer was to preside so often.