been more potent than the King.
For here lives Fisher. Bishop or Cardinal this is the man, as More loved
him.

A striking and richly painted oil portrait of Erasmus's "Maecenas,"
Archbishop Warham, is in the Louvre; of which there are a number of
copies, as well as a replica, at Lambeth Palace. The latter was
exhibited at Manchester in 1857. The study for these portraits is among
the Windsor drawings. The painting in the Louvre has more vividness in
the carnations, and the impasto is thicker than at Lambeth; otherwise
the two are identical. But for myself I find a more seizing quality in
the chalk drawing than in either. There is something in its sunken
fading eyes that speaks of the majesty of office as well as its burdens.

Holbein painted a prelate of a very different sort in the oil portrait
of John Stokesley, Bishop of London, which is preserved at Windsor
Castle. And yet he dared to paint the Truth--now as always. The painting
is a masterpiece of modelling and soft transparency of light and shade.
But the truculent, lowering countenance leaves small doubt that the
sitter was a gentleman pre-eminently "gey ill to live wi'."

There is another oil painting at Windsor which has not escaped the
injuries of time, but is none the less a splendid survival of 1527. This
is the portrait of Sir Henry Guildford, Master of the Horse to Henry
VIII., and holder of many another office of trust (Plate 22). It has
sometimes been thought that the yellow tone of the complexion was due to
over-painting, but the chalk drawing shows that it was a personal
peculiarity.

Sir Henry, a warm friend to both More and Erasmus, was forty-nine when
he sat for this portrait. Under his black fur-trimmed surcoat he wears
a doublet of gold brocade. In his hand is the wand of office as
Chamberlain, and he is decorated with the collar and badge of the
Garter.

He was always a great favourite with the King from the time when the
latter came to the throne and young Guildford, then twenty, was one of
the gayest, bravest, most loyal spirits about it. Always as ready for a
real battle as a mimic one; as clever at writing plays for the King's
amusement as at acting in them; as good in a revel as at a piece of
diplomacy; it is not much wonder that his knighthood in 1512 should but
have been the prelude to a long series of promotions.

Illustration: PLATE 22
SIR HENRY GUILDFORD
_Oils. Windsor Castle_

The affection of master and man, too, was