in the style of Holbein.

With broad shoulders and a rich dress, he stands on his sturdy legs quite the figure of Henry.

But the face is one beam of boyish laughter, and on the top of the little replica of the body of the corpulent monarch the effect of the childish face is most entertaining.
When Reynolds puts away his ideas of the grand style of Michelangelo to paint pictures such as these, he is entirely delightful.

He sometimes painted Holy Families and classical subjects, but the more the spirit of medieval sacred art has sunk into us, the less can we admire modern versions of the old subjects.

The sacred paintings of the Middle Ages owe some of their charm to the fact that they do not make upon us the impression of life.