and the "Judas" shown was usually some politician who had given offense.

In Sixteen Hundred Twenty-eight, England had not yet developed an
art-school of her own. All her art was an importation, for although some
fine pictures had been produced in England, they were all the work of
foreigners--men who had been brought over from the Continent.

Henry the Eighth had offered Raphael a princely sum if he would come to
London and work for a single year. Raphael, however, could not be spared
from Italy to do work for "the barbarians," and so he sent his pupil,
Luca Penni. Bluff old Hans Holbein also abode in England and drew a
goodly pension from the State.

During the reign of Mary and her Spanish husband, Philip, several
pictures by Titian arrived in London, via Madrid. Then, too, there were
various copies of pictures by Paul Veronese, Murillo and Velasquez that
long passed for original, because the copyist had faithfully placed the
great artist's trademark in the proper place.

Queen Elizabeth held averages good by encouraging neither art nor
matrimony--whereas her father had set her the example of being a liberal
patron of both. If Elizabeth never discovered Shakespeare, how could she
be expected to know Raphael?

About Sixteen Hundred Twenty, the year the "Mayflower" sailed, Paul
Vensomer, Cornelis Jannsen and Daniel Mytens went over to England from
the Netherlands and quickly made fortunes by painting portraits for the
nobility. This was the first of that peculiar rage for having a hall
filled with ancestors. The artists just named painted pictures of people
long gone hence, simply from verbal descriptions, and warranted the