We who come to pay our tribute of admiration so long after opinion, good or bad, has ceased to concern the artist, are at no small disadvantage. We can learn little or nothing about the personal details of his life; the year of his birth and even the place are in dispute, while between the various authorities who deal with the date of his death there is a difference of no less than twelve years, although the balance of evidence is greatly in favour of the earlier date and shorter life. Moreover, a great part of the artist's output is lost. In these days, when the work of old masters is being discovered so frequently, and many a forgotten _chef d'oeuvre_ is being rescued from oblivion, there is every reason to hope that the future has something valuable in store for us. But we know that, as far as this country is concerned, much of the labour of Holbein's hands has passed beyond recall. During the Commonwealth many of the artist's pictures were sent to the Continent, the great fire in the Whitehall destroyed some priceless works, and the drawings that attract so many artists to Windsor have had a very chequered career. As far as we can learn, they were collected in the first place by King Edward VI., and were then sold in France, where their owner sold them back to Charles I., who, in his turn, disposed of them to the Earl of Pembroke, from whom they passed to the Earl of Arundel, who disposed of them to King Charles II., who was probably advised in the transaction by Sir Peter Lely. Then they were taken to Kensington Palace, thrown into a drawer and forgotten until, in the time of the Georges, Queen Caroline discovered some and King George III. found the rest. When Queen Victoria ruled over us the Prince Consort gave these masterpieces their present frames and places, and we may presume that they will never be disturbed. It is not unreasonable to suppose that the experience of this famous collection is typical of that which has befallen many other works from the same hand. Our interest in fine art is comparatively modern; only in the last hundred years have the rank and file of cultured, wealthy, or leisured people bethought them of the great treasures that lay neglected in the highways and byways of big cities; and we must not forget that damp, neglect, and indifference are troubles that have a very serious and unfavourable effect upon works of art. The favour extended to a fine picture must be enduring, nor will ten generations of careful attention atone for ten years of bad housing and neglect.