n incident occurred which may not
be known to all our readers, and which is a striking illustration of the
esteem in which he was held by Henry. It is not a little to the honor
of that monarch, who, arbitrary and sensual as he was, had some noble
traits of character. One day, as Holbein was painting a lady's portrait
in his private studio, a nobleman intruded upon him rudely. Holbein
resented the discourtesy, and, as it was doggedly persisted in, finally
threw my lord downstairs. There was an outcry; and the painter, bolting
his door on the inside, escaped from his window along the eaves of the
roof, and, making his way directly to the King, threw himself before
him and begged a pardon, without telling his offence. Henry promised
forgiveness on condition of a full confession, which the painter began.
But meantime the nobleman arrived, and Henry, in deference to his rank,
gave him precedence, and stepped into another apartment to hear
his story. He accused Holbein of the violence, but suppressed the
provocation; whereat Henry broke into a towering Tudor rage, and, after
reproaching the nobleman for his prevarication, said, "You have to do
with me, Sir. I tell you, that of seven peasants I could make seven
earls like you; but of seven earls I could not make one Holbein. Do not
molest him, if you value your head." And as second-hand heads, though
plentiful about those days, were found to be of no value, even to the
original owner, Holbein remained unmolested.

Holbein is known chiefly by his portraits. He painted some historical
and sacred pictures; but though they all bear witness to his genius, it
can hardly be denied that they also show that that genius was not suited
to such works. Holbein had an objective perception;--that is, his mind
received impressions entirely uninfluenced by its own character or
condition; and his pictures, therefore, seem like literal transcripts
of what was before his eyes. He nowhere shows that he had an idea of
abstract beauty, or the power of generalizing from individuals, or that
he was at all discontented with the subjects which he painted; so that
his works leave an impression of absolute faithfulness. But to suppose,
therefore, that his portraits have merely the merit of reproducing the
external facts of Nature, like photographs, would do him wrong; for he
was faithful to expression as well as form, and has perpetuated upon
his canvas the voluptuous sweetness of Anne Boleyn, the courtlin