Queen Jane Seymour--Death of Erasmus, and title-page portrait--The Whitehall painting of Henry VIII.--Munich drawing of Henry VIII.--Birth of an heir and the "Jane Seymour Cup"--Death of the Queen--Christina, Duchess of Milan--Secret service for the King--Flying visit to Basel and arrangements for a permanent return--Apprentices his son Philip at Paris--Portrait of the Prince of Wales and the King's return gift--Anne of Cleves--Thomas Howard, Duke of Norfolk--Catherine Howard--Lapse of Holbein's Basel citizenship--Irregularities--Provision for wife and children--Residence in London--Execution of Queen Catherine Howard--Marriage of Catherine Parr--Dr. Chamber--Unfinished work for the Barber-Surgeons' Hall--Death of Holbein--His will--Place of burial--Holbein's genius; its true character and greatness. These were years of pleasant friendships, too, as well as work and cares. Nicholas Bourbon, scholar and poet, after his sojourn in London, writes back in 1536: "Greet in my name as heartily as you can all with whom you know me to be connected by intercourse and friendship." And after mentioning high dignitaries who had followed the King's example of showing special courtesies to Bourbon, he adds: "Mr. Cornelius Heyss, my host, the King's Goldsmith; Mr. Nicolaus Kratzer, the King's Astronomer, a man who is brimful of wit, jest, and humorous fancies; and Mr. Hans, the Royal Painter, the Apelles of our time. I wish them from my heart all joy and happiness." This little pen-picture of Holbein's intimate circle is a beautiful break in the mists of centuries--and shows us what manner of men they were among whom he had made for himself an honoured place. We could ill spare it from the few and meagre records of his life. It is also the very earliest documentary evidence of his being in the King's immediate service. It was in this very year, 1536, that he received his commission to paint Anne Boleyn's successor, Jane Seymour, then on the throne the block had left vacant. The Vienna Gallery possesses this painting, of which another version is at Woburn Abbey, and the chalk drawing at Windsor (Plate 30). Illustration: PLATE 30 QUEEN JANE SEYMOUR _Oils. Vienna Gallery_ The Queen was noted for her milk-white fairness, and Holbein has borrowed the pearly shadows of the lily in rendering it. The figure is a little under life-size. Her head-dress and robes of silver brocade and royal velvet are studded with splendid rubies and pearls to match the jewels on her neck and breast. The hands are as full of character as of art.