,,hans ,,holbein ,bell's ,miniature ,series of ,painters4 ,edited by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,pott #hvo41 with #h ,illustrations1 issued in cloth or in limp leather4 ,,velazquez4 ,by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,,sir ,e4 ,,burne-,,jones4 ,by ,,malcolm ,,bell4 ,,fra ,,angelico4 ,by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,g4 ,f4 ,,watts1 ,r4,a4 ,by ,c4 ,t4 ,,bateman4 ,,watteau4 ,by ,,edgcumbe ,,staley1 ,b4,a4 ,,george ,,romney4 ,by ,,rowley ,,cleeve4 ,,holman ,,hunt4 ,by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,,holbein4 ,by ,,arthur ,b4 ,,chamberlain4 ,,preparing3 ,,reynolds4 ,by ,,rowley ,,cleeve4 ,,leighton4 ,by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,,sir ,l4 ,,alma-,,tadema4 ,by ,h4 ,,zimmern4 ,,gainsborough4 ,by ,mrs4 ,a4 ,g4 ,,bell4 ,j4 ,f4 ,,millet4 ,by ,,arthur ,,tomson4 ,,sir ,j4 ,e4 ,,millais1 ,p4,r4,a4 ,by ,a4 ,,lys ,,baldry4 ,,others ,,to ,,follow4 ,,london3 ,,george ,,bell ,,sons1 ,,york ,,street1 ,,covent ,,garden4 ,illustration3 ,hanfstngl photo4 ,national ,gallery4 ,,christina ,,sforza1 ,,duchess ,,of ,,milan4 ,bell's ,miniature ,series of ,painters ,,hans ,,holbein ,,by ,,arthur ,b4 ,,chamberlain ,,deputy ,,keeper ,,of ,,the ,,birmingham ,,art ,,gallery ,illustration ,,london ,,george ,,bell ,,sons #aijb ,,table ,,of ,,contents ,,page ,,life ,,of ,,hans ,,holbein #a ,,early ,,days ,,in ,,augsburg ,,and ,,basle #a ,,first ,,visit ,,to ,,england #i ,,return ,,to ,,basle #ac ,,second ,,residence ,,in ,,england #ae ,,the ,,art ,,of ,,holbein #bc ,,large ,,decorative ,,works ,,and ,,wall-,,paintings #be ,,religious ,,paintings #bi ,,book ,,illustrations ,,and ,,ornamental ,,woodcuts #cb ,,designs ,,for ,,goldsmiths ,,and ,,other ,,craftsmen #cd ,,portrait ,,painting #cf ,,our ,,illustrations #dd ,,list ,,of ,,the ,,artist',s ,,chief ,,works #fa ,,chronology ,,of ,,the ,,artist',s ,,life #fi ,,chief ,,books ,,on ,,holbein #ga ,,list ,,of ,,illustrations ,,page ,,portrait ,,of ,,the ,,duchess ,,of ,,milan ,collection of the ,duke of ,norfolk1 now lent to the ,national ,gallery ,frontispiece ,,the ,,meyer ,,madonna ,darmstadt #cb ,,the ,,ambassadors ,national ,gallery #df ,,portrait ,,of ,,erasmus ,collection of the ,earl of ,radnor1 ,longford ,castle #ej ,,portrait ,,of ,,georg ,,gisze ,berlin ,gallery #eb ,,portrait ,,of ,,robert ,,cheseman ,the ,hague ,gallery #ef ,,mary ,,magdalen ,,at ,,the ,,sepulchre ,hampton ,court #eh ,,drawing ,,of ,,sir ,,thomas ,,more ,windsor ,castle #fj ,,life ,,of ,,hans ,,holbein ,,early ,,days ,,in ,,augsburg ,,and ,,basle4 ,hans ,holbein was born1 in #adig1 at ,augsburg1 in ,swabia1 ,southern ,germany1 to which town his grandfather1 ,michael ,holbein1 had moved1 some time before #aded1 from the neighbouring village of ,schnenfeld4 ,his father1 known to-day as ,holbein the elder1 to distinguish him from his more celebrated son1 was one of the leading painters of ,augsburg1 and an artist of importance in the history of ,german art4 ,the elder ,holbein was one of the first of ,german painters strongly influenced by the ,italian ,renaissance1 and a chronological study of his pictures shows very clearly how great a change was gradually taking place north of the ,alps both in artistic ideals and technical methods1 through an increasing knowledge of what the great painters of the ,southern peninsula had accomplished4 ,in his early work he shows himself to be a follower of ,rogier van der ,weyden and his school1 but towards the end of the first decade of the sixteenth century the ,gothic qualities of his painting1 with its many hardnesses and angularities1 begin to disappear1 and a closer observation and a more truthful rendering of nature to take their place4 ,he threw off one by one his ,rhenish traditions1 and replaced them by the methods of the ,van ,eycks1 which reached him indirectly through the mellowing influence of the earlier ,venetian painters4 ,he developed1 too1 a fondness for rich architectural decoration of the ,renaissance type for the backgrounds and settings of his pictures1 in the use of which his son1 later on1 became so perfect a master4 ,as a result of certain forged documents and false inscriptions1 a number of interesting works1 formerly ascribed rightly to the father1 were taken from him and given to the son1 and hailed as signs of precocious genius4 ,even the father's masterpiece1 ,the ,martyrdom of ,st4 ,sebastian at ,munich1 did not escape the enthusiasm of the younger artist's biographers4 ,modern criticism1 however1 has restored to the father a series of works which place him among the leading painters of ,germany at the dawn of the new movement in art4 ,hans ,holbein the younger seems to have received no artistic training except that which he gained in his father's studio or workshop1 where his elder brother ,ambrosius was also engaged4 ,his uncle ,sigismund1 too1 was an ,augsburg painter1 and may have helped in his instruction4 ,his father1 though constantly in debt and difficulties1 seems to have received numerous orders for altar-pieces and other sacred pictures1 so that the workshop was a busy one1 and no doubt young ,hans began at an early age to help in such minor details as the painting of draperies and backgrounds4 ,much of his genius was inherited from his father1 particularly that remarkable power of portraying character with a few vivid strokes of the pencil which is one of the crowning glories of his art4 ,in those days a young painter generally finished his education by a year or two of travel before settling down as a master painter in the guild of his native town4 ,ambrose and ,hans ,holbein seem to have followed the prevailing fashion1 leaving ,augsburg towards the end of #aead or early in #aeae4 ,in the latter year the father went to ,issenheim in ,high ,alsace to paint an altar-piece1 and the two young men may have gone with him4 ,there is some probability1 too1 that the whole family settled in ,lucerne about this time4 ,in any case1 the two sons were residing in ,basle before the end of #aeae1 any plan of extended travel being cut short by the prospect of plenty of work4 ,at that time ,basle was the northern centre of the great revival of literature and learning1 and several of its printers were of ,european reputation4 ,many of the chief works of the leading humanist writers were first published in ,basle1 and decorated with woodcut illustrations and ornamental title-pages and borders4 ,the prospect of employment upon 8black-and-white0 work of this kind was1 no doubt1 one of the chief attractions which brought the two young painters to the town4 ,nor were they disappointed1 for shortly after their arrival a commission was given to them by ,johann ,froben1 ,erasmus's publisher1 and the principal printer of the city4 ,it is not unlikely that the young men first of all entered the workshop of some ,basle painter1 such as that of ,hans ,herbster1 whose portrait was painted in #aeaf by one of the two brothers4 ,until recently this picture was in the collection of the ,earl of ,northbrook1 and ascribed to ,hans1 but since its acquisition by the ,basle ,museum it has been attributed to ,ambrose4 ,the latter1 of whose work we know very little1 seems to have been an artist of only moderate capabilities4 ,he joined the ,painters' ,guild in ,basle in #aeag1 and1 as no record of him has been found later than #aeai1 he is supposed to have died young4 ,during the next seven or eight years ,holbein designed a number of book illustrations for ,froben1 ,adam ,petri1 ,thomas ,wolff1 and other printers4 ,he was ready1 however1 to turn his hand to anything4 ,he painted a table with an amusing allegory of ,st4 ,nobody for the wedding of ,hans ,br in ,basle on ,june #bd1 #aeae1 and in the same year supplied a schoolmaster with a sign-board to hang outside his house4 ,it is uncertain when ,holbein first became acquainted with the great scholar of ,antwerp1 ,desiderius ,erasmus1 who had come to ,basle in #aeac for the purpose of superintending the publishing of his books1 nor is it easy to say to what degree of intimacy the artist was admitted by this brilliant humanist4 ,erasmus had the greatest admiration for his powers as an artist1 and served him whenever he could1 both by employing him himself and recommending him to others4 ,during ,holbein's first year in ,basle1 ,erasmus had published through ,froben his famous and witty satire1 8,the ,praise of ,folly10 and the artist made a number of drawings on the margins of a copy of this book1 illustrating passages in the text4 ,he seems to have done them at the suggestion of another distinguished man of letters1 ,oswald ,molitor1 of ,lucerne1 at that time employed by ,froben1 who selected the passages to be illustrated2 and a note in his handwriting says that they were finished on ,december #bi1 #aeae1 and that ,erasmus was greatly entertained by them4 ,the original book is now in the ,basle ,museum4 ,holbein soon began to give proof of his wonderful abilities as a portrait painter4 ,one of the first commissions he received was in #aeaf1 from ,jacob ,meyer1 ,burgomaster of ,basle1 whom he painted1 together with his young second wife1 ,dorothea ,kannegiesser1 a double portrait in one frame 7,basle ,museum74 ,the burgomaster was pleased with the result1 and remained the artist's constant good friend1 procuring important public commissions for him1 as well as making further private use of his talents4 ,in #aeag he left ,basle for ,lucerne1 where1 according to ,dr4 von ,liebenau1 his father was then residing4 ,he was made a member of the recently-founded ,painters' ,guild of ,st4 ,luke1 and also joined a local company of archers4 ,on ,december #aj1 #aeag1 he was in trouble with the magistrates1 being fined for taking part in some street brawl1 after which he appears to have left ,lucerne for a time4 ,he can be traced as far south as ,altdorf by the remains of a few pictures4 ,if he ever visited ,italy it would be at this period4 ,one or two writers hold that he made some such journey1 and point to several paintings in the ,basle ,museum as proof that he must have had personal acquaintance with certain achievements of ,leonardo and his school1 which he could only have seen in ,italy2 but the influence of ,mantegna and ,da ,vinci1 which1 though plainly detected in his early work1 is by no means a predominant one1 may be easily accounted for through the numerous ,italian engravings then circulating throughout ,europe1 without any actual visit to ,lombardy on the part of the artist4 ,he was back in ,lucerne in #aeah1 busily engaged upon the decoration of the house of the magistrate1 ,jacob von ,hertenstein1 which he covered with frescoes both inside and out4 ,the remains of this great work were destroyed in #ahbd1 when the house was demolished for street improvements1 but not before the chief designs had been hastily copied by ,schwegher1 ,ulrich von ,eschenbach1 and other ,lucerne artists4 ,this was by far the most important undertaking upon which ,holbein had as yet been engaged1 and it was the first of a splendid series of decorative works of which1 unhappily1 nothing remains but their fame and a few slight preliminary sketches or indifferent copies4 ,no one north of the ,alps came near to him in the fertility of design and beauty of execution and of colour displayed by him in this adaptation of a favourite method of ,italian decoration which became popular in the sixteenth century in certain parts of ,germany and ,switzerland4 ,holbein was back in ,basle in #aeai4 ,he joined the ,painters' ,guild on ,september #be1 and on ,july #c in the following year paid his fees as a burgher of the city4 ,one of the first portraits he now undertook was that of ,bonifacius ,amerbach1 a brilliant young scholar and intimate friend of ,erasmus and other learned men4 ,amerbach had the greatest admiration for ,holbein's genius1 and missed no occasion of acquiring any of his works1 and it is owing to his taste and liberal purse that so fine a collection of the painter's productions can be studied to-day in the ,basle ,museum4 ,the fame of ,hertenstein's painted house had spread to ,basle1 and ,holbein was soon busy over similar undertakings in the town of his adoption1 of which the most celebrated was ,the ,house of the ,dance4 ,he also produced many designs for stained-glass windows1 as well as a number of sketches for costumes and patterns for goldsmiths and metal-workers4 ,his most important commission at this time1 however1 was the decoration of the interior of the new ,town ,hall with wall-paintings1 showing that1 although only twenty-four1 he was already considered to be the chief artist in ,basle4 ,he began this work in ,june1 #aeba1 and by ,november1 #aebb1 had covered three of the walls with subjects taken from ancient history4 ,these were probably selected for him1 and were intended as examples of that exercise of stern justice which should characterize the actions and decisions of all rulers4 ,these great decorative paintings have long since perished through damp and neglect1 and only a few fragments remain in the ,basle ,museum4 ,when he had finished three of the walls1 he was of opinion that he had earned the full amount voted by the ,town ,council for the completion of the whole chamber4 ,the ,council saw the justice of this1 but1 cautious of their expenditure of the public funds1 like many ,councils of the present day1 they resolved to 8let the back wall alone until further notice40 ,in spite of these large decorative undertakings1 ,holbein found time to paint a number of sacred pictures1 among the earlier ones being a ,passion series1 coarsely and hastily painted on canvas2 a ,last ,supper1 reminding one of more famous examples by ,leonardo and ,luini2 and others which are described later on 7see p4 #bi74 ,his two greatest sacred pictures1 which are worthy to stand by the side of the finest canvases of the ,italians1 are the ,madonna and ,saints1 at ,solothurn1 painted in #aebb1 and the famous ,meyer ,madonna1 at ,darmstadt1 7see illustration1 and p4 #dd74 ,the latter was executed about #aebf for the former burgomaster1 ,jacob ,meyer4 ,among other works of this period of the artist's career are two small portraits 7,basle ,museum71 representing a certain ,dorothea ,offenburg1 a lady of no great repute in her day1 as ,venus with ,cupid1 and again as ,lais ,corinthiaca4 ,these are two of the pictures to which certain critics point as showing so strongly the influence of the ,milanese school as to suggest a personal visit to ,italy4 ,holbein's fame as an illustrator largely depends upon his celebrated ,dance of ,death woodcuts1 and his illustrations to the ,new ,testament4 ,both series were commissioned by the brothers ,trechsel1 printers1 of ,lyons1 about #aebc1 the designs from the pen of ,holbein1 and the blocks cut by ,hans ,ltzelburger1 the one engraver of the period who was fitted to reproduce ,holbein's work in its full delicacy and beauty4 ,both artist and woodcutter seem to have been occupied with the commission until #aebf1 in which year ,ltzelburger died1 and although ,holbein had completed his part1 the work stopped short for want of a competent engraver4 ,neither series was published until #aech1 when ,holbein was at his zenith as a portrait painter in ,england4 ,the ,dance of ,death has been popularized by many reprints and reproductions2 indeed1 these satires on the uncertainty of life1 homilies in miniature1 drawn with the most surprising power and artistic beauty within the smallest limits1 soon became famous throughout ,europe4 ,,first ,,visit ,,to ,,england4 ,the ,reformation in ,switzerland1 with the violent passions it aroused1 made painting a precarious means of livelihood4 ,theological disputes agitated ,basle from end to end1 and the lower classes of the community were given over to disorder and discontent4 ,disturbances were of continual occurrence1 culminating in the so-called ,peasants' ,war4 ,privilege after privilege was wrested from the nobility and the great churchmen1 and very many of the pictures1 images1 and decorations in the churches were wrecked by the fury of the mob in the fight for religious freedom4 ,the ,town ,council was no longer in a position to encourage the development of the fine arts1 and the ,basle painters had a very hard struggle to live1 and were glad of trivial employment1 which in better times they would have scorned4 ,holbein1 too1 had married1 about #aebj1 ,elsbeth ,schmidt1 the widow of a tanner with one son1 and had a young family of his own1 so that he found it increasingly difficult to make both ends meet4 ,he therefore thought seriously of visiting ,england in quest of work1 probably at the suggestion of ,erasmus1 who had many friends and correspondents there4 ,holbein had painted his portrait more than once4 ,one of the finest of them1 sent by the learned humanist to ,sir ,thomas ,more1 was probably the one now in ,longford ,castle 7see illustration1 and p4 #ej71 dated #aebc4 ,a second example is the fine profile now in the ,louvre4 ,erasmus wrote to ,sir ,thomas ,more about the artist1 and ,more1 in his reply1 promised to do what he could for him when he came4 ,holbein left ,basle towards the end of ,august1 #aebf1 and journeyed to ,england by way of ,antwerp1 where in all probability he made a short stay1 reaching ,london about ,november4 ,he was received with much kindness by ,sir ,thomas ,more1 then ,speaker of the ,house of ,commons1 and holding other high offices2 and1 according to tradition1 remained as ,more's guest at his country house at ,chelsea during the whole time of his first ,english visit4 ,he seems to have confined his practice as a portrait painter entirely to ,sir ,thomas ,more's family and his immediate circle of friends1 which was a large and learned one1 embracing many of the leading churchmen1 statesmen1 and scholars of the day4 ,more does not appear to have made him known to the ,king1 although it is probable that ,henry1 who frequently visited the ,speaker at ,chelsea1 and was a great patron of the fine arts1 must have become acquainted1 even as early as this1 with ,holbein's work4 ,in #aebg he painted ,sir ,thomas's portrait1 the picture now in the possession of ,mr4 ,edward ,huth4 ,in the same year he painted ,william ,wareham1 ,archbishop of ,canterbury4 ,two examples of this portrait exist1 both by ,holbein1 at ,lambeth ,palace and in the ,louvre1 and two fine drawings1 in the ,british ,museum and at ,windsor4 ,other portraits of #aebg are those of ,sir ,henry ,guildford1 the ,lord ,chamberlain 7,windsor72 his wife1 ,lady ,guildford 7,mr4 ,frewen's collection72 ,sir ,brian ,tuke 7,munich and the ,duke of ,westminster72 ,john ,fisher1 ,bishop of ,rochester1 whose finished portrait is lost1 but for which two fine sketches still exist 7,windsor and the ,british ,museum72 and several undated works1 such as the portrait of ,sir ,henry ,wyatt 7,louvre71 were probably painted in this year4 ,in #aebh he produced the fine portrait of ,nicholas ,kratzer1 the ,king's ,astronomer 7,louvre71 and ,thomas and ,john ,godsalve1 of ,norwich1 on one panel 7,dresden74 ,the most important work which he undertook at this time has1 unfortunately1 disappeared4 ,this was the large portrait group of ,sir ,thomas ,more and ,his ,family4 ,several versions of it still exist1 of which the one at ,nostell ,priory is the most important1 but not one of them is a genuine work of ,holbein's4 ,happily1 the very beautiful sketch for the whole composition is to-day one of the chief treasures of the ,basle ,museum4 ,it was taken to ,switzerland by the artist as a present from ,sir ,thomas to ,erasmus4 ,several fine studies for the heads of the sitters have also been preserved 7,windsor collection74 ,mention must be made of another important undertaking with which there is good reason to believe that ,holbein had much to do4 ,early in #aebg ,french ,ambassadors were in ,london negotiating for an alliance between ,england and ,france4 ,the signing of this treaty was celebrated at ,greenwich on ,may #e1 with much ceremonious festivity1 concluding with a supper in a specially built banqueting-house4 ,one of the chief painters engaged in the internal decoration of this building was a certain 8,master ,hans10 a title by which ,holbein was well known2 and1 common as this ,christian name was in ,germany1 no trace has ever yet been found of any other artist named ,hans then working in ,england except ,holbein4 ,the official direction of the building and decorating of this temporary hall was in the hands of ,sir ,henry ,guildford1 and it would be natural for him to turn to the craftsman of whose artistic powers he had full knowledge4 ,it was the kind of work1 too1 for which ,holbein was already celebrated in ,switzerland4 ,he appears to have been appointed to supervise the numerous painters employed1 and frequent mention is made of 8,master ,hans and his company0 7,calendar of ,state ,papers1 #aebf-aebh74 ,by ,march #b 8,master ,hans0 had left ,greenwich1 and was busily engaged in ,london upon a large 8plat10 or picture1 of ,the ,battle of ,spurs4 ,he had finished this in a month1 and was paid #d #ajs4 for it4 ,this picture was fixed on the back of an arch which divided the banqueting-hall from the gallery leading to the ball-room4 ,considering the occasion for which it was painted1 the subject was rather a cruel one1 representing as it did the putting to rout of a large body of mounted ,frenchmen by a handful of ,english cavalry2 but it greatly tickled ,king ,henry's fancy1 and he made a point of drawing the attention of the ,ambassadors to it4 ,this picture has disappeared4 ,,return ,,to ,,basle4 ,holbein was back in ,basle in the summer of #aebh4 ,possibly he was recalled by the ,town ,council1 under penalty of losing his rights of citizenship if he disobeyed4 ,on ,august #bi he purchased for #cjj florins a house overlooking the ,rhine1 and on ,march #cj1 #aeca1 he also bought the adjoining house for #gj florins1 thus proving that his ,english visit had been far from fruitless4 ,he remained in ,basle for four years1 but the only important work upon which he was engaged was the completion of his ,town ,hall decorations4 ,the ,town ,council requested him to finish the 8back wall10 and he covered it with two fine compositions1 ,the ,meeting of ,samuel and ,saul1 and ,rehoboam1 the preliminary sketches for which are now in the ,basle ,museum4 ,he was engaged upon this work during the latter half of #aecj4 ,basle was still torn by religious dissensions1 but the party of the ,reformation now held the upper hand4 ,a furious outbreak in #aebi led to the further destruction of religious paintings and sculpture4 ,even ,holbein did not escape at least minor persecution for his religious principles4 ,on ,june #ah1 #aecj1 he was1 in conjunction with a number of his fellow-citizens1 called upon to explain why he had not taken part in the communion service instituted by the ,basle ,church after the abolition of the ,catholic creed in the previous year4 ,he cautiously replied that before approaching the ,lord's ,table he desired the signification of the holy mystery to be more clearly explained to him2 and this seems to have been done1 as he did not persist in his refusal4 ,beyond the ,town ,hall decorations he does not seem to have found much profitable work to do4 ,he painted a portrait of his wife and two children 7,basle ,museum7 and a new portrait of ,erasmus in #aecj1 the small round one now at ,basle1 the original source of a number of copies at ,parma1 ,turin1 and elsewhere4 ,there was little opportunity1 however1 for him to follow his art with adequate success1 and his thoughts naturally turned once more towards ,england4 ,he came back to this country in #aecb1 probably without informing the ,basle authorities of his intention4 ,they sent a very flattering letter after him1 offering him a fixed salary if he would return1 but he does not appear to have taken any immediate notice of this suggestion4 ,,second ,,residence ,,in ,,england4 ,during ,holbein's absence ,sir ,thomas ,more had become ,lord ,chancellor1 but this office he relinquished in ,may1 #aecb1 and was gradually falling out of favour with the ,king4 ,holbein did not take up his residence in ,chelsea again1 but settled in ,london1 near the large colony of ,german and ,netherlandish merchants then forming an important part of the commercial life of the capital4 ,these merchants of the ,hanseatic ,league formed a close corporation among themselves1 and in their midst ,holbein now made his home4 ,their place of meeting was called the ,steelyard1 and here their warehouses and residences were grouped round the hall of the guild1 with its trim garden and special wineshop4 ,among them the artist found not only the language and habits of his own country1 but also plenty of well-paid employment4 ,during #aecb and #aecc1 and occasionally later1 he painted a number of his compatriots seated in their offices and engaged in the ordinary routine of business life1 including the superb picture of ,georg ,gisze 7,berlin1 see illustration1 and p4 #ea71 ,hans of ,antwerp1 the goldsmith1 later on one of ,holbein's executors 7,windsor71 ,derich ,born 7,windsor and ,munich71 ,derich ,berck 7,petworth71 ,geryck ,tybis 7,vienna71 ,ambrose ,fallen 7,brunswick71 and several others whose names have not been discovered4 ,he was also employed by the members of the ,steelyard as a corporate body4 ,at the coronation of ,anne ,boleyn1 in ,may1 #aecc1 the streets of ,london were gaily decorated by the various city companies and guilds1 and the triumphal arch erected by the ,hanseatic ,league was designed by ,holbein4 ,still more important were the two large allegorical paintings in monochrome1 ,the ,triumph of ,riches and ,the ,triumph of ,poverty1 with which he decorated their banqueting-hall4 ,these fine works have disappeared4 ,fortunately1 they were copied by ,zucchero in #aegd1 and by ,jan de ,bisschop 7,british ,museum71 while the original sketch for ,the ,triumph of ,riches is in the ,louvre4 ,holbein had now reached the highest point of his career1 and the series of brilliant portraits he produced during the last ten years of his life is unrivalled4 ,it was probably owing to his connection with the ,steelyard that he was employed by several foreign ,ambassadors1 who were accredited to ,england during his second residence here4 ,many of these ,german merchants were more than mere traders4 ,owing to their knowledge of foreign languages1 and their business relations with all parts of the world1 they were often employed by the ,government1 and occasionally sent on important missions abroad4 ,in this way they were personally known to many of the ,ambassadors to ,england4 ,in #aecc ,holbein produced his most important work still in this country1 the picture familiarly known as ,the ,ambassadors 7see illustration1 and p4 #dg71 representing ,jean de ,dinteville1 ,french ,ambassador at the ,english ,court1 and his friend ,george de ,selve1 ,bishop of ,lavaur4 ,another magnificent portrait of an ,ambassador was painted about this time1 probably in #aecd1 the famous one in the ,dresden ,gallery1 for many years said to be a masterpiece of ,leonardo da ,vinci1 and a portrait of ,ludovico ,sforza1 and still called in the ,dresden catalogue ,hubert ,morett1 ,goldsmith to ,henry ,,viii4 ,it really represents ,charles de ,solier1 ,comte de ,morette1 who was in ,england more than once1 and succeeded ,dinteville as resident ,ambassador in #aecd4 ,his clients1 however1 were not only foreigners2 he constantly painted ,englishmen of all ranks and classes4 ,in #aecc he produced the fine portrait of ,robert ,cheseman1 of ,dormanswell 7,hague71 with his hawk on his wrist1 erroneously called ,the ,king's ,falconer 7see illustration1 and p4 #ef71 and the equally fine one of a man in black 7,berlin71 supposed to be a member of the ,trelawney family4 ,the latter's brother he had painted in the previous year 7,count ,schnborn's ,collection1 ,vienna74 ,in #aecd we have the portrait of that 8hammer of the monks10 ,thomas ,cromwell1 when only ,master of the ,jewel ,house4 ,it is not until #aecf that we get any actual proof that ,holbein was in the ,king's service4 ,in that year he painted the new ,queen1 ,jane ,seymour 7,vienna and ,woburn ,abbey74 ,it seems certain1 however1 that ,henry must have been well aware of his artistic capacity before this date4 ,a number of artists1 both foreign and native1 all greatly inferior to ,holbein1 were then employed by the ,king1 and professional jealousy may have had some share in retarding his entry into the royal service4 ,during ,holbein's first visit to ,england ,john ,browne was sergeant-painter to the ,king1 holding the office for more than twenty years4 ,he was succeeded by another ,englishman1 ,andrew ,wright1 who in his turn was followed by an ,italian1 ,antonio ,toto2 but1 next to ,holbein1 the leading painter in ,england1 and a man of real ability1 was ,lucas ,horembault1 or ,hornebolt1 of ,ghent1 who had settled here with his father ,gerard and his sister ,susannah1 both of them artists4 ,the salary that ,hornebolt received from the ,king was always larger than that paid to ,holbein4 ,in #aecg ,holbein painted a great picture on the wall of the ,privy ,chamber at ,whitehall1 representing the two ,kings1 ,henry ,,vii4 and ,henry ,,viii41 and their ,queens1 ,elizabeth of ,york and ,jane ,seymour4 ,when the art historian1 ,van ,mander1 saw it in #afjd1 it was still in perfect preservation1 and he speaks with the utmost enthusiasm about it4 ,it was destroyed in the fire which burned down that palace in #afih4 ,happily1 there still exists a small copy of it 7,hampton ,court71 which was made in #affg by ,remigius van ,leemput by order of ,charles ,,ii41 and ,mr4 ,ernest ,law has recently discovered a replica by the same painter2 while a still better judgment can be formed of its size1 composition1 and general effect from ,holbein's cartoon for the left half1 showing the ,king and his father1 which belongs to the ,duke of ,devonshire4 ,it is a black chalk drawing1 heightened with ,indian ink1 and was used for tracing the design upon the wall4 ,almost every other portrait of ,henry painted after #aecg--;and there are many of them scattered about ,england and on the ,continent--was based upon the ,whitehall likeness4 ,it is very doubtful if even one of them is the genuine work of ,holbein's brush4 ,such portraits were multiplied to give away to foreign ,princes and faithful subjects4 ,the best of them is the well-known full-face representation of the ,king in ,warwick ,castle--a life-size work1 very admirably painted1 most probably by ,hornebolt4 ,there is really no authentic portrait of him by ,holbein in existence1 with the exception of the rough chalk drawing at ,munich and the exquisite square portrait at ,althorp1 which1 in the opinion of ,mr4 ,lionel ,cust1 ,f4,s4,a41 is a genuine example4 ,after the death of ,jane ,seymour1 the ,privy ,council lost no moment in urging the ,king to marry again4 ,the choice fell upon ,christina1 daughter of the ,king of ,denmark1 and niece of the ,emperor ,charles ,v4 ,she was ,duchess of ,milan1 and the young widow of ,francesco ,sforza1 the last ,duke of his race4 ,holbein went over to ,brussels in ,march1 #aech1 to paint the lady's portrait1 and an account of this expedition will be found on p4 #ed4 ,the very lovely full-length portrait of this ,princess belongs to the ,duke of ,norfolk1 who has generously lent it to the ,national ,gallery for a number of years 7see illustration1 and p4 #ee74 ,this is1 perhaps1 the most perfect piece of portraiture ,holbein ever accomplished1 and one of the great pictures of the world4 ,at this time the artist was receiving a salary of #cj a year from the ,king in the form of a retaining fee1 and he must have obtained further payment for whatever work he did4 ,his money was paid quarterly1 but he was occasionally granted a whole year's salary in advance4 ,in the autumn of the same year1 #aech1 he made a second journey abroad1 to ,upper ,burgundy1 for which he received #aj from the ,king's purse1 probably to obtain a second sitting from the ,duchess4 ,he took this opportunity of paying a flying visit to ,basle1 no doubt to talk over with the ,town ,council an offer they had just made him of a pension of fifty gulden1 with leave of absence in ,england for two years longer1 if he would then return to his native city and settle there4 ,he remained in ,basle for only a few days during ,december1 and was received with enthusiasm by his fellow-citizens4 ,he most probably returned to ,england by way of ,paris1 where he stopped to apprentice his eldest son ,philip to the goldsmith ,jerome ,david4 ,whatever agreement he may have made with the ,swiss authorities1 he did not visit ,basle again during the five remaining years of his life4 ,he was back in ,london on ,new ,year's ,day1 #aeci1 and presented a portrait of the young ,prince ,edward to the ,king4 ,in ,august1 #aeci1 he was again sent abroad upon a similar mission4 ,he went to ,dren1 in the ,duchy of ,cleves1 to paint the daughters of the ,duke1 a ,protestant ,prince1 with whom1 since the negotiations with the ,emperor for ,christina's hand had come to nothing1 ,cromwell thought an alliance would be politic4 ,the likeness ,holbein made of ,anne of ,cleves1 probably the fine one now in the ,louvre1 is said by tradition to have so flattered the lady that ,henry consented to marry her1 with the well-known disastrous results4 ,with the exception of a miniature at ,windsor1 there is no authentic portrait of ,catherine ,howard1 whom the ,king married as soon as he had divorced the unfortunate ,anne2 but her uncle1 ,thomas ,howard1 third ,duke of ,norfolk1 the ,lord ,high ,admiral1 was painted by him more than once4 ,holbein had now become the most popular portrait painter of the day1 and his commissions were very numerous4 ,it is impossible to give a complete list of them here1 but the principal ones will be found in the ,appendix4 ,at ,windsor ,castle is the magnificent collection of chalk drawings of heads1 over eighty in number1 which includes portraits of many of the most illustrious people of the day4 ,these were preliminary studies for portraits1 and are the finest record we possess of the celebrities of the ,tudor period1 invaluable both historically and artistically4 ,in them ,holbein is seen at his finest as a delineator of character4 ,in #aedb he began the large painting which was ordered to commemorate the granting of a charter by ,henry ,,viii4 to the newly-incorporated ,company of ,barber ,surgeons1 which still hangs in the ,company's ,hall in ,london4 ,he did not live to complete it4 ,some of the heads of the principal physicians he had finished1 but the greater part of the picture1 including the huge and ugly figure of the ,king1 out of all proportion to the other persons represented1 was put in by some other and far inferior hand4 ,at least two of the doctors represented in this work were also painted by him separately1 ,dr4 ,john ,chambers 7,vienna7 and ,sir ,william ,butts1 as well as the latter's wife4 ,holbein died in the following year1 #aedc1 carried off by the plague1 which then raged in ,london4 ,the exact date of his death is not known1 but he made a hasty will on ,october #g1 and on ,november #bi administration was granted to his old friend ,hans of ,antwerp1 the goldsmith4 ,he was living at the time in the parish of ,st4 ,andrew ,undershaft1 where he was rated as a foreigner4 ,he is supposed to have been buried in the ,church of ,st4 ,katherine ,cree1 but no record of this has been discovered4 ,his wife died in #aedi4 ,his eldest son ,philip1 8a good1 well-behaved lad10 served his apprenticeship in ,paris1 and finally settled in ,augsburg1 founding that branch of the family upon which the ,emperor ,matthias conferred a patent of nobility as the ,holbeins of ,holbeinsberg4 ,his second son ,james died as a goldsmith in ,london1 while his daughters married respectable citizens of ,basle4 ,,the ,,art ,,of ,,holbein ,holbein's art was many-sided1 although1 during the latter half of his life1 he was occupied chiefly with portraiture4 ,this was not owing to the artist's preference for this mode of expression1 but to the fact that there was very little demand for any other form of painting in ,england4 ,the painter of ,the ,meyer ,madonna was not the man to have abandoned the production of large religious compositions if there had been any adequate demand for them4 ,his few works of this nature which remain place him in the front rank of sixteenth-century artists1 and1 if he had been born on the south side of the ,alps1 he would have painted sacred pictures as fine as those of any ,italian cinquecentist2 even ,raphael would have found in him a worthy rival4 ,it is an immense loss to art that all his large decorative undertakings1 and many of his most important pictures1 have perished or have been lost1 so that to-day we can only judge of them by a few preliminary studies1 certain fragments of the originals which have been preserved in museums1 and1 in a few cases1 some early and careful copies of a reduced size4 ,the decorations with which he covered a number of houses in ,lucerne and ,basle have all disappeared4 ,what the weather did not ruin the clumsy hand of the restorer and street-improver has destroyed4 ,a number of his sacred pictures must have perished during the artist's lifetime through the fury of iconoclastic mobs4 ,damp1 dirt1 and neglect were the cause of the gradual fading away of his wall-paintings in the interior of the ,basle ,town ,hall4 ,his two great allegorical works for the decoration of the dining-hall of the ,steelyard--,the ,triumph of ,riches and ,the ,triumph of ,poverty--have vanished1 either destroyed in the ,whitehall fire of #afih or dispersed at the sale of ,charles ,i4's pictures4 ,some such fate seems also to have befallen the great portrait group of ,sir ,thomas ,more's ,family4 ,the great wall-painting in the ,privy ,chamber in ,whitehall was also destroyed by fire4 ,gone1 too1 is ,the ,battle of ,spurs1 which1 if ,mr4 ,nicholls is right1 was painted by our artist4 ,finally1 death cut short the painting of the picture in the ,barber ,surgeons' ,hall4 ,such a list of lost or ruined masterpieces is1 unhappily1 not uncommon in the history of art1 but ,holbein has suffered more than most men2 yet enough remains from his brush to allow us to place him among the greatest men of genius of his own or any succeeding age4 ,as already stated1 he owed little to any other master than his father4 ,it is impossible to say to what extent he assisted the elder painter in the series of sacred pictures now preserved in ,augsburg and elsewhere in ,germany1 although certain critics hold that he took a large share in the production of ,the ,martyrdom of ,st4 ,sebastian in ,munich4 ,this picture is the elder ,holbein's masterpiece1 and in it1 more than in any other of his works1 he has thrown off the ,german medivalism in which he was trained1 and has emulated the newer style of the ,renaissance1 with its fine flowing lines and rounded forms and its exact imitation of ,nature4 ,it was to this ,german painter of repute that ,holbein was indebted for almost all the artistic training he received4 ,his painting was not affected to any extent by other artists except1 indirectly1 by the ,italians of the ,north2 but what was talent in the father became genius of the rarest quality in the son4 ,,large ,,decorative ,,works ,,and ,,wall-,,paintings4 ,the practice of decorating both the exterior and the interior of houses with large wall-paintings1 so universal throughout ,italy in the sixteenth century1 was by no means uncommon north of the ,alps2 but in ,germany this class of work was badly paid1 and the painter employed made use of much mechanical assistance1 and did not lavish too much personal care upon it4 ,no other ,northern artist carried out work of this nature with such brilliancy and such success as ,holbein4 ,it is probable that the subjects of his wall-paintings were chosen for him by his patrons to suit their own tastes2 but his fertility of imagination was so great that his renderings of the selected themes were stamped with his original genius4 ,the designs were not carried out by him in a slipshod manner1 without understanding1 but were masterpieces of dramatic power and composition1 and1 no doubt1 equally artistic in their colour schemes4 ,in his decorations for the house of ,jacob von ,hertenstein1 in ,lucerne1 many of the subjects were taken from ancient times4 ,the faade was covered with scenes from secular history1 pageants1 and combats of children1 in a setting of florid ,renaissance architecture1 an important feature being a great triumphal procession of ,csar1 in its main lines copied from ,mantegna4 ,in the interior the walls of the chapel were covered with religious paintings1 and the largest chamber was given up to hunting scenes with landscape backgrounds and a representation of ,the ,fountain of ,youth1 with many humorous details4 ,there is no doubt that he decorated a number of houses in ,basle in a similar manner1 though we have records of only one of them2 but drawings of several elaborately ornamented faades are preserved in various collections1 which show that he was often occupied with this kind of work in his younger days4 ,the most famous of these decorated buildings was1 as already stated1 known as ,the ,house of the ,dance1 from a broad frieze running across the second story1 which represented a number of peasants boisterously dancing to the music of the bagpipes4 ,the whole front was embellished with painted ,renaissance architecture4 ,the great variety of subjects he included1 and the elaborate details1 may be studied in a sketch preserved in the ,basle ,museum4 ,the subjects chosen for the interior decoration of the ,basle ,town ,hall were also from classical antiquity4 ,richly ornamented columns divided the walls into a number of spaces1 which were filled with paintings representing the vital importance to a community of impartial justice4 ,holbein's subjects were ,charondas1 the ,lawgiver1 plunging the ,sword into his own ,heart2 ,zaleucus ordering his own ,right ,eye to be torn out instead of his ,son's2 ,curius ,dentatus sending back the ,ambassadors of the ,samnites2 and ,sapor1 ,king of ,persia1 using the ,body of the captured ,emperor ,valerian as a step from which to mount his ,horse4 ,the smaller panels were single figures1 such as ,christ1 ,david1 ,justice1 ,wisdom1 and ,moderation4 ,the remaining wall in the ,hall1 painted in #aecj1 was covered with two large ,biblical subjects--,rehoboam dismissing the ,messengers of the ,israelites with fierce threats1 and ,the meeting of ,samuel and ,saul1 when the ,prophet angrily reproves the ,king for having disobeyed the command of ,god in sparing the ,amalekites4 ,the original sketches for both these compositions still exist1 and are sufficient to prove how fine the completed pictures must have been4 ,the vehement gesture of ,rehoboam is well conceived1 and the composition of the ,samuel and ,saul is masterly4 ,the two large allegorical friezes for the banquet-room of the ,steelyard merchants in ,london must have been equally fine4 ,the original sketch for ,the ,triumph of ,riches 7,louvre7 shows how easily the genius of the artist adapted itself to this kind of work4 ,the figures in these two compositions1 which were done in tempera on canvas1 were life-size4 ,they soon became famous1 and in #aegd were copied by ,zucchero1 who1 according to ,carl van ,mander1 declared they were as fine as anything accomplished by ,raphael4 ,such triumphal processions as these were1 of course1 a favourite method of decoration in his day1 of which ,mantegna's ,triumph of ,csar was the most famous4 ,in ,the ,triumph of ,riches he depicted ,plutus1 ,god of ,wealth1 seated in a car drawn by four horses1 with ,fortune in front1 her veil flying behind her1 scattering gold among the accompanying crowd1 which is made up of many men of antiquity famous for their wealth1 luxury1 or avarice4 ,in ,the ,triumph of ,poverty ,poverty herself1 an ancient and miserable hag1 and her comrade1 ,misfortune1 are drawn in a poor barrow by two asses1 ,stupidity and ,inactivity1 and two oxen1 ,negligence and ,sloth4 ,the vehicle is driven by ,hope1 who is accompanied by ,industry1 ,memory1 and ,experience1 who distribute axe or hammer1 spade or flail1 symbols of work1 among the poverty-stricken people who crowd round4 ,in all these large decorative works ,holbein displayed the greatest fertility of invention1 and a power of composition of a very high order4 ,the sense of life and movement in all the figures1 and the appropriateness of the gestures1 are alike admirable4 ,in some of his wall-paintings he showed a keen sense of humour2 and that joy of life1 as felt by the ,teuton of his day in his moments of relaxation and merriment1 is admirably expressed4 ,there is1 too1 an exuberance of invention in the architectural and ornamental details which is one of the most striking features of this side of his art1 showing how quickly and completely he had made the new ideas of the ,renaissance his own4 ,,religious ,,paintings4 ,holbein's religious pictures almost all date from the earlier part of his career1 and few remain which are works of his maturity4 ,more than one of them perished1 there is little doubt1 during the stormy days of the ,reformation in ,basle4 ,his earliest known picture is a small panel of ,the ,virgin and ,child1 dated #aead1 a work of great promise for a youth of seventeen4 ,it displays a real1 though nave1 charm1 and the tender attitude with which the ,virgin holds the ,child is very attractive4 ,she is dressed in white1 with a black cloak1 and her long1 fair hair falls over her shoulders1 and ,holbein seems to have taken an especial delight in the careful painting of it4 ,this little work1 tentative as it is in many ways1 gives signs that the hand which painted it was soon to become that of a master4 ,other early works of a similar character are ,the ,virgin ,mary and ,st4 ,john the ,evangelist1 quarter lengths1 seen against a blue background1 which remained the artist's favourite setting for his heads throughout his life4 ,the series of five pictures on canvas1 taken from ,the ,passion of ,christ1 need not detain us4 ,it is probable that they were hastily painted for some church decoration or religious celebration4 ,among the numerous designs for glass-painting which he made in ,basle1 the most important is a series of ten designs illustrating ,the ,passion of ,christ1 each one set in a background of elaborate architectural structure4 ,the scenes are simply treated1 but with great dramatic power1 if not with great depth of feeling4 ,the action in most of them is finely conceived1 and many of the figures have both dignity and beauty4 ,holbein took the same subject1 ,the ,passion of ,christ1 for an altar-piece consisting of eight small panels 7,basle ,museum74 ,for more than #bjj years this work was considered to be the artist's finest achievement1 and it was preserved in the ,basle ,town ,hall until #aggg1 when the ,town ,council presented it to the ,museum1 and had it thoroughly restored before handing it over1 with most disastrous results4 ,the abominably gaudy colours which were then daubed upon it have taken away most of the charm which graced it when it first left the master's hands4 ,it is still possible1 however1 to form some judgment of its composition1 and to see how skilfully the artist has managed the light and shade4 ,the eight scenes are combined in one frame in a very effective and harmonious manner1 forming one picturesque whole4 ,each little picture1 taken by itself1 is a work of art and of real beauty4 ,two other panels in the ,minster of ,freiburg1 somewhat similar to the above in the exceptionally successful and picturesque arrangement of the lighting1 form the wings of an altar-piece1 of which the centre panel has disappeared4 ,they were painted for ,hans ,oberreidt1 one of the ,basle ,town ,councillors1 and represent ,the ,nativity and ,the ,adoration of the ,magi1 with the donor and the numerous members of his family kneeling below4 ,all the figures are small1 while the backgrounds are large and imposing4 ,another little work of great beauty1 and important as being the only sacred painting by ,holbein now in ,england1 is the ,noli ,me ,tangere at ,hampton ,court 7see p4 #eh74 ,a very remarkable picture of ,the ,dead ,christ 7,basle7 was painted in #aeba4 ,the nude body lies in a narrow tomb of marble1 open at the side4 ,except for the stigmata1 there is very little religious signification in it4 ,the painful subject has been in no way idealized2 it is1 on the contrary1 one of the most vividly realistic paintings of a dead man ever produced by a great painter4 ,the picture known as ,the ,solothurn ,madonna1 painted in the following year1 is one of ,holbein's two finest religious paintings4 ,it is now in the possession of ,herr ,zetter1 but was1 no doubt1 originally a commission for the ,minster of ,solothurn4 ,it represents the ,virgin and ,child between ,st4 ,martin of ,tours and ,st4 ,ursus4 ,the ,virgin is seated with the ,child on her knee under an open arch1 and her figure stands out against the blue sky which is seen through it4 ,her face is very sweet and sympathetic4 ,the naked ,child1 with its little arms stretched out1 is a delightful piece of portraiture1 while the two saints are magnificent figures4 ,this picture1 deeply reverent in feeling1 is conceived with great simplicity1 but is very noble in sentiment4 ,the ,meyer ,madonna1 in ,darmstadt1 ,holbein's greatest masterpiece of religious painting1 and one of the finest sacred pictures in the world1 is fully described on p4 #dd4 ,,book ,,illustrations ,,and ,,ornamental ,,woodcuts4 ,holbein's versatility as an artist is nowhere shown more convincingly than in the illustrations he made for printed books1 and the series of woodcuts which were published from his designs during the last decade of his life4 ,his title-pages1 initial letters1 chapter headings1 and ornamental borders1 for ,froben and other printers1 display a rich invention1 greatly in advance of most similar work of that period4 ,in some of them the artist's sureness of hand and firmness of drawing have been sadly blunted by the incapacity of the woodcutter4 ,in others1 however1 he was very happily associated with a cutter of real genius1 ,hans ,ltzelburger1 who had both the skill and intuition to carry out the master's intentions with marvellous and sympathetic accuracy4 ,one of the most celebrated of his title-pages is that known as ,the ,table of ,cebes1 representing1 by means of countless little figures1 the soul's journey through life4 ,but ,holbein's fame as a designer of woodcuts1 which had spread throughout ,europe before the end of the sixteenth century1 was based ,illustration3 ,hanfstngl photo4 ,darmstadt4 ,,the ,,meyer ,,madonna4 upon two celebrated series of designs1 ,the ,dance of ,death and his ,old ,testament ,illustrations1 in which his gifts as an illustrator are most clearly shown4 ,the ,dance of ,death1 with its forty little pictures1 at once became popular1 and editions followed one after the other1 with additional illustrations4 ,the subject was a very favourite one throughout medival ,europe1 and in ,holbein it reaches its highest development4 ,it is a series of short pictorial sermons1 in which the artist points out to the reader how slight and how uncertain is his hold upon life1 and how in the presence of death both ,prince and peasant are equal4 ,in the satire with which ,holbein has treated clerics of all degrees we learn something of the way in which the ,reformation influenced him4 ,each little picture is a masterpiece of art1 in which is depicted1 with grim humour1 death's unexpected approach1 sparing neither ,king nor ,pontiff1 ,queen nor courtesan1 knight nor beggar1 old age nor childhood4 ,in each one the feeling for fine dramatic situation is admirable1 the whole being indicated in a few sure lines of masterly draughtsmanship4 ,detailed accounts of each of the subjects will be found in ,dr4 ,woltmann's 8,holbein and ,his ,time10 and in ,chatto and ,jackson's 8,history of ,wood ,engraving10 while ,ruskin's 8,ariadne ,florentina0 should be read for a very sympathetic and beautiful analysis of their intellectual side1 their spiritual meaning1 and ,holbein's marvellous power of design for such work4 ,in the same year1 #aech1 his illustrations to the ,old ,testament1 ninety-one in all1 were also published by the brothers ,trechsel4 ,they did not accompany an edition of the ,bible1 but were issued as a book of pictures1 with appropriate letter-press4 ,they are less known than ,the ,dance of ,death woodcuts1 and in them the artist has put a curb on his fertile imagination1 and confines himself to telling the sacred stories with great simplicity and directness1 while nothing essential to the full understanding of the story is omitted4 ,in addition to these more important woodcuts1 ,holbein also designed several series of ornamental alphabets1 one of them a dance of death1 another with peasants at their merrymakings1 and a third with children at their games4 ,,designs ,,for ,,goldsmiths ,,and ,,other ,,craftsmen4 ,no form of art came amiss to this versatile genius4 ,he made hundreds of designs for jewellers and metal-workers1 many of which1 happily1 have been preserved1 the greater part of them being now in the ,basle and ,british ,museums4 ,these include designs for rings1 brooches1 pendants1 medallions1 buttons1 badges1 jewelled monograms1 hand-mirrors1 decorative bands to be engraved upon metal1 dagger handles and sheaths1 and every kind of personal ornament1 and a number of larger objects1 such as cups1 bowls1 clocks1 and similar pieces4 ,in these1 again1 his most inventive powers of design1 based upon ,renaissance lines1 combined with a very skilful adaptation for decorative purposes of the human figure1 place him in the forefront of sixteenth-century designers4 ,his most important piece of goldsmith's work of which we know was a gold cup of beautiful ,renaissance design1 known as the ,jane ,seymour ,cup1 the original drawing for which is in the ,british ,museum1 and a second one in the ,university ,galleries at ,oxford4 ,it was undoubtedly made as a gift from the ,king to the ,queen1 and bears their initials1 together with ,jane ,seymour's motto1 8,bound to obey and serve40 ,benvenuto ,cellini never accomplished anything finer in cinquecento ornament than this4 ,in the beauty of his design1 with its more restrained taste1 ,holbein equalled the famous ,italian craftsman4 ,another beautiful design for a clock1 in which the nude figures of boys are admirably introduced1 was completed for ,sir ,anthony ,denny1 who presented it to the ,king on the ,new ,year's ,day immediately following the artist's death4 ,in his younger days1 when in ,basle1 he made many admirable designs for stained and painted glass windows1 some with sacred subjects1 already mentioned1 others with armorial bearings1 and in several the figures of armed soldiers1 with their picturesque costumes1 are introduced with excellent effect4 ,among the many drawings by him which have been preserved there are several examples of architecture1 of which the most important is a drawing of a large fireplace and chimney-piece1 decorated with the ,royal ,arms and of very elaborate ,renaissance design 7,british ,museum71 but whether it was actually carried out is uncertain4 ,several architectural works have been attributed to him1 such as the old ,whitehall ,gateway1 now demolished1 the so-called 8,holbein ,porch0 and lodge at ,wilton1 the carved capitals in the ,more ,chapel at ,chelsea1 and a ceiling in ,whitehall1 mentioned very vaguely by ,samuel ,pepys4 ,it is almost certain that he had nothing whatever to do with these1 although his fertility in the invention of architectural details for the backgrounds of his pictures and woodcuts was so great that possibly he wanted only an opportunity to attempt more serious architectural work1 as was the custom of many ,italian artists1 who built as well as painted4 ,,portrait ,,painting4 ,it was1 however1 as a portrait painter that ,holbein's genius reached its highest manifestations4 ,in portraiture he stands side by side with the greatest4 ,that so considerable a part of his time was given up to this branch of art was no doubt owing to environment1 although his stupendous gifts in this direction were born in him1 and were bound to come to the front4 ,the ,reformation in ,switzerland brought his paintings of altar-pieces to an abrupt conclusion1 and in ,england he found no demand for sacred art1 but1 on the other hand1 a splendid field for portrait painting1 of which he availed himself to the utmost2 and he has left a series of lifelike representations of the illustrious men and women of ,henry ,,viii4's reign of more value1 both historically and as absolutely faithful representations of the people depicted1 than even the similar series painted by ,van ,dyck at the ,court of ,charles ,i41 or by ,reynolds and ,gainsborough under ,george ,,ii4 and ,george ,,iii41 and even wider in its range of subjects than ,velasquez accomplished in ,philip's service4 ,the magical brush of the artist has pictured for us1 with a living realism1 many members of the royal ,house of ,tudor1 high prelates of the ,church1 leading statesmen1 soldiers and sailors1 men of learning and of science1 leaders of fashion1 country gentlemen and their wives1 ,german and ,english merchants1 foreign diplomatists1 and plain citizens4 ,one of the greatest artistic treasures in this country is the series of drawings of heads at ,windsor ,castle1 the preliminary studies ,holbein made before painting his portraits1 and1 slight as many of them are1 themselves most vivid portraits1 in which1 with wonderful swiftness yet sureness of touch1 he has given us not only an accurate likeness1 but also the character which lies behind the face-mask1 allowing us to look into the inmost thoughts of each sitter1 and so to fathom the invisible by the aid of his acute penetration1 which is of far higher value than mere accurate delineation of features1 and is the crowning quality of all really great portraiture4 ,in all his completed portraits he spared no pains over the painting of accessories and details1 and in some of them he carried this to as fine a finish as any ,dutchman or ,fleming ever accomplished4 ,what could be finer than the various objects scattered about the office of the ,steelyard merchant1 ,georg ,gisze 7,berlin71 or the ornaments and embroideries1 silks1 satins1 and furs of the dresses in such portraits as those of ,archbishop ,wareham 7,louvre71 ,jane ,seymour 7,vienna71 ,anne of ,cleves 7,louvre71 ,charles de ,solier1 ,comte de ,morette 7,dresden71 ,the ,ambassadors 7,national ,gallery71 or the ,duke of ,norfolk 7,windsor78 ,yet the fine execution of all this elaborate detail is soon overlooked1 and attention is fixed solely upon the portrait itself1 in which1 without any apparent effort on the part of the artist1 the very man stands out before us exactly as he looked when in the flesh1 with no flattering or softening of harsh features1 and with his character1 and the thoughts which he imagined were hidden from the painter1 laid bare for our inspection4 ,holbein produces this effect of truth and this revelation of character by what appear to be the simplest methods1 which yet are in reality most subtle and most profound4 ,he puts but little of himself into his portraits1 and almost everything of his sitter4 ,no great subtleties of light and shade are brought in to aid the artistic result2 and even colour1 delightful and harmonious in a high degree as ,holbein's colour always is1 is not allowed to usurp the attention from the purpose of the work1 the complete realization of both the outward and inner man4 ,what at the first glance seems almost an unnatural flatness in his painting of a face displays upon examination the most delicate and accurate modelling of form4 ,his keenness of observation was extraordinary4 ,he constantly noted the slight difference in the shape of two sides of a face1 and that a man's eyes were not always of the same size1 characteristics which even the best artists have sometimes failed to see4 ,his painting of hair and of beards displays a marvellous fidelity to nature1 and his drawing of hands1 and the expression he puts into them1 is extraordinary4 ,in the painting of eyes1 too1 and mouth he is most expressive4 ,the hands of ,erasmus in the ,louvre and at ,longford ,castle1 of ,wareham and ,anne of ,cleves in the ,louvre1 are instances of this2 and the eyes of ,southwell 7,uffizi71 and of ,cheseman 7,hague71 and both eyes1 hands1 and mouth of the ,duchess of ,milan 7,national ,gallery74 ,he is seen at his best as a portrait painter in the ,duchess of ,milan 7see illustration1 and p4 #ed72 ,count ,morette2 ,jacob ,meyer and his family in the ,madonna picture at ,darmstadt 7see illustration1 and p4 #dd72 ,erasmus at ,longford ,castle 7see illustration1 and p4 #ej7 and in the ,louvre2 ,georg ,gisze 7see illustration1 and p4 #ea72 the portrait of an unknown man with a long beard1 formerly belonging to ,sir ,j4 ,e4 ,millais1 at ,berlin2 the portraits of three unknown young men1 all dated #aeda1 at ,vienna1 the ,hague1 and ,berlin2 ,the ,ambassadors2 ,the ,two ,godsalves at ,dresden2 his own wife and children at ,basle2 and the ,anne of ,cleves1 ,robert ,cheseman 7see illustration1 and p4 #ef71 and ,richard ,southwell already mentioned2 while among his earliest portraits those of ,bonifacius ,amerbach1 and ,jacob ,meyer and ,his ,wife on one panel1 both in ,basle1 should be carefully studied4 ,a number of others might be mentioned1 but these are sufficient to establish his right to the title of a great master4 ,holbein's method of work seems to have remained the same throughout his life4 ,it was his custom to make a preliminary study of the head on paper1 fixing with unerring accuracy the features of the sitter1 and making notes as to the colour or the details of the ornaments to be introduced at the side of the drawing1 and for the rest relying almost entirely upon his memory1 which must have been singularly retentive4 ,in this way he could accomplish much without fatiguing his patrons with a number of sittings4 ,occasionally1 by the use of colour and more careful and elaborate drawing1 he carried such preliminary studies much further1 until they were finished portraits in themselves4 ,others1 again1 are only hasty outlines1 but displaying the hand of a master4 ,they were executed in charcoal and black and red chalk1 the eyes1 hair1 and hand being often drawn in their proper colours4 ,some are strengthened in the outlines with the brush and ,indian ink1 while in others the whole face has been modelled with the brush with the greatest delicacy4 ,in some cases he fixed the preliminary drawing upon a panel1 and then painted the finished portrait over it4 ,unlike that of ,drer1 the one other really great ,german painter1 ,holbein's art bears no traces of medivalism1 either in form1 in method1 or in thought4 ,he was in every way a child of the ,renaissance1 and so was essentially modern1 as we understand the term to-day4 ,for this reason the forms in which he expresses himself require no explanation or preliminary training for their full comprehension1 but are immediately intelligible to us4 ,the great ,franconian1 ,albert ,drer1 was steeped in the spirit of medivalism1 a dreamer of dreams1 full of philosophical theories and spiritual speculation1 and his work fired with a passion which ,holbein's lacked2 whereas the great ,swabian was before all things a serene painter1 lacking strong artistic passions4 ,he loved ,nature simply and for herself1 and had the keenest vision for her manifold beauties down to the minutest details1 and was filled with the delight of life and joy of the world around him1 without troubling himself greatly about theological questions4 ,that he was at heart on the side of the ,reformation is shown in many of his woodcut illustrations1 but his share in the controversy is marked by none of the violence which characterized the eager partisans on either side4 ,sir ,frederic ,leighton1 speaking of these two painters in his address to the ,royal ,academy students in #ahic1 notes the most striking differences between them in a few admirable sentences4 ,he says of ,holbein3 8,as a draughtsman he displayed a flow1 a fulness of form1 and an almost classic restraint which are wanting in the work of ,drer1 and are1 indeed1 not found elsewhere in ,german art4 ,as a colourist he had a keen sense of the values of tone relations1 a sense in which ,drer again was lacking2 not so ,teutonic in every way as the ,nuremberg master1 he formed a link between the ,italian and ,german races4 ,a less powerful personality than ,drer1 he was a far superior painter4 ,proud may that country be indeed that counts two names so great in art40 ,it is an almost impossible task to sum up in a short paragraph the leading characteristics of ,holbein's art4 ,in his great decorative wall-paintings he rivalled many of the best ,italian painters of the ,renaissance4 ,in the depth of expression in his portraits1 and his power of rendering character and grasping the hidden thoughts of his sitter1 he is worthy of a place by ,leonardo da ,vinci4 ,in his religious paintings he reached at least once1 in ,the ,meyer ,madonna1 the level upon which ,raphael stood1 and had his surroundings been different he would have attained signal success as a painter of sacred compositions4 ,he attempted no great subtleties of chiaroscuro1 nor sought to rival his ,italian contemporaries in the magnificence of their colour2 but his colour is always most harmonious1 and both in design and style he was great4 ,in his most important designs for metal-workers he is equal to ,benvenuto1 that most inspired and artistic of swashbucklers1 and with more restraint in the handling of his theme1 but no less invention4 ,with the exception of ,drer1 no artist of the cinquecento produced such admirable designs for woodcuts and book illustrations4 ,in his preliminary drawings for his portraits the insight1 the ease of draughtsmanship1 the force united with the greatest delicacy1 and the freedom from all traces of mannerism1 unite to make them--as seen at ,windsor1 ,basle1 ,berlin1 and elsewhere--one of the most complete and valuable series of documents of the history of the first half of the sixteenth century we possess to-day4 ,possibly the greatest side of his genius is to be found in his penetrative power into the very souls of his sitters1 and the revelation of true character which was the consequence of it4 ,this keen insight1 aided by a manipulative skill of a very rare quality1 combined to make him one of the great masters of the world4 ,ruskin's judgment of him1 when comparing him with ,sir ,joshua ,reynolds1 may be fitly quoted in conclusion4 ,he says3 8,the work of ,holbein is true and thorough1 accomplished in the highest1 as the most literal1 sense1 with a calm entireness of unaffected resolution which sacrifices nothing1 forgets nothing1 and fears nothing4 ,holbein is complete2 what he sees1 he sees with his whole soul2 what he paints1 he paints with his whole might40 ,,our ,,illustrations ,among the many splendid portraits which ,holbein painted it is difficult to make a selection for the purpose of illustration4 ,the ,meyer ,madonna has been included as his finest religious painting and his most celebrated work4 ,although the ,portrait of the ,duchess of ,milan and ,the ,ambassadors are now in the ,national ,gallery1 and so are accessible to all1 they have been reproduced1 because the first is in many ways the best portrait1 and certainly the most fascinating ,holbein ever accomplished1 while the second is the most important work of the master now remaining in ,england4 ,the other portraits reproduced in this book are all in their way masterpieces of portraiture1 and the ,noli ,me ,tangere1 at ,hampton ,court1 is of interest as the only sacred picture by him which is now in this country4 99 99 99 99 99 ,the ,meyer ,madonna in the old schloss of ,darmstadt1 belonging to the ,grand ,duke of ,hesse1 is one of the great sacred pictures of the world4 ,it represents the ,burgomaster of ,basle1 ,jacob ,meyer1 and his family kneeling in adoration at the feet of the ,virgin ,mary1 who stands in an architectural niche of red marble and gray stone1 with a shell-shaped canopy over her head4 ,her dress is blue1 but the darkening of the varnish has given it a greenish hue1 with a bright red girdle and a large mantle1 which is spread out protectingly over the donors4 ,she is placed upon no isolated throne1 but stands among the ,meyer family1 as though to protect them from evil4 ,the ,divine ,child in her arms leans back with ,his head against her breast1 while ,his left hand is stretched out over the suppliants as though in benediction4 ,on one side ,meyer kneels1 his hands clasped in prayer1 gazing fervently upwards1 while his young son is occupied in supporting a little naked child who stands in the front4 ,on the other side kneel the women-folk1 with the daughter1 ,anna1 nearest the spectator1 her golden head-dress elaborately embroidered with pearls4 ,next to her is her mother1 ,meyer's second wife1 ,dorothea ,kannegiesser1 and nearest the ,virgin a third woman1 who may be either his first wife1 ,magdalen ,br1 or ,magdalen's daughter by a previous marriage4 ,all are kneeling on a richly coloured ,turkish carpet4 ,the figures are about three-quarters the size of life4 ,the colour of the whole is rich1 subdued1 and very fine4 ,the ,dresden ,gallery possesses a very fine copy of this picture1 with certain alterations1 which1 until the two pictures were exhibited side by side in #ahga1 was considered by most critics to be the original work4 ,it is now acknowledged to be only a skilful copy1 probably done about one hundred years later1 when ,meyer's descendants sold the picture to an ,amsterdam dealer about #afbf4 ,certain alterations have been made by the copyist in the hope of improving the picture4 ,in the original the head of the ,virgin comes too near to the top of the niche1 and this has been remedied1 and he has tried to improve and beautify ,mary's somewhat thick-set figure1 resulting in a lack of natural force and a weak idealization which ,holbein himself would have scorned4 ,the happy-looking ,child of the ,darmstadt picture has been copied so badly and with so unhappy an expression that it has been thought to represent a sick child1 and it is probably owing to this that a number of fanciful interpretations have been given of the hidden meaning of the picture4 ,both in colour and in effect the copy in no way equals the original1 which is in all ways a picture of noble simplicity1 splendid colour1 and striking veracity of portraiture4 ,the ,darmstadt picture was painted about #aebf4 ,meyer was a banker and money-changer1 and during the struggles of the ,reformation remained a staunch ,catholic1 and no doubt ordered this altar-piece as an outward sign of the faith that was in him4 ,for reasons already mentioned a number of suggestions1 more or less improbable1 have been made as to the inner meaning of the painting4 ,it has been suggested that it is a votive picture to commemorate the recovery of a sick child4 ,this idea is carried still further by others1 who say that the infant in the ,madonna's arms is the soul of a dead child1 while a third interpretation is that it ,illustration3 ,hanfstngl photo4 ,national ,gallery4 ,,the ,,ambassadors4 is the soul of the woman kneeling next to the ,virgin1 who is supposed to have recently died4 ,other explanations have been given1 but they are all sentimental refinements of modern ,german criticism1 first voiced by ,tieck and ,schlegel1 which might not have occurred to them if they had studied the original instead of the copy4 ,ruskin was on the side of the sentimentalists4 ,he says 7,cornhill ,magazine1 #ahfj73 8,the received tradition respecting the ,holbein ,madonna is beautiful1 and ,i believe the interpretation to be true4 ,a father and mother have prayed to her for the life of their sick child4 ,she appears to them1 her own ,child in her arms4 ,she puts down her ,christ before them1 takes their child into her arms instead2 it lies down upon her bosom1 and stretches its hands to its father and mother1 saying farewell40 ,the simplest explanation1 and the most probable1 is that it is merely an ordinary picture of ,virgin and ,child with the donors in adoration1 and it is splendid enough in its simplicity without the need of any refined subtleties added to it by ,teutonic sentimentalists4 99 99 99 99 99 ,the picture popularly known as ,the ,ambassadors1 formerly in the collection of the ,earl of ,radnor at ,longford ,castle1 was purchased for the nation in #ahij4 ,until that year the left-hand figure was always supposed to represent ,sir ,thomas ,wyatt1 poet and diplomatist1 and his companion some unknown friend and fellow ,ambassador1 who1 ,dr4 ,woltmann suggested1 was ,john ,leland4 ,when the picture was first exhibited in the ,national ,gallery many suggestions were made as to their real identity1 the most important being that of ,mr4 ,w4 ,f4 ,dickes1 who wrote several long articles to prove that they were the ,german ,counts ,palatine ,otto ,henry and his brother ,philip1 and that the picture represented 8,the ,nuremberg ,treaty of ,religious ,freedom between the ,catholics and ,protestants40 ,happily1 the matter was settled in #ahie by ,miss ,mary ,f4 ,s4 ,hervey1 who discovered documentary evidence of so exact a kind that no doubt remains that the portraits are those of ,jean de ,dinteville1 seigneur de ,polizy1 bailly de ,troyes1 and a knight of the ,french ,order of ,st4 ,michael1 and his friend1 ,george de ,selve1 ,bishop of ,lavaur4 ,mr4 ,dickes1 however1 has recently returned to the charge 7#aija71 doubts the evidence1 and still pins his faith to his ,counts ,palatine4 ,dinteville came here as ,french ,ambassador more than once1 and was in ,london in that capacity from ,february to ,november1 #aecc1 the year in which the picture was painted1 and during that time ,de ,selve paid him a visit4 ,george de ,selve was appointed to the see of ,lavaur in #aebf1 when only eighteen1 but was not consecrated ,bishop until #aecd1 and so in the picture is not shown in episcopal dress4 ,he was one of six brothers1 nearly all of whom gained distinction as ,ambassadors4 ,he himself served as ,ambassador on a number of occasions1 and his piety1 his profound learning1 and his keen interest in all intellectual pursuits1 as ,miss ,hervey tells us in her exhaustive study of these two men and their picture1 made him one of the most remarkable men of his day4 ,the two men stand on each side of a high1 two-shelved table4 ,dinteville1 on the left1 is gorgeously dressed in a doublet of rose satin1 with a black jacket and surcoat lined with ermine4 ,his dark hair is cut straight across his forehead4 ,de ,selve1 on the right1 is clad in a long brocaded gown of chocolate colour1 lined with brown fur4 ,his hair and beard are also dark4 ,both shelves of the table are covered with a number of books1 mathematical1 musical1 and other instruments1 including a celestial and a terrestrial globe1 sundial1 lute1 flutes1 and other emblems of the pursuits in which they were interested4 ,the curious object in the foreground is merely a distorted skull1 which1 when looked at from the side1 assumes its proper proportions--a kind of optical puzzle1 which had some vogue in the sixteenth century4 ,the pattern of the pavement of coloured marbles was copied by the artist from the one in the ,sanctuary of ,westminster ,abbey4 ,the many details of the picture have been painted with ,holbein's usual accuracy and perfection4 ,the faces of the two men are finely and delicately modelled1 though their character is not quite so subtly expressed as in such a portrait as the ,duchess of ,milan4 ,the dark1 penetrating eyes and well-chiselled mouth of ,dinteville give vitality to his intellectual face4 ,de ,selve is grave in contrast1 with dark eyebrows and a more pallid complexion1 and his countenance has less expression than is to be found in the other4 ,the nobility of type of these two well-born1 intellectual men is1 however1 admirably depicted by ,holbein in a picture which is splendid both in colour and in treatment4 99 99 99 99 99 ,holbein seems to have painted ,erasmus three or four times1 and as the originals were multiplied by copyists during the artist's life1 there are still a large number of portraits of the great scholar in existence1 all to-day ascribed to our painter4 ,at least two of them were sent to ,england by ,erasmus as presents to ,sir ,thomas ,more and ,archbishop ,wareham1 one of which was the picture now at ,longford ,castle1 and the other the fine profile in the ,louvre1 which was formerly in ,charles ,i4's collection4 ,the ,earl of ,radnor's ,erasmus is a masterly and lifelike portrait4 ,it forms a companion picture to the portrait of ,peter gidius1 by ,quentin ,matsys1 also at ,longford4 ,for a long time both pictures were thought to be by the latter painter1 as in #aeag these two learned men commissioned ,matsys to paint a double portrait of them1 which was sent as a present to ,sir ,thomas ,more4 ,erasmus is represented in his black doctor's robes1 heavily trimmed with fur1 and a black cap4 ,his hands rest upon a book1 bearing the inscription1 partly in ,greek and partly in ,latin1 8,the ,herculean labours of ,erasmus of ,rotterdam40 ,a curtain is behind his head1 and on the left a stone pillar carved with fine ,renaissance design4 ,on the right a number of books are placed upon ,illustration3 ,gray photo4 ,longford ,castle4 ,,portrait ,,of ,,erasmus4 ,by special permission of the ,earl of ,radnor4 a small shelf1 and on one of the volumes is the date #aebc1 and a half-effaced ,latin distich1 in which ,holbein's name can still be read4 ,the philosopher1 turned slightly to the left1 is gazing in front of him1 deep in thought4 ,mr4 ,claude ,phillips has admirably described this picture 7,art ,journal1 ,april1 #ahig74 ,he says3 8,holbein has rarely painted with a more exquisite subtlety or a firmer grip of his subject than here4 ,the modelling of the head and hands is perfect in its searching truth and fine balance1 showing none of that exaggeration and hardness of facial detail which so often mars the pictorial and obscures the intellectual conceptions in the portraits of ,albrecht ,drer4 ,bodily suffering and advancing age have a little extinguished physical energy1 but yet the great scholar of ,rotterdam appears here surely but undemonstratively portrayed in his true character4 ,he was the chief representative of the broader humanism in the ,reformation1 the one man able to look calmly at the world as it was--able to weigh1 to judge1 but also to show toleration--that is1 provided his own comfort and security were not thereby interfered with40 ,the ,louvre example1 showing ,erasmus writing1 in profile1 is smaller and richer in colour than the ,longford example1 and even more searching in its rendering of truth and character4 99 99 99 99 99 ,the superb portrait of ,georg ,gisze1 member of the ,hanse ,league and the ,london ,steelyard1 painted in #aecb1 shortly after ,holbein's return to ,england1 and now in the ,berlin ,gallery1 is finer in its colour and more delicate in the rendering of its details than any other of the ,steelyard portraits done by the artist about this time4 ,it is almost ,flemish in the minuteness and care of its finish and its clear colour1 and seems to have had unusual pains bestowed upon it1 perhaps as a kind of show-piece to tempt other sitters4 ,the young merchant is shown in his office1 behind a table covered with a cloth of ,eastern design1 with the various objects that he requires in his business scattered in front of him and about the room4 ,among them is a graceful ,venetian glass holding carnations4 ,papers and letters are fastened to the walls1 one of which he is just opening1 upon which can be read the address3 8,to the honourable ,georg ,gisze1 my brother1 in ,london1 ,england40 ,on the wall hangs a paper with his motto3 8,nulla sine merore voluptas40 ,he has fair hair1 and is dressed in red1 with black cap and overcoat1 and a white shirt with a collar of ,spanish work4 ,all the accessories1 whether of silk1 or linen1 or gold1 or steel1 or glass1 are painted with a fidelity to nature never excelled by the ,dutchmen or ,flemings of the following century1 who devoted their whole career to the rendering of still-life4 ,in ,holbein's work1 however1 this elaboration of detail is soon forgotten in the fascination which the vivid representation of the sitter's personality produces in the spectator and the power displayed by the artist in seizing the essentials of a character4 ,illustration3 ,hanfstngl photo4 ,berlin4 ,,georg ,,gisze1 ,,merchant ,,of ,,the ,,steelyard ,ruskin has described this portrait for us in words so eloquent and so glowing 7,cornhill ,magazine1 ,march1 #ahfj7 that no excuse is needed for quoting a sentence or two here3 8,every accessory is perfect with a fine perfection3 the carnations in the glass vase by his side2 the ball of gold1 chased with blue enamel1 suspended on the wall2 the books1 the steelyard1 the papers on the table1 the seal-ring with its quartered bearings--all intensely there1 and there in beauty of which no one could have dreamed that even flowers or gold were capable1 far less parchment or steel4 ,but every change of shade is felt1 every rich and rubied line of petal followed1 every subdued gleam in the soft blue of the enamel and bending of the gold touched with a hand whose patience of regard creates rather than paints4 ,the jewel itself was not so precious as the rays of enduring light which form it1 beneath that errorless hand4 ,the man himself what he was--not more2 but to all conceivable proof of sight1 in all aspect of life or thought--not less4 ,he sits alone in his accustomed room1 his common work laid out before him2 he is conscious of no presence1 assumes no dignity1 bears no sudden or superficial look of care or interest1 lives only as he lived--but for ever4 ,it is inexhaustible4 ,every detail of it wins1 retains1 rewards the attention with a continually increasing sense of wonderfulness4 ,it is also wholly true4 ,so far as it reaches1 it contains the absolute facts of colour1 form1 and character1 rendered with an unaccusable faithfulness40 ,according to ,dr4 ,woltmann1 ,gisze belonged to a family residing in the neighbourhood of ,basle1 and even to-day1 in the small adjacent town of ,liestall1 the name1 in the form of ,gysin1 is to be seen over many houses4 ,even on the picture it is spelt in more ways than one4 ,miss ,hervey considers it to be a variation of the surname ,gueiss1 one of the most distinguished in the annals of the ,steelyard1 and well known in ,cologne4 ,georg ,gisze was deputy ,alderman of the ,steelyard in #aecc4 99 99 99 99 99 ,shortly after the death of ,queen ,jane ,seymour1 in ,october1 #aecg1 the ,privy ,council began to urge the ,king to marry again4 ,the lady chosen was ,christina1 niece of the ,emperor ,charles ,v41 daughter of the ,king of ,denmark1 and the young widow of ,francesco ,maria ,sforza1 last ,duke of ,milan1 whom she married in #aecd1 when she was only eleven4 ,he died in the following year1 and in #aech she was residing in ,brussels at the ,court of her aunt1 the ,regent of the ,netherlands4 ,holbein1 as 8a man very excellent in taking phisanymies10 was sent over to paint her portrait1 and arrived there on ,march #aj1 accompanied by ,sir ,philip ,hobby4 ,a long letter to ,cromwell from ,john ,hutton1 ,english ,envoy to ,flanders1 gives us full details of this expedition4 ,the lady's portrait had just been painted by some local artist1 and despatched to ,cromwell1 on the eve of ,holbein's arrival4 ,when ,hutton1 however1 saw the likeness which the latter produced in the space of three hours1 which he considered 8very perffight10 he sent a messenger in haste to stay the delivery of the other1 telling ,cromwell that it was but 8sloberid0 in comparison4 ,holbein probably made one of his usual black-and-white crayon studies touched with colour1 and from this1 after his return to ,london1 painted the full-length portrait belonging to the ,duke of ,norfolk1 which he has lent so generously for a number of years to the ,national ,gallery4 ,christina stands1 almost the size of life1 facing the spectator1 dressed in 8mourning aparel after the manner of ,italy0--a black satin gown1 and over it a long black cloak lined with yellow sable4 ,a black hood covers her hair and part of her forehead1 and a ruby ring is her only ornament4 ,you cannot call her very beautiful1 but her expression is fascinating in the highest degree4 ,it is painted with the utmost simplicity and directness1 and yet is stamped with real grandeur of style in every delicate stroke of the brush4 ,her slender form 78,she is of taller stature than either of us10 wrote the ,ambassadors ,wriothesley and ,vaughan7 is admirably rendered1 and ,holbein1 in the spirit of a true artist1 has chosen to depict her in all the severity of her widow's weeds1 rather than in the bravery of the ,brussels court lady1 thus giving an added effect to her sweet childish countenance1 which is modelled in the most masterly fashion4 ,her dark eyes1 from under fair eyebrows1 seem to admit one to her most secret thoughts1 and the red lips are full of expression4 ,the flesh tints are unusually transparent1 and a faint rosy glow of health just flushes her cheeks4 8,she is not so white as the late ,queen10 says ,hutton1 8but she hath a singular good countenance1 and when she chanceth to smile there appeareth two pits in her cheeks and one in her chin1 the which becomith her excellently well4 ,she is higher than the ,regent1 a goodly personage of body and competent of beauty1 of favour excellent1 soft of speech1 and very gentle in countenance40 ,it is an exquisite portrait1 and one of the most precious in the country4 ,for some reason1 probably the ,papal excommunication of ,henry1 the ,emperor suddenly became hostile to this alliance1 and the negotiations were broken off4 ,she herself seems to have been not unwilling to become an ,english ,queen4 ,sir ,thomas ,wyatt reported that she was somewhat flighty1 but ,hutton1 on the other hand1 mentions 8her honest countenance1 and the few words she wisely spoke40 ,the popular tradition runs that she sent a respectfully sarcastic refusal to ,henry1 saying that 8she had but one head2 if she had two1 one of them should be at ,his ,majesty's service40 ,she married ,francis1 ,duke of ,lorraine and ,bar1 in #aeda4 99 99 99 99 99 ,one of the best of ,holbein's portraits of ,english commoners is that of ,robert ,cheseman in the ,hague ,gallery1 which was formerly in the royal collections of ,england4 ,with his usual directness and faultless mastery of handling1 he has given us here another example of exact portraiture1 illuminated by a deep insight into ,illustration3 ,hanfstngl photo4 ,the ,hague4 ,,robert ,,cheseman ,,with ,,his ,,falcon4 character4 ,cheseman1 who is forty-eight1 wears a silk doublet of purplish-red1 with the customary black overcoat trimmed with fur4 ,his curly hair is beginning to turn gray4 ,he holds a hooded hawk on his gloved left hand1 and strokes its feathers with his right4 ,the bird is splendidly painted1 and the keen1 piercing eyes and clean-cut face of its master are wonderfully rendered4 ,sir ,joshua ,reynolds1 who noted it during his travels in ,holland1 speaks of it as 8admirable for its truth and precision1 and extremely well coloured40 ,this picture is called erroneously in all the books 8,henry ,,viii4's ,falconer10 but he was a person of much more importance4 ,robert ,cheseman1 of ,dormanswell1 near ,norwood1 in ,middlesex1 and ,northcote1 in ,essex1 was a man of wealth1 and one of the leading commoners of his county4 ,he was born in #adhe1 son and heir of ,edward ,cheseman1 ,cofferer and ,keeper of the ,wardrobe to ,henry ,,vii41 and succeeded to the family estates in #aeag4 ,he was made a ,justice of the ,peace for ,middlesex in #aebh1 and during his life served on a number of commissions for collecting tithes1 subsidies1 and so on4 ,in #aecj he was one of the commissioners on an inquiry into the possessions of ,thomas ,wolsey after he was attainted1 and was on the ,grand ,jury at the trials of ,sir ,geoffrey ,pole and others 7#aech71 and ,thomas ,culpeper and ,francis ,dereham for treason 7#aeda74 ,he was one of the gentlemen selected to welcome ,anne of ,cleves when she first landed in ,england1 and was1 in fact1 one of some half-dozen men of position who represented ,middlesex on such public occasions4 ,in #aecf he supplied thirty men for the army against the ,northern rebels1 so that he must have been a man of substance4 ,he married ,alice1 daughter of ,henry ,dacres1 of ,mayfield1 ,staffordshire1 a ,merchant ,tailor and ,alderman of ,london4 ,these curtailed biographical notes are inserted here1 as they have not been previously published4 99 99 99 99 99 ,a small work of great beauty in ,hampton ,court ,palace1 representing ,mary ,magdalen at the ,sepulchre1 sometimes called ,noli ,me ,tangere1 is of unusual value to ,english students1 as being the only sacred painting by ,holbein now in this country4 ,it has darkened greatly with age1 and has suffered other damage1 but is considered by most judges to be an undoubted original by the master1 although ,dr4 ,woltmann attributed it to ,bartholomew ,bruyn1 of ,cologne4 ,both in treatment and in feeling this picture is very similar to the altar-piece of the ,passion1 in eight compartments1 in the ,basle ,museum1 and must have been painted about the same time1 between #aebj and #aebg4 ,in sentiment it is one of the most poetical of ,holbein's compositions1 and an admirable example of his rendering of light and shade in his first ,basle period4 8,the early morning when it was yet dark0 is most successfully suggested in the painting of the landscape background4 ,dawn is just breaking over the sky and distant ,calvary1 while the foreground is still in darkness1 except for the light which radiates from the open sepulchre1 where ,illustration3 ,hanfstngl photo4 ,hampton ,court4 ,,mary ,,magdalen ,,at ,,the ,,sepulchre4 7,also called ,,noli ,,me ,,tangere47 the two angels can be seen seated at the head and the foot of the empty grave4 ,mary1 who holds a cup of spikenard in her left hand1 has turned round hastily in eager surprise1 and stretches out her right hand towards the ,saviour4 ,our ,lord draws back from her1 saying1 8,touch ,me not60 ,the dramatic action of the two figures is most expressive4 ,in the background the two disciples1 who have been before her at the sepulchre1 are seen hastening away4 ,peter1 still dubious as to the truth of the ,resurrection1 is talking eagerly and with animated gestures as he expresses his doubts2 but ,john1 who 8saw and believed10 turns back his head in reproach at a comrade who can doubt even for a moment4 ,the composition1 as a whole1 is marked by a simple but impressive dignity4 99 99 99 99 99 ,it seems almost certain that the first portrait painted by ,holbein in ,england was that of ,sir ,thomas ,more4 ,mr4 ,huth's finished portrait1 a half-length of the ,chancellor1 is dated #aebg4 ,there are two studies for ,more's head among the ,windsor drawings almost identical4 ,they are life-size1 three-quarter face1 looking to the right1 with black cap and fur collar1 done with black and red chalk4 ,the drawing reproduced here is #af inches high by #ab inches wide1 and has been pricked for tracing4 ,holbein sketched the members of the ,more family on a larger scale than was usual with him1 and all these drawings were preliminary studies for the large family group now lost1 or hidden under the paint of some feebler contemporary artist in the ,nostell ,priory version of the picture4 ,in these two drawings1 in ,mr4 ,huth's portrait1 and in the large sketch for the family group now at ,basle1 ,sir ,thomas is represented in the same position1 so that it is probable he only gave one sitting to the artist4 ,this drawing is masterly1 and is a splendid example of how easily ,holbein seized upon the leading characteristics of a face and with a few swift strokes fixed them for our admiration for ever4 ,in his youth ,more had been handsome1 and1 according to ,erasmus1 was of a fair complexion1 with dark-brown hair and gray eyes4 ,his firmly-compressed lips and his penetrating glance give to his face a sternness which he seldom displayed1 except in his detestation of heretics2 but fine judgment and nobility of feeling1 and that mental harmony which springs from inward peace1 are the leading characteristics in his face as the artist has drawn it for us here4 ,one can see at a glance that here was a man who would always be just in his dealings with others1 and unchangeable in carrying out what he knew to be his duty--a student and a man of deep learning1 and yet a man of affairs and of the world1 trusted by his ,king and admired by his equals1 and losing his head on the block through his invincible honesty4 ,erasmus well said of him3 8,he possesses that beautiful ease of mind1 or1 still better1 that piety and prudence1 with which he joyfully adapts himself to everything that comes1 as though it were the best that could come40 ,illustration3 ,colls photo4 ,windsor ,castle4 ,,sir ,,thomas ,,more1 ,,lord ,,high ,,chancellor4 ,from a drawing4 ,,list ,,of ,,the ,,artist',s ,,chief ,,works ,,in ,,public ,,galleries ,,great ,,britain4 ,,windsor ,,castle4 ,,sir ,,henry ,,guildford1 ,,master ,,of ,,the ,,horse1 #aebg4 ,,hans ,,of ,,antwerp ,,and ,,of ,,the ,,steelyard1 #aecb4 ,,derich ,,born1 ,,of ,,the ,,steelyard1 #aecc4 ,,thomas ,,howard1 ,,third ,,duke ,,of ,,norfolk1 ,,about #aedj4 ,,christina ,,of ,,denmark1 ,,duchess ,,of ,,milan1 #aech4 ,a small panel1 showing head and hands only1 possibly an earlier study than the full-length belonging to the ,duke of ,norfolk4 ,,hampton ,,court ,,palace4 ,,elizabeth1 ,,lady ,,vaux4 ,small bust1 partly repainted4 ,there is a replica in ,prague4 ,,john ,,reskemeer1 ,,of ,,murthyn1 ,,cornwall4 ,,mary ,,magdalen ,,at ,,the ,,sepulchre4 7,see illustration and p4 #eh47 ,,national ,,gallery4 ,,jean ,,de ,,dinteville ,,and ,,george ,,de ,,selve 78,,the ,,ambassadors071 #aecc4 7,see illustration and p4 #dg47 ,,christina ,,of ,,denmark1 ,,duchess ,,of ,,milan1 #aech 7,see illustration and p4 #ed47 ,,barber ,,surgeons' ,,hall4 ,,henry ,,viii4 ,,granting ,a ,,charter ,,to ,,the ,,new ,,corporation ,,of ,,barber ,,surgeons4 ,holbein's last work1 left unfinished4 ,,national ,,gallery ,,of ,,ireland4 ,,sir ,,henry ,,wyatt4 ,replica of the picture in the ,louvre1 and formerly in the ,magniac ,collection4 ,,austria4 ,,vienna1 ,,imperial ,,gallery4 ,,geryck 7,,or ,,derich7 ,,tybis ,,of ,,duisburg ,,and ,,the ,,steelyard1 #aecc4 ,,queen ,,jane ,,seymour1 ,,about #aecg4 ,a small half-length2 there is a copy of it at ,woburn ,abbey4 ,,portrait ,,of ,a ,,young ,,man1 ,,aged #bh1 #aeda4 ,a very fine portrait1 probably of an ,englishman4 ,,dr4 ,,john ,,chamber1 ,,about #aeda4 ,a small half-length of a very old man4 ,chamber's portrait in the ,barber ,surgeons' picture is one of the few heads in that work in which the hand of ,holbein can now be traced4 ,,portrait ,,of ,a ,,young ,,lady4 ,with an elaborate head-dress4 ,small half-length4 ,,portrait ,,of ,,an ,,englishman1 ,,aged #cj1 #aecd4 ,,portrait ,,of ,a ,,lady1 ,,aged #bh1 #aecd4 ,two small rounds on canvas2 portraits of some ,english courtier and his wife1 the man in a scarlet coat1 with the letters ,h4,r4 embroidered in gold4 ,,france4 ,,paris1 ,,louvre4 ,,william ,,wareham1 ,,archbishop ,,of ,,canterbury1 #aebg4 ,a replica of the portrait in ,lambeth ,palace4 ,,sir ,,henry ,,wyatt1 #aebg ,,or #aebh4 ,the father of ,sir ,thomas ,wyatt1 the poet4 ,formerly called a portrait of ,sir ,thomas ,more4 ,there is a replica of it in the ,national ,gallery of ,ireland4 ,,desiderius ,,erasmus1 #aebc4 ,profile1 turned to the left1 writing4 ,the oil-study for it is in the ,basle ,museum4 ,probably sent to ,england for ,more or ,wareham1 and exchanged by ,charles ,i4 with ,louis ,,xiii4 for a ,st4 ,john ,baptist1 by ,leonardo4 ,,sir ,,richard ,,southwell1 #aecf4 ,a replica of the portrait in the ,uffizi ,gallery1 but not so good4 ,another copy was exhibited by ,mr4 ,h4 ,e4 ,chetwynd-,stapylton at ,south ,kensington1 #ahff4 ,,nicholas ,,kratzer1 ,,of ,,munich1 #aebh4 ,henry ,,viii4's ,royal ,astronomer4 ,,anne ,,of ,,cleves1 #aeci4 ,,germany4 ,,berlin1 ,,royal ,,gallery4 ,,georg ,,gisze1 ,,of ,,the ,,steelyard1 #aecb4 7,see illustration and p4 #ea47 ,,portrait ,,of ,a ,,young ,,man1 ,,aged #cd1 #aecc4 ,said to be a member of the ,trelawney family1 and perhaps a brother of the young man whose portrait1 dated #aecb1 is in ,count ,schnborn's ,collection1 ,vienna4 ,,portrait ,,of ,a ,,man ,,with ,a ,,long ,,beard1 ,,aged #ed4 ,formerly in the possession of ,sir ,j4 ,e4 ,millais1 ,p4,r4,a4 ,painted about #aece 7874 ,,portrait ,,of ,a ,,young ,,man1 ,,aged #cg1 #aeda4 ,probably a ,dutchman1 of the ,vos van ,steenwijk family4 ,,brunswick ,,gallery4 ,,ambrosius 7,,or ,,cyriacus87 ,,fallen1 ,,of ,,the ,,steelyard1 #aecc4 ,much repainted4 ,,carlsruhe1 ,,kunsthalle4 ,,st4 ,,ursula ,,with ,,the ,,arrows4 ,,st4 ,,george ,,and ,,the ,,dragon4 ,two panels1 evidently parts of an altar-piece1 one of them dated #aebb4 ,some critics doubt the ascription1 but they may have been designed by ,holbein and completed by some other painter4 ,,darmstadt1 ,,old ,,palace4 ,,the ,,meyer ,,madonna1 ,,about #aebf4 7,see illustration and p4 #dd47 ,,portrait ,,of ,a ,,young ,,man1 #aeae4 ,dated and signed 8,h4 ,h40 ,,dresden ,,gallery4 ,,thomas ,,godsalve1 ,,of ,,norwich1 ,,and ,,his ,,son1 ,,sir ,,john ,,godsalve1 #aebh4 ,two portraits on one panel4 ,there is a fine drawing of ,sir ,john in the ,windsor collection4 ,,charles ,,de ,,solier1 ,,comte ,,de ,,morette1 ,,of ,,piedmont1 ,,about #aecd4 ,,the ,,meyer ,,madonna4 ,a copy1 with alterations1 of the ,darmstadt picture4 7,see p4 #de47 ,the ,dresden ,gallery also possesses copies of ,erasmus and ,henry ,,viii41 after ,holbein1 and a picture1 ,the ,death of ,virginia1 said to be after some lost original4 ,,frankfort1 ,,st,,del ,,institute4 ,,simon ,,george1 ,,of ,,cornwall4 ,,freiburg-,,im-,,breisgau1 ,,minster4 ,,the ,,nativity4 ,,the ,,adoration ,,of ,,the ,,magi4 ,altar-panels1 painted for ,hans ,oberriedt1 of ,basle4 ,,hanover1 ,,royal ,,gallery4 ,,edward ,,vi4 ,,when ,,prince1 #aech4 ,half-length1 life size4 ,other portraits of the ,prince in the possession of the ,duke of ,northumberland 7,syon ,house7 and the ,earl of ,yarborough4 ,,philip ,,melancthon4 ,a small round1 being a companion portrait to the small round of ,erasmus at ,basle1 both probably painted about #aecj4 ,,munich ,,gallery4 ,,derich ,,born1 ,,of ,,the ,,steelyard1 ,,about #aecc4 ,a small oval1 about #c inches high1 and seen slightly more in profile than the portrait of ,born in ,windsor ,castle4 ,,holland4 ,,the ,,hague ,,gallery4 ,,robert ,,cheseman1 ,,of ,,dormanswell1 #aecc4 7,see illustration and p4 #ef47 ,,portrait ,,of ,a ,,young ,,man1 ,,aged #bh1 ,,with ,a ,,falcon1 #aeda4 ,this splendid portrait is most likely that of an ,englishman4 ,,italy4 ,there is only one undoubted example in ,italy1 and that is the fine portrait of ,sir ,richard ,southwell in the ,uffizi ,gallery1 ,florence1 of which there is a replica in the ,louvre4 ,,spain4 ,the single work by ,holbein in ,spain is a portrait of an old man1 with an unusually large nose and a very ruddy face1 which is in the ,prado ,gallery1 ,madrid4 ,it appears to have been painted during ,holbein's first visit to ,england4 ,,switzerland4 ,,basle ,,museum4 ,,virgin ,,and ,,child1 #aead4 ,this is the earliest known work of ,holbein's1 and was found in a village near ,constance4 ,probably painted during his journey from ,augsburg to ,basle4 ,,the ,,virgin ,,mary4 ,,st4 ,,john ,,the ,,evangelist4 ,heads only4 ,two early works4 ,,the ,,last ,,supper2 ,,the ,,scourging ,,of ,,christ2 ,,the ,,prayer ,,on ,,the ,,mount ,,of ,,olives2 ,,christ ,,taken ,,captive2 ,,pilate ,,washing ,,his ,,hands4 ,five ,scenes from ,christ's ,passion1 part of a series painted for some temporary purpose1 such as the decoration of a church during ,holy ,week4 ,a ,,schoolmaster',s ,,sign4 ,a board painted on both sides1 representing the schoolmaster and his wife teaching pupils1 and now split into two halves4 ,,jacob ,,meyer1 ,,burgomaster ,,of ,,basle1 #aeaf4 ,,meyer',s ,,second ,,wife1 ,,dorothea ,,kannegiesser1 #aeaf4 ,,adam ,,and ,,eve1 #aeag4 ,heads only2 oil on paper4 ,,hans ,,herbster1 #aeag4 ,until recently in ,lord ,northbrook's ,collection1 and now attributed in ,basle to ,ambrose ,holbein4 ,,the ,,last ,,supper4 ,the side portions are missing4 ,broken up and badly restored in ,amerbach's time1 and again restored and badly repainted at a later date4 ,,bonifacius ,,amerbach1 #aeai4 ,,portrait ,,of ,,holbein4 ,in coloured crayons4 ,it is not absolutely certain that this fine portrait represents the painter himself4 ,,the ,,dead ,,christ ,,in ,,the ,,tomb1 #aeba4 ,,desiderius ,,erasmus1 #aebc4 ,in profile1 writing4 ,a study in oils for the portrait in the ,louvre4 ,,johann ,,froben1 ,,the ,,printer4 ,this is a copy only4 ,,the ,,passion ,,of ,,christ1 ,,about #aebd ,,or #aebe4 ,an altar-piece of eight small panels in one frame4 ,,christ ,,as ,,the ,,man ,,of ,,sorrows4 ,,the ,,virgin ,,as ,,mater ,,dolorosa4 ,two small oil-paintings in monochrome as a diptych4 ,,two ,,doors ,,of ,,an ,,organ ,,case4 ,in monochrome4 ,formerly in ,basle ,minster4 ,figures of the ,emperor ,henry ,,ii4 and his wife on one1 and the ,virgin and ,child with ,bishop ,pantalus on the other4 ,,dorothea ,,von ,,offenburg ,,as 8,,lais ,,corinthiaca40 ,,the ,,same ,,lady ,,as ,,venus1 ,,with ,,cupid4 ,,portrait ,,of ,,the ,,artist',s ,,wife ,,and ,,two ,,children1 ,,about #aebh4 ,,desiderius ,,erasmus1 #aecj 7874 ,a small roundel1 from which the ,parma portrait was probably painted4 ,it is a companion work to the ,melancthon at ,hanover4 ,z,,rich1 ,,town ,,library4 ,,painted ,,table1 #aeae4 ,done for the wedding of ,hans ,br1 in ,basle4 ,decorated with pictures of the amusing legend of ,st4 ,nobody1 blamed in all households as the real cause of all accidents2 and letters1 a pair of spectacles1 and other objects on the top1 with the intention of deceiving the spectator4 ,,miniatures ,,and ,,drawings4 ,holbein undoubtedly painted a number of miniatures1 but very few of these remain1 although many are ascribed to him4 ,among the best are those of the two sons of the ,duke of ,suffolk1 ,henry and ,charles ,brandon1 ,catherine ,howard1 and ,lady ,audley1 all at ,windsor2 others of ,henry ,,viii4 and ,jane ,seymour1 belonging to the ,seymour family2 and a portrait of ,holbein in the ,wallace ,collection4 ,the finest collections of drawings are those in ,windsor ,castle and the ,basle and ,british ,museums4 ,some good designs for jewellery will be found at ,chatsworth4 ,,chronology ,,of ,,the ,,artist',s ,,life #adig4 ,born in ,augsburg4 #aead4 ,left ,augsburg4 ,date of his first known picture4 #aeae4 ,settled in ,basle with his brother ,ambrose4 #aeag4 ,living in ,lucerne4 ,visited ,altdorf4 #aeah4 ,painted ,hertenstein's house in ,lucerne4 #aeai4 ,back in ,basle4 ,admitted to the ,painters ,guild4 #aebj4 ,paid his fees as a burgher of ,basle4 #aeba-bb4 ,decorated the interior of new ,town ,hall4 #aebf4 ,painted ,the ,meyer ,madonna about this time4 ,left ,basle1 and reached ,england before the end of the year4 #aebh4 ,returned to ,basle in the summer1 and bought a house4 #aecb4 ,returned to ,england1 and lived with the ,german colony in ,london4 #aecf4 ,in ,king ,henry's service4 #aecg4 ,painted the fresco in the ,privy ,chamber at ,whitehall4 #aech4 ,went to ,brussels to paint the ,duchess of ,milan4 ,made a second journey to 8,upper ,burgundy0 in ,december1 and spent a short time in ,basle4 ,the ,dance of ,death and ,old ,testament woodcuts published4 #aeci4 ,went in ,august to ,dren to paint ,anne of ,cleves4 #aedb4 ,began the large picture in ,barber ,surgeons' ,hall4 #aedc4 ,died1 probably of the plague1 on some day between ,october #g and ,november #bi4 ,,chief ,,books ,,on ,,holbein ,,blanc1 ,,charles4 ,jean ,holbein 7dit le ,jeune74 ,histoire des ,peintres de toutes les ,ecoles4 #ahfj4 ,,cust1 ,,lionel4 ,dictionary of ,national ,biography4 ,,his1 ,,edouard4 ,dessins d',ornements d',hans ,holbein4 #ahhf4 ,,knackfuss1 ,h4 ,holbein1 translated by ,campbell ,dodgson1 with #aea illustrations4 #ahii4 ,the latest and most accurate life1 containing illustrations of a larger number of ,holbein's portraits than in any other work4 ,,kugler4 ,handbook of ,painting--,german1 ,flemish1 and ,dutch ,schools4 ,revised by ,sir ,j4 ,a4 ,crowe4 ,vol4 ,i41 pp4 #aih-bah4 #ahih4 ,,law1 ,,ernest4 ,holbein's ,pictures at ,windsor ,castle4 #aija4 ,,mantz1 ,,paul4 ,hans ,holbein1 folio1 ,paris4 #ahgi4 ,the best illustrated book on the artist1 containing reproductions of the whole of the ,dance of ,death and ,old ,testament woodcuts1 and the marginal drawings to ,the ,praise of ,folly4 ,,rousseau1 ,,jean4 ,hans ,holbein4 ,bibliothque d',art ,ancien4 #ahhe4 ,,ruskin1 ,,john4 ,ariadne ,florentina4 ,lecture ,v4 8,design in the ,german ,schools of ,engraving 7,holbein and ,drer740 #ahgb4 ,,ruskin1 ,,john4 8,sir ,joshua and ,holbein40 ,cornhill ,magazine1 ,march1 #ahfj4 ,,woltmann1 ,,alfred4 ,holbein und seine ,zeit4 ,second ,edition1 #b vols4 #ahgd-gf4 ,this is the leading work on ,holbein4 ,,woltmann1 ,,alfred4 ,holbein and his ,time4 ,translation of the first edition by ,f4 ,e4 ,bunnett1 with #fj illustrations4 #ahgb4 ,,wornum1 ,r4 ,n4 ,some ,account of the ,life and ,work of ,hans ,holbein4 #ahfg4 ,,wornum1 ,r4 ,n4 ,hans ,holbein and the ,meier ,madonna4 ,arundel ,society4 #ahga4 99 99 99 99 99 ,the ,british ,artists ,series4 ,large post #hvo1 in special bindings1 with #ij to #ajj ,illustrations1 #gs4 #f;d4 net each4 ,sir ,edward ,burne-,jones1 ,bart4 ,,by ,,malcolm ,,bell4 ,seventh ,edition4 ,sir ,j4 ,e4 ,millais1 ,bart41 ,p4,r4,a4 ,,by ,a4 ,,lys ,,baldry4 ,second ,edition4 ,frederic1 ,lord ,leighton1 ,p4,r4,a4 ,,by ,,ernest ,,rhys4 ,fourth ,edition4 99 99 99 99 99 ,the ,english ,pre-,raphaelite ,painters4 ,their ,associates and ,successors4 ,,by ,,percy ,,bate4 ,second ,edition4 ,,london3 ,,george ,,bell ,,sons4 99 99 99 99 99 ,messrs4 ,bell's ,books4 ,great ,masters in ,painting and ,sculpture4 ,edited by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,post #hvo1 each with #dj illustrations and photogravure frontispiece4 #es4 net4 ,,bernardino ,,luini4 ,by ,g4 ,c4 ,williamson1 ,litt4,d4 ,,velasquez4 ,by ,r4 ,a4 ,m4 ,stevenson4 ,,andrea ,,del ,,sarto4 ,by ,h4 ,guinness4 ,,luca ,,signorelli4 ,by ,maud ,cruttwell4 ,,raphael4 ,by ,h4 ,strachey4 ,,carlo ,,crivelli4 ,by ,g4 ,mc,neil ,rushforth1 ,m4,a4 ,,correggio4 ,by ,selwyn ,brinton1 ,m4,a4 ,,donatello4 ,by ,hope ,rea4 ,,perugino4 ,by ,g4 ,c4 ,williamson1 ,litt4,d4 ,,sodoma4 ,by the ,contessa ,lorenzo ,priuli-,bon4 ,,della ,,robbia4 ,by the ,marchesa ,burlamacchi4 ,,giorgione4 ,by ,herbert ,cook1 ,m4,a4 ,,memlinc4 ,by ,w4 ,h4 ,james ,weale4 ,,piero ,,della ,,francesca4 ,by ,w4 ,g4 ,waters1 ,m4,a4 ,,pintoricchio4 ,by ,evelyn ,march ,phillipps4 ,,francia4 ,by ,george ,c4 ,williamson1 ,litt4,d4 ,,brunelleschi4 ,by ,leader ,scott4 ,,mantegna4 ,by ,maud ,cruttwell4 ,,rembrandt4 ,by ,malcolm ,bell4 ,,giotto4 ,by ,f4 ,mason ,perkins4 ,,wilkie4 ,by ,lord ,ronald ,sutherland ,gower1 ,m4,a41 ,f4,s4,a4 ,,gerard ,,dou4 ,by ,dr4 ,w4 ,martin4 ,in preparation3 ,,el ,,greco4 ,by ,manuel ,b4 ,cossio1 ,litt4,d41 ,ph4,d4 ,,tintoretto4 ,by ,j4 ,b4 ,stoughton ,holborn1 ,m4,a4 ,d,,rer4 ,by ,hans ,w4 ,singer1 ,m4,a41 ,ph4,d4 ,,watteau4 ,by ,edgcumbe ,staley1 ,b4,a4 ,,botticelli4 ,by ,a4 ,streeter4 ,,leonardo ,,da ,,vinci4 ,by ,edward ,mc,curdy1 ,m4,a4 ,,paolo ,,veronese4 ,by ,roger ,e4 ,fry4 ,,gaudenzio ,,ferrari4 ,by ,ethel ,halsey4 ,others to follow4 99 99 99 99 99 ,bell's ,handbooks of the ,great ,craftsmen4 ,illustrated ,monographs1 biographical and critical1 of the ,great ,craftsmen and ,workers of ,ancient and ,modern ,times4 ,,edited ,,by ,g4 ,c4 ,,williamson1 ,,litt4,d4 ,imperial #afmo1 profusely illustrated1 #es4 net each4 ,the ,pavement ,masters of ,siena4 ,by ,r4 ,h4 ,,hobart ,,cust1 ,m4,a4 ,peter ,vischer1 ,bronze ,founder4 ,by ,,cecil ,,headlam4 ,the ,ivory ,workers of the ,middle ,ages4 ,by ,a4 ,m4 ,,cust4 ,,other ,,volumes ,,to ,,follow4 99 99 99 99 99 ,bell's ,cathedral ,series4 ,profusely ,illustrated4 ,in specially designed cloth cover1 crown #hvo1 #as4 #f;d4 net each4 ,now ,ready4 ,,bristol4 ,,canterbury4 ,,carlisle4 ,,chester4 ,,chichester4 ,,durham4 ,,ely4 ,,exeter4 ,,gloucester4 ,,hereford4 ,,lichfield4 ,,lincoln4 ,,manchester4 ,,norwich4 ,,oxford4 ,,peterborough4 ,,ripon4 ,,rochester4 ,,st4 ,,david',s4 ,,st4 ,,paul',s4 ,,salisbury4 ,,southwell4 ,,wells4 ,,winchester4 ,,york4 ,,worcester4 ,in ,preparation4 ,,st4 ,,albans4 ,,llandaff4 ,,st4 ,,asaph ,,and ,,bangor4 ,,glasgow4 ,the following uniform ,volumes are also published1 #as4 #f;d4 net each4 ,,english ,,cathedrals4 ,an ,itinerary and ,description4 ,,st4 ,,martin',s ,,church1 ,,canterbury4 ,,beverley ,,minster4 ,,tewkesbury ,,abbey ,,and ,,deerhurst ,,priory4 ,,christchurch ,,priory ,,and ,,wimborne ,,abbey4 ,,bath ,,abbey1 ,,malmesbury ,,abbey1 ,,and ,,bradford-,,on-,,avon ,,church4 ,,westminster ,,abbey4 ,bell's ,handbooks to ,continental ,churches4 ,profusely ,illustrated4 ,crown #hvo1 #bs4 #f;d4 net each4 ,,chartres3 ,,the ,,cathedral1 and other ,churches4 ,,rouen3 ,,the ,,cathedral1 and other ,churches4 ,,amiens3 ,,the ,,cathedral1 and other ,churches4 ,,paris3 ,,notre ,,dame4 ,preparing4 99 99 99 99 99 ,life and ,light ,books4 ,prettily ,bound1 #as4 net each4 #a4 ,,the ,,greatest ,,thing ,,ever ,,known4 ,by ,,ralph ,,waldo ,,trine4 #afth ,thousand4 #b4 ,,fate ,,mastered--,,destiny ,,fulfilled4 ,by ,w4 ,j4 ,,colville4 #c4 ,,every ,,living ,,creature4 ,by ,,ralph ,,waldo ,,trine4 #d4 ,,legends ,,and ,,lyrics4 ,by ,,adelaide ,a4 ,,procter4 #acjth ,thousand4 ,first ,series4 #e4 ,,legends ,,and ,,lyrics4 ,by ,,adelaide ,a4 ,,procter4 #iith ,thousand4 ,second ,series4 #f4 ,,billy ,,and ,,hans3 ,my ,squirrel ,friends4 ,a ,true ,history4 ,by ,w4 ,j4 ,,stillman4 #g4 ,,kith ,,and ,,kin3 ,poems of ,animal ,life selected by ,,henry ,s4 ,,salt4 #h4 ,,character-,,building3 ,thought ,power4 ,by ,,ralph ,,waldo ,,trine4 #i4 ,,light ,,from ,,the ,,east4 ,selections from the ,teaching of the ,buddha4 ,by ,,edith ,,ward4 #aj4 ,,parables ,,from ,,nature4 ,a ,selection4 ,by ,,mrs4 ,m4 ,,gatty4 #aa4 ,,better ,,food ,,for ,,boys4 ,by ,,eustace ,h4 ,,miles4 #ab4 ,,mathematical ,,law ,,in ,,the ,,spiritual ,,world4 ,by ,,eustace ,h4 ,,miles4 #ac4 ,,marcus ,,aurelius ,,antoninus4 ,george ,long's ,translation4 #ad4 ,,aurora ,,leigh4 ,by ,mrs4 ,browning4 99 99 99 99 99 ,the ,endymion ,series4 ,poems by ,john ,keats4 ,,illustrated ,,and ,,decorated ,,by ,r4 ,,anning ,,bell4 ,with ,introduction by ,,professor ,,walter ,,raleigh4 ,third ,edition1 post #hvo1 #gs4 #f;d4 ,poems by ,robert ,browning4 ,,illustrated ,,and ,,decorated ,,by ,,byam ,,shaw4 ,with ,introduction by ,,dr4 ,r4 ,,garnett4 ,second ,edition1 revised1 post #hvo1 #gs4 #f;d4 ,english ,lyrics from ,spenser to ,milton4 ,,illustrated ,,and ,,decorated ,,by ,r4 ,,anning ,,bell4 ,selected with ,introduction by ,,john ,,dennis4 ,post #hvo1 #fs4 ,milton's ,minor ,poems1 ,including ,comus and ,samson ,agonistes4 ,,illustrated ,,and ,,decorated ,,by ,a4 ,,garth ,,jones4 ,post #hvo1 #fs4 ,the ,poems of ,edgar ,allan ,poe4 ,,illustrated ,,and ,,decorated ,,by ,w4 ,,heath ,,robinson4 ,with an ,introduction by ,h4 ,,noel ,,williams4 ,second ,edition1 post #hvo1 #fs4 ,,also ,,illustrated ,,by ,r4 ,,anning ,,bell4 ,miniature ,editions1 pott #hvo1 black and red1 #as4 #f;d4 net each1 or in limp leather1 #bs4 #f;d4 net4 ,the ,odes of ,keats4 ,keats' ,isabella and the ,eve of ,st4 ,agnes4 ,rubiyt of ,omar ,khayym4 99 99 99 99 99 ,the ,chiswick ,shakespeare4 ,,illustrated ,,by ,,byam ,,shaw4 ,,with ,,introductions ,,and ,,glossaries ,,by ,,john ,,dennis4 ,pott #hvo1 cloth1 #as4 #f;d4 net each2 or limp leather1 #bs4 net4 ,,hamlet4 ,,as ,,you ,,like ,,it4 ,,othello4 ,,macbeth4 ,,the ,,merchant ,,of ,,venice4 ,,the ,,tempest4 ,,romeo ,,and ,,juliet4 ,,the ,,winter',s ,,tale4 ,,king ,,john4 ,,king ,,lear4 ,,midsummer ,,night',s ,,dream4 ,,twelfth ,,night4 ,,richard ,,ii4 ,,coriolanus4 ,,much ,,ado ,,about ,,nothing4 ,,antony ,,and ,,cleopatra ,,two ,,gentlemen ,,of ,,verona4 ,,julius ,cs,,sar4 ,,king ,,henry ,,iv4 ,part ,i4 ,,king ,,henry ,,iv4 ,part ,,ii4 ,,king ,,henry ,v4 ,,cymbeline4 ,,the ,,merry ,,wives ,,of ,,windsor4 ,,love',s ,,labour',s ,,lost4 ,,measure ,,for ,,measure4 ,,king ,,henry ,,vi4 ,part ,i4 ,,king ,,henry ,,vi4 ,part ,,ii4 ,,king ,,henry ,,vi4 ,part ,,iii4 ,,king ,,richard ,,iii4 ,,the ,,comedy ,,of ,,errors4 ,,all',s ,,well ,,that ,,ends ,,well4 ,further ,volumes at ,monthly intervals4 ,,london3 ,,george ,,bell ,,sons4 ,,york ,,street1 ,,covent ,,garden4