Painting under Edward VI. and Mary, 209 



the manner of Holbein, to which he ap- 

 proached nearer than to the freedom of de- 

 fign in the works of the great mailers, that 

 he faw at Rome. Like Holbein he was a 

 clofe imitator of nature, but did not arrive 

 at his extreme delicacy of finifhing ; on the 

 contrary, Antonio fometimes (truck into a 

 bold and mafculine flyle, with a good 

 knowledge of the Chiaro Scuro. In 1522 

 he drew Philip 11. and was recommended 

 by cardinal Granvelle to Charles V. who 

 fent him to Portugal, where he painted 

 John III. the king, Catherine of Auftria his 

 queen, and the infanta Mary, fii-ft wife of 

 Philip* For thefe three pidures he receiv- 

 ed fix hundred ducats, befides a gold chain 

 of one thoufand florins, and other prefents. 

 He had one hundred ducats * for his com- 

 mon portraits. But flill ampler rewards 

 were beftowed on him when fent into Eng- 

 land, to draw the pidure of queen Mary, f 



• Titian himfelf had but one hundred pieces of gold. 

 See Sandrart, p. 224. 



f Sandrart fays Ihe was very handfome. It is cer- 

 tain that the drawing of her (when about fixteen) hf 

 Holbein at Kenfmgton is not difagreeable though her 

 later pidures have all a ftern hard -favoured counte- 

 nance. T^5jiv4U' f^ :>,.t.**f /v»ci» JtJ t^iZl c^ rf^ >UC.*- A^ i^Z-flM-i 



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