The age of great folios and mighty scholars was the seventeenth, rather than the sixteenth, century. In the sixteenth, scholars were busy in putting forth new editions of the classics. Men like Dolet and Rabelais were not ashamed to correct for the press. The voluminous commentator came afterwards. Meantime, it is remarkable that we had no Rabelais among our writers. He, formerly a friar, came out of the cloister, his head filled with the old learning and eager for the new. His great book became at once popular, and was eagerly passed from hand to hand. The origins of his chapters have quite recently been explored and discovered in Mr. W. F. Smith’s excellent translation. They are shown to be chiefly extracts from gloss and commentary, burlesqued, imitated, and held up to the ridicule and scorn of scholars. The common people understood only the bubbling mirth and laughter, coupled with the spontaneous unseemliness of the page; the scholar understood the allegory and the purpose of the writer; the ecclesiastic alone, and one of the older type, understood the true nature of the overwhelming contempt and hatred of the order that was passing away—contempt and hatred thinly veiled and concealed except for those who knew the gloss and commentary of the past. We have no Rabelais; among all our friars there was no scholar; among our ejected monks, if there were scholars, they stuck by their order; among all the priests, monks, and friars, who joined in the Reformation, there was not one who so despised the old faith as to make it the theme of such a book as that of Rabelais. Hatred there was in plenty, after the fires of Smithfield: hatred which continued to flourish in our literature and still lingers; but not the full bitterness of hatred, fear, contempt, and restlessness which fill the pages of Rabelais, Étienne Dolet, and Bonaventure des Periers. Painting in London practically began with the Tudors, and was brought over to the City by Flemish and Dutch painters. Among these we find the names of Lucas and Gerard Horenbout, Volpe, Gerbud Flick, Johannes Corvus, Levina Terling, Susanna Horenbout, and Alice Carmillion. But the great name of Holbein towers above all the rest. This painter was born at Augsburg about 1497, went to Basle in 1516, and came to London in 1526. He continued in London, with the exception of three visits to Basle, until his death in 1543, residing first in a lodging on London Bridge, and next in a house in the parish of St. Andrew Undershaft, where he died. As regards his contemporaries and successors, we are indebted to the researches of the late John Gough Nichols for information on this point. They are embodied in a paper published by the Society of Antiquaries (xxxix. p. 19). [Illustration: BEN JONSON (1573(?)-1637) From the painting in the National Portrait Gallery, London, after Gerard Honthorst.]