Page:Dictionary of National Biography volume 26.djvu/100

 often spoken of as ‘the bishops' book,’ in contradistinction to a later publication. It was indeed the fruit of much conference among the bishops; but the singular thing about it was the preface, which was really a petition from the divines who drew it up to Henry to revise and correct it and then suffer it to be printed. The king, however, kept it for six months, and then authorised its publication, declaring he had not had time to examine it as requested, but trusted to the divines that it was sound and scriptural. Later still in the reign (1543) appeared ‘A necessary Doctrine and Erudition for any Christian Man,’ which was known as ‘the king's book,’ and which was, in the main, a revision of the bishops' book with a preface by the king himself.

Henry was personally little concerned in the publication of the first authorised English bible. A royal proclamation suppressed Tyndale's translation of the New Testament in June 1530, and held out a hope that a more scholarly version of the whole bible would be prepared by sound divines and published by royal authority. The king was in no haste to redeem the promise, but a few years later Miles Coverdale [q. v.] published abroad a complete translation, which in 1537 he reprinted in England with a dedication to the king and Queen Jane. Matthews's bible appeared in 1537 under Cranmer's auspices, with a dedication to the king, and was authorised by Cromwell; the clergy were enjoined in 1538 to have a copy in every church. This edition was called ‘the bible of the largest volume.’ A revised edition, published as Cranmer's bible in 1540, was the first distinctly authorised to be read in churches instead of being merely placed there for consultation [see, and ].

Henry's tall, thick-set form, large limbs, ruddy face, fleshy cheeks, and blue-grey eyes, are familiar to us from numerous portraits, several of them masterpieces of Holbein. The finest, on the whole, is that at Petworth, engraved in Lodge's ‘Portraits.’ A magnificent cartoon belonging to the Duke of Devonshire, representing Henry and his father and mother, and Jane Seymour as queen, is unfortunately somewhat worn and defaced. Several portraits, however, attributed to Holbein are by his successor Luke Hornebolt, representing the king in his last years, fat and bloated—generally full-length portraits with legs astride. On the other hand, two early likenesses not by Holbein deserve especial mention—one at Hampton Court, and a still more youthful portrait belonging to Earl Spencer at Althorp. There is also a fine image of the king seven inches high, very doubtfully said to have been carved by Holbein in hone stone, belonging to Mrs. Dent of Sudeley; and a miniature likeness of him playing the harp, with Will Somers his jester beside him, adorns his manuscript psalter in the British Museum. It is engraved in Ellis's ‘Original Letters’ (vol. i.)

 HENRY (1114?–1152), son of David I, king of Scots [q. v.], and his wife Matilda, countess of Northampton, was probably born about 1114. In a treaty between David and the English king Stephen which followed David's invasion of England in 1136, Stephen granted to Henry the earldoms of Carlisle, Doncaster, and Huntingdon. To the last of these Henry's mother, as eldest daughter of Earl Waltheof, had an hereditary claim, as also to the earldom of Northumberland; and Stephen was afterwards said to have at the same time promised that if ever he should decide to re-establish the Northumbrian earl- 