pleased; he was admitted, with Buslidius, as it were behind the scenes of the Utopia; the introductory epistle was addressed to him, and the most elaborate scheme of mystification concerning "Raphael Hythlodaye" was concocted between them.1 The text of the book itself contains a high eulogium upon him, as a politician and as a friend.2 Guillaume Budé (Budaeus) was another of the foreign scholars with whom. the publication of the Utopia made More intimate. The French writer contributed a laudatory preface to Lupset's Paris edition of 1518. His works then came into the hand of More. On this a correspondence began which lasted during the next fifteen years, and they met once, when in attendance on Henry VIII. and Francis I. respectively. Writing in September 1518,8 Budaeus thanks More for the gift of a pair of English greyhounds. He is still more pleased, he declares, with his letter, and says that More's name should be changed to Oxymorus. More replied in equally complimentary style. To Budaeus, Erasmus wrote one of his long descriptions of More's academy, from which extracts have already been given.5 In it he contrasted with shrewd humour the pains of a student's life as described by the French scholar, with its pleasures as expressed by More. "Budaeus complains that he has brought a scandal upon learning because it has entailed upon him two evils-ill health and ill husbandry. More, on the other hand, produces 2 Ibid. p. 28. • Stapleton, cap. v. p. 204.

1 Utopia, pp. 21-26: 163–66. 3 Bud. Epp. 9.

6 Erasın. Epp. xvii. 62.

the opposite impression. He says that his health is the better for study-that he has more influence with the King-more popularity at home and abroad-is more pleasant and useful to his friends and relations-abler for the business of life generally -and more thankful to Heaven."

Buslidius, Ægidius, and Budaeus knew only by repute of More's beautiful home life, but there were many others who had seen it. Polydore Vergil, Vives, and Antonio Bonvisi1 may be considered as naturalized Englishmen; but Hans Holbein from his first arrival in England was the guest of More. He came introduced by warm commendations from Erasmus, and was already known to More not only by his widespread fame, but by his illustrations to Froben's exquisite edition of the Utopia. The connexion between the English scholar and the German painter is too interesting to be passed by without a word of notice. Holbein had shown by the skill with which he interpreted and expressed the ideas of Erasmus in the Encomium Moriae that he had a quick appreciation of literature in addition to his technical power. He was known already as the first artist of the age, and his skill was at the command of Froben. He was obviously the fit man to illustrate Utopia, and his work for the Basle

1 For the connexion of these men with More, see Erasm. Epp. App. 326 (Leyden edit. of Works, vol. iii. pt. 2), p. 888; Vives, opera, vii. 180. Roper: More's Works, passim. Antonio Bonvísi was godfather to one of his grandsons (Augustine, son of John More). See Book of Hours, formerly in possession of Baron von Druffel. He was a staunch friend to More till his death,

edition has undoubtedly great merit. It lacks, however, the appropriateness of his Encomium Moriae; and, admirable as are the headpieces and initial letters, it is difficult to see, for instance, the object of a title-page representing Lucretia plunging a dagger into her bosom with Tarquin looking on, in fashion rather humorous than solemn.1 The chart of the happy island is, however, admirable. Utopia stands in the midst of tempestuous seas, and is itself of a marvellously uneven surface. Three groups of houses are indicated, over each of which hangs a label from the clouds, Amauroti urbs, Ostium anydri, Fons anydri. In the foreground, on the main-land, stands Hythlodaye in mariner's boots, "his sea-gown girt about him," conversing with a learned doctor, and enforcing his remarks by much gesticulation. More was much pleased with the illustrations, and from this time frequent mention of Holbein occurs in his correspondence with Erasmus. The edition of the Epigrams which Froben brought out in 1520, has an elaborate title-page and tail-piece, as well as some rich initial letters from his hand. Porsenna interrogates Martius Scaevola, and putti like the bacchanals of Michelangelo blow trumpets and frisk upon the greensward above.

A few years later the painter was advised to visit England, and in 1525, Erasmus wrote letters to bespeak a welcome for him. More, replying from the royal palace at Greenwich (December 18, 1525), says "Thy painter is a wonderful artist, but

1 There is no explanation why Tarquin should be there at all,

I fear he will not find England as productive as he hopes, although I will do the best, as far as I am concerned, that he should not find it altogether barren." 1 Holbein left Basle in the autumn of 1526, and we hear of him in England in 1527. Whether he was immediately or for the whole of his sojourn the guest of More is uncertain, but he undoubtedly spent a long time at Chelsea.2 He was thus at once introduced at Court, and soon found plenty of work. One of his first pictures seems to be the portrait of More, dated MDXXVII. It is life-size, half-length, and the face and expression are depicted with the intense reality characteristic of Holbein's best work. Two drawings in the Windsor collection are, in their way, equally admirable. They may have been sketches for the known portrait, or as is more probable, since they are of the same size and style as those of his father, his son, and two of his daughters--studies for the large picture of the More family which is now known only through the original sketch and a number of later copies. It was probably in the same year (1527) that Holbein at least began the picture.

3

The Baroness Burdett Coutts possesses an extremely striking portrait, which is not dated. It is probably not Holbein's work, but in details of pose and costume-the furred cape, hat and collar of S.S.-it resembles the other portraits. The face,

1 Erasm. Epp. App. 336. (Leyden edit. of Works, vol. iii. pt. 2.)

2 Vide North Brit. Review, vol. xxx. p. 102 et seq. 3 It is now the property of Mr. Edward Huth.

1