,,hans ,,holbein ,,the ,,younger ---------------------------------------- -------------------------------- ,,vol4 ,i41 ,,frontispiece ,illustration3 ,,hans ,,holbein ,self-,portrait ,drawing in ,indian ink and coloured chalks1 washed with water-colour ,,basel ,,gallery ---------------------------------------- -------------------------------- ,,hans ,,holbein ,,the ,,younger ,,by ,,arthur ,b4 ,,chamberlain ,,assistant ,,keeper ,,of ,,the ,,corporation ,,art ,,gallery1 ,,birmingham ,,with #beb ,,illustrations1 ,,including #bd ,,in ,,colour ,,in ,,two ,,volumes ,,vol4 ,i ,,new ,,york ,,dodd1 ,,mead ,,and ,,company #aiac ---------------------------------------- -------------------------------- ,printed by ,,ballantyne1 ,,hanson ,,co4 at the ,ballantyne ,press1 ,edinburgh ---------------------------------------- -------------------------------- ,,to ,,my ,,wife ---------------------------------------- -------------------------------- ,,preface ,,in this book the writer has endeavoured to give as complete an account as possible of the life and career of the younger ,holbein1 together with a description of every known picture painted by him1 and of the more important of his drawings and designs4 ,the earlier books devoted to the subject--such as ,wornum's ,life and ,works1 #ahfg1 and ,dr4 ,woltmann's two volumes--although they must always remain of the utmost help to the student1 are now in some respects out of date4 ,the second edition of the latter's great work1 in which he modified and corrected many passages in the earlier issue1 has never been fully translated into ,english2 while the latest book of importance on the subject published in this country1 ,hans ,holbein the ,younger1 by ,mr4 ,gerald ,s4 ,davies1 ,m4,a41 #aijc1 is mainly devoted to the art of the painter1 and does not profess to give complete biographical details of his life4 ,in recent years many new facts as to ,holbein's career have been discovered1 and fresh pictures by him unearthed1 while modern criticism has reversed some of the earlier conclusions respecting the authorship of a certain number of works at one time attributed to him4 ,much valuable information upon the subject has been published at home and abroad1 largely in periodicals devoted to such matters and in the transactions of artistic and learned societies1 by various well-known students of the master in ,germany and ,switzerland1 chief among whom must be mentioned ,dr4 ,paul ,ganz1 the director of the ,public ,picture ,collection in ,basel1 now recognised as the leading authority on ,holbein1 together with ,dr4 ,hans ,koegler1 ,dr4 ,emil ,major1 ,h4 ,a4 ,schmid1 and other writers too numerous to mention here2 while in ,england equally valuable contributions to our knowledge have been made from time to time by such critics as ,mr4 ,lionel ,cust1 ,m4,v4,o41 ,sir ,sidney ,colvin1 ,mr4 ,campbell ,dodgson1 ,sir ,claude ,phillips1 ,miss ,mary ,f4 ,s4 ,hervey1 and a number of others1 in the pages of the ,burlington ,magazine and elsewhere4 ,much valuable information is also to be found in two recently-published volumes--,dr4 ,curt ,glaser's ,hans ,holbein der ltere1 #aijh1 and ,dr4 ,willy ,hes' ,ambrosius ,holbein1 #aiaa4 ,the writer has availed himself as fully as possible of the newer facts and conclusions embodied in such papers and communications1 the source of information in all cases being fully acknowledged4 ,a very careful study of the ,calendars of ,letters and ,papers1 ,foreign and ,domestic1 of the ,reign of ,henry ,,viii1 extending over a number of years1 has enabled him to add some fresh items of information about the painter and certain of his sitters1 and of several of the artists who were his contemporaries in ,england4 ,he has dealt at some length1 though necessarily in a condensed form1 with the chief painters and craftsmen1 both ,english and foreign1 who were at work in ,london under ,henry ,,viii1 much of the information thus brought together having been hitherto scattered about in a variety of publications not always conveniently accessible to the student4 ,he thus hopes that the book will to some extent serve the purpose for which it is primarily intended--the provision1 in as concise a form as possible1 of a complete biography of the painter1 embodying all the more recent discoveries2 and he trusts that it may be of some small service to those who are interested in ,holbein1 but have neither the time nor the opportunity to avail themselves of the many scattered sources of information which he has attempted to bring together within the covers of a single book4 ,by the gracious permission of ,his ,majesty the ,king1 the writer has been allowed to include among the illustrations1 reproductions1 in some instances in colour1 of a number of pictures and drawings by ,holbein in the royal collections2 and he has to thank the ,lord ,chamberlain and ,mr4 ,lionel ,cust1 ,m4,v4,o41 ,surveyor of the ,king's ,pictures1 for the kind assistance they rendered him in obtaining such permission4 ,he has also to express his grateful acknowledgments to a number of owners and collectors for similar permission to reproduce works by the master in their possession1 among them ,her ,majesty the ,queen of ,holland1 who has graciously allowed the inclusion of the beautiful miniature of an ,unknown ,youth2 the ,duke of ,devonshire1 ,g4,c4,v4,o42 ,earl ,spencer1 ,g4,c4,v4,o42 the ,earl of ,radnor2 ,lord ,leconfield2 the ,earl of ,yarborough2 ,sir ,john ,ramsden1 ,bt42 ,sir ,hugh ,p4 ,lane2 the late ,mr4 ,j4 ,pierpont ,morgan2 ,major ,charles ,palmer2 and the ,barber-,surgeons' ,company4 ,special thanks are due to ,lord ,st4 ,oswald for permitting the large 8,more ,family ,group0 at ,nostell ,priory to be photographed for the purposes of this book1 and for allowing the writer to take notes from a very interesting manuscript containing a description of the various versions of the ,family picture compiled by his grandfather1 ,mr4 ,charles ,winn4 ,he has also to record his great indebtedness to ,mr4 ,ayerst ,h4 ,buttery for giving him the privilege of reproducing the recently discovered portrait of an ,unknown ,english ,lady1 formerly in the possession of the ,bodenham family at ,rotherwas1 near ,hereford4 ,his thanks also are due to ,senhor ,jos de ,figueiredo1 director of the ,national ,museum of ,ancient ,art1 ,lisbon1 for permission to include the elder ,holbein's 8,fountain of ,life0 among the illustrations1 as well as to the directors of a number of galleries and museums1 including the ,public ,picture ,collection1 ,basel2 the ,national ,gallery1 ,british ,museum1 and ,wallace ,collection2 the ,kaiser ,friedrich ,museum1 ,berlin2 the ,imperial ,gallery1 ,vienna2 the ,louvre1 ,paris2 the ,royal ,picture ,gallery1 ,the ,hague2 the ,metropolitan ,museum of ,new ,york2 the ,royal ,hermitage ,gallery1 ,st4 ,petersburg2 and the ,galleries of ,dresden1 ,munich1 ,hanover1 ,rome1 ,florence1 ,solothurn1 and elsewhere4 ,in addition1 he has the pleasure of recording his great indebtedness to ,mr4 ,lionel ,cust1 ,m4,v4,o41 for kind assistance and advice2 to ,mr4 ,maurice ,w4 ,brockwell1 for much valuable help in many directions2 to ,mr4 ,campbell ,dodgson1 who was good enough to assist in the selection of woodcuts from the ,british ,museum ,collection for the purposes of reproduction2 to ,dr4 ,george ,c4 ,williamson1 through whose kindness the writer has been able to make use of his ,catalogue of the late ,mr4 ,j4 ,pierpont ,morgan's ,collection of ,miniatures2 to the ,editors of the ,burlington ,magazine of ,fine ,arts for permission to include the writer's paper on ,holbein's visit to 8,high ,burgony02 to ,mr4 ,james ,melville for transcribing from the ,balcarres ,,mss4 a long letter from the ,duchess of ,guise referring to that visit2 to ,herr ,f4 ,engel-,gros for information about the interesting roundel in his possession1 which possibly represents the painter ,lucas ,hornebolt2 and to ,dr4 ,james ,h4 ,w4 ,laing1 of ,dundee1 to whom he is deeply indebted for most generously undertaking the very onerous task of reading the whole of the proofs4 ,he wishes also to offer his grateful thanks to his publishers1 and in particular to ,mr4 ,hugh ,allen1 for the great care and trouble they have spent upon the book1 and for their hearty co-operation in attempting to make it as complete a record as possible of the great master to whom it is devoted4 ,a4 ,b4 ,c4 ,,birmingham1 ,august #aiac4 ---------------------------------------- -------------------------------- ,,contents ,,chap4 ,,page ,i4 ,,hans ,,holbein ,,the ,,elder ,,and ,,his ,,family #a ,,ii4 ,,youthful ,,days ,,in ,,augsburg #bc ,,iii4 ,,first ,,years ,,in ,,switzerland #cb ,,iv4 ,,work ,,in ,,lucerne ,,and ,,the ,,visit ,,to #eg ,,lombardy ,v4 ,,citizen ,,of ,,basel #hb ,,vi4 ,,the ,,house ,,of ,,the ,,dance ,,and ,,the #aaf ,,wall-,,paintings ,,in ,,the ,,basel ,,town ,,hall ,,vii4 ,,designs ,,for ,,painted ,,glass ,,and ,,other #ace ,,studies ,,viii4 ,,portraits ,,of ,,erasmus ,,and ,,his ,,circle #afb ,,ix4 ,,designs ,,for ,,book ,,illustrations #ahg ,x4 ,,the 8,,dance ,,of ,,death0 ,,and ,,old ,,testament #bjd ,,woodcuts ,,xi4 ,,the ,,meyer ,,madonna ,,and ,,the ,,departure ,,for #bcb ,,england ,,xii4 ,,native ,,and ,,foreign ,,artists ,,in ,,england #bef ,,during ,,the ,,reign ,,of ,,henry ,,viii ,,xiii4 ,,the ,,first ,,visit ,,to ,,england3 ,,portraits ,,of #bhh ,,the ,,more ,,family ,,xiv4 ,,the ,,first ,,visit ,,to ,,england3 ,,other #caa ,,portraits ,,and ,,decorative ,,work ,,xv4 ,,the ,,return ,,to ,,basel 7#aebh-aecb7 #cch ,,postscript ,,to ,,chapter ,,xiv4 ,a ,,newly-,,discovered #cec ,,portrait ,,of ,,an ,,unknown ,,english ,,lady ,,footnotes ,,for ,,all ,,chapters #cei ---------------------------------------- -------------------------------- ,,illustrations ,,hans ,,holbein3 ,,self-,,portrait ,frontispiece ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #a4 ,,the ,,baptism ,,of ,,st4 ,,paul #aa ,left-hand panel of the 8,basilica of ,st4 ,paul0 altar-piece4 ,by ,,hans ,,holbein ,,the ,,elder4 ,museum1 ,augsburg4 #b4 ,,the ,,st4 ,,sebastian ,,altar-,,piece #ae ,central panel4 ,by ,,hans ,,holbein ,,the ,,elder4 ,alte ,pinakothek1 ,munich4 #c4 7#a7 ,,st4 ,,barbara4 7#b7 ,,st4 ,,elizabeth #af ,inner sides of the wings of the 8,st4 ,sebastian0 altar-piece4 ,by ,,hans ,,holbein ,,the ,,elder4 ,alte ,pinakothek1 ,munich4 #d4 ,,the ,,fountain ,,of ,,life #ag ,by ,,hans ,,holbein ,,the ,,elder4 ,national ,museum of ,ancient ,art1 ,lisbon4 ,reproduced by kind permission of the ,director1 ,senhor ,jos de ,figueiredo4 #e4 ,,study ,,for ,,the ,,portrait ,,of ,a ,,lady ,,of #ba ,,augsburg ,silver-point drawing4 ,by ,,hans ,,holbein ,,the ,,elder4 ,british ,museum4 #f4 ,,ambrosius ,,and ,,hans ,,holbein #be ,silver-point drawing4 ,by ,,hans ,,holbein ,,the ,,elder 7#aeaa74 ,royal ,print ,room1 ,berlin4 #g4 ,,virgin ,,and ,,child 7#aead7 #cc ,public ,picture ,collection1 ,basel4 #h4 7#a7 ,,head ,,of ,,the ,,virgin ,,mary4 7#b7 ,,head ,,of #cg ,,st4 ,,john ,public ,picture ,collection1 ,basel4 #i4 ,,the ,,last ,,supper #dj ,public ,picture ,collection1 ,basel4 #aj4 ,,the ,,scourging ,,of ,,christ #da ,public ,picture ,collection1 ,basel4 #aa4 ,,holbein',s ,,earliest ,,title-,,page #de ,first used in #aeae4 ,from a copy of ,more's 8,utopia0 in the ,british ,museum4 #ab4 ,,marginal ,,drawings ,,in ,a ,,copy ,,of ,,the #dh 8,,praise ,,of ,,folly0 7#a7 ,,folly ,,leaving ,,the ,,pulpit4 7#b7 ,,penelope ,,at ,,her ,,loom4 7#c7 ,,the ,,pope4 7#d7 ,,the ,,cardinal4 7#e7 ,,the ,,bishop4 7#f7 ,,nuns ,,kneeling ,,before ,,an ,,altar-,,piece4 ,public ,picture ,collection1 ,basel4 #ac4 ,,marginal ,,drawings ,,in ,a ,,copy ,,of ,,the #di 8,,praise ,,of ,,folly0 7#a7 ,,the ,,basket ,,of ,,eggs4 7#b7 ,,nicolas ,,de ,,lyra4 7#c7 ,,king ,,solomon4 7#d7 ,,young ,,nobleman4 7#e7 ,,folly ,,and ,,his ,,puppet4 7#f7 ,,erasmus ,,at ,,his ,,desk4 7#g7 8,a ,,fat ,,and ,,splendid ,,pig ,,from ,,the ,,herd ,,of ,,epicurus40 ,public ,picture ,collection1 ,basel4 #ad4 ,,the ,,two ,,sides ,,of ,a ,,schoolmaster',s #ea ,,sign-,,board 7#aeaf7 ,public ,picture ,collection1 ,basel4 #ae4 ,,double ,,portrait ,,of ,,jakob ,,meyer ,,and ,,his #eb ,,wife1 ,,dorothea ,,kannengiesser 7#aeaf7 ,public ,picture ,collection1 ,basel4 #af4 7#a7 ,,head ,,of ,,jakob ,,meyer4 7#b7 ,,head ,,of #ee ,,dorothea ,,kannengiesser ,drawings in black and coloured chalks4 ,studies for the double portrait of #aeaf4 ,public ,picture ,collection1 ,basel4 #ag4 ,,adam ,,and ,,eve 7#aeag7 #ef ,public ,picture ,collection1 ,basel4 #ah4 ,,portraits ,,of ,,two ,,boys #fj ,by ,,ambrosius ,,holbein4 ,public ,picture ,collection1 ,basel4 #ai4 ,,study ,,of ,a ,,young ,,girl ,,named 8,,anne0 #fa 7#aeah7 ,silver-point and red chalk drawing4 ,by ,,ambrosius ,,holbein4 ,public ,picture ,collection1 ,basel4 #bj4 ,,the ,,founding ,,of ,,basel #fa ,design for painted glass4 ,by ,,ambrosius ,,holbein4 ,public ,picture ,collection1 ,basel4 #ba4 ,,portrait ,,of ,,an ,,unknown ,,young ,,man 7#aeah7 #fa ,by ,,ambrosius ,,holbein4 ,royal ,hermitage ,gallery1 ,st4 ,petersburg4 #bb4 ,,illustration ,,to ,,sir ,,thomas ,,more',s #fb 8,,utopia0 ,by ,,ambrosius ,,holbein4 ,from a woodcut in the ,british ,museum4 #bc4 ,,designs ,,for ,,the ,,wall-,,paintings ,,of ,,the #fh ,,hertenstein ,,house1 ,,lucerne 7#a7 ,,le,,na ,,and ,,the ,,judges4 7#b7 ,,architectural ,,decoration ,,of ,,the ,,ground ,,floor4 ,public ,picture ,collection1 ,basel4 #bd4 ,,portrait ,,of ,,benedikt ,,von ,,hertenstein #gb 7#aeag7 ,metropolitan ,museum1 ,new ,york4 #be4 ,,the ,,last ,,supper #ge ,central panel of a ,triptych4 ,public ,picture ,collection1 ,basel4 #bf4 ,,the ,,archangel ,,michael ,,as ,,weigher ,,of #gi ,,souls ,drawing4 ,public ,picture ,collection1 ,basel4 #bg4 ,,miners ,,at ,,work #hj ,drawing in ,indian ink1 pen1 and bistre4 ,british ,museum4 #bh4 ,,bonifacius ,,amerbach 7#aeai7 #he ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #bi4 7#a7 ,,adoration ,,of ,,the ,,shepherds4 7#b7 #hh ,,adoration ,,of ,,the ,,kings ,inner sides of the wings of the ,oberried altar-piece4 ,university ,chapel1 ,freiburg ,minster4 #cj4 ,,the ,,passion ,,of ,,christ #ia ,outer sides of the wings of an altar-piece4 ,public ,picture ,collection1 ,basel4 #ca4 7#a7 ,,christ ,,bearing ,,the ,,cross4 7#b7 ,,the #id ,,crucifixion ,details of the outer sides of the wings of the 8,passion0 ,altar-piece4 ,public ,picture ,collection1 ,basel4 #cb4 8,,noli ,,me ,,tangere0 #ie ,christ appearing to ,mary ,magdalen4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,hampton ,court ,palace4 #cc4 7#a7 ,,christ1 ,,the ,,man ,,of ,,sorrows4 7#b7 #ih ,,mary1 ,,mater ,,dolorosa ,diptych1 painted in brown monochrome1 with blue sky4 ,public ,picture ,collection1 ,basel4 #cd4 ,,the ,,holy ,,family #ii ,washed drawing on a red ground4 ,public ,picture ,collection1 ,basel4 #ce4 ,,the ,,dead ,,christ ,,in ,,the ,,tomb 7#aeba7 #aja ,predella of an altar-piece4 ,public ,picture ,collection1 ,basel4 #cf4 ,,the ,,virgin ,,and ,,child1 ,,with ,,st4 ,,ursus ,,and #ajc ,a ,,holy ,,bishop 7#aebb7 ,solothurn ,gallery4 #cg4 ,,portrait ,,of ,a ,,young ,,woman1 ,,possibly #ajf ,,holbein',s ,,wife ,reproduced in colour4 ,royal ,picture ,gallery1 ,mauritshuis1 ,the ,hague4 #ch4 ,,head ,,of ,a ,,young ,,woman1 ,,probably #ajh ,,holbein',s ,,wife ,study for the ,solothurn 8,madonna40 ,silver-point drawing1 touched with red4 ,louvre1 ,paris4 #ci4 ,,design ,,for ,,the ,,organ-,,case ,,doors1 ,,basel #aac ,,cathedral ,pen and wash drawing4 ,public ,picture ,collection1 ,basel4 #dj4 7#a7 ,,study ,,for ,a ,,painted ,,house ,,front ,,with #aba ,,the ,,figure ,,of ,a ,,seated ,,emperor4 7#b7 ,,the ,,ambassadors ,,of ,,the ,,samnites ,,before ,,curius ,,dentatus ,the latter a fragment of the wall-painting in the ,basel ,town ,hall4 ,public ,picture ,collection1 ,basel4 #da4 ,,sapor ,,and ,,valerian #aca ,design for one of the wall-paintings in the ,basel ,town ,hall4 ,pen and water-colour drawing4 ,public ,picture ,collection1 ,basel4 #db4 7#a7 ,,two ,,landsknechte4 7#b7 ,,the ,,prodigal #aci ,,son ,designs for painted glass4 ,public ,picture ,collection1 ,basel4 #dc4 ,,design ,,for ,a ,,painted ,,window ,,with ,,the #add ,,coat ,,of ,,arms ,,of ,,the ,,von ,,hewen ,,family 7#aebj7 ,public ,picture ,collection1 ,basel4 #dd4 ,,st4 ,,elizabeth1 ,,with ,,kneeling ,,knight ,,and #adh ,,beggar ,design for painted glass4 ,public ,picture ,collection1 ,basel4 #de4 ,,the ,,virgin ,,and ,,child1 ,,with ,a ,,kneeling #adi ,,donor ,design for painted glass4 ,public ,picture ,collection1 ,basel4 #df4 7#a7 ,,christ ,,before ,,caiaphas4 7#b7 ,,the #aea ,,scourging ,,of ,,christ ,the 8,passion0 series of designs for painted glass4 ,public ,picture ,collection1 ,basel4 #dg4 7#a7 ,,the ,,mocking ,,of ,,christ4 7#b7 ,,christ #aeb ,,crowned ,,with ,,thorns ,the 8,passion0 series of designs for painted glass4 ,public ,picture ,collection1 ,basel4 #dh4 7#a7 ,,pilate ,,washing ,,his ,,hands4 7#b7 ,,ecce #aec ,,homo ,the 8,passion0 series of designs for painted glass4 ,public ,picture ,collection1 ,basel4 #di4 7#a7 ,,christ ,,bearing ,,the ,,cross4 7#b7 ,,the #aed ,,stripping ,,of ,,christ',s ,,garments ,the 8,passion0 series of designs for painted glass4 ,public ,picture ,collection1 ,basel4 #ej4 7#a7 ,,christ ,,nailed ,,to ,,the ,,cross4 7#b7 ,,the #aee ,,crucifixion ,the 8,passion0 series of designs for painted glass4 ,public ,picture ,collection1 ,basel4 #ea4 7#a7 ,,costume ,,study4 7#b7 ,,costume ,,study #aeg ,two drawings from a set of designs of ladies' costumes4 ,public ,picture ,collection1 ,basel4 #eb4 8,,the ,,edeldame0 #aeg ,drawing from a set of designs of ladies' costumes4 ,public ,picture ,collection1 ,basel4 #ec4 ,a ,,fight ,,between ,,landsknechte #afj ,drawing in ,indian ink4 ,public ,picture ,collection1 ,basel4 #ed4 ,,erasmus 7#aebc7 #afi ,reproduced by kind permission of the ,earl of ,radnor4 ,longford ,castle1 ,salisbury4 #ee4 ,,study ,,for ,,the ,,hands ,,of ,,erasmus #aga ,drawing in silver-point and red and black chalk4 ,louvre1 ,paris4 #ef4 ,,erasmus 7#aebc7 #agb ,reproduced in colour4 ,louvre1 ,paris4 #eg4 ,,the ,,duchess ,,of ,,berry #agf ,drawing in black and coloured chalks4 ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #eh4 7#a7 ,,erasmus #ahj ,roundel4 ,public ,picture ,collection1 ,basel4 7#b7 ,,philip ,,melanchthon #ahj ,roundel4 ,provinzial ,museum1 ,hanover4 #ei4 ,,erasmus #aha ,from a woodcut in the ,british ,museum4 #fj4 ,,mucius ,,sc,,vola ,,and ,,lars ,,porsena #aia ,woodcut first used in #aeaf4 ,from a copy of ,more's 8,epigrams0 in the ,british ,museum4 #fa4 8,,the ,,table ,,of ,,cebes0 #aic ,woodcut first used in #aeba4 ,from a copy of ,perotto's 8,cornucopi0 in the ,british ,museum4 #fb4 ,,title-,,page ,,to ,,luther',s 8,,new ,,testament0 #aie ,woodcut first used in #aebb4 ,from a copy in the ,british ,museum4 #fc4 ,,the ,,four ,,evangelists #aie ,woodcuts and ,initial ,letters used on the first page of each gospel in the #aebc edition of ,luther's 8,new ,testament40 ,from a copy in the ,british ,museum4 #fd4 ,,the 8,,cleopatra0 ,,title-,,page #aih ,woodcut first used in #aebc4 ,from a copy of ,erasmus' 8,christiani ,matrimonii ,institutio0 in the ,british ,museum4 #fe4 7#a7 ,,christ ,,the ,,true ,,light4 7#b7 ,,the ,,sale #aih ,,of ,,indulgences ,woodcuts4 ,from proofs in the ,british ,museum4 #ff4 ,,the ,,dance ,,of ,,death ,,woodcuts #bag 7#a7 ,,the ,,emperor4 7#b7 ,,the ,,king4 7#c7 ,,the ,,cardinal4 7#d7 ,,the ,,empress4 7#e7 ,,the ,,advocate4 7#f7 ,,the ,,counsellor4 7#g7 ,,the ,,preacher4 7#h7 ,,the ,,priest4 ,from proofs in the ,british ,museum4 #fg4 ,,the ,,dance ,,of ,,death ,,woodcuts #bbj 7#a7 ,,the ,,old ,,man4 7#b7 ,,the ,,countess4 7#c7 ,,the ,,noble ,,lady4 7#d7 ,,the ,,duchess4 7#e7 ,,the ,,ploughman4 7#f7 ,,the ,,young ,,child4 7#g7 ,,the ,,last ,,judgment4 7#h7 ,,the ,,arms ,,of ,,death4 ,from proofs in the ,british ,museum4 #fh4 ,,the ,,dance ,,of ,,death ,,alphabet #bbd ,from a proof in the ,royal ,print ,cabinet1 ,dresden4 #fi4 ,,the ,,old ,,testament ,,woodcuts #bcj 7#a7 ,,jacob ,,blessing ,,ephraim ,,and ,,manasseh4 7#b7 ,,ruth ,,and ,,boaz4 7#c7 ,,judith ,,with ,,the ,,head ,,of ,,holofernes4 7#d7 ,,amos ,,preaching4 ,from proofs in the ,british ,museum4 #gj4 ,,the ,,old ,,testament ,,woodcuts #bcj 7#a7 ,,moses ,,receiving ,,the ,,tables ,,of ,,the ,,law4 7#b7 ,,the ,,return ,,from ,,the ,,babylonian ,,captivity4 ,from proofs in the ,british ,museum4 7#c7 ,,the ,,angel ,,showing ,,st4 ,,john ,,the ,,new ,,jerusalem 7,revelation xxi474 ,woodcut from ,adam ,petri's 8,new ,testament10 #aebc4 ,from a copy in the ,british ,museum4 #ga4 ,,the ,,meyer ,,madonna #bcc ,darmstadt4 #gb4 7#a7 ,,jakob ,,meyer4 7#b7 ,,dorothea #bcf ,,kannengiesser ,studies for the ,meyer ,madonna4 ,drawings in black and coloured chalks4 ,public ,picture ,collection1 ,basel4 #gc4 7#a7 ,,magdalena ,,offenburg ,,as ,,venus 7#aebf74 #bdf 7#b7 ,,magdalena ,,offenburg ,,as ,,la,s 7#aebf7 ,public ,picture ,collection1 ,basel4 #gd4 ,,study ,,for ,,the ,,more ,,family ,,group #bic ,drawing in ,indian ink1 with corrections and inscriptions in brown4 ,public ,picture ,collection1 ,basel4 #ge4 ,,the ,,more ,,family ,,group #bie ,reproduced by kind permission of ,lord ,st4 ,oswald4 ,nostell ,priory1 ,wakefield4 #gf4 ,,the ,,more ,,family ,,group #cja ,the version formerly at ,burford ,priory1 now in the possession of ,messrs4 ,parkenthorpe1 ,london4 ,reproduced by kind permission of ,sir ,hugh ,p4 ,lane4 #gg4 ,,cecilia ,,heron1 ,,daughter ,,of ,,sir ,,thomas #cjc ,,more ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #gh4 ,,sir ,,thomas ,,more #cjc ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #gi4 ,,portrait ,,of ,,an ,,english ,,lady #cji ,drawing in black and red chalk and ,indian ink4 ,salting ,bequest1 ,british ,museum4 #hj4 ,,sir ,,henry ,,guldeford 7#aebg7 #cag ,reproduced in colour1 by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #ha4 7#a7 ,,john ,,fisher1 ,,bishop ,,of ,,rochester #cba ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 7#b7 ,,portrait ,,of ,,an ,,unknown ,,english ,,lady1 #cba ,,possibly ,,lady ,,guldeford ,drawing in black and coloured chalks4 ,public ,picture ,collection1 ,basel4 #hb4 7#a7 ,,unknown ,,englishman4 7#b7 ,,unknown #cba ,,english ,,lady ,drawings in black and coloured chalks4 ,public ,picture ,collection1 ,basel4 #hc4 ,,william ,,warham1 ,,archbishop ,,of ,,canterbury #cbb 7#aebg7 ,reproduced in colour4 ,louvre1 ,paris4 #hd4 ,,thomas ,,and ,,john ,,godsalve 7#aebh7 #cbe ,royal ,picture ,gallery1 ,dresden4 #he4 ,,sir ,,john ,,godsalve #cbf ,drawing in black and coloured chalks and water-colour4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #hf4 ,,niklaus ,,kratzer 7#aebh7 #cbg ,reproduced in colour4 ,louvre1 ,paris4 #hg4 ,,sir ,,bryan ,,tuke #cca ,alte ,pinakothek1 ,munich4 #hh4 ,,sir ,,henry ,,wyat #cce ,reproduced in colour4 ,louvre1 ,paris4 #hi4 ,,sir ,,thomas ,,elyot #ccf ,drawing in black and coloured chalks4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle4 #ij4 ,,holbein',s ,,wife ,,and ,,children 7#aebh-i7 #cdc ,reproduced in colour4 ,public ,picture ,collection1 ,basel4 #ia4 ,,portrait ,,of ,a ,,young ,,woman #cdf ,unfinished study in oils4 ,public ,picture ,collection1 ,basel4 #ib4 ,,king ,,rehoboam ,,rebuking ,,the ,,elders 7#aecj7 #cdh ,three fragments of the wall-painting formerly in the ,basel ,town ,hall4 ,public ,picture ,collection1 ,basel4 #ic4 ,,king ,,rehoboam ,,rebuking ,,the ,,elders #cdh ,study for the wall-painting formerly in the ,basel ,town ,hall4 ,public ,picture ,collection1 ,basel4 #id4 ,,samuel ,,and ,,saul #cej ,pen drawing in brown touched with water-colour4 ,study for the wall-painting formerly in the ,basel ,town ,hall4 ,public ,picture ,collection1 ,basel4 #ie4 ,,portrait ,,of ,,an ,,unknown ,,english ,,lady #ced ,formerly in the possession of the ,bodenham family1 ,rotherwas ,hall1 ,hereford4 ,reproduced by kind permission of ,mr4 ,ayerst ,h4 ,buttery4 ,mr4 ,ayerst ,h4 ,buttery1 ,london4 ---------------------------------------- -------------------------------- ,,note ,the following abbreviations are used in the footnotes to this book3-- ,c4 ,l4 ,p41 for ,calendars of ,letters and ,papers1 ,foreign and ,domestic1 of the ,reign of ,henry ,,viii4 ,davies1 for ,hans ,holbein the ,younger 7,gerald ,s4 ,davies74 ,ganz1 ,holbein1 for ,holbein d4 ,j41 des ,meisters ,gemlde in #beb ,abbildungen 7,klassiker der ,kunst74 ,ganz1 ,hdz4 ,schwz4 ,mstr41 for ,handzeichnungen ,schweizerischer ,meister1 ed4 ,dr4 ,paul ,ganz4 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 for ,handzeichnungen von ,hans ,holbein dem ,jngeren4 ,woltmann1 for ,holbein und seine ,zeit 7,a4 ,woltmann74 ,wornum1 for ,some ,account of the ,life and ,works of ,hans ,holbein 7,r4 ,n4 ,wornum74 ,in order to obviate the constant use of a somewhat long official title1 the ,public ,picture ,collection1 ,basel1 is generally referred to in this book as the ,basel ,gallery4 ---------------------------------------- -------------------------------- ,hans ,holbein the ,younger ,,chapter ,i ,,hans ,,holbein ,,the ,,elder ,,and ,,his ,,family ,the ,holbein family in ,switzerland and ,south ,germany--,michel ,holbein1 the leather-dresser--,hans ,holbein the ,elder1 citizen of ,augsburg--,his brother ,sigmund1 and his two sons1 ,ambrosius and ,hans--,the art of ,hans ,holbein the ,elder and his position in the ,german ,school of painting--,his principal pictures--,work in ,ulm and ,frankfurt--,paintings for the ,convent of ,st4 ,catherine in ,augsburg--,work for the ,church of ,st4 ,moritz--,monetary difficulties--,the ,st4 ,sebastian altar-piece--the 8,fountain of ,life0 at ,lisbon--,his silver-point portrait drawings--,his death at ,isenheim4 ,,during the fourteenth and fifteenth centuries the name of ,holbein was not uncommon in various parts of ,southern ,germany and ,switzerland4 ,at ,ravensburg1 near ,lake ,constance1 a family of that name had settled as paper manufacturers1 their trade-mark being a bull's head1 which was also used by ,hans ,holbein in his coat of arms4 ,the name is also found in the records of the town of ,grnstadt1 in ,rhenish ,bavaria1 during the same centuries2 while for a still longer period members of a ,holbein family were living in ,basel1 where they had a house called 8,zum ,papst0 in the ,gerbergasse4 ,it was from this branch that the painter was in all probability descended1#a and it is also possible that the ,basel and ,ravensburg ,holbeins were connected4 ,this relationship between the three branches may have been one of the reasons which induced the youthful ,hans to turn his face towards ,switzerland when he finally left ,augsburg1 the city of his birth4 ,in ,augsburg itself the first reference to a burgher bearing the name of ,holbein occurs in the middle of the fifteenth century4 ,in #addh a certain ,michel ,holbein1 who had been living at ,oberschnefeld1 in the near neighbourhood1 moved into ,augsburg1 and settled there permanently4 ,in the first entry in the records in which his name occurs he is called 8,michel von ,schnenfeld10 but in #aded his surname is given as 8,holbain10 this being the common spelling of the name in ,augsburg at that time1 or1 less frequently1 8,holpain40 ,this ,michel ,holbein1 who came from ,oberschnefeld1 and died in ,augsburg about #adig1 and at one time was regarded as the father of ,hans ,holbein the ,elder1 is no longer considered to be identical with the latter1 who was also named ,michel and was a leather-dresser by trade4 ,from #adfd to #adge the last named was living in a house of his own1 ,no4 #dgb;,a in the ,vorderer ,lech1 which is spoken of as 8,michel ,holbains ,hus10 or 8,domus ,michel ,holbains40 ,after #adge he changed his dwelling more than once1 and his several removals can be traced from the rate-books1 in which his addresses at various dates are given as 8,salta zum ,schlechtenbad10 8,vom ,bilgrimhaus10 8,vom ,nagengast10 8,in der ,prediger ,garten10 and so on4 ,all these places were in the ,vorderer and ,mittlerer ,lech1 in that part of the city to the east of the ,maximilianstrasse known as the ,diepold1 in the neighbourhood of the ,lech canals and streams1 by which ,augsburg is watered1 along the banks of which most of the smaller trades of the city were carried on and the workshops of the artificers and metal-workers were situated4 ,in the years #adgi1 #adha1 and #adhb ,michel ,holbein was absent from ,augsburg1 and appears to have left his wife behind him1 for in #adha it is noted against her in the rate-book that her husband was not with her 78,ihr ,mann nicht bei ihr074 ,michel ,holbein died probably about the year #adhd4b ,his widow1 whose name first occurs in the town records in #adfi1 continued to move from house to house1 her addresses being given as 8in der ,strasse ,am ,judenberg10 8,von ,sant ,anthonino10 8,vom ,diepolt10 and beyond the ,strfinger ,gate4 ,sidenote3 ,,hans ,,holbein ,,the ,,elder ,the name of 8,hanns ,holbain0 first appears in the records in the year #adid4 ,this was the painter usually known as ,hans ,holbein the ,elder1 to distinguish him from his more celebrated son4 ,although there is no actual proof of the relationship1 there is every reason to believe that ,hans the ,elder was one of the sons of ,michel the currier4 ,he lived in the same quarter of the city as the latter1 his address in #adid being in the 8,strasse vom ,diepolt10 and two years later in the 8,salta zum ,schlechtenbad40 ,more than once ,hans ,holbein's mother is mentioned as living with him1 thus evidently at that time a widow1 which affords further proof in favour of the connection4#c ,in #aejd it is recorded that ,sigmund1 his brother1 was living in the same house with ,hans1 which confirms the statement by ,j4 von ,sandrart1 one of the earliest of ,holbein's biographers1 in his ,teutsche ,akademie 7#afge71 that the elder ,hans ,holbein and ,sigmund were brothers1 a relationship of which absolute proof is to be found in the latter's will4 ,sigmund was born after #adgg1 was of age in #aejc1 and died in ,berne in #aedj4d ,the two painter brothers had several sisters4 ,between #adgh and #adhj the records speak of a daughter1 ,barbara von ,oberhausen1 as living with her mother1 ,michel ,holbainin1 and a few years later a second daughter1 ,anna ,holbainin1 who is sometimes called by the diminutive name 8,endlin40 ,there appear to have been four sisters in all1 but ,sigmund ,holbein mentions only three of them in his will1 ,barbara being apparently dead--,ursel 7,ursula7 ,nepperschmid1 of ,augsburg2 ,anna ,elchinger1 living by ,st4 ,ursula am ,schwall1 in the same city2 and ,margreth ,herwart1 at ,esslingen4 ,the name of this last sister1 ,margaret1 occurs in the town records from #aejb as 8,gret0 or 8,margreth ,holbainin40 ,in #adic there is a reference to an 8,ottilia ,holbainlin10 but the use of the diminutive in this case suggests that she was a small child1 and1 therefore1 more probably a daughter rather than a sister of ,hans ,holbein the ,elder4 ,sidenote3 ,,hans ,,holbein ,,the ,,elder ,at one time1 before these authentic records of the ,holbein family had been unearthed from the ,steuerbcher and ,gerichtsbcher of ,augsburg1 it was believed that a third painter named ,hans ,holbein had existed1 the father of ,hans ,holbein the ,elder4 ,attention was first called to him by ,passavant in #ahdf1 in connection with a painting then in the possession of ,herr ,samm of ,mergenthau1 and now in the ,augsburg ,museum4 ,this picture1 which represents the ,virgin ,mary seated on a grassy bank by a wall1 with the ,infant ,christ in her arms1 is signed 8,hans ,holbein1 ,c4,a4 7i4e4 ,civis ,augustanus7 #adei10 a date too early for the picture to have been painted by ,hans ,holbein the ,elder2 but the inscription has been proved to be a forgery4 ,further proof of the existence of this painter was thought to have been discovered in connection with a second picture1 forty years later in date1 and in reality from the hand of ,hans ,holbein the ,elder4 ,it is one of a series of six pictures representing the principal basilicas of ,rome1 ordered by the nuns of ,st4 ,catherine in ,augsburg in #adif1 on the occasion of the reconstruction of their convent4 ,the names of the several donors of these pictures1 with the prices and other details1 are preserved in the annals of the convent1 compiled by the nun ,dominica ,erhardt from old records and documents4 ,extracts from this work were supplied to ,passavant1 including one with reference to the picture of the ,basilica of ,santa ,maria ,maggiore1 now in the ,augsburg ,gallery 7,nos4 #fb-fd71 which is signed 8,hans ,holbain0 on the two bells in the tower1 and bears the date #adii4 ,the passage in question is as follows3-- 8,item ,dorothea ,rlingerin hat lassen machen unser lieben frauen ,taffel1 die gestatt oder steht #de gulden4 ,vom alten ,hans ,holbein hie40 7,item4 ,dorothea ,rlingerin has ordered of old ,hans ,holbein a panel painting of our dear ,lady for the sum of #de gulden47 ,the term 8old ,holbein10 ,passavant thought1 could only be applied to the grandfather of the family1 for in #adii ,hans ,holbein the ,younger was still a little child1 and his father too young a man to be termed 8the old40 ,later researches1 however1 proved that the extracts supplied to ,passavant were incorrect1 containing numerous amplifications and spurious additions not to be found in the original document1 which1 after considerable search1 was discovered by ,dr4 ,woltmann in the ,episcopal ,library in ,augsburg4 ,in the original record the price paid for the picture is given as #fj gulden1 and neither the name of 8old ,holbein0 nor of any other painter occurs1 so that the myth of the grandfather ,hans was finally demolished4 ,sidenote3 ,,the ,,mythical ,,bruno ,,holbein ,there is no record of the birth of ,hans ,holbein the ,elder2 but as the earliest dated picture by him so far discovered was painted in #adic1 it is supposed to have taken place about #adgc-d4e ,there is equal lack of information as to the date of his marriage or the name of his wife4 ,it was believed at one time1 on the authority of ,paul von ,stetten1 that she was the daughter of ,thomas ,burgkmair1 and sister of the more famous ,hans ,burgkmair1 and that the young couple lived with their father-in-law2 but no confirmation of this legend has been discovered4 ,the two families dwelt in the same street1 8,vom ,diepolt10 but ,burgkmair's house was ,no4 #g1 while ,holbein's was ,no4 #ag4 ,his family1 as far as is known1 consisted only of his two sons1 ,ambrosius and ,hans4 ,a third son1 ,bruno1 is mentioned by ,remigius ,faesch 7#afea7 in his manuscript notes preserved in the ,basel ,library1 compiled from information supplied to him from the ,amerbach papers2 but beyond this short notice1 and a repetition of it by ,patin1 there is no trace of a ,bruno ,holbein to be found4 ,there are two silver-point drawings1 one of the head of a child in the ,bernburg ,library1#f and the other of a mitred bishop in the ,albertina1 ,vienna1#g both dated #aeae and signed with the letters ,b4 ,h4 in monogram1 which it has been suggested are the work of the supposed ,bruno4 ,dr4 ,woltmann1 however1 considered them to be by ,ambrosius ,holbein4 ,the latter1 he says1 was known by the diminutive name of 8,prosy0 in the family circle1 and as at that time in ,germany the letters p and b were often used indifferently--as can be seen in the spelling of ,holbein's own name in the ,augsburg records1 where it is sometimes given as 8,holbain10 and sometimes as 8,holpain0--it may well be that the monogram on these two drawings is that of 8,prosy0 or 8,brosy0 ,holbein4#h ,modern criticism1 however1 has shown that the attribution of these two drawings to ,ambrosius is a wrong one4#i ,sidenote3 ,,the 8,,basilica ,,of ,s4 ,,maria ,,maggiore0 ,hans ,holbein the ,elder1 whose exceptional ability as an artist has always been overshadowed by the greater genius of his celebrated son1 was one of the most representative painters of the ,swabian ,school at the close of the fifteenth and the beginning of the sixteenth century4 ,his art1 more particularly1 but not only1 in its earlier manifestations1 shows the influence of ,martin ,schongauer1 and1 through ,schongauer1 that of ,rogier van der ,weyden and the ,flemish ,school4 ,the influence of ,schongauer upon him is at times so marked that it has been suggested that he may have studied under him at ,colmar during his younger days4 ,whether this be true or not1 it is evident that ,holbein was still under the spell of ,schongauer's painting during his stay in ,isenheim towards the end of his life4 ,the 8,fountain of ,life10 painted there in #aeai1 owed much of its inspiration to ,schongauer's 8,madonna in the ,rose ,garden10 which ,holbein must have seen in the not far-distant city of ,colmar4 ,both in the types of his figures and the management of his draperies1 as well as in the arrangement of his compositions1 there is an echo of ,schongauer's art1 which1 however1 may not have been derived through personal contact with that painter1 but largely from the study of his numerous engravings1 which were widely popular throughout ,southern ,germany4 ,schongauer himself1 whose father1 ,kasper ,schongauer1 was an ,augsburg painter1 had studied1 or1 at least1 had come much under the influence of1 ,rogier van der ,weyden at ,tournai1 and had caught from him something of the sweetness and grace which characterised the finest ,flemish art of that day4 ,these characteristics1 and others representative of the school1 he handed on in his turn to the ,swabian painters1 the elder ,holbein among them4 ,hans ,burgkmair was one of ,schongauer's pupils1 and was afterwards a near neighbour of ,holbein1 so that he also may have been an inspiring force in the moulding of the art of both the older and the younger ,hans4 ,another of ,schongauer's followers1 ,bartolomaeus ,zeitblom of ,ulm1 is also considered to have had some influence upon the elder ,holbein's painting4 ,the latter1 at one period of his career1 became a citizen of ,ulm1 where he must have encountered ,zeitblom1 the leading painter of that city4 ,thus his earlier works show a gradual fusion of the methods of the old ,german or ,rhenish ,school with those of the ,flemings4 ,he began to paint in the days when ,german art was almost uninfluenced by the great ,italian ,renaissance1 which was gradually but surely spreading over ,europe1 but before the close of his career he had succumbed to its spell4 ,a chronological examination of his later works shows what a vitalising force his study of ,italian models had upon his style1 though he did not accept these changes as easily or as rapidly as some of his contemporaries1 such as ,burgkmair4 ,unlike the latter1 however1 he never paid a visit to ,italy1 but he nevertheless found it impossible in the end to resist the new artistic impulses with which that country was then flooding the rest of ,europe4 ,it was not necessary for him1 however1 to cross the ,alps in order to experience the magic spell of the new teaching1 for ,augsburg was one of the first of the ,south ,german towns to feel the effects of the ,renaissance4 ,the two chief routes from ,italy1 the western one from ,milan1 and the eastern road from ,venice1 met at its gates4 ,the greater part of the trade between the ,venetian ,states and ,germany passed through the city1 and its leading merchants had business branches in ,venice and other ,north ,italian towns4 ,many members of the ,fugger and other patrician families of ,augsburg spent long periods in the districts immediately south of the ,alps1 for the purpose of extending their trade connections2 and the active commercial intercourse with ,italy which resulted brought not only riches to the ,augsburgers1 but knowledge and love of the new culture as well1 and thus through the old free city of ,swabia the intellectual and artistic wealth of the ,renaissance made its way into ,germany4 ,the elder ,holbein was among those who reaped advantage from this intercourse between the two countries4 ,without entirely abandoning the solid ,german groundwork of his art1 he stripped it1 more particularly in his management of draperies1 of many of its hardnesses4 ,his colour grew more harmonious1 and his handling broader and more free4 ,his figures became less attenuated1 and his heads1 treated with greater realism1 displayed more character1 while the general composition of his pictures showed a greater dignity of conception and a deeper sense of beauty4 ,in addition to these gradual changes in his art1 the new influence wrought a complete alteration in his methods of dealing with all accessories and with the architectural backgrounds against which his subjects were placed1 ,renaissance forms and ornamentation taking the place of the earlier ,gothic settings4 ,the earliest dated pictures which can be ascribed to him with any certainty are four altar-panels in the ,cathedral of ,augsburg1 of the year #adic1 which at one time formed the two wings of an altar-piece in the ,abbey of ,weingarten1 representing ,joachim's ,sacrifice1 the ,birth and the ,presentation of ,mary in the ,temple1 and the ,presentation of ,christ4#aj ,they display a strong ,flemish influence1 with a warm1 luminous colour1 and considerable dignity and sense of beauty in the figures4 ,his next pictures of which the date is certain are of the year #adii1aa and include the picture of the ,basilica of ,santa ,maria ,maggiore1#ab the work already mentioned as ordered by ,dorothea ,rlingerin#ac for the ,convent of ,st4 ,catherine in ,augsburg1 and at one time attributed to the mythical grandfather ,hans4 ,it is a panel in the form of a broad pointed arch1 corresponding1 like the five other pictures of the series1 with the vaulting of the chamber for which it was painted4 ,it contains four scenes in three sections1 divided from one another by gilded ,gothic ornamentation4 ,the lower half of the central compartment contains a view of the church1 with a pilgrim kneeling at the altar4 ,on the two bells is inscribed 8,hans ,holba--in #adii10 while an 8,h0 is on one of the tombstones1 and the date is repeated on the outer wall of the church4 ,the upper part of the arch is filled with the ,crowning of the ,virgin4 ,the division on the left contains ,st4 ,joseph and the ,virgin adoring the ,child in the stable1 that on the right the ,martyrdom of ,st4 ,dorothea1 in honour of the donor of the picture1 who is represented1 a small figure1 kneeling in prayer behind the saint4 ,this picture is now in the ,augsburg ,museum 7,nos4 #fb-fd74 ,a second work in the same gallery 7,no4 #fa71 of the same date1 is1 however1 far inferior to the foregoing1 the execution being careless and perfunctory4 ,it was a commission from the nun ,walburg ,vetter1 also for the ,convent of ,st4 ,catherine1 as an offering from herself1 and in memory of her two sisters1 ,veronica and ,christina1 all three of whom lived1 died1 and were buried in the convent2 and the indifference of the workmanship has been attributed to the fact that ,holbein received extremely poor payment for it1 only #bf gulden in all4 ,it has an arched top1 and is divided into a number of small compartments1 with the ,crowning of the ,virgin above1 and six roughly-painted scenes from ,christ's ,passion below1 in which the figures1 more particularly of the executioners1 are extremely repulsive4 ,it is dated1 and contains a long inscription4#ad ,shortly after he had sent out this very inferior example of his art from his workshop1 ,holbein appears to have left ,augsburg for a year or two1 and to have settled in ,ulm4 ,his name is found in the ,augsburg rate-books every year from #adid to #adii1 but is missing in #aejj and #aeja1 while there is a document in the ,augsburg archives1 dated ,wednesday1 ,november #f1 #adii1 which proves that in that year he had become for the time being a citizen of ,ulm 78,hannsen ,holbain dem ,maller1 jetzo ,brger zu ,ulm071#ae though no traces remain of any work undertaken by him in that city4 ,this entry is in connection with the contract for the purchase of a house in ,augsburg from which ,holbein received interest4 ,sidenote3 ,,the ,,kaisheim ,,altar-,,piece ,in #aeja he was in ,frankfurt1 engaged upon an altar-piece for the ,dominican convent church4 ,two large panels1 which once formed the back of the centre portion of this work1 represent the genealogy of ,christ and that of the ,dominicans1#af each in two divisions4 ,on the first there is a ,latin inscription stating that the work was executed in #aeja to the order of the ,superior1 one 8,i4 ,w410 and concluding with the words1 8,,hans ,,hoilbayn ,,de ,,avgvsta ,,me ,,pinxit40 ,these panels are now in the ,stdtisches ,museum in ,frankfurt1 together with seven out of eight scenes of 8,christ's ,passion10 which originally covered the outer and inner sides of the wings of the same altar-piece4#ag ,in #aejb he was back again in ,augsburg1 at work upon a large altar-piece for the monastery of ,kaisheim at ,donauwrth4 ,sixteen portions of it1 which formed the inner and outer panels of the folding doors1 are now in the ,munich ,gallery 7,nos4 #aic-bjh74ah ,between the years #adij and #aeji the ,abbot ,georg ,kastner spent much money on the adornment of the fine ,gothic church of this famous imperial monastery1 and in an old manuscript chronicle which has survived1 there is a passage referring to this particular altar-piece1 from which it is to be gathered that two other artificers of ,augsburg1 the sculptor ,gregorius and the joiner ,adolph ,kastner1 were associated with ,holbein in the work4 ,it speaks of them as three masters of ,augsburg1 who were the best masters far and near4 ,the panels from the outer sides of the shutters represent scenes from the ,passion1 those from the inner ones incidents in the life of the ,virgin and the childhood of ,christ4 ,the former are of inferior workmanship to the latter1 and were no doubt produced wholly or in great part by an apprentice or assistant1 for they display many exaggerated and grotesque types and a general lack of taste in composition4 ,the inner panels show a far higher standard1 and are from the hand of the elder ,holbein himself1 whose signature occurs no less than three times as 8,j4 ,h410 8,hans ,holbon10 and finally the inscription1 8,depictum per ,johannem ,holbain ,augustensem #aejb40 ,studies for some of the heads are to be found in his sketch-book in the ,basel ,gallery4 ,several panels representing the martyrdom of the ,apostles1 at ,nuremberg1 ,schleissheim1 and elsewhere1 have much in common with the ,kaisheim altar-piece4 ,in the same year 7#aejb7 ,holbein was engaged for a second time upon work for the ,convent of ,st4 ,catherine in ,augsburg4 ,this was a panel1 in three compartments1 representing the ,transfiguration of ,christ1#ai a commission from a leading ,augsburg citizen1 ,ulrich ,walther1 whose daughters1 ,anna and ,maria1 were inmates of the convent1 the former being the prioress4 ,it is now in the ,augsburg ,gallery 7,nos4 #fe-fg74 ,it was ordered to be made 8to the praise of ,god and in honour of his two daughters10 and the price paid was #ed gulden #cj kreuzers4 ,walther1 who1 dying at the age of eighty-six in #aeje1 left behind him one hundred and thirty-three living descendants1 is represented kneeling in the lower part of the left-hand compartment1 with eight sons behind him2 and in the corresponding part of the opposite compartment are his wife1 the two nuns1 and twelve others1 daughters and daughters-in-law1 also kneeling in prayer4 ,these portraits1 of which those of the younger children in particular are of considerable charm1 form the happiest part of the painting4 ,in the central subject1 the movements by which the ,apostles express their surprise at the transfiguration of their ,master are exaggerated almost to the point of caricature4 ,the side panels represent the ,miracle of the ,loaves and ,fishes1 and the ,healing of the ,possessed ,youth4 ,sidenote3 ,,the 8,,baptism ,,of ,,st4 ,,paul0 ,a much finer work1 painted for the same convent1 is the 8,basilica of ,st4 ,paul10#bj like the 8,transfiguration10 now in the ,augsburg ,gallery 7,nos4 #fh-gj74 ,although undated1 it is usually ascribed to the year #aejd4 ,it was ordered by ,veronica ,weiser1 daughter of the ,burgomaster ,bartholomus ,welser4 ,she was one of the wealthiest of the sisters1 and was at that time secretary to the convent1 and afterwards succeeded ,anna ,walther as prioress4 ,it follows the shape of the other pictures in the cloisters1 that of a broad pointed arch1 and is divided into a central and two side panels1 separated by late ,gothic gilded ornamentation4 ,it depicts scenes from the life of ,st4 ,paul4 ,in the upper arched portion is the ,mocking of ,christ1 while the lower compartments contain the ,conversion1 ,baptism1 ,martyrdom1 and ,burial of ,st4 ,paul1 with other events in his life in the background4 ,in the central division ,holbein has shown the donor seated in a chair in front of the basilica with her back to the spectator1 an evident portrait1 although the face is not visible4 ,the name 8,thecla0 is written on the chair-back4 ,the division on the left hand is of much greater interest1 for it contains portraits of the ,holbein family1 including the earliest but one known of ,hans ,holbein the ,younger4 ,the subject is the ,baptism of ,st4 ,paul 7,pl4 #a71 who is represented1 a nude figure1 standing in a stone font in the foreground4 ,in the right-hand foreground the artist has placed a group of three spectators1 a middle-aged man and two small boys1 representing1 according to old tradition1 the painter himself and his two sons1 ,ambrosius and ,hans4 ,the truth of this tradition is confirmed by three drawings by the elder ,holbein which still exist--one1 a head of himself1 a study for the ,st4 ,sebastian altar-piece1 inscribed 8,hanns ,holbain maler--,der alt10 now in the ,aumale ,collection at ,chantilly2#ba and the others1 in the ,berlin ,print ,room1 representing the two boys in the years #aejb and #aeaa4bb ,in the picture the painter himself1 with long hair and a flowing beard1 but the upper lip shaved1 and dressed in a fur-lined coat1 stands with his right hand resting upon the head of the younger boy1 and with the first finger of his left points towards him as though wishing to draw particular attention to him4 ,ambrosius1 with his hair curling upon his shoulders1 stands with his right hand placed affectionately upon his younger brother's shoulder1 and with his left clasps the other's hand4 ,both boys are dressed in grey cloth gowns1 with gaiters and thick shoes1 the elder having a pen-case and ink-bottle suspended from his girdle4 ,hans1 a big-headed1 round-faced1 chubby little lad1 six or seven years old1 has shorter hair4 ,one hand is raised to his chest1 and the other grasps a stick4 ,the father's face is not a highly intellectual one1 but is sensitive and amiable2 that of the boy ,hans is stronger in character1 with a fine forehead and good mouth4 ,on the opposite side of the picture there stands a lady1 seen in profile1 with plaited golden hair and a white head-dress4 ,her costume is a rich one1 with brocaded sleeves1 and the lower part of her skirts edged with pearls4 ,tradition1 which is possibly correct1 declares this lady to be the mother of the two boys4 ,there is considerable likeness between her and ,ambrosius1 and it is evident that she is taking no part in the incident of the ,baptism beyond that of a very passive spectator4 ,the costume she wears precludes her from being the donor of the picture1 who1 indeed1 is already represented in the central compartment4 ,holbein apparently introduced his whole family into the work4 ,the only reason for throwing doubt on the tradition lies in the elaborate dress she is wearing1 which seems too sumptuous for a poor painter's wife2 for the elder ,holbein at this period of his life was in frequent difficulties over money4 ,mr4 ,gerald ,davies draws attention to a drawing by him in coloured chalks in the ,munich ,print ,room1 which1 he thinks1 represents the wife some years earlier1 perhaps before her marriage4#bc 8,it is10 he says1 8a very charming drawing of a young woman1 not of any special beauty beyond that which belongs to every young face which has the sparkle of happy pleasure in the lips and eyes2 the hair is partly covered with a white cap1 into which some delicate yellow is touched1 and she wears yellow sleeves and bands of the same colour across the white chest front4 ,allowing for some years' difference in age1 this may well1 ,i think1 be the same person as she who appears in the ,augsburg picture4 ,but1 whether it be the mother of the great painter or no1 it is certainly a study which shows ,hans ,holbein the ,elder to have been possessed in some degree of those very qualities in which his son afterwards stood supreme4 ,there is something of the same sympathetic power of seeing1 and the same completeness of recording what has been seen1 without pedantries and without makeshifts1 all that gives to any given human face its charm and its interest4444 ,there is in it something of inspiration which neither care nor industry nor strength--and there are certainly artists stronger than he--can give4 ,there is in this drawing the germ1 and something more than the germ1 of the spirit of his great son40#bd ,this altar-piece1 in which the figures are represented at about one-third the size of life1 marks a considerable advance in ,holbein's art1 both in technical qualities1 the harmony of colouring1 and in the drawing of the figures and natural arrangement of the draperies4 ,when ordering the picture1 ,veronica ,welser at the same time commissioned ,hans ,burgkmair to paint one of the ,basilica of ,santa ,croce and the legend of ,st4 ,ursula4 ,only one payment1 #ahg gulden1 is recorded for the two4 ,as ,burgkmair's picture is dated #aejd1 it is natural to suppose that ,holbein's altar-piece was painted at about the same time4 ,,vol4 ,i41 ,,plate #a4 ,illustration3 ,,the ,,baptism ,,of ,,st4 ,,paul ,left-hand panel of the 8,st4 ,paul0 ,altar-piece1 with portraits of the ,holbein ,family ,,hans ,,holbein ,,the ,,elder ,,augsburg ,,gallery ,sidenote3 ,,the ,,elder ,,holbein',s ,,troubles ,between the years #aejd and #aejh ,holbein found frequent employment in connection with the ,church of ,st4 ,moritz in ,augsburg4 ,various payments are recorded in the church account books1 but the pictures he painted cannot now be traced4 ,among them appear to have been two large altar-pieces1 for which he frequently received small sums in advance at his own request4 ,on the #bhth ,october #aejf1 he agreed to supply four altar-panels for #ajj gulden1 receiving #aj gulden on account4 ,money was evidently scarce in the ,holbein household in these years2 he was even obliged to borrow #c gulden from the churchwarden's wife4 ,for the second altar-piece1 commissioned on the #afth ,march #aejh1 he was to receive the considerable sum of #cbe gulden2 but1 as he was evidently still in debt1 the whole of the money was not paid directly to him1 but was handed over to various creditors2 thus #gd gulden was paid to one ,thomas ,freihamer4 ,on the same occasion ,holbein's wife received a present of #e gulden from the church authorities1 and his son1 no doubt ,ambrosius1 one gulden4#be ,the elder ,holbein1 indeed1 was often in monetary difficulties1 more particularly towards the end of his life4 ,from time to time he was sued for small sums by impatient creditors4 ,in #aejc he went to law with a neighbour1 ,paulson ,mair1 and on the #ajth ,may #aeae he was sued by his butcher1 ,ludwig ,smid1 for one gulden4 ,in the following year he was twice in the courts1 the second time at the suit of one ,jrg ,lotter for the small amount of #cb kreuzers4 ,on the #abth ,january #aeag his own brother1 ,sigmund1 was obliged to take proceedings against him for a debt of #cd florins1 money advanced to enable ,holbein to move his painting materials to 8,eysznen0--that is1 ,isenheim in ,alsace--to which place he went towards the end of #aeaf for the purpose of painting an altar-piece for the monastery of ,st4 ,anthony4 ,once again1 in #aeba1 a certain ,hans ,kmlin sued him before the justices for two sums of #dj kreuzers1 and #b florins #dj kreuzers4 ,thus1 in spite of numerous commissions1 which1 however1 were not always well-paid ones1 he often had great difficulty in supporting his household in comfort4#bf ,sidenote3 ,,the 8,,st4 ,,sebastian0 ,,altar-,,piece ,the scope of this book does not permit a detailed description1 or even a bare list1 of his numerous works4 ,two only of his later1 and probably his finest1 paintings must be alluded to briefly--the 8,martyrdom of ,st4 ,sebastian10 in the ,munich ,gallery 7,nos4 #bji-baa71 painted shortly before his departure from ,augsburg to ,isenheim1 and the 8,fountain of ,life10 in ,lisbon1 both of which were at one time ascribed to his younger son4#bg ,the 8,st4 ,sebastian0 altar-piece1#bh which in earlier days was rightly regarded as a work of the elder ,holbein1 is thought to have been one of several commissions given to him by the nuns of ,st4 ,catherine in ,augsburg4 ,the entry in the archives which is supposed to refer to it merely states that 8,sister ,magdalena ,imhoff has given #c gulden to the new ,sebastian1 for the ,holy ,cross on the altar1 and the lay sisters #b florins4 ,this is the cost of the said picture40 ,neither the name of the artist who was employed upon it nor the date of the order is given1 and from the wording of the entry1 and the very small price paid1 it seems evident that it cannot refer to so important a painting as the 8,st4 ,sebastian40 ,dr4 ,woltmann was probably right in suggesting that what was ordered was merely a painted wooden figure of the saint1 which was to be added to a carved group of the ,crucifixion on the altar of the church4#bi ,the picture was first attributed to the younger ,holbein by ,passavant and ,dr4 ,waagen1 who were misled by the forged extracts from the ,st4 ,catherine annals1 in which the passage quoted above was considerably amplified1 the 8,st4 ,sebastian0 being definitely described as a picture 8by the skilful painter ,holbein10 with the additional information that it was ordered in #aeae1 and placed in the church in #aeag1 after its rebuilding1 and that ,magdalena ,imhoff paid #aj gulden towards it1 and the other lay sisters #b gulden each4 ,as a result of this falsification1 the authorship of the picture was taken from the father and given to the son1 and1 in consequence1 it was regarded for a number of years as an extraordinary manifestation of youthful genius4 ,even when the forgery was discovered1 such critics as ,dr4 ,woltmann and ,mr4 ,wornum continued1 from considerations of style1 to uphold the picture as an early ,augsburg work of the younger ,holbein4 ,the inner and outer panels of the wings1 in particular1 were considered to afford undoubted proof1 by their high artistic merit and their method of handling1 that they were from the brush of the son2 and some modern critics still maintain that1 if not entirely his work1 they were nevertheless carried out by him under his father's supervision1 although they show a much more finished and mature style than is to be found in the first sacred paintings he produced in his early ,basel days4 ,professor ,karl ,voll of ,munich holds that no one but the younger ,hans could have painted the lovely figures of ,st4 ,elizabeth and ,st4 ,barbara4 ,dr4 ,glaser1 on the other hand1 is of opinion that the whole altar-piece is the work of ,hans ,holbein the ,elder4 ,the picture is undated1 though ,passavant states that it is inscribed 8#aeaf40 ,according to ,frster1 in #ahdj the old frame bore the inscription 8#aeaf1 ,h4 ,holbain40 ,dr4 ,woltmann placed it in the year #aeae1 but at that date the younger ,hans had already left ,augsburg for ,basel4 ,from considerations of style1 however1 and the strong ,renaissance influence it displays1 it is now generally considered to have been executed by ,hans ,holbein the ,elder in or about #aeaf1 prior to his departure from ,augsburg to ,isenheim4 ,judged by his authentic works of this date in ,basel1 it is difficult to allow that the younger ,holbein had any serious part in the painting of this altar-piece1 though he may have worked on some of the details under his father's direction4 ,whether originally painted to the order of the nuns of ,st4 ,catherine or not1 the picture is said to have been found in their possession on the abolition of the convent4 ,it was acquired in #ahji from the church of ,st4 ,sauveur in ,augsburg4 ,the central panel 7,pl4 #b7 shows the nude figure of the saint1 transfixed with arrows1 his right arm fastened by a chain above his head to a fig-tree4 ,four archers at very close quarters are shooting at him1 the one kneeling in the left foreground1 in the act of bending his bow1 being dressed in a striped costume of blue and white1 the colours of ,bavaria1 the hereditary enemy of ,augsburg4 ,behind them stand spectators in rich costumes1 two on either side1 the foremost one on the right being the officer of the ,emperor ,diocletian1 who is directing the execution4 ,in the background is a river1 on the far side of which rise the towers and buildings of a city1 with the ,alps beyond4 ,the outer panels of the shutters are painted with the 8,annunciation to the ,virgin10 and the inner ones with the figures of ,st4 ,barbara and ,st4 ,elizabeth 7,pl4 #c74 ,st4 ,barbara1 who is attired in a purple mantle1 a blue dress embroidered with gold1 and wide white puffed sleeves1 holds a cup with the ,host hovering over it4 ,st4 ,elizabeth has also a purple mantle1 and a dress edged with fur4 ,with her left hand she gathers up her cloak1 in which she is carrying bread for the poor1 and with the other pours wine from a tankard into a shallow bowl held by one of the two beggars crouching at her feet4 ,these two suppliants1 both of whom are afflicted with leprosy1 have been painted with extreme and even repulsive realism4 ,behind the leper on the right appears the head of the painter himself1 kneeling in adoration4 ,the background in both these panels is similar in character to the central one1 that behind ,st4 ,elizabeth representing1 so it is said1 a view of the ,wartburg1 near ,eisenach2 while above and below are deep bands of rich ,renaissance ornamentation1 of the type of design which the younger ,holbein afterwards carried to so high a degree of excellence4 ,the whole work1 though still retaining many indications of the earlier influences which moulded the elder ,holbein's art1 is strongly imbued with the newer conception of painting received from ,italy4 ,the drawing of the nude displays greater knowledge than in the 8,st4 ,paul0 altar-piece1 the colour is finer1 and the figures of the two saints on the shutters possess much grace and beauty4 ,there are several silver-point studies for the picture in the ,copenhagen ,museum1 while the study for the head of ,holbein himself is1 as already pointed out1 at ,chantilly4 ,,vol4 ,i41 ,,plate #b4 ,illustration3 ,,the ,,martyrdom ,,of ,,st4 ,,sebastian ,central ,panel ,,hans ,,holbein ,,the ,,elder ,,alte ,,pinakothek1 ,,munich ,,vol4 ,i41 ,,plate #c4 ,illustration3 ,,st4 ,,barbara ,,st4 ,,elizabeth ,inner sides of the wings of the ,st4 ,sebastian ,altar-piece ,,hans ,,holbein ,,the ,,elder ,,alte ,,pinakothek1 ,,munich ,sidenote3 8,,the ,,fountain ,,of ,,life0 ,it is in the 8,fountain of ,life0 7,pl4 #d71cj painted in #aeai1ca that the strongest proofs of the elder ,holbein's final surrender to the influences of the ,italian ,renaissance are to be discovered4 ,this picture1 like more than one other of his works1 was formerly ascribed to the son4 ,nothing is known of its earlier history1 but it is said#cb to have been taken from ,england to ,portugal by ,catherine of ,braganza1 daughter of ,john ,,iv of ,portugal1 and wife of ,charles ,,ii1 when she returned home a widow after the king's death in #afhe1 and that it was presented by her to the chapel of the castle of ,bemposta1 where it remained until removed to the royal palace in ,lisbon forty or fifty years ago4 ,it thus appears to have belonged to the royal collections of ,england in ,charles ,,ii's time1 but no traces of it are to be found in any inventory4 ,if the picture ever was in this country1 it can have been only for a short time1 for about the year #afbh it was in the collection of the ,elector ,maximilian ,i of ,bavaria1 and is very carefully described in a manuscript catalogue of his pictures of that date1 with the measurements1 the date1 and the name of the artist--8von ,hanns ,holpain ao #aeai gemalt40#cc ,it is signed 8,,iohannes ,,holbein ,,fecit #aeai10 but from its present condition this signature seems to have been painted over an older one4 ,attention was first called to the picture by ,pietro ,guarienti1 keeper of the ,dresden ,gallery1 who was in ,portugal from #agcc to #agcf4 ,he read the name as 8,holtein10 and considered it to be the work of one of ,holbein's pupils4 ,this would indicate that the signature was then becoming illegible1 and that it was renovated some time after ,guarienti saw it4 ,on the inner edge of the circular fountain in the foreground there is also an inscription1 8,,pvtevs ,,aqvarvm ,,viventivm10 which has also been retouched by some clumsy hand1 for the older writing1 white on a brown ground1 can still be seen beneath it4 ,the background1 which occupies the upper half of the picture1 is filled with a building or open loggia of very elaborate architecture in the style of the ,italian ,renaissance1 with pillars of vari-coloured marbles1 and capitals and friezes richly carved and decorated4 ,in the central foreground1 on the steps which ascend to this building1 the ,virgin appears1 enthroned4 ,the ,infant ,christ sits astride her right arm1 firmly clasped against her breast4 ,the ,virgin appears to have been painted from the same model as the ,virgin on the outer shutters of the 8,st4 ,sebastian0 altar-piece4 ,the ,fountain of ,life drips from a marble ,cupid's mask on the step below her feet into a small circular basin1 on the edge of which is placed a tall vase with a spray of white lilies4 ,behind her carved chair stand ,st4 ,joseph and ,st4 ,anne1 and on either side of her are groups of three saints1 the two foremost ones being seated1 with the folds of their dresses spread over the flower-strewn grass4 ,on the right is ,st4 ,dorothy1 in a richly-brocaded costume1 and behind her kneels ,st4 ,catherine of ,alexandria with her right hand stretched towards the ,infant ,christ1 as a sign of their betrothal4 ,on the left ,st4 ,margaret is seated1 with a book and a long cross1 and a dragon at her feet1 and behind her ,st4 ,barbara is kneeling1 holding the cup with the ,host4 ,two other saints complete the near groups1 and in the background a number of other saints are placed on either side4 ,one of the figures is not unlike the so-called wife of ,holbein in the 8,st4 ,paul0 altar-piece4 ,still farther off1 beyond the rails of the portico or temple1 are three groups of singing and playing angels with vari-coloured wings4 ,in the distance is an elaborate landscape1 with a tall palm-tree1 classical ruins1 and a view of sea and mountains4 ,bands of dark cloud stretch across the sky1 and the evening light still lingers over the waters1 producing a peaceful and rather sombre effect4 ,the composition is the most considerable to be found in any of the elder ,holbein's works1 and is well grouped and arranged4 ,the influence of ,martin ,schongauer can be very clearly traced in it1 and the unusual position in which the ,virgin is holding the ,child is directly derived from ,schongauer's beautiful 8,madonna in the ,rose ,garden10 which ,holbein must have studied in the neighbouring city of ,colmar4#cd ,there were also altar-panels by ,schongauer in the ,isenheim ,monastery itself1 where ,holbein appears to have been working when he painted the 8,fountain of ,life40 ,in addition to this direct influence1 others1 both ,flemish and ,italian1 are to be traced in it1 but well fused1 so that the whole composition is unforced and natural1 and contains passages of much beauty4 ,there is delicacy and warmth in the flesh tints1 and the sincerity of feeling which pervades all the principal figures is one of its chief charms4 ,the rich architecture of the background shows good understanding and appreciation of the ,italian models upon which it is based1 and in all ways the picture indicates that when the elder ,holbein put forth his greatest powers he was worthy of being ranked among the best ,german painters of the early sixteenth century4 ,,vol4 ,i41 ,,plate #d4 ,illustration3 ,,the ,,fountain ,,of ,,life ,,hans ,,holbein ,,the ,,elder ,,national ,,museum ,,of ,,ancient ,,art1 ,,lisbon ,although he does not appear to have had many opportunities of exercising his skill as a portrait-painter1 his very numerous studies in this branch of art show abilities of a very high order1 and possess many of the qualities1 though in a lesser degree1 which his son afterwards developed to so high a pitch of perfection4 ,indeed1 in these portrait-studies of men his art attains its greatest strength and finest accomplishment4 ,sixty-nine of his drawings of heads are preserved in the ,imhoff ,collection in the ,berlin ,museum4 ,they are on the leaves of sketch-books1 and were made between #aeji and #aeaf1 in silver-point and pencil1 some of them strengthened with white and with red chalk4 ,a smaller number of heads from the same series are in the ,copenhagen ,museum1 and at ,basel and ,bamberg1 while isolated examples are to be found in the print rooms of more than one ,european museum4 ,some of the ,basel drawings were made before #aejh1 and in the collection of ,m4 ,lon ,bonnat1 which contains several fine silver-points by the elder ,hans1 there is one of the ,augsburg goldsmith1 ,jrig ,seld1 dated #adig4 ,sidenote3 ,,the ,,elder ,,holbein',s ,,studies ,these drawings1 which at one time were all ascribed to his son1 and are so attributed in the first edition of ,dr4 ,woltmann's book1 represent citizens of ,augsburg in all classes of life1 many of them1 no doubt1 personal friends of the painter1 who1 in a number of cases1 has written their names on the sketches4 ,there is no evidence to show that the majority of them were preliminary studies for portraits for which he had received commissions2 they were done partly for his own amusement and practice1 and partly to serve as models for figures in his sacred paintings4 ,they form1 nevertheless1 a very valuable record of the ,augsburg life of his day1 and so may be compared1 in the wideness of their range at least1 with the more brilliant series of drawings by his son4 ,in numerous instances the same sitter has been drawn two or three times2 of ,johannes ,schrott#ce and ,hans ,griesher1#cf monks of ,st4 ,ulrich1 there are no less than seven and six respectively4 ,among them there are portraits of the ,emperor ,maximilian1#cg on horseback1 in helmet1 and with sword1 and of his grandson1 afterwards ,charles ,v1#ch with a falcon on his wrist1 inscribed 8herzog karl vo burgundy40 ,as ,charles became ,duke of ,burgundy in #aeae1 and ,king of ,castile in #aeaf1 the drawing must have been made in the former year4 ,there are several portraits of members of the great ,fugger family1 among them ,jacob ,fugger1#ci the head of the clan2 his nephews1 ,raimund#dj and ,anton#da2 his cousin1 ,ulrich ,fugger the ,younger1#db and his wife1 ,veronica ,gassner#dc2 and several more4 ,other leading ,augsburg families are represented in heads of ,gumprecht ,rauner1#dd ,hans ,nell1#de ,hans ,pfleger1#df and ,hans ,herlins1#dg and members of the court circle by such men as ,kunz von der ,rosen1#dh the ,emperor ,maximilian's lifelong friend and adviser4 ,included among these drawings are representations of more than one of ,holbein's fellow-workers in art1 such as ,hans ,schwartz#di the wood-carver1 and ,burkhart ,engelberg1#ej stone-carver and architect4 ,representatives of more lowly pursuits are ,gumpret ,schwartz1#ea schoolmaster1 and one ,grn1#eb a tailor1 and certain 8merry fellows0 of the artisan class4 ,the heads of ladies are not very numerous1 but one of them1 the wife of the ,guildmaster ,schwartzensteiner1#ec a typical example of the 8good wife0 of ,augsburg1 has been drawn no less than three times4 ,a less reputable personage among them is ,anna1 known as 8the ,lomentlin10#ed who was twice expelled from the town for serious misconduct1 and returned in the end apparently repentant1 afterwards posing as a saint1 and professing to be able to live without meat or drink4 ,one of the most important groups in this series of drawings represents the monks of ,st4 ,ulrich1 ,augsburg's famous monastery--,heinrich ,grn1#ee ,leonhard ,wagner1#ef ,conrad ,merlin1#eg ,johannes ,schrott1 ,hans ,griesher1 and others4 ,finally1 there are a few studies of heads of members of the artist's family1 including his own likeness1 that of his brother ,sigmund1#eh and the double portraits of his two sons1 which have been already mentioned4 ,sidenote3 ,,portrait ,,of ,a ,,lady ,,of ,,augsburg ,there is a small finished portrait of a lady of ,augsburg1 whose ,christian name only1 ,maria1 is known1 in the collection of ,sir ,frederick ,cook1 at ,richmond1 which is the sole example of portraiture by the elder ,holbein in ,england2 and1 indeed1 with the exception of the portrait of a man1 dated #aeac1 in the ,lanckoronski ,collection in ,vienna1#ei which is also attributed to him1 it is very possibly the only specimen of such work by him in existence4 ,this portrait is of particular interest1 because it conflicts with the statement of ,dr4 ,glaser1 that he never painted an independent portrait4#fj ,it was formerly attributed to the younger ,holbein1 but most critics failed to see his hand in it2 and1 when exhibited at the ,burlington ,fine ,arts ,club in #aijf1 it was described as of the ,south ,german ,school1 with a note recording that the names of ,schaffner and ,ambrosius ,holbein had been tentatively suggested in connection with it4 ,dr4 ,friedlnder1 however1 considered it to be a work of the younger ,holbein in his early ,basel period4 ,in #aijh ,dr4 ,carl ,giehlow suggested that the older painter was its real author1 and drew attention for the first time to the fact that a fine study for it exists in the ,british ,museum 7,pl4 #e72 and further evidence in favour of this attribution has been brought forward by ,mr4 ,campbell ,dodgson4#fa ,the picture is on panel1 #ac by #aj inches4 ,the sitter wears a white cap with embroidered margin of fleur-de-lis pattern4 ,her yellow bodice1 trimmed at the edges with a broad band of black velvet1 opens in front to show a white under-garment patterned in black and gold4 ,the girdle is studded with gold ornaments4 ,the hands are hidden1 being pushed within the sleeves1 as though for warmth4 ,the background is plain blue1 and on the back of the panel is painted 8,maria0 in an abbreviated form1 evidently the sitter's ,christian name4 ,on the front of the old original frame is inscribed3 8,,also4,,was4,,ich4,,vir4,,war4,,in4,,d em4 #cd4 ,,iar40 7,so was ,i in truth in my thirty-fourth year47 ,the silver-point drawing in the ,british ,museum is1 says ,mr4 ,dodgson1 8a delicate piece of work1 in perfect preservation1 and so fresh and spontaneous that it must be regarded as a study from life1 preparatory to the picture1 and not as a copy from the latter4 ,it is significant that only the main outlines of the costume are noted1 and that ornamental details1 which it would have taken a long time to draw1 are reserved for the final execution of the portrait in oils2 nothing of the kind is even suggested except the fleur-de-lis pattern on the cap4 ,all the essential outlines of the figure itself1 on the other hand1 are drawn with a careful and expressive line1 which notes the folds of the flesh beneath the chin more accurately than the creases of the sleeve at the elbow40 ,this drawing1 like the portrait itself1 is neither signed nor dated1 so that it may be suggested1 by those who see in the finished work the hand of the younger ,holbein1 that the drawing also is the work of the son4 ,there is1 however1 a second drawing of the same lady in the ,berlin ,museum1#fb one of the series of the elder ,holbein's studies1 in which she is represented in almost the same position1 and wearing the same dress1 though apparently several years older4#fc ,it does not seem to be a repetition of the earlier drawing1 but a fresh portrait from life made after a considerable interval4 ,the ,berlin drawing is undoubtedly the work of the elder painter1 while the one in the ,british ,museum is closer to his style than to that of his son at the period in question1 when the latter was still in his teens1 as shown in such early ,basel drawings as the studies of ,meyer and his wife4 ,the new attribution1 therefore1 appears to be the correct one1 the evidence in favour of the elder ,holbein being1 if not conclusive1 at least very strong4 ,,vol4 ,i41 ,,plate #e4 ,illustration3 ,,study ,,for ,,the ,,portrait ,,of ,a ,,lady ,,of ,,augsburg ,silver-point drawing ,,hans ,,holbein ,,the ,,elder ,,british ,,museum ,little is known of the last eight years of his life4 ,the 8,fountain of ,life0 is the only picture painted by him during that period which has survived4#fd ,it is supposed that he never returned to ,augsburg1 but died in ,isenheim2 but that he spent the whole period there seems unlikely4 ,isenheim is close to ,basel1 and it is not impossible that his last days were passed under the roof of his son ,hans in the latter city4 ,a letter1 dated #dth ,july #aebf1 and addressed to the ,vicar of the ,order of ,st4 ,anthony in ,isenheim by the burgomaster of ,basel1 ,heinrich ,meltinger1 bears out this supposition4#fe ,it was written on behalf of ,hans ,holbein the ,younger1 and by means of it he made a final attempt to obtain possession of1 or compensation for1 his father's painting materials1 which the latter had left behind him1 or which had been detained for some purpose by the monastery authorities4 ,from this letter it appears1 also1 that the son had made more than one previous attempt1 during his father's lifetime1 and at the elder painter's request1 to get the goods returned2 from which it is to be inferred that for some considerable time prior to his death ,hans ,holbein the ,elder had left ,isenheim4 ,in #aeba1 as already pointed out1 he was sued by ,hans ,kmlin for a small debt1 but this does not necessarily indicate that the painter himself was in ,augsburg at the time4 ,his death took place in #aebd1 as is proved by an entry in the ,handwerksbuch of the ,augsburg ,painters' ,guild of that year1 in which 8,hannss ,holbain maller0 is noted as deceased2 but this again does not prove that his actual death occurred in that city4 ---------------------------------------- -------------------------------- ,,chapter ,,ii ,,youthful ,,days ,,in ,,augsburg ,birth of ,hans ,holbein the ,younger--,forgeries of dates on early pictures attributed to him--,various portraits bearing on the question of the year of his birth--,his early life in ,augsburg--,the family house on the ,vorderer ,lech--,early training in his father's studio--,hans ,burgkmair--,augsburg and the decorative arts4 ,,no absolutely conclusive proof has yet been discovered of the exact date of the birth of ,hans ,holbein the ,younger4 ,for years the question was complicated by more than one forgery of dates and signatures on certain pictures in ,augsburg1 and by spurious amplifications made in the modern copies taken from certain entries in the annals of the convent of ,st4 ,catherine4 ,owing to these forgeries1 ,dr4 ,woltmann1 in the first edition of his book1#ff advanced the opinion that ,holbein was born in #adie2 but before the publication of the first volume of the second edition of his work1 in #ahgd1 these inscriptions and entries had been proved to be falsifications1 and he then altered the date to #adig1fg and this is now generally accepted as correct4 ,equal doubt existed at one time as to the place of his birth4 ,among earlier writers1 ,carel van ,mander 7#afjd7 and ,patin 7#afgf7 stated that he was born in ,basel1 while ,matthis ,quad gave his birthplace as ,grnstadt in the ,palatinate4 ,sandrart 7#afge7 was the first biographer to name ,augsburg1 which modern research has shown to be correct4 ,the forgeries1 no doubt1 were the result of the discovery that ,holbein was not a ,swiss1 as had been usually supposed1 and were intended to supply convincing evidence that he was of ,german origin1 and a citizen of ,augsburg1 and also to furnish proof of the precocity of his youthful genius4 ,sidenote3 ,,the ,,younger ,,holbein',s ,,birth ,the chief forgery was an inscription on a picture in the ,augsburg ,gallery 7,nos4 #gd-gg71 dated #aeab1 which until #ahde had always been rightly regarded as the work of the elder ,holbein4 ,this picture is one of the four panels which originally formed the inner and outer sides of the two shutters of an altar-piece or shrine painted for the convent of ,st4 ,catherine4#fh ,the two inner panels represent the ,martyrdom of ,st4 ,catherine#fi and the ,legend of ,st4 ,ulrich1 the patron saint of ,augsburg2 the outer ones the ,crucifixion of ,st4 ,peter1 and the ,virgin and ,st4 ,anne teaching the ,infant ,christ to walk4 ,on the panel representing ,st4 ,catherine the date #aeab occurs on a votive tablet containing a ,latin prayer to the saint1 while on the old original frame the name of the painter1 8,hans ,holbain10 the two last letters of the surname now defaced1 stands in gold letters4#gj ,it was upon the panel representing the ,virgin and ,st4 ,anne with the ,infant ,christ#ga that the false inscription was placed4 ,in this picture ,mary and her ,mother are seated1 each holding a hand of the youthful ,saviour1 who stands between them on the bench making his first attempts to walk4 ,three small angels hold up a curtain behind them1 and at the top of the panel is a band of rich ,renaissance ornamentation1 with two cupids blowing horns4#gb ,st4 ,anne holds an open book on her lap with her left hand2 and when1 in #ahed1 the panel was separated from its obverse side and cleaned and restored1 a ,latin inscription upon this book came to light1 parts of which were hidden by the hand of the saint4 ,this inscription stated that the picture had been painted 8by order of the venerable and most pious mother ,veronica ,welser--,hans ,holbain1 of ,augsburg1 at the age of #ag40gc ,before this ,dr4 ,waagen#gd and several other critics had attributed this altar-piece to the younger ,holbein because of supposed differences in style between it and the greater number of the authenticated works by the father4 ,the newly-discovered inscription1 which was accepted as genuine by ,dr4 ,woltmann and most ,german writers1 was considered to afford final proof of the truth of ,waagen's contention1 though a few1 among them ,herman ,grimm1 refused to credit it4 ,it was not until after the death of ,a4 ,eigner1 the keeper of the ,augsburg ,gallery1 and the originator of the falsification1 in ,november #ahgj1 that it was possible to apply a practical test to it1 with the result that it proved to be a modern forgery4 ,upon the application of turpentine the whole of the inscription disappeared1 and traces of a much earlier and badly-defaced one were found beneath it4 ,the discovery of its fictitious nature led to further investigation1 and the final abandonment of the date #adie as the year of the painter's birth1 while the picture is now rightly restored to the older artist who painted it4 ,sidenote3 ,,the ,,younger ,,holbein',s ,,birth ,far more reliable proof as to the correct date of ,holbein's birth is afforded by the fine silver-point drawing by the elder painter1 in the ,berlin ,museum1 of the heads of his two sons 7,pl4 #f74ge ,between the heads is written 8,holbain10 and over that of the younger boy on the right the word 8,hanns10 with the age 8#ad0 above the name4 ,over the head of the elder boy on the left the shortened name 8,prosy0 is still legible4 ,probably the first syllable1 8,am10 has become obliterated in course of time1 or it may be that the father merely set down his nickname1 8,prosy40#gf ,the age of ,ambrosius1 which must also have been added1 is now entirely effaced4 ,at the top of the sheet is placed the date1 which to-day is barely legible4 ,dr4 ,woltmann read it as 8#aeaa10 which would give the birth-year of ,hans as #adig1 and this reading is now generally accepted4 ,the same writer imagined that he could trace the figure 8#e0 above the head of ,ambrosius1 which would make his age fifteen1 and thus one year older than his brother4 ,in the drawing itself1 however1 he appears to be at least two or three years the senior4 ,dr4 ,willy ,hes1 in his recently-published book on ,ambrosius ,holbein1 states that this now almost obliterated age-figure is 8#ag10 and this is probably correct4#gg ,both heads are full of character4 ,the younger boy1 with round face1 and straight hair falling on his forehead and covering his ears1 though not a child of much personal beauty1 has a pleasant1 thoughtful expression4 ,the forehead is a fine one1 projecting over the eyes1 and showing1 according to phrenologists1 a strongly-developed power of imagination1 while the mouth is large and determined4 ,ambrosius has more mobile features1 and a mass of curling hair4 ,this drawing1 which at one time was attributed to the younger ,hans1 is one of the most masterly in the ,berlin series1 and shows how largely the son's great gift of lifelike portraiture was inherited from his father4 ,sidenote3 ,,the ,,younger ,,holbein',s ,,birth ,dr4 ,hes also publishes a second drawing by the elder ,holbein from the ,berlin collection1#gh which1 as he was the first to point out1 undoubtedly represents the two boys at an earlier age4 ,this silver-point drawing1 hitherto known merely as 8,portraits of two ,children10 and bearing the inscription 8,thomasins ,sohn und ,tochter0 in a later hand1 represents the two boys in profile1 facing one another4 ,it is not of such fine quality as the drawing of #aeaa1 but the likeness to ,ambrosius and ,hans is unmistakable4 ,in this earlier study ,dr4 ,hes considers the age of the boys to be eight and five respectively4 ,the further researches of the same writer have resulted in his discovery of a third likeness of the elder son from his father's pencil1 a beautiful drawing of a curly-haired lad with looks cast downwards4 ,it is among the silver-point drawings of ,hans ,holbein the ,elder in the ,basel collection1#gi and seems to be connected with two other works by the ,augsburg master1 both also at ,basel1 for which1 perhaps1 it may have served as a preliminary study4 ,one is an ,indian-ink study for a 8,death of ,mary10 and the other a large oil-painting of the same subject 7,no4 #cja74 ,in both the features of the youthful ,st4 ,john1 who bends over the ,virgin with palm-branch and long candle in either hand1 are evidently those of ,ambrosius4 ,this drawing#hj is dated #aejh on a slate hanging at the head of the bed1 so that the 8,st4 ,john0 represents the boy at the age of about fourteen4 ,a still more youthful figure1 with long hair1 stands behind the wooden head of the bed1 with clasped hands1 gazing down at the ,virgin4 ,it may be suggested1 though ,dr4 ,hes does not call attention to it1 that in this figure we have a third likeness of the younger ,hans4 ,the resemblance to the heads in the two drawings is not as close as in the case of ,ambrosius1 but is sufficiently so to permit the conjecture that the father intended to introduce both his boys into the picture to be painted from this study4 ,the connection between these drawings and the picture at ,basel is not1 however1 very clear4 ,in the oil-painting#ha ,mary is enthroned1 the arrangement is entirely different1 and many more figures are introduced2 but the figure and face of the ,st4 ,john are the same as in the ,indian-ink drawing1 though seen from the opposite side4 ,according to the ,basel catalogue1 however1 this picture was painted in #aeja1 and it does not appear very probable that the painter would have used a boy of seven as his model for the ,saint4 ,behind ,st4 ,john appears the curly head of a young man looking down2 and here again1 though possibly only in the imagination of the present writer1 there is a faint resemblance to ,hans the ,younger4 ,but this cannot be so if the picture was painted in #aeja1 when ,hans was only four4 ,the same figure of ,st4 ,john occurs also in the 8,death of ,mary10#hb on one of the panels of the ,kaisheimer altar-piece at ,munich4 ,we have thus1 in these drawings1 together with the 8,basilica of ,st4 ,paul0 picture of #aejd1 portraits of ,ambrosius ,holbein at the ages of eight1 ten1 fourteen1 and seventeen respectively1 and of ,hans when five1 seven1 and fourteen1#hc and also1 if the likeness in the ,indian-ink drawing of #aejh be allowed1 at the age of eleven as well4 ,,vol4 ,i41 ,,plate #f4 ,illustration3 ,,ambrosius ,,and ,,hans ,,holbein #aeaa ,silver-point drawing ,,hans ,,holbein ,,the ,,elder ,,royal ,,print ,,room1 ,,berlin ,further evidence as to his birth-date is afforded by two engravings1 by ,vorsterman and ,hollar respectively1 and several miniatures of ,holbein by himself1 some of the latter being only early copies1 all of which are dated #aedc1 and give the age as forty-five4 ,vorsterman's print1 which is #d inches in diameter1 shows no date on the background1 but round the outside is engraved 8,ioannes ,holbenius ,pictor ,regis ,magn ,britanni ,sui ,cculi ,celeberrimus ,anno #aedc tat3 #de40 ,hollar's etching is also circular4 ,there is no lettering round the rim1 but across the background is inscribed3 8,,hh4 4 #de--;,,ano #aedc40 ,below is the legend--8,vera ,effigies ,johannis ,holbeinii ,basiliensis ,pictoris et ,deliniatoris rarissimi4 ,ipse ,holbeinius pinxit1 ,wenceslaus ,hollar aqua forti ri insculpsit4 ,ex ,collec3 ,arundel3 #afdg40hd ,the original paintings from which these two engravings were taken have not been discovered1 but they were1 no doubt1 two small roundels in oils4#he ,in ,carel van ,mander's time two such portraits were in existence4 ,he says1 when speaking of ,holbein's works then in ,amsterdam3 8,at the house of ,jacques ,razet1 the fine arts amateur1 ,i saw ,holbein's portrait1 painted by himself very prettily and neatly1 in miniature1 with a small margin round it2 and in the possession of ,bartholomus ,ferreris1 ,i saw a second1 about the size of the palm of my hand1 excellently and neatly executed in flesh tints40#hf ,sandrart1 who was in ,amsterdam between #afci and #afde1 gave to the collector ,le ,blond a small round portrait of ,holbein1 and this is probably identical with the one which ,van ,mander saw in the possession of ,razet4 ,from ,le ,blond1 who acted as agent for the ,earl1 it may well have passed into the ,arundel ,collection before #afdg1 in which year ,hollar etched it4 ,vorsterman's engraving is not dated1 but it is evidently taken from the same or an almost similar original1 and this artist engraved other pictures in the ,arundel collection4 ,according to ,walpole1 the picture in the ,earl's possession was dated4 ,he says1 quoting from one of the pocket-books of ,richard ,symonds3--8,in the ,arundelian collection was a head of ,holbein1 in oil1 by himself1 most sweet1 dated #aedc40hg ,the various miniatures of the painter1 the greater number of which are merely good and almost contemporary copies1 described in a later chapter1#hh have all1 with one possible exception1 the same date1 #aedc1 upon them1 and1 like the engravings1 represent the artist with a beard1 wearing a black skull-cap1 and1 in those which show the hands1 in the act of painting4 ,the exception is the fine miniature in the ,salting ,collection1 which is inscribed 8,,etatis ,,sv #ce10 but is without date4 ,it is almost certain1 however1 that this miniature does not represent the painter4#hi ,sidenote3 ,,holbein',s ,,birthplace ,the fact that the inscriptions on these various engravings and miniatures agree as to the date and the age of the painter does not necessarily prove that such date and age were placed by the artist himself upon the original painting on which most of them are based2 but the probability is that such was the case1 and that ,holbein1 therefore1 was forty-five years old in #aedc4 ,unless1 however1 more definite evidence is forthcoming in the future1 the question must remain undecided1 though it is practically certain that his birth took place either in #adig or #adih4 ,nothing is known of ,holbein's early life in ,augsburg1 where he spent the greater part of his first seventeen years4 ,it is not very likely that his father took his family with him upon his painting expeditions to ,ulm1 ,frankfurt1 and elsewhere1 although he became a burgher of the first-named place for a time4 ,it was the custom at that period for a painter to leave wife and children at home while he visited other centres in search of work or to carry out commissions4 ,the house in which the young ,hans is supposed to have been born is still standing in ,augsburg1 and bears a recording tablet on its front4 ,it is in the ,vorderer ,lech1 ,no4 #dif;,a1 one of the quieter streets of the city to-day4 ,it is thus described by ,mr4 ,davies3 8,the ,vorderer ,lech obtains its name from the fact that a narrow channel of the ,lech runs clear and green down one side of the street1 separating the roadway from the houses on the north side4 ,access is gained to these houses in most instances by a wooden bridge or gangway which leads the visitor under an archway in the house itself4 ,the house of the ,holbeins1 one of those little whitewashed buildings with the comfortable red-tiled roofs which are so plentiful in the city1 has nothing to distinguish it beyond the tablet aforesaid4 ,you pass under the arch1 and find on either side the doors 7still retaining their ancient hinges7 and the open staircase which leads to the separate tenements into which the house is now divided4 ,ascending the staircase to the right1 one finds the little room wherein tradition has it that our ,hans ,holbein was born1 the little kitchen over which his mother presided1 and the room which is traditionally regarded as the painting room of ,hans ,holbein the elder4 ,it looks pleasantly out over enclosed gardens and picturesque roofs up towards the statelier buildings of the ,maximilianstrasse4 ,the house is not luxurious1 but may well have been a house of no small comfort in the days when the ,holbeins held it40#ij ,it is impossible to point to any work of this period which can be accepted without question as from the hand of the younger ,holbein alone4 ,both he and his brother ,ambrosius received a very thorough training in their father's workshop1 and for the last few years before their departure for ,basel they must have taken an active though minor share in the completion of the various commissions which fell to the elder painter4 ,many attempts have been made to separate the work of the father from that of his sons in such pictures as the 8,st4 ,catherine0 altar-piece panels of #aeab1 already described1 and the more famous 8,st4 ,sebastian0 altar-piece in ,munich2 but the critics have never been able to come to any settled agreement as to the particular parts of these pictures1 if any1 which were the actual work of the younger ,hans4 ,it is only possible to say with some certainty that he must have been employed by his father on the less important portions of his altar-pieces1 and that such work would be carried out under the personal direction of the elder painter1 who alone was responsible for the general design and composition1 and the arrangement of the colour-scheme1 if not for the actual painting of the figures and the chief passages of the pictures4 ,it is not possible to allow1 as some writers have done1 that such figures as the ,st4 ,elizabeth and ,st4 ,barbara on the shutters of the ,munich 8,st4 ,sebastian0 altar-piece were conceived and carried out by the younger ,holbein independently of his father1 although he may have shared to some small extent in the actual painting of the panels4 ,they display a more advanced technique1 and an art in all ways more matured1 than is to be found in the earliest independent work of ,holbein's first ,basel period4 ,sidenote3 ,,the ,,decorative ,,arts ,,in ,,augsburg ,in his father's studio ,holbein obtained a very complete grounding in all the technical processes of his art1 and was encouraged to develop that extraordinary gift for portraiture which he had largely inherited4 ,the family seems to have been so frequently hard-pressed for money that the two boys would be obliged1 at as early an age as possible1 to begin to work seriously for a living1 and in this way would gain much useful practical knowledge and facility in the handling of brush and pencil4 ,in other respects ,holbein's art was apparently more strongly influenced by the example of ,hans ,burgkmair1 who was some twenty-five years his senior1 than by that of his own father1 and more particularly in his ready assimilation of the newer methods and aspirations springing from the ,italian ,renaissance1 which afterwards became so perfectly blended in his painting with those older forms and conceptions of the ,germanic school of the fifteenth century1 in which he was first trained in the elder ,holbein's workshop4 ,burgkmair returned from ,italy about #aejh1 full of enthusiasm for the new movement1 and his example must have acted as an inspiration to ,holbein's budding genius4 ,not only in his pictures and wall-paintings1 but in his remarkable designs for woodcuts for the two great works in his own honour projected by the ,emperor ,maximilian--the 8,weisskunig10 and the 8,triumphal ,procession0--,burgkmair exercised an undoubted influence over his younger contemporary4 ,a year or two later in ,basel ,holbein's art appears to have been affected to some extent1 though indirectly1 by that of ,hans ,baldung ,grien and ,matthias ,grnewald1 through the medium of some painter whose name so far has not been traced4#ia ,other causes1 too1 were at work in moulding him for his future career4 ,the city of ,augsburg was exceptionally well fitted for providing incentives to a young artist to develop his powers in many directions4 ,the practice of decorating the more important buildings of the city and the mansions of its merchant-princes with wall-paintings both within and without provided work for numerous artists1 and in this way1 no doubt1 ,holbein first began to practise a form of art which a few years later he was to carry to so high a pitch of excellence in ,lucerne and ,basel4 ,numerous printers1 too1 were settled in the city1 who provided employment for many wood-engravers and designers of book illustrations and ornamentation--the latter a form of art in which ,holbein was very busily engaged during the first ten years of his residence in ,switzerland4 ,his skill1 too1 in making designs for workers in gold and silver1 in enamels and painted glass1 must have received its first encouragement in ,augsburg1 which was noted for its craftsmen4 ,every branch of handicraft1 indeed1 was practised there4 ,its armourers1 headed by the great ,kolman family1 were celebrated throughout ,europe1 while the ,augsburg goldsmiths were equally famous for the artistic excellence and fine workmanship of their productions4 ,among such masters in their various arts the youthful ,holbein moved1 and it must have been from personal intercourse with them that he gained his first knowledge of design1 and how it should be rightfully applied to the service of the several decorative arts1 and how best modified to suit the nature of the materials used in each particular handicraft2 and that he made the most of his opportunities is proved by the fact that when1 a few years later1 he started upon an independent career in ,basel1 the first works he produced show him to have been even at that early age an almost complete master of decorative design4 ---------------------------------------- -------------------------------- ,,chapter ,,iii ,,first ,,years ,,in ,,switzerland ,departure of ,hans and ,ambrosius from ,basel--,the 8,virgin and ,child0 of #aead--,the painted ,table at ,zrich--,their arrival in ,basel--,heads of the ,virgin and ,st4 ,john--,the 8,cross-,bearing0 at ,karlsruhe--,the five scenes from 8,christ's ,passion0 at ,basel--,work for the ,basel printers--,holbein's first title-page--,the marginal drawings to ,erasmus' 8,praise of ,folly0--,the share of ,ambrosius in these illustrations--,the legend of the painter's intemperance--,the ,schoolmaster's ,sign-,board--,double portrait of ,jakob ,meyer and his wife--,the 8,adam and ,eve40 ,,the fortunes of the ,holbein family1 never very brilliant1 having become still more precarious1 if existing records are to be believed1 the two sons1 now approaching manhood1 resolved to seek employment farther afield4 ,possibly in #aeac1 but more probably in the spring of #aead1 they turned their backs on ,augsburg and set out for ,switzerland4 ,whether ,basel was their objective from the beginning or whether they arrived there more or less by chance1 in the course of their wander-year1 and finding work plentiful1 resolved to make it their headquarters1 there is no actual proof to show2 but their uncle1 ,sigmund1 had been settled in ,switzerland for some years1#ib and had established himself in good practice in ,berne1 and this fact may have had something to do with the resolve of the younger ,holbeins to turn their faces in that direction4 ,the discovery of a little picture of the 8,virgin and ,child10 dated #aead1 in a small village near ,constance1 which is attributed to ,hans1 affords some evidence that their departure from ,augsburg took place in that year2 that they had reached ,basel some time in the spring or early summer of #aeae is proved by the existence of more than one authentic work by the younger brother bearing that date4 ,not long afterwards the father himself left ,augsburg for ,isenheim1 near ,gebweiler1 in ,alsace1 at no great distance from ,basel1 and1 so far as is known1 never returned to his native city1 so that the old home was finally broken up4 ,sidenote3 ,,the 8,,virgin ,,and ,,child0 ,,of #aead ,the small picture of the 8,virgin and ,child0 7,pl4 #g7 was discovered in the village of ,rickenbach1 near ,constance1 by ,herr ,anton ,seder1 and on the sale of his collection in #ahgf it was acquired for the ,basel ,gallery 7,no4 #cjb74ic ,it came originally from the ,maria ,wallfahrts 7,pilgrimages7 ,church of ,rickenbach4 ,on the background of the panel1 on either side of the ,virgin's head1 are two coats of arms1 the one on the left being that of the ,von ,botzheim family1 and that on the right of the family of ,ycher von ,beringen4 ,the picture1 therefore1 is supposed to have been ordered by ,johann von ,botzheim1 canon of ,constance1 son of ,michael von ,botzheim and ,anna ,ycher von ,beringen4 ,the ,virgin is shown to the knees1 a seated figure1 holding the ,child in her lap1 upon whom she gazes with downcast eyes4 ,she clasps him to her with her left hand1 the right hand being placed under his chin4 ,her white dress of soft material is arranged in a multiplicity of small folds1 each carefully drawn1 and is decorated with a band of gold embroidery2 the wide flowing sleeves are drawn in above and below the elbow with similar bands1 and resemble the sleeves in the 8,st4 ,barbara0 of the 8,st4 ,sebastian0 altar-piece4 ,the lower part of the dress is a very dark blue1 almost black4 ,she wears a golden crown1 and her fair hair falls upon her shoulders1 as in the famous ,darmstadt 8,madonna40 ,the ,child lies quietly in her arms1 a somewhat sad expression on his face1 with his small toes curled up1 both feet and hands being admirably drawn4 ,the background is a deep red1 and over the ,virgin's head hangs a festoon of laurel leaves1 suspended from the painted framework which surrounds the group4 ,this framework represents white stone pillars1 with panels of black marble decorated with ,renaissance ornamentation1 and a number of small naked putti1 three on either side and seven on the top4 ,some of these little winged angels salute the ,virgin with trumpets1 others carry the instruments of ,christ's ,passion1 and four of them hold small tablets for inscriptions4 ,these delightfully natural little figures are painted in an ivory tone and stand out well against the dark background4 ,the work is immature1 but displays a very tender1 sympathetic feeling1 and possesses very considerable attractions4 ,the colour-scheme1 in which few tints are employed1 is delicate and harmonious1 and indicates that the artist already possessed a true sense of its possibilities4 ,the type of the ,virgin resembles that employed by the elder ,holbein in such pictures as the 8,fountain of ,life40 ,the natural affection of mother for child is well expressed1 both in the downcast face and in the drawing of the hands with which she holds the little one close to her4 ,on the plinth at the base of the picture is inscribed1 in ,roman lettering3 8,que virgo peperit virgoque permanet lactavit propriis uberibus deum portantemque gerebat ulnis prona trementibus4 ,m4,d4,,xiiii40 ,it is regarded as the earliest authentic work of the younger ,hans1 but neither his signature nor his initials are now clearly distinguishable upon it1 and its authorship is not absolutely certain4 ,the four small tablets in the hands of the putti at one time held inscriptions4 ,no traces of them remain on the two on the right1 but portions of those on the left are still visible4 ,on the upper one there appears to be part of a ,latin sentence and the remains of a date 8#aea--40 ,on the right-hand side of the lower one can still be deciphered some letters of a three-lined inscription1 in the top line 8,r4,a410 in the middle one 8,c4,a40 7,civis ,augustanus71 and in the bottom one the painter's monogram4 ,to the writer this latter appears to resemble more closely that of ,ambrosius1 8,,ah10 rather than that of ,hans1 8,,hh40 ,if this supposition be correct1 it would indicate that the elder brother was the author of the picture1 or1 at least1 that he had a share in the painting of it4 ,in style it resembles almost as closely the few known works by ,ambrosius as the earlier ,basel works of ,hans2 indeed1 in some ways1 it approaches more nearly to the elder brother's art1 as seen in his drawings4 ,in these there is a slight hesitancy and lack of decision in the touch which is not met with in the younger ,holbein's work of the same period4 ,the tenderness of feeling displayed in the picture is also to be found in such drawings by ,ambrosius as the head of a young girl inscribed 8,anne10 in the ,basel ,gallery1 while the putti have much in common with those which bear the shields above the heads of his two charming portraits of unknown boys1 also at ,basel4 ,these putti1 however1 have a still greater likeness to those so frequently used by his brother ,hans1 as can be seen very plainly in the first title-page designed by him a year or two later2 indeed1 the whole framework of the picture recalls his handiwork4 ,it may be suggested1 therefore1 that the ,rickenbach 8,madonna0 was painted1 in part at least1 by ,ambrosius4 ,the two youths appear to have travelled together--though there is no absolute proof of this--and it might be expected that any small commissions picked up on the way would be given to the elder brother1 who1 again1 may have been assisted in carrying them out by his younger companion4 ,dr4 ,ganz points out the close resemblances between this picture and a silver-point drawing at ,basel attributed to the two brothers4 ,,vol4 ,i41 ,,plate #g4 ,illustration3 ,,virgin ,,and ,,child #aead ,,basel ,,gallery ,sidenote3 ,,the ,,painted ,,table ,,at ,,zurich ,a work of a very different kind1 the ,painted ,table at ,zrich1#id has been regarded by some writers as the result of a commission received by ,hans ,holbein during a halt in that town on his journey to ,basel4 ,this1 however1 was not the case4 ,it must have been painted after he had settled in the latter place1 for it was ordered on the occasion of the marriage of ,hans ,baer1 a citizen of ,basel1 with ,barbara ,brunner on the #bdth ,june1 #aeae1 either by ,baer himself or by some friend of his as a wedding present1 and the coats of arms of the two families are represented on it4 ,shortly afterwards the bridegroom left ,basel for the ,italian wars1 marching as standard-bearer with one of the mercenary troops1 and was killed at the battle of ,marignano on the #adth of ,september in the same year4 ,this large table-top is of wood1 and oblong in shape1 with a slab of slate inserted in the centre4 ,this broad wooden border or framework is painted with hunting1 fishing1 jousting1 and other outdoor scenes4 ,one of the longer sides is occupied with a number of mounted knights with long lances engaged in a tournament1 attended by their squires and servants4 ,the action is very spirited1 and several of the individual figures are finely conceived4 ,the corresponding side is devoted to hunting scenes1 including the chase of the stag1 the wild boar1 the hare1 and the bear4 ,the last-named animal is represented in the act of overturning a number of bee-hives4 ,the decoration of one of the end borders shows the banks of a river with a number of men and women engaged in fishing1 using both the rod and nets of great variety4 ,in the meadow at the back a table is spread for a meal1 and two women are cooking at a fire4 ,on the other end is depicted a lady and gentleman out hawking1 with the branches of the surrounding trees crowded with birds of many kinds1 and rabbits playing on the grass1 and1 on the left1 some game is shown in progress1 in which young men are capturing girls in nets4 ,the slate slab in the middle contains two principal subjects4 ,one of them represents the old legend of 8,st4 ,nobody10 the unfortunate mythical personage usually accused of being the author of all breakages and accidents in ,german households1 and incapable of defending himself from such false accusations1 and1 for this reason1 represented by ,holbein with a padlocked mouth1 and surrounded by broken crockery and other objects of daily use4 ,a comic poem on 8,nobody10 by ,ulrich von ,hutten1 published in ,basel at about the time the table was painted1 suggested this subject1 and some lines from it are inscribed on a ribbon-scroll above the dejected saint4 ,the second subject is also humorous1 and shows a pedlar sleeping by the roadside1 quite unconscious of a troop of monkeys who have plundered his pack4 ,over the rest of the surface a number of small scattered objects have been painted1 as though left there by the owner4 ,these formed a part of the joke1 and were painted with a realism intended to deceive1 and with the expectation that the spectator would attempt to pick them up4 ,among them are a pair of spectacles1 a seal1 a quill-pen1 and penknife1 scissors1 a carnation1 and a folded letter with a seal1 round the margin of which part of the painter's signature1 8,,hans ,,ho10 can still be deciphered1 though the coat of arms itself is not that of the ,holbein family4 ,a circle in the centre of the table contains the armorial bearings of ,hans ,baer and his wife4 ,in the year #afcc the table was presented to the ,state ,library of ,zrich1 where it was held in high estimation throughout the seventeenth century4 ,both ,sandrart and ,patin saw it there4 ,the former describes it at some length4 8,in particular10 he says1 8there is a large table which is worthy of inspection1 entirely painted by our ,hans ,holbein the younger1 on which1 in artistic oil colours1 he has represented the so-called ,saint 7,nobody7 sitting sadly on a broken tub1 his mouth fastened up with a great lock4 ,around him torn old books are lying1 earthen and metal vessels1 glass pans1 dishes1 and various other utensils1 but all broken and destroyed4 ,an open letter1 on which ,holbein's name stands1 is so naturally represented1 that many people have seized it by mistake1 thinking it is a real one4 ,the rest of this table is ornamented with various hunting scenes and foliage40 ,patin speaks of it as 8a square table1 about five spans broad1 on which are depicted dancing1 fishing1 hunting1 fish-spearing1 represented for the most part playfully40 ,in spite of this praise1 in course of time it became neglected1 and finally disappeared1 and was not heard of again until #ahga1 when it was discovered by ,professor ,salomon ,vgelin1 buried under thick dust and a mass of old papers1 and in a very damaged condition4#ie ,it now forms one of the chief treasures of the ,zrich ,library1 but it has been so seriously injured by the neglect and ill-usage to which it was subjected for so long a time1 that even after more than one careful attempt at restoration1 much of ,holbein's original and entertaining work has permanently disappeared4 ,sidenote3 ,,arrival ,,of ,,holbein ,,in ,,basel ,although the exact date of the arrival of the two brothers in ,basel is not known1 there is evidence to show that they were busily at work there throughout the year #aeae4 ,possibly it may have been their original intention to make a halt in that city of only some months' duration2 but they found it so profitable a field for their labours that they determined to remain there permanently4 ,basel1 with its famous ,university1 was at that time the home and refuge of many of the ablest thinkers and writers of the day1 and it opened its gates freely to all whose advanced opinions made ,germany and other parts of ,europe undesirable as places of residence4 ,its many printing-presses were already celebrated1 and the printers and publishers found constant employment both for learned scholars who edited for them new editions of the classics and the fathers of the ,church1 and for a large body of draughtsmen1 designers1 and wood-cutters who were engaged in illustrating their publications with portraits1 pictures1 title-pages1 and innumerable initial letters and other ornaments4 ,this well-paid and regular work which the city offered to all artists of ability was1 no doubt1 the real cause which induced the two brothers to become citizens of ,basel4 ,among the earliest works produced there by ,hans were two small heads of saints now in the ,basel ,gallery 7,nos4 #cjh1 #cji71 apparently intended to represent the ,virgin ,mary and ,st4 ,john the ,evangelist4 7,pl4 #h74if ,the ,virgin is wearing a crown1 and her long straight hair falls upon her shoulders1 as in the ,rickenbach 8,virgin and ,child0 of the previous year4 ,the type of face1 too1 is the same as in that picture1 and is seen again in the 8,adam and ,eve0 picture of #aeag4 ,st4 ,john is represented as a beardless young man with curly hair1 and here again the head closely resembles that of the man in the 8,adam and ,eve40 ,each has a large golden nimbus1 which stands out against a plain pale-blue background4 ,these small panels are pleasant in colour1 and carefully painted1 but otherwise afford few indications of the artist's future greatness4 ,they formed part of the ,amerbach collection1 and in the inventory are described as the young ,holbein's first works4 78,item einer heiligen iungen und iungfrawen kpflin mit patenen vf holz mit lfarb klein ,h4 ,holbein erste arbeit407 ,,vol4 ,i41 ,,plate #h4 ,illustration3 ,,the ,,virgin ,,mary ,,basel ,,gallery ,illustration3 ,,st4 ,,john ,,basel ,,gallery ,sidenote3 ,,early 8,,passion0 ,,pictures ,,in ,,basel ,the earliest work of ,hans which is both signed and dated is the small panel in the ,karlsruhe ,gallery 7,no4 #fd71 representing 8,christ ,bearing the ,cross10 a composition crowded with small figures4#ig ,in the centre ,christ has fallen to his knees under the weight of the ,cross1 and is urged forward by the brutal soldiery1 clad in the costume of the mercenary landsknechte of ,holbein's day4 ,on the right stands ,st4 ,veronica holding the handkerchief1 and behind her the mounted ,centurion1 with a small dog running by his horse's feet1 both animals very inadequately rendered4 ,on the left is a group consisting of the weeping ,virgin1 ,st4 ,john1 ,simon the ,cyrenean1 who is helping to raise the ,cross1 and ,joseph of ,arimathea4 ,behind the chief characters is a crowd of armed men and spectators issuing from the gate of a town1 and in the background a hilly landscape with distant buildings4 ,it is signed 8,h4,h4 #aeae10 and was at one time attributed to the elder ,holbein1 and is still considered to be from his hand by some writers4 ,it is so described in the first volume of the second edition of ,woltmann's book1 but in the second volume he reverses his opinion1 and modern criticism is mainly in agreement with this4 ,though in many ways a crude performance1 it appears to be an undoubted work of the younger painter1 conceived under the influence of his father4 ,the figure of the stumbling ,christ1 the action of ,simon1 and of the soldiers striking at ,christ are all reminiscent both of the 8,cross-bearing0 panel in the 8,passion0 series by the elder ,holbein in the gallery of ,prince ,carl von ,frstenberg at ,donaueschingen1 7,nos4 #dc-ed71ih and of the similar subject in the ,vetter votive picture of the year #adii in the ,augsburg ,gallery 7,no4 #fa74 ,upon the back of the ,karlsruhe picture are the badly-damaged remains of a second 8,passion0 subject1 the 8,crowning with ,thorns10 also by the younger ,hans1 first published by ,dr4 ,paul ,ganz in his recent book1 which also has much in common with the same two works by the elder ,holbein4#ii ,the work1 again1 is closely akin to the five scenes from 8,christ's ,passion0 in the ,basel ,gallery 7,nos4 #cjc-cjg71 which are certainly among the very earliest productions of the younger ,hans4 ,two of these1 8,the ,last ,supper0 and 8,the ,scourging of ,christ10 belonged to ,bonifacius ,amerbach1 and are the best of the set1 the remaining three having been acquired in #ahcf at a sale in ,basel4 ,they are painted on canvas1 instead of on panel1 an unusual method for pictures of any value in those days1 and for this reason it is supposed that they were ordered for some special purpose1 such as the decoration of a church during ,holy ,week1 after which they would be rolled up and put away until wanted again in the following year4 ,the hasty execution which they betray possibly arises from the same cause4 ,they may have been wanted in a hurry1 and the pay for them was perhaps too small to allow of careful1 elaborate work1 which1 indeed1 would not be necessary1 considering the temporary purpose for which they were intended4 ,they have also been taken as affording indications that the young painters did not immediately on their arrival set up an independent workshop of their own1 but entered for a period the service of some ,basel artist as journeymen painters for a weekly wage4 ,the composition of these 8,passion0 pictures1 it is urged1 is too elaborate to be the unaided invention of the two young men1 and it is therefore assumed that the designs were provided by some other painter1 and that ,hans and ,ambrosius carried them out under his instructions4 ,the name of ,hans ,herbster1 whose portrait by the elder brother#ajj is now in the ,basel ,gallery 7,no4 #bic7 has been suggested in this connection4 ,on the other hand1 although it is not easy at the first glance to recognise the workmanship of ,hans in these coarsely-painted pictures1 it is equally difficult to point to any one among the older painters then in ,basel who1 judged by existing works1 was capable of producing compositions of this importance2 in any case1 the colour-scheme was probably ,holbein's own1 as well as the vigorous expression given to the heads1 which1 however1 in some of the subjects is exaggerated to the verge of caricature4 ,the grotesquely ugly and brutal executioners in 8,the ,scourging0 have much in common with such works of ,hans ,holbein the ,elder as the ,passion scenes at ,donaueschingen1 and it may very well be that these five pictures were the unaided productions of ,hans and his brother1 based upon the knowledge of similar paintings by their father1 in the execution of which they had in all probability given him assistance1 and that they did not renew their prentice days in ,herbster's or any other workshop1 but started as independent painters from the first4 ,in the 8,last ,supper0 7,no4 #cjc7 7,pl4 #i71aja the meal is laid on two tables placed at right angles1 with ,christ sitting at the angle1 and he is represented in the act of passing the bread across the table to ,judas1 who1 dressed in yellow1 is half rising from his seat4 ,the supper takes place in an open loggia or courtyard1 the background being filled with archways and openings through which the deep blue sky is seen4 ,in the distance on the right is a representation of the ,washing of ,peter's feet4 ,in the night scene on the ,mount of ,olives 7,no4 #cjd71ajb the kneeling ,christ lifts up his arms with a passionate movement4 ,the angel1 a much fore-shortened figure in red draperies1 flies head foremost from the skies bearing the host4 ,christ and ,st4 ,peter1 who is asleep in the left foreground1 are darkly clad4 ,the background1 with its tall1 gloomy trees1 is illuminated by the torches and lanterns of the soldiers entering the garden1 while the light of the coming dawn is just breaking along the horizon4 ,,vol4 ,i41 ,,plate #i4 ,illustration3 ,,the ,,last ,,supper ,,basel ,,gallery ,sidenote3 ,,early 8,,passion0 ,,pictures ,,in ,,basel ,the 8,arrest in the ,garden0 7,no4 #cje7ajc is a composition crowded with figures1 and is full of movement and noise4 ,in the centre ,judas is kissing ,christ1 who is surrounded by armed men2 and on the left ,peter1 with uplifted sword1 has just struck off the ear of ,malchus1 who1 screaming with pain1 and flinging one arm over his head1 has fallen prone on the ground1 while ,christ reaches down his hand to heal the wound4 ,clever use is made of the spears1 maces1 and other upraised weapons of the soldiery1 which are seen against the dark sky4 ,many of the movements of the figures are awkward and ugly1 and the faces of the men who are dragging ,christ away are repulsive and exaggerated1 but the general effect produced is an impressive one1 and the grouping is noteworthy as the work of a youth of seventeen or eighteen4 ,the picture of the 8,handwashing0 7#cjf7ajd is the finest of the series1 more particularly in the left-hand half of the composition1 which represents ,pilate in the act of washing his hands in a golden dish4 ,he is clad in dark green1 with an ermine cape over his shoulders1 and an ,eastern turban1 and is seated on a throne or das with pillars of coloured marbles and an arch filled in with a shell design4 ,two attendants1 one in yellow and black1 hold the basin and pour out the water from a golden ewer4 ,on the right1 ,christ1 in dark blue and crowned with thorns1 is led forth to execution4 ,in this picture the colour is less crude and violent than in most of the others of the series1 and in technical achievement1 more particularly in the draughtsmanship of the group of ,pilate and his attendants1 is somewhat higher4 ,in the 8,scourging0 7,no4 #cjg7 7,pl4 #aj71aje ,christ1 a nude figure1 is bound round the waist to a pillar in the prison1 his uplifted arms being fastened to an iron ring above his head4 ,his body is scored with wounds from the lashes of his executioners1 his head falls in agony upon his shoulder1 and one leg is dragged across the other in the extremity of his pain4 ,the action of his torturers is of the utmost violence1 and they jeer at him as they rain heavy blows upon his defenceless body4 ,the scene to be depicted was a brutal and ruthless one1 and to drive it home to the spectators1 ,holbein spared no details or efforts to make it as brutal in paint as it was in deed4 ,the agony of ,christ is well expressed1 and considerable knowledge is displayed in the drawing of the body4 ,the bright garments of the executioners form a striking though harsh contrast to the pale flesh tints of ,christ and the stone wall of the cell1 through the doorway of which on the right ,pilate is gazing at his victim4 ,though by no means faultless1 this picture has qualities1 both of expression and of execution1 which are remarkable when the age of the painter is remembered1 qualities which already give indications1 however faint1 of the coming greatness of the master4 ,this picture1 and the one of the 8,last ,supper10 are noted in the ,amerbach inventory as among ,holbein's first works4 ,taken as a whole1 the series displays numerous reminiscences of the art of the father1 sufficiently so1 indeed1 to make needless the supposition that in the painting of them the artist was assisted by some older practitioner of ,basel4 ,they possess considerable dramatic power1 and the draughtsmanship1 though in parts faulty1 is often excellent1 the signs of hasty manipulation1 which are very apparent1 being due1 no doubt1 to the fact that the pictures were intended to serve merely as processional standards or temporary 8stations of the ,cross02 but the colour throughout is for the most part crude and harsh4 ,it is difficult1 if not impossible1 to determine how much of them was the work of ,hans and how much that of his brother ,ambrosius4 ,the three which do not form part of the ,amerbach collection were regarded at the time of their acquisition by the ,basel ,gallery as the handiwork of ,holbein the ,elder1 but this ascription has been long since abandoned4 ,mr4 ,davies is of opinion that the 8,pilate ,washing his ,hands0 is entirely the work of the younger ,hans1 and that 8,the ,scourging0 is almost wholly by him1 while he gives 8,the ,agony in the ,garden0 and 8,the ,arrest0 to ,ambrosius alone4#ajf ,one is on safer ground1 however1 in confining oneself to the assertion that the pictures were produced in the common workshop of the two youths1 and that both of them may have had something to do with the painting of all five canvases1 but that the predominant hand was that of the younger brother4 ,,vol4 ,i41 ,,plate #aj4 ,illustration3 ,,the ,,scourging ,,of ,,christ ,,basel ,,gallery ,sidenote3 ,,exaggerated ,,types ,these pictures were painted at some date between #aeae and ,holbein's departure for ,lucerne in #aeag1 and are based largely upon the knowledge obtained in his father's workshop in ,augsburg1 before the short visit to ,lombardy produced so rapid an awakening of his genius4 ,dr4 ,ganz places them in the last-named year1 and draws attention to the strong similarity of many of the motives to those of ,drer's 8,little ,passion0 series of engravings1 thus showing that the younger artist must have borrowed from them freely4#ajg ,it is probable that the set was originally a larger one1 and that one or two of them are now missing4 ,there is an elaborate pen drawing on a dark grey ground1 washed with ,indian ink and heightened with white1 in the ,basel ,gallery1 which is very closely allied to these canvas pictures of the ,passion4 ,it represents the 8,bearing of the ,cross10 under the weight of which ,christ has fallen on his hands and knees4#ajh ,he is in the centre of a body of soldiers and callous onlookers1 who have just issued from the gate1 the procession deploying along the outer wall of the town with its circular watch-tower4 ,the head of the procession turns at a sharp angle round the corner of the wall4 ,christ looks up with his face contorted with agony1 while one of the leading soldiers strikes at him with a heavy club1 and a second pulls violently at the ropes in order to make him rise again4 ,behind them a third soldier bears the ladder1 while a fourth man is carrying huge nails and the various implements to be used in the ,crucifixion4 ,the head of ,christ is evidently based upon ,drer's representation in his 8,passion0 series4 ,in the brutality and grotesqueness of the faces of the soldiery and the lack of expression of those of the accompanying mob1 many of whom do not even glance towards the prostrate figure1 this drawing closely resembles both the ,karlsruhe 8,cross-bearing0 of #aeae1 which must have been painted on the journey to or shortly after ,holbein's arrival in ,basel1 and the ,passion series just described4 ,in order to bring home to the spectator the cruelty of the scene depicted1 and his detestation of it1 he makes use of violent movement and brutal types1 and even in the head of our ,lord the agonized expression is so pronounced that it becomes painful to look upon4 ,after he had gained wider experience of the art of the great painters of ,northern ,italy1 ,holbein gradually rid himself of these cruder and more vehement methods1 and depicted the pitiful story by means of more natural and less exaggerated types1 helped by a deeper insight into character4 ,during these early years he was often employed in painting subjects from the 8,passion10#aji and the gradual change in his point of view and the maturing of his art can be seen very plainly in them1 from the early ,karlsruhe panel and the canvas series and the drawing just described to the great altar-piece in eight scenes in the ,basel ,gallery1 and1 finally1 in the masterly set of ten designs for glass-painting in the same collection1 in which the fruits of his ,italian experience are seen to so great an advantage4 ,in the 8,cross-bearing0 scene in the large altar-piece1 as well as in the later design of the same subject for painted glass1 the procession issues from a similar gateway and passes along walls with the same round tower shown in the earlier examples4 ,in the former1 too1 the procession turns sharply to the left1 as in the ,basel drawing1 while the same type of face in the soldiery occurs in all1 but gradually becoming less exaggerated and truer to life4 ,the ill-treatment shown to ,christ1 though still brutal1 is less violent in its exhibition1 and the ,saviour1 though faltering under his burden1 has not fallen to the ground4 ,in the altar-piece his face is bent downwards1 and cast into shadow by the ,cross beneath which he staggers1 so that his agony is hidden1 while in the glass design the face1 though agonized1 has a spiritual beauty which is not to be found in the drawing now in question4 ,this latter is undated1 but ,dr4 ,ganz places it in the year #aeag1 and he considers that it is most probably ,holbein's design for a picture1 now lost1 which originally formed one of the early 8,passion0 series on canvas4#aaj ,holbein drew this figure of ,christ over again for the very beautiful woodcut of which only the single impression1 in the ,amerbach collection1 is known4 ,this woodcut1#aaa which1 from the beauty of its cutting1 must be from the hand of ,ltzelburger1 recalls ,drer even more strongly than the drawing1 from which it differs slightly4 ,christ1 who has fallen to his knees1 has one arm round the bar of the ,cross1 the other hand resting on the stony ground4 ,a small twisted tree1 almost leafless1 is on the right1 and the background consists of a cloudy sky4 ,the head1 with its crown of thorns1 long hair falling on the shoulders1 its open mouth1 and the drops of bloody sweat on the brow1 is a wonderful realisation of deep suffering nobly borne4 ,sidenote3 ,,the 8,,praise ,,of ,,folly0 ,,drawings ,both ,hans and ,ambrosius appear to have obtained regular employment from the ,basel printers and publishers very shortly after their arrival in the town1 but more particularly from ,johann ,froben1 one of the best known of them all1 who was then issuing1 among many fine books1 numerous works from the pen of ,erasmus4 ,the earliest work of this nature which ,holbein produced was a title-page in the form of a ,renaissance arch with a number of small cupids1 one blowing a horn1 others with spears1 two holding the flat cartoon or roll of parchment in the centre reserved for the lettering of the title-page1 and two others supporting a shield with ,froben's trade-mark1 the caduceus 7,pl4 #aa74aab ,this appears to have been cut towards the end of #aeae1 and did service in several books issued by ,froben during the next few years1 including ,more's ,utopia in #aeah4 ,two small panels at the top contain the artist's signature1 8,hans ,holb40 ,this interesting specimen of ,holbein's youthful skill in design and other examples of his earlier work for book illustrations are dealt with in a later chapter4 ,another design of the year #aeae formerly attributed to ,hans1 and afterwards to ,ambrosius1 was the coat of arms of ,petrus ,wenck1 painted in gouache on parchment1 in the ,matriculation ,book of the ,basel ,university1 of which ,wenck was rector in that year4 ,it represents a man in ,roman armour holding a large shield with a coat of arms in each hand4 ,it is reproduced by ,dr4 ,willy ,hes in his recent book on ,ambrosius ,holbein1 ,plate xxxviii41 who shows that it is not the work of either brother4 ,by far the most important of ,holbein's surviving works of the year #aeae is the series of drawings1 eighty-two in all1 which he made on the margins of a copy of ,erasmus' ,encomium ,mori1 or 8,praise of ,folly40 ,erasmus paid his first visit to ,basel in #aeac1 in order to make arrangements with ,froben for the publication of his ,adagia and his edition of the ,new ,testament4 ,the two men became close friends1 and ,erasmus1 who from that time spent some months every year in ,basel1 always stayed in ,froben's house during these annual visits until #aeba1 when he made ,basel his permanent home4 ,this biting and jesting satire on the follies of mankind1 written in ,latin1 with its punning title on the name of ,sir ,thomas ,more1 was composed by ,erasmus1 according to his preface1 during his journeys on horseback1 and was done in order to beguile the weariness of the way4 ,it was published by ,froben in #aead1 and ,holbein's pictorial commentary upon it was drawn in a copy of the first edition1 now preserved in the ,basel ,gallery4#aac ,the little pictures have been done with the pen on the broad margins by the side of the passages of the text to which they refer4 ,all that is known of the history of the book is that it possibly belonged at one time to ,erasmus himself1 and afterwards to the theologian and schoolmaster ,oswald ,molitor1 or ,myconius4 ,at a somewhat later date ,basilius ,amerbach1 son of ,erasmus' friend1 ,bonifacius ,amerbach1 who continued to add to the collection of ,holbein's works formed by his father1 obtained it with some difficulty1 thanks to the kindly intervention of the painter ,jakob ,clauser1 from ,daniel ,wieland1 the town-clerk of ,mhlhausen1 who was very loath to part with it4 ,molitor's ownership of the book is proved by an inscription on the title-page3 8,est ,osualdi ,molitoris ,lucerni02 and the earlier ownership of ,erasmus by a second inscription on the second title-page1 also in ,molitor's handwriting3 8,hanc moriam pictam decem diebus ut oblectaretur in ea ,erasmus habuit10 which shows that the marginal illustrations were completed in ten days1 and that ,erasmus derived much entertainment from them4#aad ,molitor was living in ,basel until #aeaf1 and afterwards in ,zrich and his native city1 ,lucerne1 returning finally to ,basel in #aecb4 ,it has been suggested that on the death of ,erasmus1 of whom ,molitor was a friend and admirer1 he received the book from ,bonifacius ,amerbach1 who was the philosopher's residuary legatee1 and made a point of presenting valuable mementos to a number of ,erasmus' closest friends4 ,the book contains annotations in ,molitor's handwriting1 and from one of them we learn that the illustrations were done in #aeae4 ,,vol4 ,i41 ,,plate #aa4 ,illustration3 ,,holbein',s ,,earliest ,,title-,,page ,first used in #aeae ,from a copy of ,more's 8,utopia0 in the ,british ,museum ,sidenote3 ,,the 8,,praise ,,of ,,folly0 ,,drawings ,it has been suggested1 too1 that the drawings were made by ,holbein at the personal request of ,erasmus1 which is not very probable2 and again1 that ,molitor gave the commission1 and selected the passages to be illustrated1 which is much more likely1 and when finished presented the book to his friend1 and that it was for this reason that ,amerbach made a point of giving it back to him on the death of ,erasmus4 ,the book has also been taken as a proof that ,holbein had gained a good knowledge of ,latin in his school days1 and that he selected his own passages for the pictures2 but the few ,latin inscriptions on his paintings do not indicate much proficiency in that language4 ,the supposition that ,molitor was the prime mover in the matter1 and that it was done for him personally1 and not as a gift to be presented to ,erasmus1 is by far the most probable2 for1 as stated above1 he was in ,basel at the time1 and this would account for ,holbein's apparent knowledge of the language in which the book was written4 ,on the other hand1 the pen drawings in more than one instance do not so much illustrate the incidents and sense of the text1 as isolated sentences and phrases which appear to have caught the fancy of the artist1 and1 therefore1 are not likely to have been selected for pictorial comment by a learned student of the book4 ,in recent years the drawings have been subjected to a searching examination and comparison1 and ,dr4 ,ganz was the first to point out that it is impossible to accept the whole of them as by ,hans ,holbein4#aae ,considerable variations in style are to be noted1 and it is now held1 and with good reason1 that while the more important share of the work was due to ,hans1 not only did ,ambrosius contribute a certain number of the drawings1 but that a third artist1 some unknown ,basel painter of the school of ,urs ,graf1 and possibly even a fourth1 also had a hand in it4 ,one of these drawings1 which represents ,jupiter seizing the naked ,ate by the hair1 and flinging her across his knees in order to chastise her with his thunderbolts1 bears letters which until recently were regarded as the initials of ,ambrosius1 though not his usual monogram2 but this inscription has now been correctly read by ,dr4 ,hes as the word 8,,aten10 and refers to the subject1 and not to the author of the drawing4#aaf ,the two brothers must have been in constant communication with ,froben1 and for the purposes of the work they undertook for him would pay many visits to his house 8zum ,sessel0 in the ,fischmarkt1 where ,erasmus also had his headquarters1 and where1 no doubt1 they first made his acquaintance4 ,the illustrations to the 8,praise of ,folly0 may thus have been begun in some idle moment in a copy of the book found lying about in ,froben's office1 to pass the time while waiting for proofs or instructions in connection with work in hand2 and having been thus begun1 the interest would grow1 and the printer himself would encourage its completion1 and1 perhaps1 show it to ,erasmus himself more than once during the short period of ten days in which the eighty-two drawings were accomplished4 ,any lack of profound ,latinity on the part of the brothers1 who in turn jotted down their fancies on the book's margin1 may have been overcome by ,froben himself translating passages of the book to them4 ,the sketches#aag are drawn freely and rapidly1 without any attempt at elaboration or such careful draughtsmanship as would have been necessary had they been a commission or intended in the end to serve as woodcut illustrations in some future edition of the text4 ,many of them are witty and to the point1 and show that ,holbein had a true sense of humour4 ,the wit is1 perhaps1 not so biting as that of ,erasmus himself1 but it matches in character the satirical humour and popular tone of the book4 ,the contributions of ,hans are both the most numerous and the best1 and some of them1 in the freedom and certainty of their draughtsmanship1 show a distinct advance in his art4 ,,vol4 ,i41 ,,plate #ab4 ,illustration3 ,,marginal ,,drawings ,,in ,a ,,copy ,,of ,,the 8,,praise ,,of ,,folly0 ,,basel ,,gallery ,sidenote3 ,,the 8,,praise ,,of ,,folly0 ,,drawings ,the opening picture represents ,folly1 as a young woman in cap and bells1 mounting the pulpit in order to sing her own praises to a listening world1 and in the concluding one she is seen descending the same steps with a gesture of farewell1 leaving a gaping and astonished audience behind her 7,pl4 #ab 7#a774 ,one of the most beautiful of the drawings1 representing ,penelope at her loom 7,pl4 #ab 7#b771 is now given to ,ambrosius1 but it bears so close a resemblance to the style of some of the figures in the 8,dance of ,death0 woodcuts1 that it is difficult to believe that it is not by ,hans4#aah ,some of the representations of single figures1 such as the ,pope under a high canopy 7,pl4 #ab 7#c771 the ,cardinal 7,pl4 #ab 7#d771 the ,bishop 7,pl4 #ab 7#e771 and the ,astronomer1 are drawn with greater care1 and show a more serious point of view1 than is anywhere disclosed in the book itself4 ,in these ,holbein is seen at his best1 and also in the charming little picture of nuns kneeling with lighted candles before a picture or carving of the ,virgin and ,child1 which calls to mind more than one of his later designs for painted glass 7,pl4 #ab 7#f774 ,in several of them1 such as the group of men engaged in an animated theological discussion1 and that of the young man looking back so intently at the fair damsel who comes after him that1 without noticing it1 he has stepped into a basketful of eggs belonging to an old market woman1 there is a landscape background of town and river and distant ,alps1 charmingly though hastily indicated 7,pl4 #ac 7#a774 ,among the classical allusions there are comic representations of the slaying of ,niobe's children1#aai of ,vulcan splitting the skull of ,jupiter1#aai of ,atlas staggering under the weight of the world1#aai of ,polyphemus dancing1 and of ,hercules quieting ,cerberus by means of a sausage4#aai ,nicolas de ,lyra is represented reading the ,scriptures1 and at the same time playing a small hand-organ1 in allusion to his name 7,pl4 #ac 7#b774 ,king ,solomon stands pointing to his open book 7,pl4 #ac 7#c771 and another excellent little drawing is that of the young courtier or nobleman 7,pl4 #ac 7#d774 ,the sketch of ,folly talking to his puppet 7,pl4 #ac 7#e77 is one of the illustrations now given to the unknown artist who collaborated with the ,holbeins4 ,the drawing illustrating the phrase1 8the golden collar of princes10 is an unmistakable portrait of the ,emperor ,maximilian4 ,a portrait1 much less easily recognised1 is that of the writer of the book4 ,in one passage ,erasmus has mentioned his own name1 and opposite to it ,holbein drew the philosopher seated at a desk in his study1 in scholar's cap and gown1 engaged in writing the ,adagia4 ,through an arched opening is seen a view of mountain and lake 7,pl4 #ac 7#f774 ,to make certain that there should be no doubt as to whom the portrait represented1 ,holbein has written the name 8,erasmus0 at the top of the arch4 ,molitor1 in a marginal note1 states that when ,erasmus came to this drawing1 in which he is depicted as a comparatively youthful man1 he exclaimed1 8,oh6 ,oh6 if ,erasmus still looked like this1 he would certainly take a wife40 ,the name 8,holbein0 occurs over one of the other sketches1 which represents a fat and coarse-looking carouser seated at table1 draining a bottle of wine1 and at the same time fondling a woman seated by him1 and illustrating the passage from ,horace which refers to 8a fat and splendid pig from the herd of ,epicurus0 7,pl4 #ac 7#g774 ,this is said to have been written by the sage himself in playful revenge for the introduction of his own portrait among the foolish of mankind4#abj ,this somewhat primitive jest appears to be the sole foundation for the statements of several of ,holbein's earlier biographers that he was of a gross and sensual character1 too fond of the wine-cup1 and1 in consequence1 lived in poverty4 ,the worst offender in this way was ,charles ,patin1 a ,french physician who had settled in ,basel in the seventeenth century1 after having been forced to leave ,paris on account of some misbehaviour4 ,he was the first to bring this accusation against the painter1 and later writers copied him without verifying his statements4 ,van ,mander and ,sandrart1 who repeated all the gossip they could collect1 do not allude to this supposed weakness in the painter's character4 ,patin's misrepresentations occur in a short life of ,holbein1 filled with inaccuracies1 which he wrote as a preface to an edition of the ,praise of ,folly1 issued in ,basel in #afgf1 in which1 for the first time1 these marginal illustrations were published1 being engraved for the book by ,c4 ,merian from copies of the originals made by ,w4 ,stettler4 ,they at once became highly popular1 and various editions followed1 both on the ,continent and in ,england4 ,patin evidently allowed his imagination to run away with him in his interpretation of this somewhat feeble joke made at ,holbein's expense4 ,there is absolutely no foundation for the legend thus set going2 the painter's whole career1 the high perfection of his technical powers1 and the extraordinary amount of work he accomplished in his short life are more than sufficient in themselves to refute it4 ,,vol4 ,i41 ,,plate #ac4 ,illustration3 ,,marginal ,,drawings ,,in ,a ,,copy ,,of ,,the 8,,praise ,,of ,,folly0 ,,basel ,,gallery ,there is a small portrait in the ,grand-,ducal ,museum at ,darmstadt1 dated #aeae1 at one time in the possession of the ,von ,schinz family of ,zrich1 which represents1 at half-length1 a young man in scarlet dress and cap1 with long fair hair falling over the ears1 the head standing out strongly against a bright-blue background4#aba ,it is inscribed across the bottom with the date between the initials ,h4,h41 and until recently has been considered by most writers to be a work of the younger ,hans1 and was reproduced as his by ,herr ,knackfuss4 ,in #aijd ,dr4 ,hes first drew attention to its close similarity to the work of ,ambrosius1 and most modern criticism is in agreement with him4 ,it bears1 in style and touch1 a far stronger likeness to the art of ,ambrosius than to that of ,hans1 and has much in common with the portrait of ,hans ,herbster in the ,basel ,gallery 7,no4 #bic71 painted by him in the following year1#abb which1 when it was in ,lord ,northbrook's collection1 was regarded as from the brush of his brother2 and still more so to the two portraits of unknown boys1 also in the ,basel ,gallery 7,nos4 #bid-e74 ,there is1 indeed1 a fine drawing of the head of an unknown man by ,ambrosius1 belonging to the ,basel ,kunstverein1 which as a portrait bears so strong a likeness to the ,darmstadt picture that it might almost be regarded as a study for it4#abc ,in the drawing the position is reversed1 the subject being turned to the right instead of to the left1 but the dress and hair are the same1 and1 judging from the technique1 both are from the same hand4 ,the inscription on the ,darmstadt portrait is possibly of a somewhat later date than the painting1 and there are faint indications of an earlier one beneath it4 ,when this earlier one was replaced or renewed1 the initial of the ,christian name may have been changed from ,a4 to ,h4 ,in his book ,dr4 ,woltmann included the portrait among the works of ,hans ,holbein the ,elder1 but modern criticism does not follow him in this4 ,sidenote3 ,,the ,,schoolmaster',s ,,sign-,,board ,at this early period of his career the young painter was willing to undertake any piece of work1 however humble1 that came to his hand4 ,thus1 in #aeaf1 he painted a sign-board for some ,basel schoolmaster to hang outside his house 7,pl4 #ad74 ,the panel was painted on both sides1 the upper and larger portion of each being filled with a long inscription in ,german stating that the owner of the sign was prepared to teach reading and writing in the shortest possible time1 and at moderate prices1 to all comers1 citizens1 artisans1 women1 and maidens2 and that if in any instance the scholar proved too stupid to learn1 no fee would be demanded1 but that children were to be paid for in advance at each quarter4 ,the inscription is the same on both sides1 one being dated 8#aeaf10 and the other 8,anno ,,mcccccxvi40 ,in the narrow space left below1 ,holbein depicted two scenes representing the interior of the school1 with benches against the wall under the leaded windows4 ,in one of them the schoolmaster is shown on the left1 in red and yellow1 seated at his high desk1 with a birch rod in his hand1 teaching a small boy in green to read4 ,on the other side of the room is the schoolmistress1 in red dress and white coif1 at a similar desk1 instructing a little girl clad in blue and green4 ,between them sit two small lads at their books1 one in blue1 and the other in yellow with a red cap4 ,the second picture represents the same room from another point of view1 with a washing cistern and basin1 and a long towel fastened to the wall4 ,in the centre is a large table at which the schoolmaster is engaged with two young men dressed in the fashion of the landsknechte1 one in trunks of red and yellow stripes1 who is wrestling with a pen1 and the other in green1 who is listening with an intent and highly-puzzled expression to the instructions of the master1 who is attempting to teach him to read4 ,holbein has represented the mental perturbation of this second pupil with considerable humour4 ,both pictures display signs of some haste in the execution1 but they must have served the purpose for which they were intended admirably4 ,though slight works1 they have undoubted charm1 and1 small as they are1 the youthful painter has managed to give considerable expression in both the faces and the gestures of his figures1 while the light which comes through the windows is well managed4 ,this sign-board1 now in the ,basel ,gallery 7,nos4 #caj-aa71 has been split into two1 in order that both sides may be exhibited4#abd ,when in actual use it must have hung from an iron bar over the pavement4 ,it is quite possible that it was painted for ,oswald ,molitor1 who1 as already pointed out1 was at that time in ,basel1 engaged in teaching4 ,,vol4 ,i41 ,,plate #ad4 ,illustration ,illustration3 ,,back ,,and ,,front ,,of ,a ,,schoolmaster',s ,,hanging ,,sign #aeaf ,,basel ,,gallery ,,vol4 ,i41 ,,plate #ae4 ,illustration3 ,,double ,,portrait ,,of ,,jakob ,,meyer ,,and ,,his ,,second ,,wife1 ,,dorothea ,,kannengiesser #aeaf ,,basel ,,gallery ,sidenote3 ,,portraits ,,of ,,meyer ,,and ,,his ,,wife ,a much more important work of the same year1 #aeaf1 also in the ,basel ,gallery 7,no4 #cab71abe is the double portrait of the ,burgomaster of ,basel1 ,jakob ,meyer or ,meier 8zum ,hasen10 so called from the sign of a hare which hung upon his house1 and his second wife1 ,dorothea ,kannengiesser 7,pl4 #ae74 ,this new patron of ,holbein's proved to be an excellent friend1 giving him more than one commission1 and obtaining important public work for him4 ,meyer was a man of influence in ,basel1 and was the first citizen not of knightly birth to be elected as burgomaster4 ,his election took place in #aeaf1 and it was no doubt in honour of this event that he ordered the portraits4 ,he was again elected to the post in #aeah and #aebj--no one was allowed to fill it for two years in succession2 but in #aeba he fell into disgrace1 through secretly accepting a higher pension from the ,french king than the laws of the city allowed4 ,for this he was dismissed from office1 and made to refund the money1 with the exception of the fifteen crowns which was the permitted sum4 ,objecting to this treatment1 he was clapped into prison1 and was only released on his family paying a fine4 ,during his burgomastership many important changes took place in the municipal government of ,basel1 and the ,church and the nobility were gradually deprived of all their privileges4 ,in his younger days he had served as a soldier in ,italy with some distinction1 and after his deprivation of office he went there again1 in #aebd1 as captain of a ,basel troop in the pay of ,france4 ,on his return home he attempted without success to obtain the annulment of the decree against him of exclusion from all public offices2 and during the religious disturbances of #aebi he was at the head of the ,catholic party1 then in armed opposition to the ,reformers4 ,the reasons which induced ,meyer to choose ,holbein as the painter of the portraits of himself and his young1 comely1 and newly-married wife1 when there were older painters of repute in the town1 are not known2 but his first wife1 ,magdalena ,baer1 had been a sister of the ,hans ,baer for whom the ,zrich table had been painted1 and it may have been owing to this connection that the young artist obtained his first introduction to the burgomaster4 ,in the portraits1 which were painted and framed as a diptych1 ,meyer and his wife are shown at half-length and three-quarters face1 turned towards one another4 ,meyer is wearing a black dress1 open at the front to show his white1 gold-embroidered shirt1 and a scarlet cap on his bushy1 curly brown hair1 which covers his ears4 ,he is clean-shaven1 and holds in his left hand a coin1 which is introduced to indicate his calling as a money-changer1 and also1 it is supposed1 to commemorate the charter granted to the ,baselers in ,january #aeaf for the mintage of gold coins4 ,on the same hand he wears several heavy gold rings4 ,his eyes are dark brown1 and his complexion of a ruddy hue1 and his face shows shrewdness and strength of character1 while the eyes are intelligent and determined4 ,his wife wears a red dress1 fronted and edged with a broad band of black velvet across the breast1 embroidered with circles of gold ornamentation4 ,the dress is cut low1 to show a white under-bodice worked in elaborate designs1 with hanging tassels and a band of gold embroidery of a heart-shaped pattern4 ,her hair and ears are covered with a large white cap of thin linen decorated with bands of gold of a checked design1 of the hooded shape common in ,switzerland at that period1 with a long white fall which is brought over the right shoulder and reaches the waist4 ,round her neck hang two thin chains1 one of gold and one of pearls1 the ends of which are hidden beneath the bodice4 ,her hands are not shown4 ,though not strikingly handsome1 she has youth and good looks in her favour4 ,the two portraits are placed against one continuous architectural background1 seen in rather strong perspective4 ,in the centre an elaborate gilt frieze of ,renaissance ornamentation is supported by short pillars of red marble1 and on either side larger columns1 also decorated with gilded carving1 form the supports of two arches4 ,through these the blue sky is seen1 against which the wife's head stands out in strong colour contrast4 ,owing to the perspective arrangement1 the opening is smaller in the portrait of ,meyer1 but part of his red cap is placed against the blue sky with equally striking effect4 ,the signature1 8,h4,h410 and the date1 8#aeaf10 are placed on a small shield in the entablature over ,meyer's head4#abf ,in these two portraits--the earliest in point of date which can be ascribed to him with absolute certainty--,holbein1 though not yet twenty years old1 shows himself to be already a master of portraiture4 ,the qualities they possess are the same1 though not yet perfectly developed1 as those which are to be discovered in such complete perfection in the work of his maturity4 ,they show that he had already the power of seizing character1 and was accurate and unhesitating in draughtsmanship4 ,all the details1 more particularly the elaborate ornaments of the woman's dress1 are drawn with a truth and delicacy that already falls but little short of the brilliance of his technique in such a masterpiece of portraiture as the ,georg ,gisze in ,berlin1 or the ,jane ,seymour in ,vienna4 ,the colour1 though rich and strongly contrasted1 is harmonious and delicate in the general effect it produces4 ,the whole work1 indeed1 gives the impression that it is from the hand of an artist who is already sure of his methods4 ,there is nothing faltering about it1 and few indications that the painter was still only on the threshold of his career4 ,all that was to come in the future was a deeper insight into nature1 a greater perfection of methods which in the main were to remain unaltered throughout his life1 and a more brilliant understanding and application of the lessons of the ,italian ,renaissance to the more decorative portions of his pictures4#abg ,sidenote3 ,,studies ,,for ,,the ,,meyer ,,portraits ,the rapidity with which his art was maturing is shown more strikingly1 perhaps1 in the two studies for the portraits1 now in the ,basel ,gallery 7,pl4 #af71abh than even in the pictures themselves4 ,these heads1 of the same dimensions as the finished works1 are about half the size of life4 ,they are drawn in silver-point1 with fine and delicate lines1 and equally delicate modelling of the flesh1 which has been afterwards touched here and there with red chalk4 ,they display the utmost care and precision1 though the line is less subtle and searching than it is in the drawings of his greater ,english period4 ,they are1 nevertheless1 extraordinary work for so young a man1 and of great beauty4 ,they show a method of procedure in the taking of portraits which remained ,holbein's almost invariable practice throughout his life4 ,he always made these preparatory drawings--the later ones1 of course1 with much greater freedom--in which the form1 character1 and expression of his sitter were fixed once and for all4 ,colour was occasionally indicated1 but as a rule all that he did was to jot down on the margin of the paper a few notes for future guidance4 ,thus on the drawing of ,meyer1 he has written notes as to the colour of the hair1 eyebrows1 and cap4#abi ,it was his habit1 apparently1 to rely upon his memory and these curt notes when he came to paint the actual portrait4 ,this method enabled him to dispense with many sittings2 after a few hours spent in close observation of his subject1 he had obtained all the information he wanted4 ,for the rest1 he depended on what must have been a remarkable memory both for colour and form4 ,during #aeag ,holbein left ,basel1 and was absent for a considerable time4 ,there is one work by him1 however1 of this year which in all probability was painted before his departure1 as it belonged to ,bonifacius ,amerbach4 ,this is the 8,adam and ,eve0#acj of the ,basel ,gallery 7,no4 #cac7 7,pl4 #ag71 which is painted in oils on paper4 ,it is entered in the ,amerbach catalogue as3 8,ein ,adam vnd ,eva mit dem pfel ,h4 ,holb4 vf holz mit olfarb40 ,it is a study from life of the head and shoulders of the same models used for the heads of ,st4 ,john and the ,virgin already described1 while the 8,adam0 also served as model for the head of ,christ in 8,the ,scourging0 of the early ,passion series on canvas4 ,eve1 with a long curl of fair hair falling over her right shoulder and breast1 holds the apple in her left hand1 her face being of a rather dull and heavy type4 ,adam1 with dark curly hair1 and a long moustache which drops below his chin1 and head slightly bent1 has his right arm flung across ,eve's shoulders4 ,the general tone is brownish1 but considerable effect is produced by the contrast between the dark complexion of ,adam and the blonder tones of ,eve's flesh4 ,it is boldly and thinly executed1 and the lines of the drawing are still plainly to be distinguished through the paint4 ,the fingers of ,eve's hand1 with high lights on the nails1 are excellently modelled1 already giving indications of what afterwards became one of the chief features of his portraiture1 the beauty and character of the hands4 ,both heads stand out against a background which is now black4 ,it is signed and dated1 8#aeag1 ,h4,h40 ,dr4 ,ganz points out the strong influence of both ,baldung and ,drer this small study betrays4#aca ,it also bears a curious resemblance to the heads in the well-known picture of 8,adam and ,eve0 by ,mabuse at ,hampton ,court#acb 7,no4 #che 7#ehj771 though the position of the two figures is reversed4 ,it is seen more particularly in ,adam's mass of dark hair covered with small curls1 ,eve's long ringlets1 the expression of pain on the faces1 and the position of ,adam's arm across ,eve's shoulders4 ,there is another very similar1 but smaller1 8,adam and ,eve0 by ,mabuse in the ,berlin ,gallery 7,no4 #ffa71 displaying a composite art1 half ,flemish and half ,italian1 which is signed and dated #aeaf4 ,,vol4 ,i41 ,,plate #af4 ,illustration3 ,,jakob ,,meyer ,studies for the ,double ,portrait1 #aeaf ,silver-point and red chalk drawings ,,basel ,,gallery ,illustration3 ,,dorothea ,,kannengiesser ,studies for the ,double ,portrait1 #aeaf ,silver-point and red chalk drawings ,,basel ,,gallery ,,vol4 ,i41 ,,plate #ag4 ,illustration3 ,,adam ,,and ,,eve #aeag ,,basel ,,gallery ---------------------------------------- -------------------------------- ,,chapter ,,iv ,,work ,,in ,,lucerne ,,and ,,the ,,visit ,,to ,,lombardy ,holbein leaves ,basel for ,lucerne--,ambrosius ,holbein--,the known facts of his short life--,his pictures1 designs1 and woodcuts--,records of ,hans in ,lucerne--,his decoration of the ,hertenstein house--,description of the wall-paintings--,portrait of ,benedikt von ,hertenstein--,holbein's visit to ,north ,italy--8,the ,last ,supper0 at ,basel1 and ,leonardo's influence--,evidences of his ,italian journey in his designs for painted glass--,possible visit to ,altorf--,return to ,lucerne--,drawings of the 8,archangel ,michael0 and of 8,miners at ,work0--,pictures painted for the ,church of the ,augustines in ,lucerne4 ,,in #aeag ,holbein left ,basel1 and was absent for nearly two years4 ,for the greater part of the time he was in ,lucerne1 but traces of him are to be found in other parts of ,switzerland1 and it is practically certain that he also paid a short visit to ,lombardy4 ,it is possible1 too1 that during this time he may have returned to ,basel more than once for a few weeks in connection with his work for ,froben and other publishers4 ,whether he left ,basel in the first place because he found that it gave him less employment than he had expected1 or from a spirit of pure adventure1 or1 again1 on account of the offer of some definite commission1 such as the decoration of the ,hertenstein house1 is not known2 but the last-named reason is the most probable one1 for it cannot be said that his talents had been unrecognised in ,basel4 ,although there is no record of any earlier wall-paintings than those he was now to complete in ,lucerne1 it is quite possible that the two brothers had already carried out work of this nature1 and that ,jakob von ,hertenstein had seen it and had admired it1 and so decided to employ one or both of the young men to decorate in like fashion the new mansion he had just completed4 ,even if this were not the case1 ,lucerne at that time offered nearly as many inducements to a young artist as ,basel itself4 ,the two towns were closely allied1 and artists and learned scholars constantly passed backwards and forwards between them2 and ,holbein had at least one acquaintance in ,lucerne1 ,oswald ,molitor1 who had recently returned from ,basel to his native city1 and was practising there as a schoolmaster4 ,there is an old legend in ,lucerne that at this period the elder ,holbein was living in the town with his two sons1 but it does not appear to have any foundation in fact4#acc ,there is much more probability that ,ambrosius accompanied ,hans1 or followed him shortly afterwards1 and remained for some time at work with his brother on the ,hertenstein house2 though here again there is no actual record of such an absence from ,basel4 ,there is1 however1 a fine drawing by him in the ,basel ,gallery 7,no4 #big71 a half-length figure of a young man of the ,von ,rdiswiler family1#acd which is thought to afford some proof that ,ambrosius was in ,lucerne at the time1 for the ,rdiswiler family was one of the most important in the district1 their chief seat being at ,rdiswil4 ,members of this house were settled both in ,lucerne and ,solothurn1 and it is supposed that ,ambrosius drew the portrait of this youth of patrician birth in the former town during #aeag4 ,the sitter is shown in profile1 in a heavy brown cloak1 wearing his cap on the side of his head4 ,his fair straight hair covers his ears1 and he holds a large red heart in his hand4 ,the drawing has at some time been cut out round the outline and mounted on parchment1 and the inscription in secret cipher1 below the coat of arms1 had been copied at the same time from the one which existed on the original drawing before the cutting out took place4 ,ambrosius1 however1 must have been back again in ,basel by the summer of #aeah1 for in that year1 on ,june #f1 he purchased his right of citizenship4 ,the first mention of him in the town books is on ,september #bf1 #aeaf1 when 8,ambrosy ,holbein von augspurg1 ein maler10 appeared in court as a witness in a libel action brought by ,bastian ,lepzelter1 the sculptor1 against a tailor1 ,andreas ,huber1 for insulting remarks made on the previous #beth of ,july1 when the plaintiff1 ,ambrosius1 and another friend1 were enjoying themselves in the house of ,hans ,herbster4#ace ,ambrosius may perhaps have been working as a journeyman under ,herbster at the time4 ,he joined the ,painters' ,guild 8zum ,himmel10 to which bakers1 saddlers1 and barber-surgeons also belonged1 on ,st4 ,matthias' ,day1 ,february #bd1 #aeag4 ,the entry in the book of the guild runs as follows3 8,item es hatt entpfangen die zunfft vff sant ,mattistag ambross ,holbein maler von augspurg ,in dem xvii ,jor40 ,according to an order of the ,basel ,council issued in #adhg1 any one entering a guild was obliged to take oath to purchase the freedom of the city within a month4 ,this ,ambrosius did not do until the following year1 which possibly indicates that he left the town shortly after joining the guild1 early in #aeag1 without fulfilling his obligations4 ,it may be that he had not sufficient money for the payment of the fees1 for when1 on ,june #f1 #aeah1 he became a burgher1 he was only able to find one gulden out of the four which were required1 ,jrg ,schweiger1 the goldsmith1 whose portrait1 now in the ,basel ,gallery 7,no4 #bif71acf he painted about this time1 standing surety for the remainder4 ,the portrait may have been taken as some return for the kindness shown on this occasion4 ,it should be noted1 however1 that this portrait is not attributed to ,ambrosius by all critics1 and differs to some extent from his accustomed style4 ,sidenote3 ,,ambrosius ,,holbein ,the entry in the archives runs as follows3 8,item do hat burckrecht kufft ,ambrosy ,holbein der moler uff ,sundag nach corporis ,xpi ,im xviij jor umb iiij glden und hat bar gen j glden und sol al fronfasten j ort bitz zu bezallung dofr ist brg und schuldner meister ,jerg schweiger der goldschmit40 ,,vol4 ,i41 ,,plate #ah4 ,illustration ,illustration3 ,,portraits ,,of ,,two ,,brothers ,,ambrosius ,,holbein ,,basel ,,gallery ,sidenote3 ,,ambrosius ,,holbein ,this is the last reference to the elder brother so far discovered in the official archives1 and as no work by him of a date later than #aeah is known1 it is supposed that he died in that year or early in #aeai4 ,apparently the last work upon which he was engaged was a series of woodcut illustrations for the ,geuchmatt of ,thomas ,murner1 which was published by ,adam ,petri in ,basel in ,april #aeai4 ,the first four only of the illustrations to this book#acg were designed by ,ambrosius1 which would seem to indicate that he died before he had completed the commission4 ,the only other supposition1 and a most improbable one1 is that he suddenly left ,basel at about this time in search of better fortune elsewhere1 though no traces of such removal have so far been discovered4 ,almost all the few works which can be attributed to him with any certainty are now in the ,basel ,gallery4 ,in addition to those already mentioned1 there are two charming half-length portraits of small boys in a ,renaissance framework 7,nos4 #bid-e7 7,pl4 #ah71ach for one of which1 the boy turned to the left1 the silver-point drawing is in the ,albertina1 ,vienna1#aci while a similar study for the other1 recently published for the first time by ,dr4 ,willy ,hes1 is in the ,rodriguez ,collection1 ,paris4#adj ,a half-length portrait of a little girl1 in a similar framework1 also published for the first time by ,dr4 ,hes1 is in the ,ambraser ,collection1 ,vienna1 but not exhibited4#ada ,the strong likeness to the two lads proves almost conclusively that she was their sister4 ,on the medallion which hangs from a chain round her neck are the initials ,h4 ,v4 ,so far1 no preliminary drawing for this portrait has been discovered4 ,in the ,basel ,gallery there are also 8,the ,saviour as the ,man of ,sorrows0 7,no4 #bib71adb an oil-painting adapted from the title-page to ,drer's 8,great ,passion0 series2 and a study of two death's heads behind a trellised window 7,no4 #bii74adc ,both pictures form part of the ,amerbach ,collection1 but the latter is not regarded as the work of ,ambrosius by ,dr4 ,hes4 ,a somewhat similar picture1 attributed to ,hans1 was in the ,arundel ,collection1 and was entered in the #afee inventory as 8,testa de ,morte con osse40 ,the portrait of ,hans ,herbster1 also at ,basel 7,no4 #bic71add which has been already mentioned1 was at one time regarded as a work by ,hans the ,younger1 but since its purchase for the ,basel ,gallery it has been given1 more correctly1 to the elder brother4 ,dr4 ,hes1 however1 considers that it is not his work1 but rather a portrait of ,herbster painted by himself4#ade ,it is a bust portrait1 turned to the right1 representing a middle-aged man with long brown hair and a large bushy beard1 wearing a dark dress and a red cap over his right ear4 ,he is placed under an archway of ,renaissance architecture1 his head standing out against the blue sky seen through the opening4 ,from the top of the pillars which support the arch hang two festoons of fruit and leaves held by small amorini4 ,above the heads of these boys two small tablets are suspended1 one containing the date1 8#aeaf10 and the other the now illegible remains of the painter's monogram4 ,across the bottom is the inscription1 8,,ioannes ,,herbster ,,pictor ,,oporini ,,pater10 the last words referring to his son1 the well-known scholar of ,basel1 who afterwards turned printer1 and ,latinised his name to ,oporinus4 ,herbster himself1 like the ,burgomaster ,meyer1 had taken his part in the ,italian wars1 and was in the battle of ,pavia in #aeab4 ,in addition to several drawings already described1 the ,basel ,gallery also possesses a charming study in silver-point and red chalk of a young girl1 inscribed 8,,anne10 and dated #aeah1 in which a very tender1 delicate feeling for the beauty of childhood is shown 7,pl4 #ai72adf the head of a young woman in a hood in profile to the left2#adg a very fine drawing of the head of a young man turned slightly to the left1 wearing a black cap on the side of his head1 signed and dated #aeag2adh and a design for painted glass1 representing the foundation of the city of ,basel 7,pl4 #bj71adi a pen drawing lightly touched with colour1 which was formerly attributed to ,hans4 ,in the centre are the arms of ,basel1 supported by basilisks1 under an archway in course of building1 which is decorated with a series of empty shields for coats of arms4 ,in the landscape background on either side are men engaged in erecting buildings on the river bank1 and in the foreground is a boat filled with soldiers4 ,the commander of this troop1 the legendary founder of the town1 has the name 8,basilius0 engraved upon his breastplate4 ,one of the most important of the few paintings by him which have been so far traced1 is the portrait of an unknown young man in the ,royal ,hermitage ,gallery in ,st4 ,petersburg 7,pl4 #ba74aej ,the sitter is turned three-quarters to the left1 under a ,renaissance arcading1 and is wearing a green dress and white shirt ornamented with lace4 ,on his black hat are the initials 8,f4 ,g40 or 8,c4 ,i4 ,e40 7874 ,his right hand rests on the iron pommel of his sword4 ,in the distance is a mountainous landscape with a palace or large building of elaborate ,renaissance architecture1 and on a column hangs a tablet with the inscription1 8,,etatis4 ,,sve4 ,,xx4 ,m4,d4 ,,xviii40 ,from the arch above his head is suspended a garland of leaves bound round with ribbon1 to which is attached a small cartouche with the monogram ,,ahb1 of which the ,h is the most distinct letter4#aea ,the drawing1 mentioned above1 signed and dated 8#aeag ,,ah10 was considered by ,woltmann to be a study for this portrait1 and there is certainly a strong likeness between the two4 ,the arrangement of the foreground architectural setting1 and the position of the garland supporting the cartouche1 of which only the left-hand loop is shown1 prove that the picture formed one of a pair1 the missing half in all probability containing a portrait of the young man's wife4 ,,vol4 ,i41 ,,plate #ai4 ,illustration3 ,,portrait ,,of ,a ,,young ,,girl1 8,,anne10 #aeah ,silver-point and red chalk drawing ,,ambrosius ,,holbein ,,basel ,,gallery ,,vol4 ,i41 ,,plate #bj4 ,illustration3 ,,the ,,founding ,,of ,,basel ,design for ,painted ,glass ,,ambrosius ,,holbein ,,basel ,,gallery ,,vol4 ,i41 ,,plate #ba4 ,illustration3 ,,portrait ,,of ,,an ,,unknown ,,young ,,man #aeah ,,ambrosius ,,holbein ,,royal ,,hermitage ,,gallery1 ,,st4 ,,petersburg ,,vol4 ,i41 ,,plate #bb4 ,illustration3 ,,illustration ,,to ,,sir ,,thomas ,,more',s 8,,utopia0 ,,ambrosius ,,holbein ,from a woodcut in the ,british ,museum ,sidenote3 ,,ambrosius ,,holbein ,in addition to works of this nature1 ,ambrosius produced1 during the few years he was in ,basel1 a considerable number of designs for title-pages1 initial letters1 and other decorations for books1 issued by ,froben1 ,cratander1 ,adam ,petri1 ,thomas ,wolff1 and ,pamphilus ,gegenbach4 ,one of the best known is the 8,calumny of ,apelles10#aeb the painting described by ,lucian1 which bears the monogram of ,ambrosius and the date #aeag4 ,it was first used in ,erasmus' version of the ,new ,testament1 published by ,froben in #aeai4 ,he had a share1 too1 in the numerous illustrations and ornaments which ,froben provided for the first edition of ,sir ,thomas ,more's ,utopia1 upon which work his brother1 ,urs ,graf1 and others1 were also engaged4 ,ambrosius was the designer of the charming little picture representing the scene in the garden of ,petrus gidius in ,antwerp in which ,raphael ,hythlodus1 the traveller1 is describing to his host and ,sir ,thomas his adventures in the island of ,utopia4#aec ,a larger woodcut1 with a bird's-eye view of the island1 on which the chief places are marked as given in the text1 with ,hythlodus in the foreground pointing out its features to gidius and ,more1 is also his work 7,pl4 #bb74aed ,it is difficult in every case to separate the designs of the two brothers in this field of art1 more particularly as in many instances they have been so badly cut that much of the beauty of the original line has been lost4 ,in book-illustration the art of the two young men had much in common1 though ,ambrosius was never as powerful or varied in conception as ,hans1 nor possessed of as great a mastery of technical execution4 ,his woodcuts are not so thoroughly imbued with the true spirit of the ,italian ,renaissance1 nor had he the same gift of producing the effect of largeness of design within an inch or two of space4 ,his figures1 too1 are often too short1 with the head out of proportion to the body4 ,yet much of his decorative work has considerable charm1 and fulfils its purpose admirably4 ,some forty woodcuts after his designs1 including a number of initial letters1 are known1 of which it is impossible to attempt any description here4#aee ,his skill as a designer for glass-painting has been already noted2 and among his few drawings are two small roundels1 in the ,karlsruhe ,gallery1 of 8,pyramus and ,thisbe10 and 8,hercules and ,antus10#aef which are very pleasing1 and in their delicate and somewhat 8pretty0 handling have great resemblance to a number of the marginal drawings to the ,praise of ,folly which are now given to him4 ,in painting he was overshadowed by his younger brother4 ,like ,hans1 he had inherited a considerable gift for portraiture from his father1 as the few works of this nature which remain show very clearly4 ,in his studies for portraits the draughtsmanship is looser and more free than in the corresponding work of the younger ,hans in his earlier ,basel period1 and there is less searching after exact truth of line4 ,his portraits1 nevertheless1 display an original talent of no mean order1 which1 had he lived1 would have gained for him a place of some distinction among the leading ,german painters of his day4 ,such a drawing as the 8,anne0 is filled with a very tender feeling1 and a sympathetic expression of the wistful charm of childhood2 and much of the same appreciation of youthful character is to be seen in the portraits of the two small boys in the ,basel ,gallery1 while there is a careful and realistic drawing of the head and body of a baby1 supported by the mother's hand1 in the ,british ,museum1 evidently a study for a ,madonna and ,child1 which is very attractive4 ,it is inscribed 8,hans ,holbein1 #aebb10 by some later hand1 over some earlier signature1 now obliterated4 ,according to ,dr4 ,hes1 however1 it is not by ,ambrosius4#aeg ,the records of ,hans ,holbein's residence in ,lucerne are scanty ones1 but such as they are1 they extend from #aeag to #aeai4 ,shortly after his arrival he joined the painters' guild1 the ,brotherhood of ,st4 ,luke1 which had been formed in #aejf4 ,in the book of the confraternity his name is entered as having paid one gulden for admission3 8,meister ,hanns ,holbein hat j gulden gen40 ,unfortunately the year-date is not given4 ,the original book has disappeared1 but a copy exists which was made by ,zacharias ,bletz1 the town registrar1 in #aeda1 but in transcribing it he has omitted the dates which would fix the exact details of ,holbein's membership4 ,his first recorded commission was a badly-paid one4 ,on the ,sunday before the feast of ,saints ,simon and ,jude 7,october #bh71 #aeag1 he received one florin nine shillings for a design for a glass window4 ,in the same year1 on ,december #aj1 an entry in the town records shows him engaged in less reputable occupation4 ,he and a certain ,caspar1 a goldsmith1 were each fined five livres for fighting in the streets4 8,item ,caspar goldschmid vnnd der ,holbein soll jeder #e ll4 buss als sy vber ein andern zuckt hand40 ,this same ,caspar1 one learns from the town books1 was by nature a brawler1 for he was in trouble of the same kind on more than one occasion4 ,the punishment in this particular case was heavy1 so that the disturbance must have been a serious one1 and it has been suggested that on account of it ,holbein left ,lucerne for a time1 in order that the affair might blow over1 and that he took the opportunity of paying a visit to ,lombardy4 ,it is not likely1 however1 that he crossed the ,alps in the winter4 ,sidenote3 ,,paintings ,,of ,,hertenstein ,,house ,in one of the rooms of the ,hertenstein house1 at the time of its demolition early in the last century1 there still remained the date #aeag on one of the wall decorations1 which suggests that his work in the interior of the mansion was well advanced1 if not completed1 during that year4 ,the outer walls were still unfinished when ,holbein left ,lucerne1 for what reason is not known1 but it does not seem probable that he would have abandoned an important commission for several months merely on account of some small trouble with the town authorities4 ,the visit to ,italy1 it seems certain1 took place in the spring or early summer of #aeah1 after the decorations of the ,hertenstein house had been well advanced4 ,these decorations1 as far as can be judged from the few existing remains1 show a certain ,italian influence1 but for the greater part not so strongly that it cannot be accounted for by the teaching of his father1 the study of prints and engravings1 and other second-hand sources4 ,there is1 however1 a drawing in the ,basel ,gallery1 described below1 a preliminary study of architectural decoration for the lower part of the faade of the house1 which1 as ,dr4 ,ganz points out1 must have been made after ,holbein's return from ,italy1 for in it this new influence can be seen much more clearly and strongly1 just as it can in similar work undertaken by him in ,basel a year or two later1 after a visit to ,lombardy had brought him into personal contact with the works of some of the leading ,italian masters in painting and architecture4 ,it is clear1 therefore1 that the journey over the ,alps formed an interlude of some duration between two sojourns in ,lucerne1 each extending over several months1 and that during the second period he completed the ,hertenstein wall-paintings4 ,lucerne was one of the first towns in ,switzerland to feel the influence of the ,italian ,renaissance1 and the fashion1 copied from the southern country1 of decorating the fronts of its houses with wall-paintings1 had been adopted before ,holbein worked there4 ,as early as #adce the ,frey family owned a house which was covered with such paintings2 a second house with sixteenth-century decorations was demolished in #ahga1 while others of the same period retained traces of wall-paintings until comparatively modern times4 ,certain fragments of this early wall-painting still exist1 and there has been a revival of the art in ,lucerne in recent years4 ,augsburg was probably the first town outside ,italy to adopt this method of house decoration1 to which the painters who practised it owed so much of the freedom of their style2 but many of the towns immediately to the north of the ,alps followed suit in course of time1 and modified the architecture of their buildings in order to meet the requirements of the new fashion1 abandoning to a certain extent the structural ,gothic decorative forms to which they were accustomed1 in order to make room for the provision of large flat wall surfaces1 broken only by plain rectangular windows and doors1 upon which the painters would have free scope for their work4 ,it became the habit1 too1 among the wealthier of the citizens1 to decorate the inner walls of their mansions in the same way4 ,jakob von ,hertenstein1 who1 when he gave the commission to ,holbein for the painting of his new house1 was the chief magistrate of ,lucerne1 was a member of one of the oldest families in ,switzerland4 ,his father1 ,caspar von ,hertenstein1 held many important civic and military offices1 and led the ,swiss rearguard at the battle of ,murten4 ,his son inherited many of his dignities1 and was also a notable soldier1 and in #aeae1 in which year he was mayor1 commanded the men of ,lucerne at the battle of ,marignano4 ,his ancestral castle stood on a steep rock on the shore of the lake of ,lucerne1 near ,weggis1 and from it the family took its name4 ,jakob was married four times1 in each instance to a lady of a patrician ,swiss family1 and in the decoration of the faade of his new dwelling1 ,holbein introduced the coats of arms of all four of them4 ,in #aeaa he purchased of ,hans ,wolf an old wooden house which stood on the ,kappelplatz at the corner of a small street leading to the ,sternen ,platz1 near the ,corn ,market1 and in the heart of the city4 ,this house he pulled down1 and erected in its place a fine stone mansion1 which was finished1 and ready for its decorations1 by #aeag4 ,it has been suggested that ,holbein obtained this commission through the good services of ,oswald ,molitor1 who was a friend of one of ,hertenstein's sons2 but1 however it may have been gained1 it was one of great importance to so young an artist1 and he made the most of his opportunities4 ,the house was one of four storeys1 and the whole of its frontage he covered with paintings4 ,it was still standing in #ahbd1 with its decorations for the greater part well preserved2 but it was then pulled down1 and all that remains of its painted glories is comprised in a number of very inadequate copies of certain portions1 a single fragment of one of the original paintings1 together with a small study for one of the pictures1 and the architectural design already mentioned for part of the ground floor decoration1 both from ,holbein's own pencil4 ,it is thus to-day almost impossible to obtain any adequate impression of the actual effect of the painter's earliest undertaking of importance1 as it was in the days of its first freshness and beauty4 ,sidenote3 ,,paintings ,,of ,,hertenstein ,,house ,the ground floor was left undecorated1 with the exception of the painting of certain architectural details1 and on the floor above1 which had numerous windows of varying sizes1 and little wall space1 ,holbein's work was confined to three single female figures1 one at each corner1 and one between the windows in the middle4 ,immediately over the windows on the left1 which were irregular in arrangement1 the decoration consisted of ornaments and figures adapted to fit the window crowns2 and on the right1 where the windows were considerably higher and stood in a straight line1 a long frieze of fighting children was introduced4 ,all these decorations were painted in grisaille1 but between the two groups was a larger picture in colours1 the upper part of which extended to the floor above4 ,this picture was so arranged that its framework had the appearance of a large projecting bay1 semicircular in shape1 with an arched opening supported by pillars1 through which a view was obtained of what appeared to be a large inner chamber of the house4 ,within this room ,holbein depicted a story from the ,gesta ,romanorum1 the one which tells of the old king who tested the love of his three sons and their right to succeed him by offering his dead body as a target to their arrows4 ,this picture was still in a fairly good condition at the time of the destruction of the house1 so that from the copy then made it is possible to gain an idea of the artist's conception of the scene4 ,he represented the white-haired monarch1 death-pale in face1 still seated upright on his throne1 though his heart has ceased to beat4 ,two of the sons have shot their arrows1 and one points to the cruel wound he has made1 and claims the crown2 but the third1 rather than aim at such a target1 breaks his bow in indignation1 and is acclaimed the victor by the assembled courtiers4 ,on the third storey1 between the windows1 were placed the coats of arms of ,hertenstein and his four wives1 within arched openings with hanging wreaths4 ,between the windows of the third storey and those of the floor above it1 there ran a long triumphal procession from right to left1 broken up into groups by pilasters placed at intervals1 giving the effect of an open arcading through which the passing show was seen4 ,this design was borrowed in its main details and arrangement from ,andrea ,mantegna's engraved 8,triumph of ,caesar40 ,in this he followed his original so closely as to clothe the figures in antique costumes1 whereas in the pictures drawn from classical sources painted on other parts of the building1 he made use of the costumes of his own day4 ,on the topmost storey five pictures were placed between the windows reaching up to the cornice of the roof4 ,these1 too1 were chosen from classical literature1 apparently for the purpose of providing moral lessons1 not only for the members of ,hertenstein's own family1 but for all the citizens of ,lucerne who paused to admire their mayor's new residence4 ,they included the stories of the treacherous schoolmaster who attempted to betray the town of ,falerii to ,camillus1 ,tarquin and ,lucretia1 the self-sacrifice of ,marcus ,curtius1 ,mucius ,scvola before ,porsenna1 and ,lena1 who bit off her tongue rather than betray her lover ,aristogiton to the judges after the murder of ,hipparchus4 ,the only original study for these painted stories now remaining is the one for the last-named subject1 which is preserved in the ,basel ,gallery 7,pl4 #bc 7#a774aeh ,it is a washed monochrome drawing1 in which ,lena1 in the costume of ,holbein's own day1 stands before her two judges1 her hand lifted to her tongue in sign of her determination to keep silence4 ,the story is told with the aid of but few figures4 ,a gaoler stands near ,lena1 and behind the two judges are two other seated men4 ,the scene takes place in a vaulted hall with open archways at the back1 and has been cleverly arranged to fill in the irregular spaces between the brackets supporting the cornice4 ,this study is of great interest1 as it marks a great advance in ,holbein's power of drawing the human figure when compared with the schoolmaster's sign-board of the previous year1 and shows much greater freedom of draughtsmanship4 ,the heads of one or two of the figures still retain something of the grotesqueness of type which characterises those of the early ,passion series of pictures1 but the figure of ,lena is a graceful one1 and the judge in the centre1 in a furred robe and cap1 with one finger lifted in admonition and a rod of justice or sword grasped in his left hand1 is natural and dignified4 ,the only fragment of the actual wall-painting itself which now remains is a small portion of the ,tarquin and ,lucretia fresco1#aei showing the latter's hand grasping the dagger1 the figure of her husband before whom she is about to kill herself1 the right arm of a woman attendant who stands behind her1 and part of the architectural background4 ,this fragment was built into the wall of the house which replaced the older one1 and can still be seen on the upper floor of the faade4 ,it is insignificant enough in itself1 and has greatly darkened with age and exposure1 but it is of value as the only actual evidence of the broad and vigorous manner in which the whole faade was painted4#afj ,,vol4 ,i41 ,,plate #bc4 ,illustration ,illustration3 ,,designs ,,for ,,the ,,wall-,,paintings ,,of ,,the ,,hertenstein ,,house #a4 ,leaena and the ,judges #b4 ,architectural ,decoration of the ,ground ,floor ,,basel ,,gallery ,a second original drawing by ,holbein in the ,basel ,gallery is a study for a part of the ground-floor faade of this house 7,pl4 #bc 7#b774afa ,it is a pen and wash drawing slightly touched with colour4 ,groups of pillars support a frieze with flat carving in the ,gothic manner4 ,above the pointed doorway on the left he has thrown a circular arch1 round which the pattern of the frieze is continued1 filled in with grotesque sculptured figures supporting a tablet for a date4 ,on the right he has placed an open loggia1 to which a flight of stone steps descends1 with square pillars1 inlaid with marble panels1 on either side supporting a wide1 flattened arch richly ornamented4 ,the space over the frieze on the right is filled in with a procession of naked boys1 some dragged along by their comrades1 and others carried on litters1 and above this again1 hanging garlands of leaves with swinging putti1 one blowing a trumpet4 ,according to ,dr4 ,ganz1 this last motive1 as well as other parts of the architectural design1 are reminiscent of details to be seen in the cloisters and on the faade of the ,certosa of ,pavia1 and suggest that ,holbein must have taken them directly from that building4#afb ,if this be so1 it proves that a part at least of the wall decoration of the ,hertenstein house was not finished until after ,holbein's visit to ,lombardy4 ,sidenote3 ,,paintings ,,of ,,hertenstein ,,house ,it seems certain that ,holbein began his work in the interior of the house1 and that he covered the walls of at least five rooms1 chiefly on the third floor1 with paintings4 ,in #ahbe many of them still remained in an excellent state of preservation4 ,in contradistinction to those on the outer walls1 they consisted of religious pictures1 and scenes from ancient fables and from everyday life in which humour found a prominent place4 ,the sacred decorations were in a large hall which served as the family chapel4 ,one of them represented the legend of the fourteen saints who are said to have appeared to a shepherd in #adde at a church in the neighbourhood of ,bamberg4 ,holbein depicted them in an elaborate landscape1 with mountains and a church in the background1 grouped on their knees round the ,infant ,christ1 with the shepherd1 a striking figure1 kneeling in adoration with his sheep round him4 ,a second picture in this room contained portraits of ,hertenstein1 his wife1 and three sons1 very diminutive figures1 kneeling before seven saints1 among them ,st4 ,benedictus1 the patron saint of ,lucerne4 ,a third picture showed a religious procession1 with a bishop and other ecclesiastics1 headed by banners1 issuing from the walls of a town in a hilly country4 ,in the large hall of the house1 on the third floor1 which at the time of the demolition was still in its original state1 were a number of landscapes with hunting scenes1 in one of which1 a stag-hunt1 the ancient castle of the ,hertensteins on a hill by the lake of ,lucerne was introduced4 ,in these scenes portraits of the chief magistrate and members of his family were included4 ,in one of them ,hertenstein1 his fourth wife1 and two sons1 ,benedikt and ,leodegar1 all mounted1 are hunting wild ducks by the side of the lake1 accompanied by dogs4 ,husband and wife appear again in the painting representing a stag-hunt in the woodland below the castle at ,weggis4 ,in a third scene hares are being hunted with a pack of hounds over hilly country4 ,near the fireplace was a representation of a subject which was popular with ,german painters--the ,fountain of ,youth4 ,in this a certain amount of latitude was permitted1 and ,holbein depicted some of the incidents with a rough1 unrefined humour4 ,nude men and women are sitting crowded together in a small circular fountain1 some still old1 others already rejuvenated by its waters4 ,in the centre of the basin rises a pillar with a banner bearing the arms of ,hertenstein and his fourth wife4 ,from all sides old people come crowding and hurrying up1 some in carts1 some on donkeys1 one pushed in a wheelbarrow1 and others carried in litters or on the backs of less feeble seekers after perpetual youth4 ,in one instance an ugly old woman1 seated in a basket slung on the back of a sturdy young man1 holds in her arms an equally old and ugly dog1 in order that it1 too1 may benefit from the bath4 ,a second painting next to it continued the story4 ,other old men and women are crowded into a long cart drawn by four horses1 into the back of which a lame man has scrambled1 while a second limps painfully after it4 ,in other rooms the decorations were so dilapidated and damaged that it was impossible to make copies of them2 but they included battle scenes1 and various ,renaissance ornaments and devices4 ,in one of these latter rooms occurred the date #aeag under the family shield4#afc ,in one of the chambers was a wooden pillar1 carved with the likeness of ,heini von ,uri1 court fool of ,duke ,leopold of ,austria1 for which ,holbein appears to have supplied the design from which the carver worked4 ,hollar made an etching from this drawing1 or from a woodcut of it1 as he has inscribed it1 8,h4 ,holbein incidit in lignum10 when it was in the ,arundel ,collection1 in #afdg4afd ,in carrying out this monumental work1 ,holbein1 in addition to possible help from his brother1 must have employed more than one assistant4 ,he made1 no doubt1 designs for every part of it1 and painted the principal pictures himself1 but much of the remainder was very probably done by others under his personal direction4 ,north of the ,alps such work was not particularly well paid1 nor was great care displayed in carrying it out4 ,both artist and employer were satisfied if a good decorative effect in design and colour was produced2 the former1 considering the large amount of surface to be covered1 could not waste much time over the careful painting of details1 nor was the latter prepared to pay more than a very moderate price for it4 ,there is no doubt1 however1 that ,holbein's work in this field was far in advance of anything hitherto carried out in ,switzerland1 more particularly in the elaborate architectural settings in which he placed his wall pictures1 and in the use made of perspective1 so that the scenes depicted appeared to be taking place within the rooms of the house itself1 and the eye was deceived into supposing that a building of somewhat plain design was in reality a mansion erected in the richest style of the ,italian ,renaissance4 ,sidenote3 ,,destruction ,,of ,,wall-,,paintings ,in #ahbe the ,hertenstein house came into the possession of a ,lucerne banker named ,knrr1 who pulled it down in order to replace it by a more modern building4 ,in spite of the efforts of a few art-lovers1 this work of demolition was carried out1 and the town authorities made no attempt to stop such an act of vandalism1 or to save the only surviving record they possessed of the art of by far the greatest artist their walls had ever sheltered--a record which to-day would be rightly regarded as one of their greatest treasures4 ,it was only through the efforts of ,colonel ,may von ,bren and ,colonel ,karl ,pfyffer von ,altishofen1 who employed certain local artists to make copies of the frescoes before the house was finally destroyed1 that any record at all of the decorations remains4 ,time and the damp climate had so dimmed them1 however1 that it was found necessary to wash them down with the town's fire-engine before they could be seen clearly enough for the artists to copy them4 ,the copies1 which were made by the ,lucerne painters ,schwegler1 ,ulrich von ,eschenbach1 ,eglin1 ,marzohl1 and an ,italian1 ,trolli von ,lavena1 had to be hurriedly done1 and they naturally possess little or nothing of the combined delicacy and force of the originals4 ,much of the purely decorative work1 the scroll and wreath ornament1 and details in the ,renaissance style1 in the use of which ,holbein was to become so great a master1 had to be left uncopied1 attention being concentrated on the pictures and figure subjects4 ,still1 what was done was sufficient to show something of the ideas ,holbein brought to the undertaking1 the influences he came under in his choice of subjects1 and the methods he employed in carrying them out4 ,colonel ,may persuaded ,usteri1 the painter and poet1 to visit ,lucerne in order to give his opinion as to the value of the paintings1 but he was unable to do so until #ahbe1 when the demolition had already begun4 ,usteri directed the making of the copies1 and saw to it that the artists adhered as faithfully as possible to the originals4 ,no 8restoration0 was permitted2 those parts which had perished were left blank in the copies4 ,the latter were made with the view of publication1 but they proved too inadequate1 and the scheme was dropped4 ,in #ahea they were presented by ,colonel ,may to the town library of ,lucerne1 together with ,usteri's letters concerning them4#afe ,,vol4 ,i41 ,,plate #bd4 ,illustration3 ,,benedikt ,,von ,,hertenstein #aeag ,,metropolitan ,,museum1 ,,new ,,york ,sidenote3 ,,benedikt ,,von ,,hertenstein ,before turning to ,holbein's journey across the ,alps in #aeah1 reference must be made to a portrait painted by him during his first residence in ,lucerne1 which is the only one by him so far discovered bearing the date #aeag4 ,this work1 of considerable importance to the student making a careful study of ,holbein's early development1 is a likeness of ,benedikt von ,hertenstein1 one of the sons of his new patron1 who was twenty-two years of age at the time of the sitting4 ,he was a member of the ,council in the year he was painted1 and was slain at the battle of ,bicocca in #aebb4 ,this portrait was acquired from a private collection in ,england in #aijf for the ,metropolitan ,museum of ,new ,york 7,pl4 #bd74aff ,he is represented standing1 facing the spectator1 with his left hand resting on the pommel of his sword4 ,he wears a black under-dress and a white shirt with an embroidered edge4 ,his cloak or overcoat with wide upper sleeves is of crimson1 trimmed with dark green bands1 and lined with bright myrtle-green silk4 ,his left hand is half hidden by the sleeve and the right arm hangs down1 the hand not being shown4 ,his cap is of black and scarlet velvet with gold tags1 and a plain chain of gold links hangs from his neck4 ,he wears six rings on his left hand1 the one on his first finger being a signet ring with a coat of arms now almost illegible4 ,the pommel of his sword is of gold and silver ornamented with a design in imitation of ,cufic script in the fashion of ,italian goldsmith's work of the period4 ,his bushy hair almost hides the ears1 and his eyes are small and bright4 ,the background1 as in the ,meyer portraits1 is a study in perspective1 for ,holbein has placed him within the angle of a wall1 along the two sides of which1 over the sitter's head1 runs a stone frieze carved with a representation of a ,roman triumph1 crowded with small figures1 in which the victor is seated in a chariot drawn by prancing horses1 and in front of him1 among the soldiers and trumpeters1 a number of prisoners led captive4 ,it has suffered rather severely from repainting4 ,the design1 an imitation of an antique bas-relief1 was no doubt based upon ,mantegna's 8,triumph10 which ,holbein was at the same time adapting for the faade of the ,hertenstein house4 ,a somewhat similar design1 though later in date1 is to be seen on the drawing of a dagger sheath in the ,basel ,gallery 7,vol4 ii41 ,pl4 #df 7#b774afg ,the wall on the left is in shadow1 and on it1 immediately below the frieze1 is inscribed3 8,,da ,,ich ,,het ,,die ,,gestalt ,,was ,,ich #bb ,,jar ,,alt #aeag ,h ,h ,,pingebat40 ,this inscription is interesting as the only one in ,german to be found on any one of his portraits1 with the exception of that of ,fallen at ,brunswick1 and the addresses on the letters in some of the other ,steelyard portraits4 ,the picture is painted in oils on paper1 and afterwards mounted on a panel1 a method not infrequently employed by ,holbein in his earlier practice4 ,the technical skill displayed in it is already of a high order1 though the draughtsmanship is still a little laboured1 and lacking in that ease and certainty to which he afterwards attained1 while the flesh tints are paler and flatter than in his later work4 ,it shows1 nevertheless1 a distinct advance when compared with the ,meyer portraits of the preceding year4 ,the draughtsmanship is firmer1 the colour tones softer1 and the general effect produced is one of greater naturalness1 though still far behind the 8,bonifacius ,amerbach10 painted two years later1 in subtlety of line and harmony of colour4 ,when the picture was purchased in #aijf the name of the sitter was unknown1 and beyond the fact that at the beginning of the last century it was in the possession of the ,burckhardt family1 its history has not been traced2 but by means of the coat of arms on the ring it was identified three years later as ,benedikt von ,hertenstein4#afh ,in #ahbf ,ulrich ,hegner saw in ,lucerne a portrait of his father1 ,jakob von ,hertenstein1 of the same date1 #aeag1 still in the possession of one of his descendants1 which he considered to be an original work by ,holbein1 which would indicate that the artist1 in addition to including portraits of various members of the family in the wall-paintings in the interior of the house1 was also commissioned to paint individual portraits of more than one of them4 ,the portrait seen by ,hegner has now disappeared1 but others of ,hertenstein still remain in the ,town ,hall and the ,library of ,lucerne4 ,these1 however1 are not contemporary likenesses1 but later copies1 possibly after an original by ,holbein now lost4 ,sidenote3 ,,the ,,visit ,,to ,,lombardy ,the great likelihood--indeed1 the certainty--that ,holbein1 before these wall-paintings were finally completed1 paid1 during #aeah1 a short visit to ,italy1 is now generally acknowledged by most writers4 ,it is true that ,carel van ,mander distinctly states that 8,hans ,holbein never travelled in ,italy10 and the artist's earliest biographer was1 no doubt1 correct1 if his words are to be understood as meaning that ,holbein never made any long sojourn in that country1 or studied for a considerable period under some ,italian painter4 ,this statement1 however1 in no way precludes a visit of several months' duration to ,lombardy1 of which ,van ,mander was ignorant4 ,from ,lucerne the journey to the foot of the ,alps was only a matter of a few days1 while traces of his presence in ,altorf1 which is on the route to the ,st4 ,gotthard ,pass1 still remain4 ,from ,altorf the ,italian side of the mountains could be easily reached4 ,the influence of both ,mantegna and ,leonardo and the ,milanese school of painting is unmistakable in certain of his pictures1 and though some of this may have been due to earlier influences in his ,augsburg days1 received through ,hans ,burgkmair and other ,german painters who had worked in ,italy1 and to the study of engravings1 they are not strong enough to account satisfactorily for the very marked ,italian influence to be seen in such pictures as the early 8,last ,supper10 or the 8,venus0 and 8,lais ,corinthiaca0 of #aebf4 ,the indications of personal acquaintance with ,italian painting and architecture are even more strongly marked in numerous designs for glass paintings1 dealt with in a later chapter4#afi ,it is therefore assumed that he crossed the ,alps and penetrated into the country at least as far as ,milan and its neighbourhood4 ,indeed1 the careful researches of ,dr4 ,ganz have removed all doubts on the question4 ,the 8,last ,supper0 in the ,basel ,gallery 7,no4 #caf7 7,pl4 #be71agj which must not be confounded with the still earlier version of the same subject on canvas already described1#aga although badly damaged1 bears in its composition so striking a reminiscence of ,leonardo's celebrated fresco in the refectory of the church of ,santa ,maria delle ,grazie in ,milan1 that it appears almost certain that ,holbein must have seen it4 ,this panel painting1 apparently the central part of a triptych1 when it came into the possession of ,amerbach was already in a badly-damaged state1 due1 no doubt1 to injuries received during the religious disturbances of #aebi1 which finally helped to drive ,holbein for a second time from ,basel4 ,it had been cut in two1 and then roughly joined together1 while a piece was missing from either side1 so that to-day only nine apostles remain1 though the hands and feet and parts of the bodies of the others are still to be seen at the sides4 ,it is described in the ,amerbach inventory as 8ein nachtmal vf holtz mit olfarb ,h4 ,holbein4 ,ist zerhwen vnd wider zusammengeleimbt aber unfletig40 ,in #agej it was again reset by ,nikolaus ,grooth1 who repainted and restored it in a hard and crude fashion1 so that it is now very difficult to form any adequate idea of the original scheme of colour1 though the heads still retain something of their original vigour and expression4 ,the scene is set in a loggia of plain ,renaissance architecture1 the blue sky seen through its arched openings1 against which branches of fig or vine stand out1 and a distant tower on the right4 ,christ1 seated in the centre of the table1 with hands spread out before him1 is depicted at the moment when he exclaims1 8,one of you shall betray me40 ,this figure1 both in the expressive gesture of the hands1 the position of the body1 and the type of features1 follows closely the greater figure which evidently inspired it4 ,the group of ,st4 ,john1 ,st4 ,peter1 and ,judas is also based on the corresponding group in ,leonardo's fresco4 ,the youthful ,st4 ,john1 seated next to the ,saviour1 and turning round to listen to ,st4 ,peter1 who stands behind him with his hand resting on ,st4 ,john's shoulder1 is admirably conceived and full of character4 ,judas1 seated in front on the left1 rests his chin on his left hand1 his strongly marked1 almost grotesque1 face1 convulsed with conflicting passions1 and his right hand pressed against the seat as though he were about to spring up and rush from the table4 ,the picture1 in spite of the damage it has received1 shows a great advance upon the earlier 8,last ,supper10 both in power of expression and technical execution4 ,in its style of painting it has considerable affinity with the 8,noli ,me ,tangere0 in ,hampton ,court1 more particularly with the distant figures of ,st4 ,john and ,st4 ,peter in the last-named picture1 while the head of ,st4 ,james1 seen in profile1 bears a close resemblance to that of the ,risen ,christ4 ,the background1 too1 displays a decided ,italian influence4#agb ,,vol4 ,i41 ,,plate #be4 ,illustration3 ,,the ,,last ,,supper ,central ,panel of a ,triptych ,,basel ,,gallery ,sidenote3 ,,the ,,visit ,,to ,,lombardy ,still stronger evidence of this journey to ,lombardy is to be found in ,holbein's numerous designs for painted glass1#agc which he produced during the next six or seven years1 designs which1 in most cases1 are filled round the borders and in the backgrounds with rich and elaborate architecture based upon ,renaissance models4 ,it is difficult to understand how he could have produced so much work of this nature1 so filled with the beauty and dignity of the style upon which it was founded1 had he not had at least some personal acquaintance with the original examples upon the far side of the ,alps1 which these drawings of his so often suggest4 ,a close comparison of certain of these studies with the architectural details of some of the splendid ,renaissance buildings which he must have seen if this journey across the plains of ,lombardy did in reality take place1 makes it almost certain1 although there are no documentary proofs1 that he made drawings and sketches of some of the principal edifices of ,milan1 the faade and interior of the ,certosa of ,pavia1 the monumental tombs of architectural design which are to be met with throughout ,northern ,italy1 and such cathedral churches as those of ,como and ,lugano2#agd and that he must have studied also the use made by the ,italian painters of similar architectural features in the backgrounds of their frescoes and paintings4 ,it is difficult to believe that his intimate knowledge of the true principles of that style were gained merely by the study of a few engravings or isolated pictures4 ,here and there1 too1 in those glass designs in which the background is a landscape1 there is more than one ,alpine scene4 ,in the one with the figure of a ,pope or ,bishop1 in the ,basel ,gallery 7,no4 #ccd71age there is a view of the old ,devil's ,bridge on the ,andermatt route1 and the same bridge is to be seen in the 8,table of ,cebes0 woodcut4 ,there is a view of the ,rigi in the background of the woodcut of 8,jacob's ,ladder0 in ,thomas ,wolff's edition of the ,pentateuch1 #aebc1 and1 again1 a representation of ,lucerne in the woodcut of the 8,new ,jerusalem10 in the same publisher's edition of the ,new ,testament1 #aebc 7,pl4 #gj 7#c774agf ,in the course of his journey to and from ,lombardy he probably made short halts in more than one ,swiss town4 ,hegner mentions pictures by him in ,coutrai1 ,zrich1 ,altorf1 and ,berne1 but the works he enumerates1 with the exception of the painted table at ,zrich1 are not the work of ,holbein4 ,there are1 however1 indications that he spent some time in ,altorf1 in the canton ,uri1 from which district it has been suggested that his family originally came1 for the ,holbein arms are almost identical with those of that canton4 ,in the church is a 8,head of ,christ10 which local tradition gives to ,holbein1 and in the ,convent of the ,capuchins still hangs a copy of the 8,christ in the ,tomb0 of the ,basel ,gallery4 ,the 8,head of ,christ0 has suffered so severely that it is impossible to-day to say whether it is from his hand2 the church archives1 which are said to have contained proofs of its authenticity1 were lost in a fire which occurred in #agii1 and did a great amount of damage1 destroying1 among other things1 an altar-piece of the 8,crucifixion10 attributed to ,holbein1 painted on canvas1 one of the chief treasures of the church4 ,the version of the 8,christ in the ,tomb0 in the monastery shows material differences from the original at ,basel4 ,the body of ,christ is no longer rigid in death4 ,he has conquered it1 and the artist1 whoever he may have been1 has represented him as the giver of eternal life1 by means of rays of light which emanate from the recumbent body4 ,above the figure is a medallion with the ,burial1 which bears little likeness to ,holbein's work4 ,m4 ,pierre ,gauthiez suggests that this ,christ was painted by ,holbein when under the immediate influence of certain ,lombard painters1 but that it became so badly damaged in course of time that it was restored and repainted by some not very skilful worker4#agg ,sidenote3 ,,designs ,,for ,,painted ,,glass ,wherever ,holbein may have wandered in search of work1 he was back again in ,lucerne early in #aeai4 ,the town books contain records of payments made to him for the painting of certain banners and pennons in the spring of that year4 ,it was a custom of the ,lucernois to plant banners on the gables and summits of their street fountains1 as a signal for assembly whenever there was question of war2 and1 in addition to this custom1 small flags of painted cloth were usually to be seen hanging in such places4#agh ,on the #aith ,february #aeai1 ,holbein was paid twelve schillings for two flags of this kind1 which were hung near the cathedral1 and on the #bast ,may of the same year he received one livre1 one schilling1 six heller for banners for the fountain near the convent of the ,franciscans4 ,it was round this fountain of the ,cordeliers that the shoemakers and sellers of various merchandise had their stalls1 and the neighbouring street was the quarter of the glass-painters4 ,for these latter craftsmen ,holbein made several designs4 ,there is one of these in the ,basel ,gallery 7,no4 #ced71 which1 however1 is not from ,holbein's own hand1 but merely a good workshop copy4 ,it represents the standing figure of the ,virgin with the ,child in her arms1 under an arch with hanging garlands1 supported by pillars and pilasters with ,renaissance ornament in low relief1 and appears to have been drawn in ,lucerne1 for the background consists of an admirable little landscape study with a view of the towers and roofs and the old covered bridge of that city1 and cloud-capped mountains in the background4#agi ,it was1 however1 designed for some citizen of ,basel1 and may1 therefore1 have been done after he had left ,lucerne1 and the background sketched in from memory4 ,it forms the left-hand half of a double window containing the patron saints of ,basel1 of which the right-hand half still exists in the original glass in the cloisters of ,wettingen1 representing the ,emperor ,heinrich ,,ii holding a model of the minster1 and with a shield containing the arms of ,basel at his feet4 ,in its architectural details this window agrees with the 8,virgin and ,child0 drawing in the ,amerbach ,collection1 which is in pen and wash and lightly coloured4 ,a second window design1 also in the ,amerbach ,collection1 dated #aeah1 and signed 8,h4,h410 represents the arms of ,state-councillor ,holdermeier of ,lucerne4#ahj ,under an open archway with pillars inlaid with marble stand three peasants with grotesque head-dresses1 busily talking1 conceived by the artist with considerable humour4 ,one rests on his scythe1 another carries a sack over his shoulder1 while the one in the middle holds a basket of eggs4 ,over the centre of the arch is a small tablet with the date1 and on either side of it1 in the spandrils1 peasants are shown at work in the fields1 mowing and reaping4 ,in the centre foreground is placed a shield with the ,holdermeier arms4 ,a third design for painted glass of this period with the arms of ,hans ,fleckenstein of ,lucerne1 and dated #aeag1 is in the ,brunswick ,gallery1 and was lent to the ,holbein ,exhibition in ,basel in #ahig-h4aha ,two other existing designs appear to belong to ,holbein's ,lucerne period4 ,the first is the very beautiful drawing in the ,basel ,gallery of the ,archangel ,michael as the ,weigher of ,souls 7,pl4 #bf74ahb ,it is evidently a drawing for a wooden statue4 ,the ,archangel ,michael as the ,soul ,weigher was the patron saint of the cloisters of ,beromnster1 near ,lucerne1 and most probably1 according to ,dr4 ,ganz1 this design was a commission from ,holbein's patrons1 ,peter and ,jakob von ,hertenstein4 ,jakob was feoffee of the cloisters1 and ,peter1 canon of ,basel1 was from #adhc until his death in #aeai also canon of the minster4 ,he had his own private chapel1 to which he presented various works of art1 including a window of painted glass with a representation of the ,archangel1 which is now in the ,lucerne ,museum4#ahc ,the winged figure of the youthful saint stands erect upon a slight carved bracket1 raising a great sword over his head with one hand1 and with the other holding a large pair of scales just clear of the ground1 in one of which is ,satan1 with wings and a long curled tail1 and in the other a naked child with a nimbus1 representing the soul4 ,st4 ,michael1 too1 wears a nimbus above his masses of curled hair1 and gazes down with a smile on the upturned face of the ,evil ,one1 whom he is about to strike with his sword4 ,he is clad in clinging drapery1 which leaves one leg bare1 and a breastplate richly chased with a ,renaissance flower-and-leaf design1 a long cloak falling from his shoulders to the ground4 ,the figure displays extraordinary grace and energy1 and in the beauty of its conception and its draughtsmanship recalls the best work of the ,italian painters1 and was evidently accomplished immediately after his return from ,lombardy1 when the stimulus of that journey was still at its highest and strongest4 ,the second drawing1 in ,indian ink1 with pen and bistre outlines1 in the ,british ,museum 7,no4 #ad71 is a round composition nearly nine inches in diameter1 representing miners at work on the face of a mountain side 7,pl4 #bg74ahd ,in the foreground is a rocky platform on which two men are driving wedges into the rock with hammers with long pliant handles4 ,others are working with smaller hammers1 and one1 with a lantern fastened to his cap1 is mounting to the platform by a ladder4 ,above them another man is ascending in the same way to a higher part of the quarry1 while from an opening on the right a miner is pushing a truck full of ore along a wooden bridge1 and another1 down below1 is raking the stone into a tray4 ,various wooden huts are placed here and there on the ledges4 ,according to ,dr4 ,e4 ,his1 this drawing was in ,basel in the sixteenth century1 and was then copied by an unknown artist as an illustration to a manuscript book on mining by ,andreas ,ryff4 ,it was probably made by ,holbein in the neighbourhood of the ,st4 ,gotthard ,pass1 on his way to or from ,lombardy4 ,,vol4 ,i41 ,,plate #bf4 ,illustration3 ,,the ,,archangel ,,michael ,,as ,,weigher ,,of ,,souls ,drawing in ,indian ink ,,basel ,,gallery ,,vol4 ,i41 ,,plate #bg4 ,illustration3 ,,miners ,,at ,,work ,drawing in ,indian ink1 pen1 and bistre ,,british ,,museum ,sidenote3 ,,sacred ,,pictures ,,formerly ,,in ,,lucerne ,patin mentions five pictures painted by ,holbein which in his day were in the church of the ,augustines in ,lucerne--a 8,nativity10 the 8,adoration of the ,kings10 8,christ disputing with the ,doctors10 a 8,sancta ,veronica10 and a 8,taking down from the ,cross10#ahe but ,hegner could find no traces of them4 ,they probably formed a triptych4 ,m4 ,gauthiez suggests that these pictures were the result of his study of the paintings of the ,lombard masters1 the titles alone suggesting a list of works by ,luini4#ahf ,the last-named of these pictures1 the 8,taking down from the ,cross0--in which1 according to ,patin's description1 ,christ's body was on the ground1 the head resting on the ,virgin's lap1 and surrounded by ,mary ,magdalene1 ,saint ,john1 ,nicodemus1 and other persons1 with the two thieves still on the ,cross--was still in the church in the middle of the seventeenth century4 ,two sketches exist1 with notes as to the colour1 and an inscription stating that they were drawn in ,lucerne from ,holbein's altar-piece in the church of the ,augustines by ,c4 ,meyer in #afdh4 ,dr4 ,ganz has recently published a copy of this picture1#ahg which is in ,palermo1 and draws attention to the fact that it agrees in dimensions with the lost original1 which was in the possession of the painter ,marquard ,wocher in ,basel in #ahcd1 at which time it was copied by the painter ,hieronymus ,hess4 ,another copy1 half the size of the original1 was exhibited at the ,exhibition of ,early ,german ,art at the ,burlington ,fine ,arts ,club in #aijf1 and a third is still in the sacristy of one of the ,lucerne churches4 ,in addition1 there is a drawing of the group of the two chief figures1 ,christ and the ,virgin1 in the ,basel ,gallery1#ahh a free copy of the central group of ,christ and the ,virgin1 signed ,h4 ,h4 ,w4 and ,h4 ,h4 ,it was done towards the end of the sixteenth century either by ,hans ,jrg ,wannewetsch of ,basel1 or ,hans ,heinrich ,wegmann of ,lucerne4 ---------------------------------------- -------------------------------- ,,chapter ,v ,,citizen ,,of ,,basel ,holbein's return to ,basel--,enters the ,painters' ,guild 8zum ,himmel0--,becomes a burgher--,his marriage--,portrait of ,bonifacius ,amerbach--,the ,amerbach ,collection--,church pictures--,the 8,nativity0 and 8,adoration of the ,kings0 at ,freiburg--,hans ,oberried--,the altar-piece of the 8,passion of ,christ0 at ,basel--,italian influences in his work--,the 8,noli ,me ,tangere0 at ,hampton ,court--8,christ as the ,man of ,sorrows0 and 8,mary as ,mater ,dolorosa0--,designs for sacred pictures or wall-paintings--,the 8,dead ,christ in the ,tomb0--,the ,solothurn ,madonna--,history of the picture--8,st4 ,ursula0 and 8,st4 ,george0 at ,karlsruhe--,the organ doors of ,basel ,cathedral4 ,,in the summer or autumn of #aeai ,holbein was back again in ,basel4 ,his return may have been due to lack of sufficient employment in ,lucerne1 or it may be that he was recalled by news of the death of his brother ,ambrosius4 ,as already pointed out1 no traces of the latter can be found after this year1 and it is generally supposed that he died about this time4 ,if such were the case1 it is natural that ,hans should return1 in order to wind up his brother's affairs1 and it may be1 to complete any commissions he may have left unfinished4 ,slight indications1 also1 of a visit to his father1 who was then working in ,isenheim1 not far from ,basel1 are perhaps afforded by his designs for painted glass at ,murbach and ,andlau1 described in a later chapter1 which he produced in the following year4#ahi ,he now made ,basel his permanent residence1 and from that time until he came to ,england1 seven years later1 he was very busily employed in painting portraits1 altar-pieces for churches1 decorating house-fronts and interiors1 and supplying designs for book illustrations1 and for the glass-painters1 armourers1 and metal-workers of his adopted city4 ,on ,september #be1 #aeai1 he became a member of the ,painters' ,guild1 the 8,zunft zum ,himmel40 ,the entry runs3 8,item1 ,hans ,holbein the painter has been received into the ,guild on ,sunday before ,st4 ,michael's ,day1 in the year #aeai1 and has sworn to preserve the statutes of the ,guild like every other ,guild brother of the painters40 78,item es hat die ,zunfft entffangen ,hans ,holbein der moller vff suntag vor sant michelss ,dag im ,,xvcxix jor vnd hat geschworen ,der ,zunft ordnung zu halten wie ein ander ,zunfftbruder der moller40#aij ,his coat of arms1#aia a black bull's head with ringed nose1 on a yellow or gold ground1 surmounted by a red star between the horns1 and with 8,hans ,holbein de maller0 inscribed above it1 painted at the time he was admitted a member1 remained in the ,guild ,chamber until modern times1 and is now in the ,basel ,historical ,museum4 ,the entrance fee was one pound three shillings4 ,he soon appears to have become an important member of the confraternity1 for in the following year1 on ,june #be1 #aebj1 he was elected chamber-master of the ,guild1 as set forth in the treasurer's book4 ,a few days afterwards1 on ,july #c1 #aebj1 he obtained the rights of citizenship2 probably a residence of twelve months was necessary before the freedom of the city could be obtained1 and ,holbein had now been back in ,basel for about a year4 ,the entry in the town book runs as follows3--8,item1 ,tuesday before ,st4 ,ulrich's ,day anno #bj ,hans ,holbein of ,augsburg1 painter1 has received the right of citizenship1 and has sworn in the customary manner40 78,item ,zinstag vor ,vlrici anno ,,xx #ast ,hans ,holbeinen von ,augspurg dem maler das burgrecht glichenn4 ,et juravit pro ut moris est407#aib ,less than a month afterwards his name occurs1 on the #ast of ,august #aebj1 in the records of the ,court of ,justice4 ,the wife of the painter ,michel ,schuman sued him for a debt of eight pounds1 which he was condemned to pay1 a proceeding recalling similar monetary difficulties in his father's life4 ,sidenote3 ,,becomes ,a ,,burgher ,,and ,,marries ,it was probably about the same time that ,holbein married ,elsbeth ,schmid1 the widow of a tanner1 with one son named ,franz1 who afterwards followed the occupation of his father4 ,it appears possible1 therefore1 that she may have been possessed of some means1 and that she carried on the tannery business until her son was of age4 ,perhaps both marriage and citizenship were necessary qualifications for membership of the ,guild 8zum ,himmel10 as was the case with other guilds elsewhere1 and some such regulation may have been one of the chief causes which brought about ,holbein's early marriage4 ,in ,breslau1 for instance1 a painter who wished to settle in the town as a master was obliged to be married1 or if not1 must have taken a wife within a year and a day of his entry into the ,guild1 under a penalty of ten marks4#aic ,additional proof that the marriage must have taken place in #aebj or #aeba is afforded by the ,solothurn 8,madonna10 dated #aebb1 for which ,holbein's wife and infant son served as the models for the ,virgin and ,child4 ,a few weeks after his admittance into the ,guild1 ,holbein finished one of the most beautiful portraits of his ,basel period--that of ,bonifacius ,amerbach1 to whose unfailing admiration of ,holbein's art the present fine collection of his works in the ,basel ,gallery is due4 ,bonifacius was the youngest of the three sons of ,hans ,amerbach1 the scholar1 and afterwards printer and publisher1 who1 born in ,reutlingen1 settled in ,basel in #adhd1 where he set up a printing-press which soon became famous1 and attracted a number of learned men1 who assisted him in preparing books and translations for publication1 which included several fine editions of the early ,fathers4 ,his three sons were all brilliant scholars4 ,bonifacius1 born in #adib1 was about five years older than ,holbein4 ,his education was a very thorough one1 and while pursuing his studies he was closely associated with various scholars of an older generation than his own1 such as ,conrad ,leontorius1 ,gebwiler1 ,beatus ,rhenanus1 and the ,franciscan monk1 ,johann ,conon of ,nuremburg1 under whom he studied ,greek4 ,later on he went to the ,university of ,freiburg1 where he lived with ,ulrich ,zasius1 who was both his teacher and friend4 ,he afterwards continued the study of the law at ,avignon under ,alciat1 and at ,montpellier1 and in #aebe received the appointment of professor of law in the ,basel ,university4 ,he became a close friend of ,erasmus1 hardly a day passing without some intercourse between them4 ,the elder scholar1 who had the highest admiration for his abilities and learning1 grew to regard him almost as a son1 and appointed him his heir4 ,contemporary references to him speak not only of his great scholastic gifts1 but of the modesty and amiability of his character1 his integrity1 his lively wit1 and his talent for music and poetry4 ,one such reference1 quoted by ,hegner1#aid speaks of him as a tall man1 with a charming countenance1 who made use of brave1 serious language1 and appeared modestly attired in a long coat4 ,it is to be assumed from ,amerbach's enthusiasm in collecting every picture1 drawing1 and design by ,holbein which he could find1 that the two young men became personal friends1 or1 at least1 that their acquaintance1 first made in the latter's painting-room1 grew to be a closer one than was usually formed between sitter and artist in days when the painter and his craft were not always very highly considered1 or his social standing more than a very modest one4 ,amerbach also collected pictures and sketches by other artists1 and engravings1 coins1 and antiquities of all kinds4 ,upon his death in #aefb his son ,basilius inherited the collection1 and1 inheriting also the artistic tastes of his father1 he added1 in course of time1 a number of important examples1 among them various works by ,holbein1 including the copy of the ,praise of ,folly with the marginal drawings4 ,in #aehf he drew up an inventory and catalogue of the collection1 which by that time had obtained considerable reputation4 ,it remained in the possession of his descendants until the middle of the seventeenth century1 when it was offered for sale1 and was purchased by his native city for the very moderate price of #ijjj rix-dollars in the summer of #affb4 ,in addition to examples of metal-work1 ivory carvings1 coins1 and various objects of decorative art1 the collection contained forty-nine paintings1 of which fifteen were attributed to ,holbein1 and a chest of thirty-seven drawers1 all full of sketches and engravings1 among them one hundred and four original drawings by ,holbein1 a sketch-book with eighty-five studies1 one hundred and eleven woodcuts after his designs1 the illustrated ,praise of ,folly1 and two copies each of the 8,dance of ,death0 and 8,old ,testament0 woodcuts4 ,modern criticism has somewhat reduced these numbers1 but the collection is one of extraordinary value1 and1 thanks to the energy and artistic taste of the father and son who formed it1 and thus preserved many examples which otherwise would have been scattered and lost1 it is possible for the ,holbein student of to-day to obtain very adequate knowledge of much that the great artist accomplished during the earlier half of his life4#aie ,sidenote3 ,,bonifacius ,,amerbach ,in ,holbein's portrait of ,bonifacius ,amerbach1 in the ,basel ,gallery 7,no4 #cad7 7,pl4 #bh71aif the jurist is represented to the shoulders1 almost in profile to the spectator's left1 a little less than the size of life4 ,he wears a black velvet cap and a black gown with a fur collar1 open to show the under-vest of blue-green damask and small white ruff round the neck4 ,the fine1 handsome face1 with its prominent nose1 is of a warm1 ruddy complexion1 and the bushy hair1 which almost hides the ears1 and the beard and moustache1 are of chestnut colour4 ,on a tree-trunk on the left hangs a large framed tablet with a ,latin inscription1 probably composed by ,erasmus1 in which the picture itself is made to extol the art of the painter for its truth to nature4 ,below these lines the names of the artist and the sitter1 and the date1 ,october #ad1 #aeai1 are given-- 8,,bon ,,amorbacchivm ,,io ,,holbein ,,depingebat ,a ,m ,d ,x,i,x ,,prid ,,eid ,,octobr40 ,the head stands out against a pale blue-green sky1 with the snow-covered crests of the ,schneeberg in the distant background1 and the branch of a vine or fig-tree on the right4 ,the richness and transparency of the colour is remarkable2 it is1 perhaps1 of all ,holbein's portraits the most transparent in effect1 with no trace of the dryness which sometimes characterises his later work4#aig ,in technical execution it shows a considerable advance on the earlier portraits of ,meyer and his wife and of ,benedikt von ,hertenstein1 the modelling and the minute and accurate draughtsmanship of the details1 such as the beard and the hair1 being already almost as masterly and assured as in his greatest portraits painted fourteen or fifteen years later4 ,as a study of character and expression1 too1 it is very striking4 ,the combined strength and refinement of ,amerbach's nature1 and the kindliness and sense of humour which shine from his deep blue eyes1 below projecting brows1 have been admirably rendered1 and in many ways the portrait shows that ,holbein had already attained almost1 if not quite1 to the full maturity of his powers4 ,in it1 too1 can be seen for the first time in his portraiture the practical application of the experience he must have gained during his visit to ,italy1 for in the lighter1 gayer1 scheme of colour1 and the change in technique1 which gradually developed into the enamel-like surface of his flesh tints which is so characteristic a feature of his ,english portraits1 the influence of the painters of ,lombardy1 such as ,leonardo1 ,mantegna1 ,luini1 and others1 is plainly evident4#aih ,in the ,amerbach inventory it is described as3 8,meines vatters conterfehtung in der iugend ,h4 ,holbeins vf holz mit lfarb40 ,there is an old copy of it in the ,karlsruhe ,gallery4 ,,vol4 ,i41 ,,plate #bh4 ,illustration3 ,,bonifacius ,,amerbach #aeai ,,basel ,,gallery ,sidenote3 ,,sacred ,,paintings ,,for ,,churches ,during the first years of his citizenship ,holbein received a number of commissions for sacred paintings for churches1 including the cathedral4 ,for the last-named building he painted the great folding doors of the organ-case1 and possibly the altar-piece1 now lost1 of which1 however1 the wings1 with scenes from the ,passion1 remain1 among the most valued possessions of the ,basel ,gallery4 ,a still earlier connection with the cathedral works is proved by an entry in the ,bishop's court-treasury accounts for ,september #aebj2 and that at this time1 only a month or two after he had taken up his rights of citizenship1 he was not too proud to undertake tasks of the humblest kind1 is shown by the nature of the commission1 which was merely for the painting over of some stonework4#aii ,only a few of his sacred works have survived4 ,others1 no doubt1 were destroyed during the religious disturbances of #aebi1 when so many of the pictures and works of art in the ,basel churches were burnt or shattered to pieces by the mob4 ,old copies or engravings exist of several of these destroyed pictures1 so that some idea can be obtained of the originals4 ,in all instances they appear to be works of the early ,basel period4 ,earliest of all1 possibly one of the very first pictures painted by him in that city1 is a 8,christ on the ,cross between ,mary and ,john10 of which there is a copy in the ,basel ,gallery4 ,this copy1 according to the ,amerbach inventory1 was made by a ,bavarian painter1 ,jakob ,clauser1 a contemporary and associate of ,holbein4 ,a painting of 8,christ taken ,prisoner10 some years later in date1 is now only known from an engraving by ,w4 ,akersloot1 done in #affd4 ,this is a very fine composition1 with striking effects of lighting produced by the flaming torches and a large lantern carried by the soldiers1 recalling the earlier picture in the first 8,passion0 series on canvas1 as well as 8,the ,arrest0 in the ,basel altar-piece and the 8,adoration of the ,shepherds0 at ,freiburg4 ,there are also two etchings by ,hollar after two lost works by ,holbein1 one representing the 8,lamentations over ,christ after the taking down from the ,cross0 7,parthey1 #aji71 which appears to have been the central panel of a triptych1 and the other a figure of 8,st4 ,barbara0 in a landscape 7,parthey1 #agf71 which bears a close resemblance to the glass design representing the same saint in the ,basel ,gallery1 described in a later chapter4#bjj ,finally1 there is a series of nine paintings on canvas1 representing the ,prophets1 shown in pairs1 now in the ,basel ,gallery1 and coming from the ,faesch ,collection4 ,according to the ,faesch inventory1 these are copies made by ,bartholomus ,sarburgh after ,holbein1 and ,patin states that the originals1 which have now disappeared1 were taken by ,sarburgh to ,belgium4#bja ,these copies and engravings have all been reproduced by ,dr4 ,ganz in his latest work on the master4#bjb ,,vol4 ,i41 ,,plate #bi4 ,illustration3 ,,adoration ,,of ,,the ,,shepherds ,inner side of the left wing of the ,oberried ,altar-piece ,,university ,,chapel1 ,,freiburg ,,minster ,illustration3 ,,adoration ,,of ,,the ,,kings ,inner side of the right wing of the ,oberried ,altar-piece ,,university ,,chapel1 ,,freiburg ,,minster ,sidenote3 8,,the ,,nativity0 ,among those which escaped the fury of the iconoclasts only one or two are dated1 but all of them were produced between the years #aeai and #aebf4 ,one of the earliest1 8,the ,last ,supper10 has been already described2 two others of about the same date are now in the ,university ,chapel of the minster at ,freiburg-im-,breisgau4 ,they are the two wings of an altar-piece1 with curved tops1 representing 8,the ,nativity0 and 8,the ,adoration of the ,kings0 7,pl4 #bi74bjc ,in both panels the artist has striven to achieve striking contrasts of light and shade4 ,in 8,the ,nativity0 the figures1 which are very small1 are placed amid the ruined splendours of some palace of ,renaissance architecture1 with tall marble pillars1 carved capitals1 and shattered arches1 through which the light of the moon1 cloud-obscured1 glimmers faintly4 ,the chief illumination emanates from the ,infant ,christ1 who lies1 a small nude figure1 on his white-covered little bed4 ,the soft1 supernatural brilliance lights up the faces and figures of ,mary and ,joseph1 who bend over the ,child in adoration4 ,this unusual effect of lighting is also to be found in a second painting of 8,the ,nativity0 in ,freiburg ,minster1 a fine example of the work of ,hans ,baldung ,grien1 completed in #aeaf2 and again in ,correggio's famous 8,night10 painted some years later4 ,in ,holbein's picture this light also plays over the small angels who surround the bed1 and less brightly on the figure of one of the shepherds peering round a pillar on the left1 and on the undersides of the arches overhead4 ,the wings of the attendant angels1 instead of springing from the shoulders1 grow along and form part of the arms1 apparently an original conception of the painter's4#bjd ,in the distance1 forming a radiant patch of light amid the darkness of the background1 is seen the angel who is hastening to carry the glad tidings to the shepherds4 ,above1 in the sky1 the moon also bends and does homage to the new-born ,child2 to suggest this1 ,holbein has represented its disc as turned down towards the bed1 and foreshortened4#bje ,the source from which this arrangement was taken was the passage in the ,apocrypha3 8,and behold the cave was filled with a light1 surpassing the brilliancy of tapers and torches and greater than sunlight40 ,the effect of the gradually diminishing radiance1 which finally loses itself amid the dimly seen ruins1 where it mingles with the pale effulgence of the moon1 has been finely rendered1 and though the picture has suffered some damage1 it still retains much of its charm1 particularly in the small figures of the angels with their graceful gestures4 ,in the 8,adoration of the ,kings10 the personages are grouped in front of a great half-ruined building1 more massive and less ornate than the one in the 8,nativity10 whose walls and broken towers1 upon which vegetation grows1 recede into the distance4 ,overhead shines the ,star of ,bethlehem1 which has guided the kings on their journey1 so bright1 in spite of the clouds which partly veil it1 as to make the daylight seem almost dark4 ,one of the members of the retinue is gazing upwards at it1 and is forced to shield his eyes with his hand1 so great is its brilliance4 ,the ,virgin is seated with the ,child on her knees1 before whom the eldest king1 an old man with a long grey beard1 and dressed in a red robe and a large ermine cape1 is kneeling in adoration and offering a golden cup4 ,on the left stands the ,moorish king1 in white1 waiting his turn to present his gifts1 and in front of him is a greyhound1 which also is looking towards the ,child4 ,the second of the three worshippers is on the right1 a dark-bearded man1 with white ribbons fluttering from his crown1 and his offering held in front of him4 ,numerous figures of attendants are seen in the background4 ,in both pictures the head of ,mary is a very expressive one4 ,in a narrow compartment at the bottom of each panel the donor1 ,hans ,oberried1 and his family are represented kneeling in a long row4 ,on the one side1 under the 8,nativity10 are the donor and his six sons2 on the other1 under the 8,adoration10 his wife1 ,amalie ,tschekkenbrlin1 and his four daughters4 ,at the front of each row of figures is a shield with the coat of arms of the two families4 ,these two panels1 which were once the wings of an arched altar-piece1 the centre panel of which has disappeared1 have suffered considerably in the course of their wanderings1 more particularly the 8,adoration10 from injudicious repaintings and repairs1 so that much of the beauty of the original colouring has been lost4 ,they appear to have been among ,holbein's earliest sacred works after his return from ,lucerne1 and in them ,german and ,italian influences are commingled2 but in spite of their charm and navet1 they do not show that mastery of technique which is already to be found in such a portrait as that of ,amerbach1 though this no doubt is largely owing to repairs and restoration by some later hand4 ,this less assured touch is particularly noticeable in the figures of the donor and his family4 ,they were a commission from the merchant ,hans ,oberried1 a native of ,freiburg1 at the time a town councillor of ,basel1 in which town he had been resident for nearly thirty years1 but who1 as an adherent of the ,catholic party1 was dismissed from office during the religious disturbances of #aebi4 ,he therefore renounced his citizenship1 and1 like ,erasmus and ,amerbach1 left the town and returned to ,freiburg1 where members of his family still lived4 ,it has been suggested that he ordered this altar-piece of ,holbein for presentation to the church of the ,carthusian ,monastery in ,basel1 in which a near relative of his wife's1 ,hieronymus ,tschekkenbrlin1 was prior4 ,this monastery was in ,little ,basel1 where the ,catholic party were in the ascendant1 so that some of their pictures and church ornaments were saved from the fury of the mob4 ,oberried may1 therefore1 have succeeded in carrying off the two panels with him1 though forced to leave the centre one behind1 as too big for concealment4 ,his name occurs on one occasion in the ,basel town records in connection with ,holbein4 ,on ,september #ad1 #aeba1 the ,council paid to him a sum of money due to the painter--probably in connection with the ,town ,hall wall-paintings--which was possibly in discharge of a debt which the councillor had failed to obtain from the artist4#bjf ,oberried died in the same year as the painter1 #aedc1 but the two panels do not appear to have been placed in the chapel of the minster until ,october #ag1 #aeed1 on which day the altar over which they hang was consecrated4 ,with the exception of two short intervals1 they have remained ever since in ,freiburg4 ,during the ,thirty ,years ,war they were sent to ,schaffhausen for safety4 ,from there the ,elector ,maximilian ,i of ,bavaria had them brought to ,munich for his inspection1 and later on they were taken to ,ratisbon1 in order to be shown to the ,emperor ,ferdinand ,,iii4 ,in #agif they were carried away by the ,french1 but were returned from ,colmar in #ahjh4bjg ,they were then replaced over the altar of the ,university ,chapel in the choir of the minster1 where they still remain1 the only church paintings by ,holbein still to be found hanging within the walls of a consecrated building4 ,about the time of their return from ,france they appear to have undergone a severe restoration4 ,sidenote3 8,,passion ,,of ,,christ0 ,,altar-,,piece ,the altar-piece in the ,basel ,gallery 7,no4 #cae7 7,pl4 #cj71bjh consisting of eight scenes from the ,passion of ,christ1 on four upright panels1 forming the wings of a triptych1 was evidently painted after ,holbein's return from those wanderings which took him for a short period over the ,alps1 for in composition and colour-scheme it displays a marked ,north ,italian influence4 ,at one time it was regarded throughout ,switzerland as ,holbein's masterpiece4 ,nothing is known of its early history1 but it was held in the highest estimation throughout the seventeenth and eighteenth centuries4 ,according to tradition1 it was originally painted for the cathedral of ,basel1 and was1 by some means or other1 saved from destruction during the troubles of #aebi4 ,in this case tradition appears to have probability on its side4#bji ,on ,november #e1 #aggj1 it was removed from the ,basel ,town ,hall1 where it had been hanging for more than two hundred years1 and was placed in the ,library among the other art treasures of the city1 in which building the collection was housed until the present ,gallery was built4 ,numerous early references to it are to be found which testify to its great reputation in the past4 ,sandrart was enthusiastic in its praises4 8,the most excellent and the crown of all his art10 he wrote1 8is the ,passion of ,christ1 painted on a panel in eight compartments1 and preserved in the ,town ,hall at ,basel2 a work in which all that art can do is to be found1 both as regards the devotion and the grace of the persons represented1 whether religious or secular1 or of a higher or lower class1 and with respect to the figures1 building1 landscape1 day and night4 ,this panel testifies to the honour and fame of its master1 giving place to none either in ,germany or ,italy1 and justly bearing the laurel wreath among ancient works40#baj ,sandrart1 when painting the portrait of ,maximilian ,i of ,bavaria1 who was a great art-collector1 spoke so highly of this work that the latter determined to possess it4 ,he is said to have offered the ,baselers any price they liked to put upon it2 and1 having already succeeded in tempting the ,nurembergers to part with ,drer's 8,apostles10 although the painter had bequeathed them to his native city1 he hoped to be equally successful in this instance2 but the ,basel councillors were less mercenary1 and refused his offer4 ,,vol4 ,i41 ,,plate #cj4 ,illustration ,illustration3 ,,the ,,passion ,,of ,,christ ,outer sides of the ,wings of an ,altar-,piece ,,basel ,,gallery ,sidenote3 8,,passion ,,of ,,christ0 ,,altar-,,piece ,in more recent days this altar-piece has been subjected to severe and unfavourable criticism4 ,rumohr refused to accept ,holbein as its author1 and ,mr4 ,wornum regarded it as a careful work by the elder ,holbein1 though better in grouping and decoration than was usual with him4 ,he could not see in it any sign of the younger ,holbein's stupendous power of grasping and representing individual character1 and thought that though the composition might possibly be his1 the actual painting was certainly the work of some other hand4#baa ,unfortunately1 in #agga1 immediately after the picture's transference from the ,town ,hall to the ,library1 it was placed in the hands of ,nikolaus ,grooth of ,stuttgart for restoration1 who succeeded only too well in removing all the original beauty of the colouring1 though leaving the drawing much as he found it4 ,though following to the best of his ability ,holbein's colour-scheme1 he completely destroyed its harmony1 and obliterated all signs of the delicacy of the painter's brushwork by the garish tones and smooth finish which he gave to the whole surface4#bab ,the picture thus retains little of its early beauty1 charm1 and freshness1 but in spite of the superadded paint of the restorer1 it is an undoubted and an important work by the master of about the year #aebj4 ,this can be seen most clearly1 perhaps1 when the picture is studied from photographs1 in which the eye is not misled by gaudy and inharmonious colour4 ,it is1 no doubt1 owing to this painful restoration that more than one earlier writer has refused to regard it as ,holbein's handiwork4 ,on the other hand1 ,woltmann was of opinion that ,grooth's restoration was limited to careful cleaning and slight retouching1 and he states that this is proved by existing records in the minutes of the ,university4#bac ,the general effect of the small pictures of which it is composed is also marred by the heavy upright bars of the gold frame which divide each wing into two parts4 ,the top is circular1 and ,holbein has divided each panel into two by a horizontal band of scroll and leaf ornament in gold4 ,the four scenes in the upper half1 running from left to right1 are 8,christ on the ,mount of ,olives10 8,the ,kiss of ,judas10 8,christ before the ,high ,priest10 and 8,the ,scourging02 and in the lower half1 8,christ ,mocked10 8,christ bearing the ,cross10 8,the ,crucifixion10 and 8,the ,burial40 ,this arrangement gives a series of high1 narrow compartments1 about #bf in4 high by #ac in4 wide1 and in the filling of them the artist has adapted his composition to this somewhat unusual shape with remarkable skill4 ,,vol4 ,i41 ,,plate #ca4 ,illustration3 ,,christ ,,bearing ,,the ,,cross ,details of the outer sides of the wings of the 8,passion0 ,altar-piece ,,basel ,,gallery ,illustration3 ,,the ,,crucifixion ,details of the outer sides of the wings of the 8,passion0 ,altar-piece ,,basel ,,gallery ,sidenote3 8,,noli ,,me ,,tangere0 ,,at ,,hampton ,,court ,in spite of the cruel treatment to which it has been subjected1 enough of ,holbein's original work remains to show a striking advance in composition1 power of conception1 and dramatic feeling when compared with the 8,passion0 pictures produced by the two brothers some four or five years earlier4 ,each one of the subjects forms a small but complete picture in itself1 but at the same time they have been combined1 by a judicious arrangement of light and shade1 into one harmonious whole4 ,in each composition the story is told with considerable dramatic force1 and the facial types are in most cases less grotesque than in the earlier 8,passion10 in which an exaggerated ugliness of feature is made use of in order to bring home to the spectator the hateful character of the persecutors of ,christ4 ,here and there the drawing is somewhat faulty1 more particularly where violent action is shown1 as in the movements of the soldiers with whips and rods in 8,the ,scourging40 ,in several of the scenes the lighting is managed with admirable effect4 ,in 8,christ on the ,mount of ,olives0 the black darkness of the night is brightly illuminated by the flying angel upholding the ,cross1 the radiance falling upon the uplifted face of the kneeling ,saviour and on the heads of the disciples sleeping at his side1 while in the distance the light from a single torch glitters on the helmets of the advancing soldiers4 ,in the next two scenes the light comes entirely from the torches of the soldiery4 ,in the 8,kiss of ,judas0 it illuminates the trunk and lower branches of a great tree1 the heads of ,christ and ,judas1 and the uplifted spears and battle-axes of the mob of gesticulating and shouting men who are roughly binding their captive4 ,in the foreground ,st4 ,peter1 kneeling over the body of ,malchus1 holds the knife aloft with which he is about to strike off the latter's ear4 ,the scene is full of dramatic movement4 ,in 8,christ before the ,high ,priest10 the torches light up the front of an elaborate ,renaissance building and the raised seat of ,caiaphas4 ,both the 8,scourging0 and 8,mocking0 take place within the interior of an equally elaborate edifice1 with large arches and marble pillars1 the light in the former coming through circular windows4 ,in the 8,scourging0 the utmost vehemence is displayed in the actions of the soldiers2 in the 8,mocking0 the figure of ,christ has great nobility of character4 ,in 8,christ bearing the ,cross0 7,pl4 #ca 7#a77 the foreground is crowded with figures issuing through the gateway of the town1 one of the round towers of which rises to the top of the picture1 while in the distance are seen the walls and roofs and bridges of a city by a river1 with horsemen and other figures1 and lofty snow mountains in the background4 ,in 8,christ on the ,cross0 7,pl4 #ca 7#b77 the three crucified figures stand out strongly against an inky black background4 ,in the final scene the dead body of ,christ is borne across a green meadow towards the entrance to the tomb1 which is cut in a lofty rock1 in the fissures of which trees and bushes are growing1 while some way off the ,virgin and others with her stand overcome with grief4 ,the whole composition of this altar-piece shows the influence of ,holbein's ,italian visit in more ways than one2 and in it he has abandoned to a very great extent the earlier practice of his country in the figures of his soldiers1 who are no longer dressed in the ,german costume of his day1 but in the ,roman helmet and accoutrements such as he must have seen in contemporary ,italian pictures1 more particularly those of ,mantegna4 ,although the types of some of the heads are distinctly ,german1 recalling similar heads in his father's pictures and his own earlier works1 the predominating influence is ,italian4 ,at about the time of his visit to ,italy ,luini and ,gaudenzio ,ferrari were at work together upon the screen for the ancona in the chapel of ,sant' ,abbondio in the cathedral at ,como1 and it is suggested1 not only that ,holbein must have studied this1 and earlier works by the two ,italian masters in the same building1 such as the great altar-piece in the ,sant' ,abbondio ,chapel now regarded as largely ,ferrari's work1 and the beautiful altar-piece by ,luini in the neighbouring chapel of ,st4 ,jerome1 but that possibly he also entered the studio of one or the other of them for a short period4 ,reminiscences of ,ferrari in particular can be traced in this and other sacred paintings produced by ,holbein at about this time4#bad ,for his background motives he appears to have made use in some instances of buildings close at hand2 in others traces of his journey over the ,alps can be seen4 ,thus1 in the 8,scourging0 the setting recalls the ,romanesque architecture of the neighbouring church of ,othmarsheim1 that of the 8,mocking0 the interior of the cathedral of ,basel1 while the round tower in the 8,cross-,bearing0 resembles the flanking towers to one of the gates of the same city4#bae ,the small picture of 8,mary ,magdalen at the ,holy ,sepulchre10 or 8,noli ,me ,tangere10#baf in ,hampton ,court ,palace 7,no4 #eii7 7,pl4 #cb71 is closely allied to the ,basel altar-piece1 and was probably painted at about the same period1 possibly in #aebj or the following year4 ,the light of dawn is stealing over the landscape1 driving away the darkness of night1 well suggesting 8the early morning1 when it was yet dark40 ,on the right rises a great rock1 with trees and bushes growing over it1 and at its base the square opening of the tomb1 from which issues a dim1 supernatural light1 making visible the two angels in white raiment seated at the head and foot of the grave4 ,in the centre of the foreground stands ,mary ,magdalen1 a look of wonder on her face1 holding a marble vase of spikenard in her left hand1 and the right stretched out towards the risen ,christ1 who shrinks back1 both hands held up with a gesture of repulsion1 as he exclaims1 8,touch ,me not40 ,mary's head is bound with a turban1 and a dark cloak almost covers her dress4 ,this figure is reminiscent of an ,italian model4 ,in the distance are seen the small figures of ,peter and ,john1 hastening away from the empty sepulchre to spread the news of the ,resurrection4 ,peter1 still doubting his eyes1 is eagerly gesticulating as he strides over the ground1 while ,john1 who 8saw and believed10 walks more calmly by his side4 ,behind them rises a tall tree into the dim morning sky1 of the pyramidal shape so familiar in ,italian paintings of the period1 while in the background the breaking dawn lights the crosses on ,calvary4 ,it is1 as ,knackfuss says1 8a wonderful masterpiece of poetical painting40#bag ,the face of ,our ,lord bears a strong resemblance to that of the ,christ in the 8,christ before the ,high ,priest0 subject in the ,basel altar-piece4 ,indeed1 both in treatment and feeling1 there is a close resemblance between these two works4 ,the landscape in the ,hampton ,court picture has much in common with that of 8,christ on the ,mount of ,olives0 and of 8,the ,entombment0 of the altar-painting4 ,in the latter1 too1 is to be found the same bush-grown rock of yellow colour1 with the square opening of the sepulchre1 while in each picture the light and shade and colouring are much alike4 ,,vol4 ,i41 ,,plate #cb4 ,illustration3 8,,noli ,,me ,,tangere0 ,christ appearing to ,mary ,magdalen ,,hampton ,,court ,when attention was first called to this work some forty years ago1 critics were divided in their opinions as to its authorship4 ,dr4 ,woltmann ascribed it to ,bartholomus ,bruyn1 and several other names in place of ,holbein's have been suggested from time to time4 ,his latest ,english biographer1 ,mr4 ,gerald ,davies1 assigns it to 8a painter of the ,german school1 who had probably seen and been deeply influenced by the grave and earnest works of ,holbein at ,basel40 8,neither on the grounds of its design nor of its technique10 he says1 8do ,i find myself able to accept it as a work of ,holbein10 and he proceeds to draw attention to 8the angular and uncouth projection of the forward leg in the figure of our ,lord1 an exaggeration which is repeated with even more unnatural emphasis in the distant figure of ,st4 ,peter as he walks and gesticulates at the side of ,st4 ,john4 ,the action1 moreover1 of the hands of the chief figure1 intended to be expressive of the 8,noli ,me ,tangere10 is somewhat exaggerated and theatrical40#bah ,he calls attention to other details which he thinks prove that the work cannot be from ,holbein's brush4 ,the type of the head1 however1 and the action of the hands1 as well as the position of the feet1 very closely resemble more than one of ,holbein's small figures in his designs for woodcuts1 more particularly the ,christ in one of the little pictures on the frontispiece to ,coverdale's ,bible1 in which the action is almost identical1 while other instances could be given4 ,the picture has suffered in the course of time1 and1 like the ,basel altar-piece1 has not escaped repainting in parts1 but remains nevertheless an undoubted example of ,holbein's sacred art at1 or shortly after1 the period when he had just settled down in ,basel as a member of the ,guild 8zum ,himmel40 ,modern ,german criticism is agreed as to its authorship4 ,dr4 ,ganz places it at the end of ,holbein's first visit to ,england4 ,sidenote3 8,,noli ,,me ,,tangere0 ,,at ,,hampton ,,court ,this picture has been in the royal collections of ,england since the reign of ,henry ,,viii1 and in the inventory of his pictures at ,whitehall1 taken at his death in #aedg1 it was entered as 8,item1 a table with the picture of our ,lord appearing to ,mary ,magdalen0 7,no4 #cc71 while it occurs again in that of ,james ,,ii 7,no4 #ebj71 8,our ,saviour appearing to ,mary ,magdalen in the garden40 ,that in those early days the picture was regarded as a work of ,holbein's is proved by an entry in ,evelyn's ,diary1 under the date ,september #b1 #afhj1 describing several days spent by him in the examination of the contents of the library and private rooms at ,whitehall during the absence of ,charles ,,ii at ,windsor4 ,he says3 8,in the rest of the private lodgings contiguous to this 7i4e4 the library71 are divers of the best pictures of the great masters1 ,raphael1 ,titian1 c41 and1 in my esteeme1 above all1 the ,noli me tangere of our blessed ,saviour to ,mary ,magdalen after his ,resurrection1 of ,hans ,holbein1 then which ,i never saw so much reverence and kind of heavenly astonishment express'd in a picture40 ,nothing is known of its earlier history1 or how it came to ,england1 but it is not unnatural to suppose that it was brought over by ,holbein himself1 as an easily portable example of his powers as a painter of sacred subjects4 ,it is doubly valuable as being the only work by him of this particular class now remaining in this country4 ,on the other hand1 it is quite possible that it was painted in ,england in #aebg for one of his new patrons4 ,mr4 ,ernest ,law points out that there is a rendering of this same subject by ,lambert ,sustris1 a ,german painter1 and pupil of ,christopher ,schwartz of ,munich1 who flourished about the end of the sixteenth century4 ,this last-named work1 both in the figure of ,christ1 and in several other points1 bears a close resemblance to the ,hampton ,court picture1 to which1 indeed1 it may have owed its inspiration4#bai ,holbein's rapidly-maturing mastery of technique and power in expressing the most poignant emotion1 as well as his complete understanding of the architecture of the ,renaissance and skill in making brilliant use of it as a setting for his figures1 is shown in two panels in the ,basel ,gallery1 which at one time evidently formed a small diptych such as would be used in some household chapel4 ,they represent 8,christ as the ,man of ,sorrows0 and 8,mary as ,mater ,dolorosa0 7,no4 #cag7 7,pl4 #cc71bbj and are carried out in a brown monochrome1 with the exception of the sky seen through the arches1 which is a bright blue1 the two contrasted tones producing a very harmonious colour effect4 ,in each panel the background consists of an elaborate arrangement of pillars1 arches1 and vaulting1 richly carved and decorated with panels1 friezes1 and medallions of ornament1 which recall the very similar fantastic details of ,renaissance architecture in the left wing of the ,freiburg altar-piece1 and more than one of his designs for painted glass of this period4#bba ,in the 8,mater ,dolorosa0 one of the friezes represents a band of small naked putti1 which1 according to ,dr4 ,kgler1 is based upon a similar frieze in the cathedral of ,como1#bbb while other figure subjects are contained in the medallions2 in the 8,man of ,sorrows0 the decoration is entirely of floriated ornament4 ,the general effect produced is one of great richness1 almost superabundance1 of ornamentation1 and lavishness of architectural detail4 ,in spite of this1 the two figures are not overwhelmed by it1 but at once arrest the attention4 ,christ is seated on the steps between two pillars1 nude1 with the exception of a loin-cloth1 crowned with thorns1 his head sinking in agony on his left shoulder4 ,mary1 a veil over her head1 and the folds of her robes falling in straight parallel lines1 kneels with open1 outstretched hands1 and gazes with grief-stricken countenance at the ,saviour's sufferings4 ,very reverent feeling is shown in the conception of each figure4 ,the nude form of ,christ indicates a very accurate study of the human body1 while the expression of pain and intense sorrow has been admirably seized4 ,the solitude of this grief-stricken figure is intensified by the grandeur and richness of the building in which he is seated1 deserted by all men4 ,an equally fine conception of deep though restrained sorrow is shown in the face of the ,virgin1 and in the beautiful1 expressive hands4 ,a peculiarity of this diptych is that the horizon is placed below the level of the picture1 although it is so small that it can never have been intended for hanging at a considerable height1 such as the arrangement of the horizon-line would suggest4 ,it may be1 therefore1 that it is the preliminary study for some larger wall-painting1 finished with unusual care1 or a reduced copy made by ,holbein from some altar-piece of his which has now disappeared1 probably during the disturbances of #aebi4 ,it forms part of the ,amerbach ,collection1 and is described in the catalogue as3 8,item zwei ,h4 ,holbeins mit olfarb gmalte tfelin darin ,christus vnd ,maria in eim ghs1 mit steinfarb40 ,,vol4 ,i41 ,,plate #cc4 ,illustration3 ,,christ1 ,,the ,,man ,,of ,,sorrows ,diptych1 painted in brown monochrome1 with blue sky ,,basel ,,gallery ,illustration3 ,,mary1 ,,mater ,,dolorosa ,diptych1 painted in brown monochrome1 with blue sky ,,basel ,,gallery ,sidenote3 ,,drawing ,,of ,,the 8,,holy ,,family0 ,there is a drawing in the ,basel ,gallery representing the 8,holy ,family0 7,pl4 #cd71bbc which is remarkable for the rich setting of ,renaissance architecture in which ,holbein has placed his figures4 ,the arrangement is so elaborate that the latter at first appear to be of only secondary importance4 ,on the topmost of a flight of steps the ,infant ,christ is learning to walk1 his hands held by his mother and ,anna1 who are seated on either side of him4 ,on the left the aged ,joachim1 whose pronounced features recall more than one head in the earlier 8,passion0 series1 is looking on from behind a pillar1 while ,joseph stands with his arm round another pillar on the opposite side4 ,behind the group is a semicircular niche1 the upper part scalloped like a shell1 supported by columns and outstanding pillars1 the latter with a sculptured frieze of putti round the base4 ,the capitals of the columns and the frieze which they support are decorated with foliated designs in which figures are mingled4 ,a lunette in the arch which crowns the niche is ornamented in a similar way1 and contains a tablet with the signature 8,hans ,hol40 ,over a projecting cornice is a sculptured figure of ,samson slaying the lion4 ,the architectural motive throughout is strongly ,italian1 and1 indeed1 in parts bears a striking resemblance to the ,porta della ,rana of the cathedral of ,como1#bbd while the whole drawing furnishes still further strong evidence that ,holbein must have crossed the ,alps1 and that designs such as this were not mere efforts of his imagination4 ,it is a pen drawing on a brown-red ground1 washed with grey-black and heightened with white in the parts where the light falls1 and its date is about #aebj or #aeba4 ,it is a study for a picture1 or1 more probably1 for a wall-painting1 to be placed at some height1 as the horizon-line is well below the level of the ground4 ,the strongly-marked perspective of the background1 too1 which slants rapidly towards the right1 suggests such a purpose1 and that it was to form the left wing of some considerable scheme of wall decoration1 with a more important central subject1 and a corresponding right wing4 ,a smaller drawing1 also at ,basel1 of the same date and style1 a pen and wash drawing1 heightened with white on a grey ground1 represents the ,virgin1 seated on a similar high step between two pillars1 suckling the ,child4#bbe ,with the exception of the two columns1 one of which is unfinished1 the background is left blank1 but in the painting for which it was a study it is natural to suppose that the architectural setting would have been as elaborate as in the 8,holy ,family10 which it resembles in its low horizon-line4 ,,vol4 ,i41 ,,plate #cd4 ,illustration3 ,,the ,,holy ,,family ,washed drawing on a red ground ,,basel ,,gallery ,there is a third drawing1 in the ,stdtisches ,museum1 ,leipzig1 which belongs to the same period as the two just described1 and has many points in common with them4#bbf ,it is a pen drawing heightened with white on a dark grey ground1 and represents the ,madonna seated on a stone bench over which her cloak is spread1 supporting the ,infant ,christ in his first attempts to walk4 ,the ,child1 with one arm and leg uplifted1 is laughing with delight1 and the attitude of the ,virgin1 with head bent down1 and her long hair blown on one side as though by a breeze1 is one of great beauty4 ,in this arrangement of the hair1 though more free1 and in the type of the ,madonna's face1 though more beautiful1 this drawing bears a close resemblance to the more elaborate of the two in the ,amerbach ,collection4 ,it is signed and dated 8,h4 ,h40 and 8#aeai0 on two panels on either side of the carpet or pavement beneath the ,virgin's feet1 and was possibly made shortly after ,holbein's return from ,lucerne to ,basel4 ,it is a most sympathetic and natural study of maternal love and the happiness of childhood1 and has a grace and charm which the two other drawings1 made at about the same date1 do not possess in the same degree4#bbg ,sidenote3 ,,the 8,,dead ,,christ ,,in ,,the ,,tomb0 ,after the early 8,cross-,bearing0 panel of #aeae at ,karlsruhe1 there is no dated picture among this group of sacred paintings until the 8,dead ,christ in the ,tomb10 in the ,basel ,gallery 7,no4 #cah71 of the year #aeba1 is reached 7,pl4 #ce74bbh ,this remarkable work1 which forms part of the ,amerbach ,collection1 is a life-size study of a dead man1 and one whose end has1 perhaps1 been brought about by violence4 ,holbein has painted the corpse upon a long1 low panel1 and has represented it as lying enclosed within the narrow confines of a tomb of plain marble of a greenish hue1 the side facing the spectator being removed in order to permit a view of the interior4 ,the body1 which almost fills the narrow space1 rests on its back on a plain white cloth1 over which the long dark hair falls4 ,the head is seen almost in profile1 but very slightly turned towards the front1 the short brown beard pointing directly upwards4 ,the light comes from some small aperture low down at the foot of the tomb1 and falls on the soles of the feet1 and illuminates the lower side of each prominent feature of the body1 such as the under parts of the chin1 the white swollen lips of the open mouth1 the nose1 and the eyebrows1 leaving other portions in shadow1 and thus intensifying the feeling of horror which the picture at first produces4 ,it shows that ,holbein1 at the age of twenty-four1 had attained a complete mastery of technical expression1 for it is painful in the completeness of its realism4 ,the rigidity of the limbs1 the haggard cheeks with strongly-projecting bones1 the staring1 half-sunken eyes1 the lifeless skin1 the colourless face with bloodless lips1 the emaciated body with its ribs standing out1 have all been set down with relentless accuracy4 ,the indication of decay in the hands and feet1 and in the flesh turning green round the wounds in the side1 helps to intensify the terror and horror of death which the picture is intended to depict4 ,it was evidently painted from some dead body1 how obtained it is impossible to say1 but1 according to an old tradition1 his model was the corpse of a man just taken out of the ,rhine by the ,rhine ,bridge4 ,holbein's object in painting it was undoubtedly to give as complete a rendering as possible of the physical aspects of death as seen in a body approaching decay4 ,it is hardly to be believed that it was his original intention to paint a picture of the 8,dead ,christ10 and that for the purpose he made search in ,basel for a corpse to serve as his model4 ,it is much more natural to suppose that1 having painted this vividly realistic study1 which no patron was likely to purchase1 he made it of marketable value by adding the wounds and the title1 and so turning it into a 8,christ in the ,tomb40 ,this is borne out by ,basilius ,amerbach's entry in his inventory4 ,he calls it 8,a picture of a dead man1 with the title ,jesus of ,nazareth0 78,ein todten bild ,h4 ,holbeins vf holtz mit lfarben cum titulo ,iesus ,nazarenus rex074 ,this ,latin title1 in large gold ,roman letters1 runs across a long strip at the top of the picture1 a part of the old frame1 and between each word is placed a small angel bearing the instruments of ,christ's torture4 ,it is from this superscription1 and from the stigmata1 that the work receives its only sacred significance2 in all other respects it is a remorseless1 almost revolting1 study of some man who has died a violent death1 a man with features of no physical beauty1 and in no way resembling ,holbein's customary type of the ,christ4 ,there is nothing of the dignity or the supernatural beauty which so often irradiate the inanimate countenance shortly after life has passed away2 but1 regarded as a work of art1 the picture is in the highest sense one of great beauty by reason of the mastery of its technical achievement1 the knowledge it displays of the human body1 its absolute truth to nature1 and the harmony of its colouring4 ,the contrast of the warm olive green of the sarcophagus with the pale grey tones of the flesh produces an admirable effect4 ,on a darker slab at the feet is the inscription 8,,mdxxi4 ,h4,h40 ,a further touch of realism is shown in the large crack in the marble at the back of this slab4 ,possibly this picture found a place in one of the ,basel churches2 it has been suggested by ,woltmann#bbi that it once formed the predella to some altar-piece representing ,christ's ,passion1 and this1 no doubt1 is correct1 though for the reasons given above it does not seem likely that the artist originally painted it for that purpose4 ,,vol4 ,i41 ,,plate #ce4 ,illustration3 ,,the ,,dead ,,christ ,,in ,,the ,,tomb ,predella of an ,altar-piece #aeba ,,basel ,,gallery ,sidenote3 ,,the 8,,solothurn ,,madonna0 ,this 8,dead ,christ0 remains an isolated example among the many varied sides of ,holbein's art4 ,in the following year1 in the 8,solothurn ,madonna0 7,pl4 #cf7bcj he combines truth in the delineation of the human figure with physical and spiritual beauty1 and reaches great dignity and nobility in his conception of character4 ,this picture1 with the exception of the 8,meyer ,madonna10 is the most important and beautiful altar-panel from ,holbein's brush that has survived1 though by no means in its original condition4 ,the composition consists of only four figures4 ,the ,virgin is seated in the centre1 upon a small platform covered with a carpet1 holding the ,infant ,christ on her lap1 and1 standing on either side1 are ,st4 ,nicholas1#bca and ,st4 ,ursus1 the patron saint of ,solothurn4 ,the ,virgin is clad in a light-red robe1 and over it a bright-blue sleeveless mantle1 fastened round the neck with a cord1 which hangs in somewhat straight and simple folds and spreads over the carpet at her feet1 an ample garment wide enough to cover all who seek her protection4 ,her golden hair falls upon both shoulders1 the upper part of the head being covered with a veil of thin1 transparent gauze1 surmounted by a golden crown of very decorative design studded with precious stones4 ,she holds the nude ,child upon her knees1 her right hand grasping one chubby little leg1 while the other is placed under his left arm4 ,the head is perhaps the most attractive and sympathetic of all ,holbein's representations of the ,madonna4 ,there is a sweetness1 modesty1 and purity in its expression1 and a quiet dignity which personify in the happiest manner the beauty of divine motherhood1 and betray stronger evidences than had hitherto appeared in his work of the marked effect of his study of the paintings of contemporary ,italian artists4 ,the face is round and full1 and of the ,german type1 and in its features by no means one of ideal loveliness1 but the happy and tender smile which hovers on the lips1 and the deep maternal love which shines in the eyes1 give to it a very real and arresting beauty of its own4 ,the plump1 round-headed ,child is a delightful study from real life4 ,the foreshortening of the little feet1 with their crinkled-up toes and the delicately-traced folds in the skin1 is admirable1 and the small fat hands1 one of which is turned away from the body with the palm upwards1 a characteristic attitude with small children1 are full of expression4 ,the right hand is held as though in the act of benediction4 ,st4 ,ursus1 the patron saint of the church1 and one of the martyrs of the ,theban ,legion1 stands on the spectator's right1 a noble and dignified figure1 clad from head to foot in plate armour of a fashion still worn in ,holbein's day4 ,his helmet is decorated with ostrich feathers1 and one gauntleted hand grasps the hilt of his great sword1 while with the other he holds the banner of the ,legion1 a large red flag with a white cross1 which reaches almost to the top of the picture4 ,he appears a true soldier of the ,church1 with his dignified and martial bearing1 his keen eye and determined mouth1 half hidden by the dark moustache1 each hair of which has been carefully drawn in the manner which ,holbein practised in portraiture throughout his life4 ,the colours of the flag are reflected in the highly-polished surface of his armour4 ,on the opposite side stands ,st4 ,nicholas1 the patron saint of the poor4 ,he is dressed in ecclesiastical vestments of great splendour1 which have evidently been copied by the painter from some existing example1 dating from an earlier period than that of the painting4 ,over his violet chasuble are rich embroideries in gold and colours1 with representations of the ,centurion of ,capernaum before ,christ1 the ,saviour before ,caiaphas1 and the ,crowning with ,thorns4 ,the red mitre is embroidered with gold and pearls1 and1 as recently pointed out by ,dr4 ,ganz1#bcb the figure of ,st4 ,nicholas himself1 with his attributes1 a book and three golden balls4 ,in his left hand he holds his pastoral staff1 and with the other drops alms into a bowl held up by a kneeling beggar at his feet4 ,the beardless face is refined and delicate1 and its spiritual character is in marked contrast to the vigorous and manly expression of the knightly saint who stands facing him4 ,only the uplifted face of the beggar1 and the one hand which holds the alms-bowl1 are shown4 ,he appears as one of the attributes of the saint1 and the artist has only indicated enough of his form to make this clear2 otherwise he is almost entirely concealed behind the ,virgin's voluminous mantle4 ,there is nothing here of the painful realism of poverty and disease such as is shown in the kneeling figures in the 8,st4 ,elizabeth of ,hungary0 wing of the 8,st4 ,sebastian0 altar-piece of the elder ,holbein at ,munich1 or in the son's earlier ,passion pictures in ,basel4 ,,vol4 ,i41 ,,plate #cf4 ,illustration3 ,,the ,,virgin ,,and ,,child1 ,,with ,,st4 ,,ursus ,,and ,a ,,holy ,,bishop #aebb ,,solothurn ,,gallery ,sidenote3 ,,the 8,,solothurn ,,madonna0 ,holbein's art had reached a point in its development when such realistic methods of bringing home to the spectator the lessons his pictures were intended to convey were discarded4 ,a peculiarity of the picture is the exceedingly simple setting in which the figures are placed2 whereas ,holbein's usual practice at this period of his life was to make an almost lavish use of architectural ornamentation in his backgrounds4 ,in the 8,solothurn ,madonna0 it consists of a perfectly plain round archway of stone1 quite free from sculptured decoration1 across which two thick iron bars are placed1 fixed into the stonework as though to strengthen it1 with upright cross bars running to the crown of the arch4 ,it has been suggested that the vaulting of the church for which the picture was intended was supported and strengthened in the same way1 and that ,holbein introduced it into his altar-piece in order that it might be in perfect harmony with its surroundings2 but the motive appears in more than one of the backgrounds to ,ferrari's pictures1 such as the 8,flagellation10 one of the great series of frescoes in the church of ,s4 ,m4 delle ,grazie1 at ,varallo1#bcc finished in #aeac4 ,through this open archway a pale-blue sky is seen1 against which the ,virgin's crown stands out4 ,the light increases in brightness as it nears the ,madonna's head1 thus forming a natural halo4 ,this simplicity of treatment is also to be observed in other details4 ,the ,virgin is not seated upon an elaborate throne1 but on some low seat or stool which cannot be seen4 ,the carpet at her feet1 covering the stone step1 is green1 with a geometrical diamond pattern in white and red1 and two shields inset containing the arms of the donor and his wife1#bcd which are partly hidden and protected by the ,virgin's cloak4 ,below ,st4 ,ursus the monogram 8,h4 ,h40 and the date 8#aebb0 are painted as though cut in the stone step4 ,the ,virgin and the ,infant ,christ in this picture appear to be idealised portraits of ,holbein's wife and first-born child4 ,all available evidence indicates either #aebj or #aeba as the date of his marriage1 shortly before or after he became a citizen of ,basel1 so that his own child may well have served him as his model4 ,hans ,bock the elder1 the artist who was employed by the ,basel ,council to renovate ,holbein's wall-paintings in the ,town ,hall1 made a free copy of the figure of the ,child in this picture when he was in ,solothurn in #afjd or the following year1 and depicted him with a serpent as the conqueror of sin4#bce ,this copy1 now in the ,basel ,gallery 7,no4 #ia71 belonged to ,amerbach1 and was entered in the catalogue as 8,a naked child sitting on a serpent1 a copy of a painting by ,holbein1 exactly copied in the greater part by ,h4 ,bock on wood in oil colours40#bcf ,woltmann describes a drawing of the same child's head1 almost in profile1 with the mother's hand supporting it under the left shoulder1 as in the picture1 in the ,weigel ,collection1 ,leipzig1 a silver-point drawing1 signed and dated1 8,hans ,holbein1 #aebb40bcg ,it has the same large1 rather round head1 short neck1 and high forehead1 as in the painting1 and it was probably a preliminary sketch for it4#bch ,,vol4 ,i41 ,,plate #cg4 ,illustration3 ,,portrait ,,of ,a ,,young ,,woman1 ,,possibly ,,holbein',s ,,wife ,,royal ,,picture ,,gallery1 ,,mauritshuis1 ,,the ,,hague ,sidenote3 ,,holbein',s ,,portrait ,,of ,,his ,,wife ,in the head of the ,madonna1 although ,holbein has idealised and spiritualised his model1 can be traced the predominant features of his wife as shown in the portrait he painted of her with their two children some seven years later1 after his return from ,england to ,basel in #aebh1 though the face in the latter painting has become coarsened and bears the marks of care and even sorrow1 and has little in common with the beautiful ,solothurn head4 ,the latter more closely resembles the very fine portrait of a young woman in the ,hague ,gallery 7,no4 #bge7 7,pl4 #cg71bci which is now regarded by some critics as a likeness of ,holbein's wife1 painted just before or immediately after he married her1 in the earliest part of his second ,basel period4 ,this picture is one of the strayed waifs from the royal collections of ,england1 for it is branded on the back with the crown and 8,c4,r410 which denote that it was once in the possession of ,charles ,i1 in whose catalogue it was attributed to ,leonardo da ,vinci4 ,it appears afterwards to have been in the ,arundel ,collection1 and is most probably the portrait described in the #afee inventory as 8ritratto della ,moglie de ,holbein10 which1 after the death of the ,countess of ,arundel1 must have been sold in ,amsterdam1 and purchased by some ,dutch collector4 ,it fetched #fe florins at the ,joan de ,vries sale in #agch1 and was afterwards in the ,g4 van ,slingelandt and the ,william ,v of ,orange collections4 ,it is evidently not one of the pictures taken over to ,holland by ,william ,,iii during one of his visits to the ,hague1 as has been suggested1 for there is nothing to show that it ever returned to the ,english royal collections1 nor is it included in the list of works unsuccessfully reclaimed by ,queen ,anne from the ,dutch ,states when she ascended the throne4 ,holbein's authorship of this work has been frequently disputed1 some writers regarding it as a good old copy after a lost original by the master1 while others look upon it as a fine original work by some ,netherlandish contemporary of ,holbein's who was strongly under his influence4 ,dr4 ,woltmann considered it to be most probably by ,holbein himself1 and others have followed him in this opinion4 ,dr4 ,ganz1 in his recent book1 includes it among the genuine works of the second ,basel period1 and points out that the soft1 tender colour-scheme in which it has been carried out was the result of ,holbein's recent visit to ,italy1 and explains its earlier attribution to ,leonardo4#bdj ,when allowance is made for the passage of time1 and the troubles and cares which are supposed to have embittered ,elsbeth ,holbein's life1 there is considerable likeness between this portrait of a comely young haus-frau and the wife in the portrait of #aebh-i4 ,this is particularly to be noticed in the heavy-lidded1 slightly-protruding eyes1 much more pronounced in the later picture1 while the general shape of the head and form of the features are alike in both4 ,the likeness1 however1 is not so striking as to make it absolutely certain that in the ,hague picture we have a portrait of ,holbein's bride4 ,the work is without inscription4 ,she is represented seated1 with her crossed hands resting upon her white apron4 ,her hair is completely covered by a white gauze veil which is carried under the chin1 and her gown1 edged and lined with fur1 is open at the front1 showing the plain white1 high-necked bodice below4 ,whether by ,holbein or not--and it is difficult to see who else could have painted it--this picture has great charm4 ,a recent writer#bda speaks of this picture as leaving a vivid and permanent impression on the spectator1 by reason of the luminous freshness of its colour1 the delicate perfume of its purity1 and the exquisite1 limpid sweetness which exhales from it as from a white rose under a blue sky in spring-time4 ,in the ,louvre there is a silver-point drawing1 touched with ,indian ink and red crayon1 of the head and shoulders of a young woman 7,pl4 #ch71bdb which bears considerable likeness both to the ,solothurn ,madonna and to the portrait of #aebh-i4 ,she is represented almost full face1 with eyes cast down1 and her straight hair falling in two large plaits down her back4 ,she wears a necklace with a pendant circular medallion with the ,cross of ,st4 ,anthony1 and across the border of her bodice1 which is cut low and straight1 runs the device 8,,als4,,in4,,ern4,,als4,,in 4440 78,in ,all ,honour074#bdc ,the same heavily-lidded eyes1 prominent nose1 well-chiselled mouth with its full lips1 double chin1 and slope of the shoulders1 occur both in this drawing and in the ,solothurn altar-piece1 and are even more strongly marked in the later portrait-group1 though in this earlier study the features as yet bear few traces of the trials and experiences of life1 but still retain much of their youthful bloom and freshness1 and gain a certain beauty from the happy smile which lights them up4 ,,vol4 ,i41 ,,plate #ch4 ,illustration3 ,,head ,,of ,a ,,young ,,woman 7,probably ,holbein's wife7 ,study for the ,solothurn 8,madonna0 ,silver-point drawing1 touched with red ,,louvre1 ,,paris ,sidenote3 ,,the 8,,solothurn ,,madonna0 ,all writers1 however1 are not agreed in seeing in the ,louvre drawing and in the ,solothurn ,madonna an idealised portrait of ,holbein's wife4 ,those who hold the contrary view regard it as almost impossible that so great a change as that to be noted between the fair and youthful face of the ,madonna and that of the sad and careworn1 elderly wife of the family group could have taken place in the space of seven years4 ,mr4 ,gerald ,davies1 who fails to see the likeness1 regards the ,louvre drawing as the work1 not of ,holbein1 but of his father1 in which case it cannot be a portrait of ,holbein's wife1#bdd unless the elder painter spent some time in ,basel with his two sons1 towards the end of his life1 as stated by earlier writers1 of which there is no documentary record4 ,it is1 however1 impossible to agree with this writer in his ascription of this drawing to ,hans ,holbein the ,elder4 ,mrs4 ,fortescue1 in her recent book on the painter1 weaves a romance around the ,louvre drawing which has nothing to support it but imagination4 ,her theory is that ,holbein became enamoured of his future wife shortly after his arrival in ,basel1 and that he then made this drawing1 the fashion of the hair showing that she was still unmarried4 ,the course of true love1 however1 did not run smoothly1 and the consequent disappointment was the real reason of his 8otherwise inexplicable0 departure for ,lucerne in #aeag4 ,during his two years' absence ,elsbeth married the tanner ,schmid1 who not long afterwards died1 leaving her free to become the painter's wife when he renewed his suit shortly after his return to ,basel4 ,this is a pretty little story1 but there is not the slightest evidence to be found in support of it4#bde ,on the other hand1 ,woltmann and ,dr4 ,ganz are no doubt correct in regarding the ,louvre drawing as the actual first study for the ,solothurn ,madonna4 ,sidenote3 ,,st4 ,,ursula ,,and ,,st4 ,,george ,the picture was commissioned by ,hans ,gerster1 town archivist of ,basel1 who was not a native of that city1 but whose wife1 ,barbara ,guldenknopf1 was a member of a local family4 ,among ,gerster's official duties was that of conducting negotiations with the councils of neighbouring towns1 and1 after ,basel had entered the ,swiss confederation in #aeja1 one of the places to which his official duties frequently took him was ,solothurn4 ,there he became a close friend of the ,coadjutor ,nikolaus von ,diesbach1 dean of ,solothurn ,minster1 whom he made his spiritual adviser4 ,circumstances seem to indicate that in #aebb ,gerster was under some suspicion as to illegal dealings in the ,imperial interests1 which eventually brought about his dismissal from office1 at about the same time as the fall of that other early patron of ,holbein1 ,jakob ,meyer1 who lost his seat in the ,council through similar causes4 ,it has been suggested1 therefore1 that the picture was ordered for the ,solothurn ,minster on the advice of the ,coadjutor1 in expiation of ,gerster's irregular conduct4 ,for the same reason1 according to those who hold that the saintly figure on the left represents the ,bishop of ,tours1 ,st4 ,martin was chosen as the particular saint to whom all sinners made appeal1 and was introduced as intercessor for the donor1 while the kneeling beggar may even be a portrait of the archivist himself4 ,the chasuble the saint wears is the one specially prescribed for this office1 while the figure of ,st4 ,nicholas on the mitre may have been placed there in order to associate the donor's friend1 ,nikolaus von ,diesbach1 with the intercession4 ,it is possible that the picture was a commission for the ,st4 ,nicholas ,chapel of the ,minster1 founded in #aebj1 for the presence of ,st4 ,ursus1 ,solothurn's patron saint1 proves that it was intended for that place4#bdf ,as the years went by1 it suffered from neglect1 and the name of the master who had painted it was forgotten1 so that when1 in #afdh1 this chapel was pulled down and rebuilt1 the picture was regarded as of not sufficient value or beauty to be rehung over its altar4 ,between #afhi and #agag it came into the possession of a certain ,canon ,hartmann1 the ,minster choirmaster1 who in #afhc built and endowed the little chapel of ,all ,saints on the heights above ,grenchen1 to which he presented or bequeathed the picture4 ,here1 again1 it does not appear to have been regarded as a work of any particular importance1 and the process of neglect and deterioration continued2 and when1 in #ahfd1 it was rediscovered by ,herr ,franz ,anton ,zetter of ,solothurn1 in the same small church1 it was hanging high up on the wall of the choir1 blackened with the smoke of more than two hundred years1 its panels worm-eaten1 without a frame1 and suspended by a cord through two holes which had been bored into the picture itself4 ,although it was impossible to examine it closely1 ,herr ,zetter was struck with its beauty1 still to be discerned through all the discoloration and damage1 and when1 shortly afterwards1 he heard that the chapel was being renovated1 he made anxious inquiries as to its fate4 ,for some time all search for it proved unavailing1 but in the end it was found1 face downward1 and splashed all over with whitewash1 under the boards which formed the workmen's platform4 ,he was only just in time to save it from final destruction4 ,upon examination he discovered the signature1 and feeling convinced1 in spite of scepticism on the part of others whom he consulted1 that it was a genuine work of the master's1 he purchased it4 ,it was placed in the hands of ,eigner1 the keeper of the ,augsburg ,gallery1 for restoration1 the work occupying three years4 ,the state of the picture was so bad that restoration was essential1 and this1 on the whole1 was well done1 though it suffered to some extent during the process4 ,there is1 however1 a seventeenth-century copy of the picture in existence1 which shows that the restorer substituted yellow for red in the ,virgin's right sleeve1 which does not harmonise with ,holbein's original colour-scheme4 ,herr ,zetter presented the picture to the ,gallery of his native town1 where it now occupies the place of honour1 so that1 thanks to his acumen and enthusiasm1 one of ,holbein's finest achievements in sacred painting has been saved from oblivion4#bdg ,in composition the ,solothurn ,madonna bears close resemblance to a large woodcut1 designed by ,holbein1 on the back of the title-page of the ,statute ,book or ,town ,laws of ,freiburg-im-,breisgau4#bdh ,this book1 ,the ,municipal ,laws and ,statutes of the ,praiseworthy ,town of ,freiburg1 by ,ulrich ,zasius1 was published in ,basel by ,adam ,petri in #aebj4 ,the ,virgin is seated enthroned in front of a niche of ,renaissance design4 ,in her attitude1 and the way in which she holds the ,child on her knees1 as well as in her dress and her long hair falling on her shoulders1 there is considerable likeness to the altar-piece1 as also in the two figures of the patron saints of ,freiburg who stand on either side of her1 ,st4 ,george1 with one hand resting on his shield and a flag held aloft in the other1 and clad1 like ,st4 ,ursus1 in complete armour1 and ,bishop ,lambert1 in rich ecclesiastical dress1 and holding the crozier1 as ,st4 ,nicholas does in the ,solothurn picture4 ,the similarity between the two designs is particularly close in the position and movement of the arms and hands of the ,infant ,christ4 ,the woodcut1 which is signed 8,h4 ,h40 on the edge of the step on the left1 and dated #aeai1 is richly and grandly designed1 the figures of the two saints having been conceived with great nobility1 and it is possible that ,holbein was so satisfied with its composition that he made use of it two years later when ,gerster came to him for an altar-piece4#bdi ,only one other picture bears ,holbein's signature and the date #aebb4 ,this is the full-length representation of 8,st4 ,ursula10#bej which with its companion1 8,st4 ,george10 is in the ,karlsruhe ,gallery4 ,they evidently formed the wings of an altar-piece1 the central panel of which is missing4 ,st4 ,ursula1 who carries a number of long arrows in her arms1 symbols of her martyrdom1 is clad in the fashion of the rich citizen's wife of ,holbein's day1 as seen in the set of his costume studies in the ,basel ,gallery1 and wears a golden crown and a nimbus with a band of ,renaissance ornamentation4 ,behind her1 the branches of a fig-tree stand out against the blue sky1 and low down on the horizon is a landscape with a tower4 ,her necklace1 with an openwork medallion containing the cross of ,st4 ,anthony1 closely resembles the one in the ,louvre sketch of ,holbein's wife as a young woman4 ,in the companion panel1 ,st4 ,george1#bea with his flag grasped in his left hand1 stands over the prostrate dragon1 which he has transfixed with his spear4 ,here again the background consists chiefly of blue sky with a distant hilly landscape4 ,the types of the two heads are not unlike the 8,adam and ,eve0 study of #aeag1 while the ,st4 ,ursula also recalls the ,solothurn ,madonna1 though the face is less idealised4 ,it is possible that his wife also sat for this picture4 ,the costume of ,st4 ,george1 who is crowned with a nimbus containing his name1 is very similar to that of the ,archangel ,michael in the beautiful study in the ,basel ,gallery already described4#beb ,the 8,st4 ,ursula0 is signed and dated 8,,hans ,,holbein ,,mdxxii40 ,sidenote3 ,,organ-,,case ,,doors ,,in ,,basel ,,minster ,these two panels have been renovated and retouched1 and1 in consequence1 much of ,holbein's original brushwork has vanished4 ,for this reason they have been regarded by some writers as merely works of the ,holbein school4 ,they are accepted as genuine1 however1 by such modern critics as ,dr4 ,ganz and ,herr ,knackfuss1 while ,woltmann1#bec who speaks of the face and bust of ,st4 ,ursula as delicately finished in ,holbein's happiest manner1 though the lower part of her figure and that of ,st4 ,george are so inferior as to suggest a less skilful hand1 conjectured that they were probably designed1 and in part painted1 by the master himself1 and executed under his direction1 but without very careful supervision4 ,it has also been suggested that they were the result of a poorly-paid commission for some village church1 and that ,holbein1 in consequence1 did not take much trouble over them2 but such a supposition has little probability1 for ,holbein was never satisfied with inferior work1 but always gave of his best1 both in great things and small4 ,mr4 ,gerald ,davies refuses to accept 8these weak and slightly affected figures0 as possible work of the painter who in the same year produced so great a picture as the ,solothurn ,madonna4#bed ,there can be little doubt however1 that1 though damaged1 they are from the hand of the master himself4 ,the two large paintings in monochrome on canvas1 for the decoration of the inner sides of the doors of the case which covered in the organ in the ,minster of ,basel when it was not in use1 must not be omitted in any consideration of ,holbein's work for church decoration4#bee ,they survived the iconoclastic outbreak of #aebi2 possibly the mob did not regard them as religious paintings1 or they may have escaped owing to their position high up on the wall of the nave1 and so not easily reached4 ,merian mentions them in his ,topographia ,helveti1 published in #afbb1bef and in #agge ,emanuel ,bchel made a water-colour drawing of them in their original position1#beg for his collection of the monuments1 sculptures1 and paintings in ,basel ,minster1 from which drawing it is to be seen that they decorated the upper part of the organ4 ,the organ-case was of wood1 richly carved in the style of the early ,renaissance1 and ,holbein's decorations were painted in brown monochrome in order to produce the effect of similar carving1 as though they formed an integral part of the case itself4 ,the organ was restored in #afci1 when the doors were repainted by ,sixt ,ringle1 and in #aghf it was replaced by a new one1 ,holbein's decorations and some of the old carved woodwork being deposited in the ,public ,library4 ,the doors suffered a second 8restoration0 in #ahdb1 and in the following year were removed to the ,basel ,picture ,gallery 7,no4 #cba74beh ,quite recently much of the over-painting has been removed1 and it is possible to obtain a good idea of the noble and decorative effect they must have produced when fresh from ,holbein's brush and in the position intended for them4 ,in spite of this careful renovation1 however1 the damage done to them in earlier days was so severe that much of their original beauty has vanished4 ,the figures are larger than life-size1 and produce the effect of carved wood statues4 ,happily1 the original study for them1 a very beautiful and powerful pen-drawing washed with brown-black ,indian ink1 is to be found among the drawings in the ,amerbach ,collection 7,pl4 #ci74bei ,the design is on six vertical strips of paper fastened together4 ,the peculiar shape of the doors necessitated considerable ingenuity on the part of the artist in the arrangement of his material1 and he succeeded admirably in adapting the spaces to his purpose4 ,each door is in three divisions1 the innermost being the highest4 ,in the left-hand shutter this inmost space contains the figure of the ,emperor ,henry ,,ii1 founder of ,basel ,minster4 ,in the shorter1 outer division stands his wife1 ,kunigunde1 and between them is a representation of the ,minster itself4 ,on the right-hand wing the ,virgin and ,child stand facing the ,emperor1 and in the outer division1 ,st4 ,pantalus1 the first ,bishop of ,basel2 between them is a group of small nude singing and playing angels4 ,the spaces above the heads of the ,emperor and the ,virgin1 and the other spaces1 triangular in shape1 over the central part of each wing1 are filled in with ,renaissance ornamentation4 ,the four large figures are designed with great nobility1 and are very impressive in effect4 ,the horizon lies below the level of the ground1 on account of the height at which the doors were to be hung1 a frequent practice of ,holbein's in his wall-paintings1 and an observance of the laws of vision probably brought home to him by his study of ,mantegna's works4 ,for this reason the figures are represented as seen from below in effective perspective foreshortening4 ,,vol4 ,i41 ,,plate #ci4 ,illustration3 ,,design ,,for ,,the ,,organ ,,doors1 ,,basel ,,cathedral ,pen and wash drawing ,,basel ,,gallery ,the ,emperor1 with long beard1 is shown in profile1 crowned1 and wearing a royal mantle1 a sceptre in his left hand4 ,his ,empress1 also crowned1 carries a large cross in her hands1 and stands in the curious ,basel manner of those days1 with the body thrust forward1 and the back bent1 as in ,holbein's costume studies referred to in a later chapter4#bfj ,the figure of the ,virgin is nobly conceived4 ,the ,child flings his little arms round her neck1 and presses his cheek against hers1 while she clasps him closely to her breast with both hands4 ,in carrying out the design1 ,holbein made one or two slight changes in the position of the ,child4 ,in the finished painting the right arm is not flung round the ,virgin's neck1 but1 instead1 the hand rests in the bend of her elbow1 while their cheeks no longer touch4 ,st4 ,pantalus1 in full ecclesiastical robes and mitre1 holds his crozier in his left hand and stretches out the right1 as though speaking4 ,the group of small child-angels1 three of whom blow trumpets1 while four others hold a sheet of music from which they are singing1 is a design of the greatest charm1 the figures being excellently grouped1 and drawn with the utmost freedom4 ,they are sturdy little boys1 with curly hair and small wings4 ,one of the singers beats time with a stick1 and another does so with his hand4 ,in the finished picture this sheet of music is inscribed with the words from the 8,song of ,solomon0--8,quam pulchra es amica40 ,the corresponding division of the left wing1 representing the exterior of the ,minster1 is just as free and masterly a study1 and the ,renaissance ornament which is so cleverly adapted to the remaining spaces is in the finest taste4 ,this decorative filling is not the same on both doors1 and it is possible that the artist intended the church authorities to select whichever design they preferred4 ,the one chosen was that on the right-hand door1 though the design on the left-hand one with the figure of a nude child among the foliage1 is the more beautiful of the two4 ,the whole composition was admirably suited for the purpose for which it was intended1 and when the doors were thrown open1 and the organ itself was played1 the effect produced must have been a fine one4 ,the dignified conception of the four great figures was in perfect keeping with the deep and solemn tones of the organ which they decorated4 ,neither the doors themselves1 nor the design1 are dated1 but the beauty of the composition and the brilliant and assured technique point to a period towards the end of ,holbein's second sojourn in ,basel1 about #aebe1 shortly before his departure for ,england1 and they are thus of about the same date as the ten designs in ,indian ink made for painted glass1 representing scenes from ,christ's ,passion4 ,among the monumental works of decorative painting undertaken by him during his second residence in ,basel1 these designs stand among the highest4 ,the influences which were brought to bear upon his art during his sojourn in ,italy find in them their fullest and most dignified expression1 happily blended with and modified by those other influences1 springing from his native soil1 under which he was trained in his father's studio4 ---------------------------------------- -------------------------------- ,,chapter ,,vi ,,the ,,house ,,of ,,the ,,dance ,,and ,,the ,,wall-,,paintings ,,in ,,the ,,basel ,,town ,,hall ,holbein as a mural decorator--,the 8,haus zum ,tanz0--,the 8,dance of ,peasants0 frieze--,original studies and old copies--,decoration of the inner walls of the new ,basel ,town ,council ,chamber--8,charondas of ,catanea0--8,zaleucus of ,locris0--8,curius ,dentatus0--8,sapor and ,valerian0--,the single figures placed between the large compositions--,cessation of the work before its completion4 ,,at this period of his life ,holbein's work was by no means confined to the painting of portraits and church pictures4 ,his activity was ceaseless1 and every moment of his time must have been fully occupied4 ,in addition to many book illustrations for the publishers1 and designs for glass-painters1 armourers1 and other craftsmen1 he found considerable employment in decorating the street-fronts of houses of certain of the leading citizens with large wall-paintings1 and1 in some instances1 painted similar decorations on the inner walls4 ,it is evident from various contemporary and later references that he covered more than one house in ,basel with decorative designs in this fashion1 and that the art of wall-painting1 practised in that city to some extent before his time1 received a great impetus from his example4 ,he carried it to a far greater pitch of excellence than had been achieved until then in any country but ,italy1 and founded a school of monumental decorative design which existed for a considerable period after his death1 and has been revived again in modern times in ,lucerne1 if not in ,basel4 ,unfortunately1 nothing remains of his original work in this field except a few isolated designs for one or two faades1 and several tracings and inferior copies of fragmentary remains of the actual wall-paintings2 nor has any definite record been handed down in ,basel of any particular dwelling so decorated by him1 with the exception of the 8,house of the ,dance10 which obtained a wide celebrity in his own day1 and was evidently looked upon as his masterpiece4 ,in carrying out the mural ornamentation of this building he allowed his brilliant fancy full play1 and exercised the greatest ingenuity in turning to advantage the wide1 flat spaces of the commonplace frontage with its irregularly-placed ,gothic arched windows and openings1 covering the whole of it with painted ,renaissance architecture rich in columns and friezes1 balconies and elaborate porticoes and other features1 amid which characters from ancient history and fable and modern life were placed with admirable effect4 ,sidenote3 ,,the ,,house ,,of ,,the ,,dance ,the 8,haus zum ,tanz0 was so named by his fellow-citizens from the large frieze representing a number of peasants dancing with the wildest merriment and abandon1 which at once took the popular fancy1 though it only formed a part of the decoration4 ,an original drawing for the narrow front faade still exists1 while there is an old tracing of ,holbein's study for the general design1 and some sixteenth-century copies of his sketches1 from which a good idea of the decorative effect produced after he had finished the work can be obtained4 ,it was a corner house1 and stood in the ,eisengasse1 near the ,rhine ,bridge1 and at that time belonged to the wealthy goldsmith ,balthasar ,angelrot1 from whom ,holbein received the commission4 ,the decorations1 probably carried out by him in #aebj1 were still visible1 and described by ,patin1 in #afgf1 but towards the end of the eighteenth century their faded remains were whitewashed over4 ,the old building itself stood until #aijg1 when it was pulled down and rebuilt4#bfa ,the plan ,holbein pursued shows a marked advance in his conception of decorative design when compared with the earlier paintings of the ,hertenstein house in ,lucerne4 ,in the latter large pictures filled practically the whole of the wide spaces between the windows1 but he now abandoned this practice to a great extent1 and subordinated the pictorial effect to one in which architecture played the leading part1 the characters introduced appearing as actual figures occupied in various ways amid this elaborate setting4 ,the main front of the house was very irregular in its features4 ,there were no straight lines1 for the windows differed greatly in height and breadth1 and those of one storey were in most instances not placed exactly over those in the storey below them4 ,to a painter of lesser mastership than ,holbein such a nondescript frontage would have greatly increased the difficulties to be overcome in carrying out a successful decorative scheme2 in his case the very difficulties appear to have provided an added spur to his imagination and the fanciful play of his humour1 and he seized upon them and turned them to the utmost advantage4 ,according to ,dr4 ,ludwig ,iselin1 in his notes on ,holbein written towards the end of the sixteenth century1 the painter regarded his work upon ,angelrot's house with some amount of satisfaction1 for when he revisited ,basel in the autumn of #aech1 and saw his wall-paintings both on the house-fronts and in the ,council ,chamber rapidly fading away1 he proposed to repaint them at his own expense1 and in criticising his work found that the 8,haus zum ,tanz0 was 8rather good0 78,das ,haus zum tantz wr ein wenig gutt074 ,according to ,theodor ,zwinger 7#aegg71bfb he received only forty florins 7gulden7 for the whole of this work1 very inadequate payment even for those days1 considering the amount of labour which he must have given to it4 ,this reference of ,zwinger's is of great interest1 as1 with the exception of the wall-paintings in the interior of the ,basel ,town ,hall1 it is the only record so far discovered of the prices the artist was in the habit of receiving for such undertakings4 ,sidenote3 ,,the ,,house ,,of ,,the ,,dance ,the house1 as already stated1 was a corner one of three storeys1 the left-hand and narrow side being the one which fronted the ,eisengasse4 ,the decoration covered both sides1 and was painted more or less in perspective1 so arranged that the spectator1 in order to obtain the full effect of the design1 must stand at the corner angle of the house1 from which he could see both sides at the same time4 ,on the ground floor he placed on either side of the broad arched windows and the narrower door at the end of the chief faade thick1 stumpy columns1 with garlands hanging below their ,ionic capitals4 ,he made skilful use of the ,gothic forms of the openings1 as they actually existed1 in such a way that the pointed arches appeared to be merely the result of perspective foreshortening1 as seen from the spectator's standpoint4 ,above these arches1 in the flat space beneath the first-floor windows1 was painted the broad band containing the 8,bauerntanz10 or 8,dance of the ,peasants10 which gave the house its popular name4 ,this band was broken by a small oblong window over the house-door1 which ,holbein utilised by turning it into a stone table1 with cans and jugs for the refreshment of the dancers1 against which two musicians are leaning1 one playing the bagpipes and the other a wind instrument of unusual shape4 ,boisterous mirth reigns among the dancers4 ,their flitting shadows are cast upon the wall behind them1 as they give full vent to their delight in life by means of measures more energetic than graceful1 and much rough-and-tumble play4 ,judging from the fine original study in the ,berlin ,print ,room1#bfc which shows a part of this frieze1 the wall-painting itself must have produced a vivid effect of rapid1 lifelike movement1 and even of noise and laughter4 ,above the ,dance1 decorated pilasters supporting lofty columns1 which ran up to the top of the building1 were placed between the windows1 together with antique figures of ,mars1 ,venus1 ,cupid1 and other gods4 ,above these again ran a balcony with an open balustrading1 supported on projecting cornices1 with numerous figures of ,holbein's fellow-citizens in contemporary costume walking about and looking over into the street below1 one of them with a greyhound4 ,round the windows of the second floor1 which were of varying heights1 he gave full play to his delight in ,renaissance architecture of a very intricate and fantastic kind1 including his favourite round medallions containing the heads of ,roman ,emperors and other classical heroes and heroines1 friezes with rich ornamentation1 grotesque figures with human bodies and tails of dolphins1 and columns and arches seen in strong perspective4 ,on the top floor of all the small windows were given the appearance of little square towers surrounded by broken and ruined arches and masonry1 overgrown with bushes1 and behind and between them the blue sky4 ,on one of the walls was a peacock1 and on another a paint-pot with the brush stuck in it1 as though left up there by accident by the painter after the work had been finished and the scaffolding removed1 a pictorial joke which no doubt entertained the passers-by4 ,the other frontage of the house faced a side street4 ,on the wall nearest the corner ,holbein painted a lofty arched doorway1 with steps leading to the interior1 above which ,marcus ,curtius1 brandishing a battle-axe1 was represented on a great white1 rearing horse1 on the point of plunging into the street1 and close below him a ,roman soldier in a crouching position1 with right arm uplifted in self-protection1 as though fearful that the rider would fall upon and crush him4 ,beyond this doorway there were no windows on the ground floor1 but merely a few small apertures4 ,holbein covered this surface with arches and pillars with festoons1 and a low wall below4 ,over this wall the spectator was supposed to obtain a view of the stabling below the level of the street1 with a groom in charge of a fine horse1 the latter attached to a ring at the foot of a lofty column1 surmounted by a figure of ,hebe4 ,between the windows on the floor above stood a fat and youthful ,bacchus1 crowned with vine-leaves1 and holding a cup in his hand1 and at his feet a cask with a second boy asleep against it1 and a cat stealing away with a mouse in her mouth4 ,above this floor the treatment was mainly architectural1 following the lines of that on the ,eisengasse frontage4 ,the general effect produced by the whole decoration must have been an exceptionally gay and brilliant one1 both from the effective manner in which ,holbein made free use of the ,renaissance style of architecture1 and from the joyous life and movement of the numerous figures depicted4 ,the decoration was intended to amuse as well as to delight1 and the tricks of perspective1 together with a realism the main purpose of which was to deceive the eye1 were conceived as a jest which should provide a source of continual interest and merriment to the passing citizens4 ,such a method of covering house walls had little in common with the work he had seen in ,italy1 except in the sumptuousness of its setting4 ,although it may have sinned against many of the right principles of mural decorative art1 it nevertheless appealed strongly to the fancy and taste of the ,baselers of that day1 and 8took the town0 so completely that it set a fashion which lasted many years4 ,the humour and realism of it1 however1 were by no means its foremost features2 in many ways it must have produced a decorative effect of great beauty and richness4 ,though he gave free play to his fantastic imagination1 he at the same time kept it within reasonable bounds1 so that it never offended against good taste1 except in a certain freedom of representation in some of the dancing couples1 but was always subordinate to the higher aims of his art4 ,sidenote3 ,,wall-,,painting ,,for ,,amerbach ,,house ,there is a large tracing of the design in the ,basel ,gallery1 which has evidently been taken from ,holbein's original drawing1 and there are other copies1 almost contemporary1 of his original studies for portions of the work1 one showing the lower part of the side wall with the horse and groom4 ,the ,berlin ,print ,room1 as already noted1 possesses the very beautiful drawing from ,holbein's own hand1 which is the original study for the front faade1 showing the musicians and three of the dancing couples of the 8,bauerntanz10 with which the ,basel tracing is in close agreement1 while in the ,amerbach ,collection there is a slighter version1 with certain variations1 of the upper portion of the ,berlin drawing1 showing the balcony with figures4 ,it is a chalk and pen drawing1 touched with ,indian ink4#bfd ,dr4 ,woltmann suggested that the man with the flat cap on the extreme left of the balcony in the ,berlin drawing1 who is looking down into the street1 is intended for a portrait of ,holbein himself4 ,in addition1 the ,basel ,gallery possesses good copies of the frieze with the dancers 7,no4 #cec71bfe and of the portion of the faade with the mounted figure of ,marcus ,curtius1#bff made by the glass-painter ,niklaus ,rippel in #afbc and #aeij respectively4 ,rippel was master of the ,basel ,painters' ,guild in #aehg4 ,the 8,curtius0 drawing is inscribed 8in frontispicio domus10 and is evidently a faithful transcript of the original2 so much so that by its means it is possible to obtain a very adequate idea of the grandeur of ,holbein's design1 more particularly in the magnificent group of the horse and its armed rider1 in which the ,mantegnesque influence is unmistakable4 ,finally1 there is in the same ,gallery an excellent reconstruction of the whole frontage 7,no4 #ceb71 a water-colour drawing made by ,h4 ,e4 von ,berlepsch in #ahgh1 based upon the ,berlin study and the sixteenth-century copies of ,holbein's sketches4#bfg ,one or two original studies remain1 which were evidently made as designs for exterior wall-paintings of which all record has been lost4 ,there is a slight but masterly washed pen drawing in the ,amerbach ,collection 7,pl4 #dj 7#a771bfh representing the upper part of a house in which the irregularly-placed windows have been adapted with the greatest skill to suit the purposes of the elaborate scheme of ,italian architecture1 one part of which is made to recede by a series of flat columns with ornamented capitals seen in sharp perspective1 while the other half appears to project1 and shows the seated figure of an ,emperor1 possibly ,charlemagne1 between two windows1 to which ,holbein has given rounded arches with a medallion between them containing an antique head4 ,dr4 ,ganz is1 no doubt1 right in his suggestion that this drawing is a study for a scheme of decoration for the faade of the family house of the ,amerbachs in the ,rheingasse1 in ,little ,basel1 and that the figure of the enthroned ,emperor is a pictorial representation of the name--8zum ,kaiserstuhl0--by which the house was known4 ,probably ,holbein received a commission for its decoration in #aeai1 at the time he was painting ,bonifacius ,amerbach's portrait4#bfi ,in the same collection there is a design for a framework to surround an ordinary square-headed window1 either for internal or external wall-painting1#bgj over which he has thrown an ornamented arch filled in with scalloping1 and crowned with a brazier from which flames are blowing4 ,it is supported by pillars of elaborate and fantastic design1 broken up into various bands of rich ornament1 among them ox skulls with small hanging garlands4 ,at the base1 on each side1 is a nude figure of a woman with a basket of fire on her head4 ,the window1 only one half of which is shown1 is supported below with corbels1 the central one with a grotesque head with an iron ring suspended from its mouth4 ,a third sketch1 for the ground floor of the ,hertenstein house1 has been already described4#bga ,,vol4 ,i41 ,,plate #dj4 ,illustration3 #a4 ,,study ,,for ,a ,,painted ,,house ,,front ,,with ,,the ,,figure ,,of ,a ,,seated ,,emperor ,,basel ,,gallery ,illustration3 #b4 ,,the ,,ambassadors ,,of ,,the ,,samnites ,,before ,,curius ,,dentatus #aeba-bb ,fragment of the wall-painting formerly in the ,basel ,town ,hall ,,basel ,,gallery ,sidenote3 ,,legend ,,of ,,the ,,inn 8,,zur ,,blume0 ,in the collection of drawings in the ,louvre there is an elaborately drawn design for the decoration of a house with a narrow frontage and high-pitched gables1#bgb which1 although not from ,holbein's own hand1 bears considerable resemblance to his style and methods in carrying out large mural paintings4 ,it may be a contemporary copy of one of his designs1 or1 perhaps1 an original work by one of the clever ,basel artists who adopted his manner4 ,the architectural details1 however1 are characterised by a fantastic play of fancy carried beyond the limits ,holbein usually prescribed for himself in work of this nature4 ,some of them are frankly impossible1 and if actually carried out in brick or stone would at once fall to pieces4 ,this element of architectural absurdity is to be seen very clearly in the large capital in the centre supported by a much weaker and smaller one1 in the curious thin bands of projecting stonework with circular openings through which all the columns pass1 and the equally curious circular vaulting over the door1 with round openings through which two cupids bend down in the act of supporting a coat of arms4 ,the principal features of the design are two deep bands divided by the columns into panels containing combats between sirens and grotesque men with fish-like extremities ending in spirals of foliage4 ,on either side of the windows of the second floor double columns are set close together1 between which three nude old men are striving to force themselves4 ,on the topmost storey two figures are looking over a balcony in front of two small windows4 ,medallions with antique heads are freely introduced1 and every part of the house-face is so lavishly covered with small ornamentation that the eye becomes confused1 and the general effect produced is one of restlessness and over-elaboration4 ,below the ground-floor window a fictitious opening is shown1 in which two large dogs are fighting over a bone4 ,woltmann suggests that a passage in ,dr4 ,ludwig ,iselin's notes has reference to these two animals1 and may be taken as some indication that this particular design for house-decoration was ,holbein's own1 and had been carried out by him in ,basel4 ,iselin says1 in speaking of the artist's truthfulness to nature3 8,he painted a dog1 at which dogs running past used to bark40#bgc ,sidenote3 ,,legend ,,of ,,the ,,inn 8,,zur ,,blume0 ,an old ,basel legend1 which1 like so many other legends1 has no evidence to support it1 connects ,holbein's name with the decoration of another house in ,basel--the inn 8zur ,blume0 in the ,fischmarktplatz4 ,the story runs that the painter was deeply in debt to the innkeeper1 and in order to pay his dues he undertook to cover the outside of the house with frescoes2 but the work progressed too slowly for the owner1 and ,holbein's absences in search of enjoyment were too frequent1 so that the former kept a close watch upon him1 and threatened to cut off supplies unless he remained at his post4 ,the painter's ingenuity1 however1 was equal to the emergency4 ,when he was at work high up on the building his body was hidden from the view of those in the street by the scaffolding1 but his legs were still in sight1 so he painted a fictitious pair on the wall1 as though dangling down1 with feet crossed2 and seeing these1 the landlord thought all was well1 and so left his artist to his own devices4 ,the most important work in wall-painting undertaken by him at this period was the decoration of the ,council ,chamber in the newly-rebuilt ,town ,hall or ,rathaus of ,basel4 ,in #aejd it was decided to replace the old building with a new one1 and the work was begun in #aejh and completed early in #aeba1 the ,council assembling in it for the first time on the #abth of ,march in the latter year4 ,the decoration of the interior walls of the chief room was given to ,holbein1 partly1 no doubt1 through the influence of his patron1 ,jakob ,meyer1 who was still burgomaster1 though his troubles were already beginning1 and culminated before the close of that year1 when he was removed from office4 ,the commission must have been mainly due1 however1 to the ,council's knowledge of ,holbein's skill and inventive powers in this branch of art1 as shown in the decorations of several house-fronts in the city4 ,the painter continued his work in the ,chamber after the deposition of ,jakob ,meyer and the election of ,adelberg ,meyer1 who was unrelated to his predecessor1 to the post of chief magistrate4 ,according to the account books of the ,council1 the commission was given to the painter on the #aeth ,june #aeba1 on the day of ,st4 ,veit and ,st4 ,modestus1 and the contract stated that he was to receive #abj gulden for the whole work1 and that he was to be paid in advance by the 8,drei ,herrn10 who were the members of the ,council who controlled the finances1 on the day of the signing of the contract1 forty gulden1 or fifty ,basel pounds1 the gulden being equal to one ,basel pound and a quarter4#bgd ,the remaining payments1 in smaller amounts1 were made to him on the #bjth ,july and #adth ,september #aeba1 and on the #abth ,april1 #afth ,june1 #cast ,august and #bith ,november #aebb4 ,he received no money during the winter of #aeba-bb1 when the work1 no doubt1 would be temporarily suspended owing to the shortness of the days and the lack of good light4 ,this is one of the few instances in which we possess authentic records of the amounts received by ,holbein for his work4 ,sidenote3 ,,wall-,,paintings ,,in ,,basel ,,town ,,hall ,the ,town ,hall1 which stood in the market-place1 with the house of ,jakob ,meyer1 8zum ,hasen10 adjoining it on the south1 has undergone considerable changes since its building1 so that to-day both the exterior and interior are by no means in the same condition as when ,holbein was working there4 ,in those days the ,council ,chamber was an irregular quadrangle1 about #cd feet by #fe feet1 and only #ab feet high1 and the ceiling was supported by three columns down the centre of the room4 ,the wall fronting the market-place was entirely filled with large windows and the doors leading to the chief staircase1 and provided no space for decorative treatment1 so that ,holbein's work was confined to the three remaining walls1 the long one opposite1 which was also broken up by two windows and two doors1 and the two narrower ones at either end1 which were not parallel4 ,of these latter1 the one on the north had a heating chamber and a large stove at one end of it1 and was separated from the rest of the hall by a balustrade4 ,the only unbroken wall was at the southern end1 next ,meyer's house4 ,it was called in the accounts the 8back wall10 because the visitor turned his back on it on entering the room1 and this wall was not decorated by ,holbein until after his return from his first visit to ,england4 ,taking it altogether1 the room was so low and so irregular in its arrangement that it was by no means well suited for carrying out a scheme of mural decoration on a monumental scale2 but ,holbein triumphed over all difficulties1 and produced magnificent results1 so far as can be judged from the few studies1 tracings1 and copies which remain4 ,the subjects selected for representation were divided from one another by richly-ornamented ,renaissance columns1 so that the room1 when finished1 appeared to be open on all sides1 here looking out upon some landscape1 and there into some great hall or palace made to appear vast by the clever use of perspective4 ,between the principal pictures were placed smaller1 single-figure subjects1 standing in niches on a somewhat higher level1 and forming part of the architectural framework4 ,the subjects of the larger paintings were of the kind then popular north of the ,rhine1 and were intended1 by means of celebrated examples taken from ancient history1 to bring home to those who used the room1 the absolute necessity of impartial justice in the administration of the affairs of a state or community1 and at the same time to indicate the punishment which in most cases is bound to follow the breaking of the law1 and to extol the virtues of simplicity and a love of country free from all self-seeking4 ,these subjects1 and the ,latin inscriptions which accompanied them1 were not ,holbein's own invention1 but were1 in all probability1 selected for him by such learned friends as ,myconius and ,beatus ,rhenanus4#bge ,the only records which remain of this great work1 all of which are in the ,basel ,gallery1 consist of a few fragments taken from the walls before the last traces of the paintings had finally faded away2 original studies for three of the chief subjects from ,holbein's own hand2 a few contemporary copies of his designs2 and others taken from those parts of the design which could still be discerned at the time when the actual fragments of ,holbein's handiwork were cut away from the walls4 ,unfortunately the paintings themselves had but a short life4 ,less than fifty years after the last one was completed they were already in a deplorable condition1 largely through damp4 ,probably the three months' interval which elapsed between the completion of the building and the beginning of its decoration was due to the desire to allow the walls to become thoroughly dry2 but even this precaution was not sufficient to save ,holbein's handiwork from gradual destruction4 ,the walls1 possibly from faulty construction1 appear never to have become entirely free from moisture1 while the paintings were also allowed to suffer from general neglect4 ,wurstisen in his ,epitome ,histori ,basiliensis1 published in #aegg1bgf speaks of them as 8delineations of the choicest things by the hand of the ,german ,apelles10 but two years later the largest of them was reported to be so terribly injured by the weather that it was in danger of complete destruction4 ,the ,council1 therefore1 commissioned the painter ,hans ,bock to make a copy of it in oils on canvas1 which1 when completed1 was hung on the wall in front of the original painting4 ,this 8large piece10 which ,bock copied in #aegi1 was probably the whole of the back wall1 containing the 8,rehoboam0 and the 8,samuel and ,saul40 ,this work occupied his whole time for twenty-six weeks1 and his application for payment for this half-year's work1 dated the #bcrd ,november #aegi1 to be found among the ,basel archives4 ,in it he demands one hundred florins1 a sum which the ,council evidently considered too great1 although it works out at little more than a shilling a day in modern money1 a moderate but not a contemptible wage as rates of payment went in those days4 ,among the reasons ,bock gives for asking so much is that far more is really due to a copyist1 who has to imitate laboriously the work of another1 than to one who paints merely from his own fancy2 and he goes on to say that1 8among all the ,holbein pieces in the painted hall1 this is not only the greatest in length1 but also contains the most difficult and laborious work1 as1 besides landscape1 there are one hundred faces drawn perfectly or partially1 so that ,i must copy them all piece by piece1 besides many horses1 weapons1 and other things40#bgg ,the details he mentions were only to be found in one of the paintings1 that of 8,samuel and ,saul10 though it did not contain nearly one hundred heads1 but with the adjoining picture of 8,rehoboam10 which ,bock probably included1 the number would be nearly correct4 ,sidenote3 ,,destruction ,,of ,,the ,,wall-,,paintings ,one hundred years later the wall-paintings were still to be seen1 though rapidly deteriorating4 ,they are mentioned by ,tonjola 7#affa71 who quotes the various inscriptions which accompanied them1#bgh and by ,patin 7#afgf71 who speaks of the three walls of this hall as painted by ,holbein4 ,after this all traces of them were gradually lost1 damp and neglect almost obliterating them4 ,they were no longer visible in #agif1 for ,peter ,ochs does not mention them in his description of the ,council ,chamber4#bgi ,even ,bock's copy seems to have fallen to pieces1 and in the end the walls were covered with tapestry hangings1 and ,holbein's work was completely forgotten4 ,in #ahag1 however1 when some repairs were carried out in the hall1 necessitating the removal of the tapestries1 a few remaining traces of the original work were discovered4 ,on the fresco of 8,charondas10 on the north wall1 the date #aeba was still legible4 ,seven fragments of considerable size were saved1 from the three paintings of 8,rehoboam10 8,curius ,dentatus10 and 8,zaleucus10 and small copies of the chief remains were made in water-colours by ,hieronymus ,hess for the art firm of ,birmann1 and these are now preserved in the ,basel ,gallery 7,nos4 #cbh-ccb74 ,from such inadequate materials as these it is possible to obtain only a very general idea of the original beauty of this great undertaking4 ,it would be supposed that these mural decorations1 painted as they were on interior walls1 would have long outlived ,holbein's work of a similar nature on the exterior faades of ,hertenstein's mansion and the ,house of the ,dance1 whereas the contrary was the case1 for in both the last-named instances the paintings remained in fairly good condition until comparatively modern times4 ,this indicates that the cause of the rapid destruction of the ,town ,hall decorations was not owing to ,holbein's lack of knowledge of the proper methods of fresco painting1 but was due solely to bad building on the part of the ,council's architect1 and1 later on1 to neglect at the hands of the authorities1 who made no adequate attempt to preserve works which added so great a distinction to their building4 ,the four chief subjects painted by ,holbein in #aeba-bb were--7#a7 ,charondas of ,catanea1 the law-giver of the city of the ,thurii1 who had issued a decree forbidding the wearing of arms in the public assembly under pain of death1 but himself inadvertently broke the law4 ,hurrying to the council chamber from a journey1 he forgot to leave his weapons behind him2 and on attention being called to this by one of his enemies1 he immediately cried out1 8,by ,zeus6 the law shall be master10 and ran himself through with his sword4 7#b7 ,zaleucus of ,locris1 whose laws punished adultery by the loss of both eyes4 ,his only son was found guilty of this crime1 but the people begged him to show mercy1 as the culprit was his heir1 and their future ruler4 ,zaleucus resisted their entreaties for a long time1 but in the end yielded to the extent of sacrificing one of his own eyes1 and ordering only one of his son's to be removed1 thus upholding the majesty of the law4 7#c7 ,curius ,dentatus1 who1 kneeling before his fire1 preparing his modest meal1 sends away the ambassadors of the ,samnites1 who have come with rich presents in order to persuade him to take no part in the war against them4 7#d7 ,sapor1 king of ,persia1 who is making use of the body of the captive emperor ,valerian as a step from which to mount his horse4 ,between these pictures were placed single figures of ,christ1 ,king ,david with the harp1 ,justice1 ,wisdom1 and ,temperance4 ,the remaining large subjects1 which were painted in #aecj-ca1 were ,rehoboam spurning the ,elders of ,israel1 ,saul rebuked by ,samuel1 and possibly ,hezekiah breaking the ,idols4 ,in the picture of 8,charondas0 the action takes place in a lofty hall1 its roof supported by richly-decorated columns1 with long architraves covered with bands of sculptured figures and medallions4 ,charondas stands in front of the councillors in the act of plunging his sword into his breast1 as with uplifted eyes he calls the gods to witness that he is prepared at all costs to uphold the laws4 ,some of the onlookers sit spell-bound1 too overcome with surprise and agitation to attempt to stay his hand1 while others are still disputing among themselves as to the necessity or justice of so severe a punishment for so trivial a fault4 ,this is one of the frescoes which ,hess copied in #ahag1bhj and the ,basel ,gallery also possesses a contemporary copy of ,holbein's original design1#bha which was probably made by some pupil or assistant attached to his own workshop4 ,when the two are compared1 it becomes apparent that ,holbein1 when he came to paint the subject upon the wall1 added considerably to its length4 ,hess's copy is almost twice as long as it is high1 and on either side three or four figures have been added to the group of councillors which do not appear in the copy of the first design1 which is almost square in its proportions1 and corresponds in size with ,holbein's original design for the 8,sapor0 subject4#bhb ,sidenote3 8,,the ,,blinding ,,of ,,zaleucus0 ,in the 8,zaleucus0 the scene is laid in a great chamber with a large arched opening at one end1 through which can be seen the outer walls of the palace and other ,renaissance buildings illuminated by sunshine4 ,the blinding of the two men is depicted with great realism4 ,the son falls back in his chair1 with open mouth and a look of terror on his face as the executioner prepares to tear out his left eye4 ,opposite to him his father1 crowned1 in princely robes1 an aged man1 with long silvery beard1 sits in his chair of state1 placed in front of heavy tapestry hangings1 freely offering himself to the torture4 ,holbein has very skilfully marked the contrast between the abject fear of the culprit1 who appears about to scream aloud1 and the old man1 who makes ready to meet the sharp pain with dignified restraint1 and only displays his feelings in the way in which he grips the arms of his throne4 ,in the case of the son1 the executioner1 dressed in the body armour of a ,roman soldier1 is using considerable violence2 in that of the father1 he is first examining the eye with a lens in order that he may remove it with as little pain as possible4 ,this severe object-lesson in the majesty of the law is witnessed by a great crowd of spectators1 all clad in togas1 who regard the scene with contending emotions of horror and compassion4 ,two fragments of the original painting are still preserved at ,basel--the head of ,zaleucus 7,no4 #cca71 and that of one of the spectators 7,no4 #ccb74 ,of this fresco also there is a water-colour copy at ,basel made by ,hess from the almost obliterated original1#bhc and a sixteenth-century copy of ,holbein's design for it4#bhd ,in this case the two copies agree in their proportions1 and indicate that the painting was one of the smaller of the chief subjects with which the room was decorated4 ,according to ,dr4 ,ganz1 three other old copies of this wall-painting exist1 one by ,h4 ,r4 ,manuel in a private collection in ,france1 one by ,j4 ,wentz1 done in #aeea1 now in the ,basel ,collection1 and the third in a glass painting of #aehj4bhe ,of the picture of 8,curius ,dentatus0 no record remains beyond the water-colour copy made by ,hess in #ahag1bhf and a fragment of the painting itself in a bad state of preservation1 showing the heads of the three foremost of the five ,samnite ambassadors 7,no4 #ccj7 7,pl4 #dj 7#b774bhg ,from ,hess's copy it is to be gathered that this composition must have been an exceptionally fine one1 though one of the smallest of the series4 ,the characters are placed under an open portico with round arches through which a wide expanse of country is seen4 ,there is a tall tree in the foreground1 and in the distance buildings and a bridge over a river1 and a lofty mountain4 ,curius1 dressed in ,roman armour1 is kneeling in front of his open hearth1 cooking his evening repast1 and looking round1 without rising1 at the five ambassadors1 who are attired in rich ,renaissance dress1 and bear golden vessels and a large dish full of gold4 ,curius1 refusing their bribes1 points to the turnips he is cooking1 and exclaims3 8,malo hc in fictilibus meis esse et aurum habentibus imperare0 78,i would rather have these in my pot and rule over those who have gold074 ,these words were painted over the picture itself4 ,each one of the larger compositions1 as well as the single figures1 had similar painted inscriptions in ,latin1 and other admonitory couplets were placed upon the walls1 the text of all of them being given by ,tonjola in his ,basilea ,sepulta4 ,the hall in which ,curius is receiving the ,samnites fills the upper half of the fresco1 and is supported on masonry which occupies the lower half1 in which is seen the opening to a vaulted chamber or cellar1 in front of which stands an armed man1 possibly intended to represent the messenger of the ,basel ,town ,council1 as he is dressed in the black-and-white armorial colours of the city1 and wears a small badge with the city's coat of arms fastened to his shoulder4 ,his right hand is raised to his feathered hat as though he were about to salute the spectator4 ,this picture was intended to glorify republican simplicity1 and may have had reference also to the burning question of the 8,french pensions10 which helped to bring about ,jakob ,meyer's downfall4#bhh ,sidenote3 8,,sapor ,,and ,,valerian0 ,of the fourth picture1 8,sapor and ,valerian10 the only record remaining is the beautiful design at ,basel from ,holbein's own hand 7,pl4 #da74bhi ,the drawing is lightly washed with water-colour1 chiefly red in the faces and the brickwork of the architectural background1 and blue and grey in other parts4 ,this picture was one of the narrower ones1 and the space was crowded with figures4 ,in the centre1 the aged ,emperor1 crowned1 and with a long white beard1 kneels on the ground resting on his outspread hands1 his body pressed down by the weight of ,sapor1 who places one foot on his back as he prepares to mount his horse4 ,the latter1 like all the other figures1 is dressed in the costume of ,holbein's own day1 with a long sword and a gold chain across his shoulders4 ,the horse is held by a foot-soldier1 in a blue cloak1 who looks over his shoulder towards the spectator4 ,the space behind the central group is filled with soldiers1 mounted and on foot4 ,the knights1 some of whom are in full armour1 carry long lances over their shoulders1 which add to the effect of the scene1 while the men on foot hold aloft great pikes4 ,the mounted knight near the centre1 with plumes all round his broad hat1 is a noble and dignified figure1 and the drawing of ,sapor's horse is excellent4 ,the procession comes along the street from the right1 and passes round the corner of the building1 which fills in the background1 as in several of the earlier 8,cross-,bearing0 pictures4 ,this building1 which is seen from an angle1 with deep arched arcading below and a row of windows above1 is a representation of the recently-finished ,town ,hall of ,basel1 within which the wall-painting itself was placed1 and the quaint building next to it1 with its battlemented cresting seen against the blue sky1 is to be found marked on ,matthaeus ,merian's plan of the city 7#afae74 ,it was in reality separated by two other houses from the ,rathaus1 but ,holbein1 attracted no doubt by its picturesqueness1 has moved it nearer4 ,over ,sapor's head is a large ribbon label inscribed 8,sapor ,rex ,persar10 and below the ,emperor is written 8,valerianus ,imp40 ,on either side are shown the pillars which divided the chief compositions from each other2 flat columns1 the upper half covered with carving of ,renaissance design1 and the lower with slabs of coloured marbles and a circular medallion containing an antique head such as is to be found in almost all ,holbein's architectural drawings4 ,an inscription at the foot1 which runs1 8,hans ,conradt ,wolleb schanckts ,mathis ,holzwartenn10 gives the names of two consecutive owners of this drawing4 ,wolleb1 who was ,magistrate of ,basel1 died on ,september #i1 #aega4 ,on ,august #fth of that year the ,alsatian poet1 ,matthias ,holzwart1 permitted a performance of his play1 ,king ,saul and the ,shepherd ,david1 to be given in the ,basel market-place1 and ,wolleb may have presented the drawing to him at that time in recognition of the event4 ,the same border also contains the letters ,a4,v4,e4 in a monogram1 probably the initials of a third owner of the design4#bij ,,vol4 ,i41 ,,plate #da4 ,illustration3 ,,sapor ,,and ,,valerian ,design for one of the wall-paintings in the ,basel ,town ,hall ,pen and water-colour drawing ,,basel ,,gallery ,sidenote3 ,,completion ,,of ,,two ,,of ,,the ,,walls ,the five single figures in painted niches which filled in the smaller spaces on the walls had each an appropriate inscription in ,latin4 ,the ,basel ,gallery possesses copies of ,holbein's preliminary studies for each one of them1 which1 like the similar copies of the ,charondas and ,zaleucus designs1 are drawn on paper made in ,basel with a water-mark which was not used after #aebd1 thus showing that they must be contemporary1 and1 as already suggested1 very possibly done by some one in ,holbein's own studio4#bia ,christ#bib is represented holding a long tablet with the words3 8,quod tibi non vis fieri alteri non facias0 78,what thou dost not wish to be done to thee1 that do to no other074 ,in the band of ornament at his feet is a small tablet with the date #aebc4 ,king ,david#bic is shown with his harp1 and a scroll over his head with 8,juste judicate filii hominum0 78,judge justly1 ye sons of men074 ,justice1#bid crowned1 stands beneath an open arch behind a balustrade1 with her balance at her feet4 ,with her sword1 grasped in her right hand1 and with the forefinger of her left1 she is pointing to a large tablet suspended from the top of the arch1 which contains the inscription3 8,o vos reigentes obliti privatorum publica curate0 78,o ye rulers1 forget your private affairs1 and care for those of the public074 ,wisdom#bie is shown in a shell-crowned niche4 ,she has a double face1 and her long hair falls below her waist4 ,in her left hand she holds a torch1 and in her right a book with the inscription1 8,inicium sapiencie timor domini0 78,the fear of the ,lord is the beginning of wisdom074 ,a scroll over the torch bears the words1 8,experiri prius consilio quam armis prestat0 78,it is better to try by counsel than by arms074 ,finally1 ,moderation#bif is represented as a young woman with long1 clinging garments1 in the act of pouring wine from a large vessel of blown glass into a small flagon4 ,the admonition in her case runs1 8,qui sibi plus licere vult quam deceat sue studet ruine0 78,he who wishes to enjoy more than is his due1 acts to his own destruction074 ,other inscriptions quoted by ,tonjola appear to refer to further paintings1 possibly single figures only1 of which1 however1 no traces remain4 ,the compositions on the 8back wall10 with subjects from the ,old ,testament1 painted some eight years afterwards1 are described in a later chapter4#big ,while ,holbein was carrying out the earlier paintings1 the sculptor ,martin ,lepzelter was also at work in the ,council ,chamber4 ,he carved two half-length figures of prophets and four coats of arms for the pillars which supported the ceiling1 for which he was paid eight ,basel pounds on ,august #c1 #aeba4bih ,when1 on the #bith ,november #aebb1 on the ,saturday before ,st4 ,andrew's ,day1 ,holbein received a final payment of twenty-two ,basel pounds and ten shillings1 which was the balance of the #abj gulden he was to receive for the whole work1 he had completed two walls of the ,council ,chamber1 and he felt that he had more than earned the amount of his commission1 although the back wall was still untouched4 ,he1 therefore1 made representations to the ,council to this effect1 and they appear to have felt the justice of the claim1 as they could hardly have failed to do1 when they saw in how brilliant a manner the completed portion had been carried out4 ,in consequence1 they agreed that he had fully earned the money1 and ordered the balance to be paid to him1 deciding 8to let the back wall alone till further orders40#bii ,in any case1 as the winter had begun1 it would have been necessary to postpone the completion of the work until the following spring1 and1 no doubt1 it was the original intention that ,holbein should finish the room as soon as the season permitted4 ,for some reason1 however1 nothing was done in the matter until after his return from his first visit to ,england4 ,possibly the ,council were too busily occupied in attempting to keep order in a city in which the spread of the new opinions brought about by the ,reformation was already dividing the townsfolk into two separate camps4 ,in the spring of #aebb1 also1 ,basel was engaged in several military enterprises1 which would cause the ,council to hesitate before spending money upon such luxuries as art1 which could be dispensed with until times were less critical and the city's affairs more prosperous4 ---------------------------------------- -------------------------------- ,,chapter ,,vii ,,designs ,,for ,,painted ,,glass ,,and ,,other ,,studies ,holbein's work as a designer for the glass-painters--,eight panels of saints--,the 8,prodigal ,son0--,the 8,two ,unicorns0--,designs with landsknechte at ,berne1 ,basel1 ,berlin1 and ,paris--,heraldic drawings for ,erasmus and others--,designs showing the influence of ,north ,german art--8,virgin and ,st4 ,john0--,the 8,annunciation0--8,st4 ,elizabeth0--8,virgin and ,child with kneeling donor0--,the great 8,passion0 series--,studies of costumes of ,basel ladies--8,st4 ,adrian0--,studies from the nude--8,a ,fight0--,animals4 ,,in addition to his commissions1 both public and private1 for wall-paintings1 ,holbein was frequently employed in the preparation of designs for artificers in more than one branch of decorative art4 ,the ,amerbach ,collection is rich in works of this class1 more particularly in designs for glass windows4 ,it must be remembered in studying these 8scheibenrisse0 that they were intended for painted1 and not for stained1 glass4 ,the older method of employing translucent glass of various tints1 in which the colour is incorporated in the body of the glass itself1 so that the window depended for its beauty on its transparency1 had already become1 in the ,switzerland of ,holbein's day1 a little-practised and1 in some districts1 an almost forgotten art1 its place being taken by glass1 usually white1 on which the design was painted in enamel colours and afterwards permanently fixed by refiring4 ,such glass painting produced the effect of a semi-opaque design on a translucent ground1 and1 beginning merely with a few brown lines to indicate the features1 or the patterns on a dress1 it had gradually developed1 in ,germany and ,switzerland1 into a method of pictorial representation which imitated as closely as possible a painted picture1 and was1 therefore1 in marked contrast to the older and more beautiful art1 in which the great aim of the artist was to produce a lovely effect of transparent colour4 ,in the newer method1 which in reality was opposed to the true nature of the medium employed1 but which nevertheless became a thing of beauty when designed by a master1 small panels1 as a rule1 were used1 which were surrounded by plain white glass1 so that they had the appearance of little pictures set in the middle of a window4 ,the panels being small ones1 and the subjects on them drawn on a small scale1 it was necessary that the panes should be placed near the ground so that they could be properly seen1 and this1 again1 made it essential that the draughtsmanship should be as careful and delicate as possible1 design having usurped the place of colour4 ,these glass paintings were usually surrounded by a framework of a decorative nature which divided them sharply from the plain glass around them1 and helped still more to produce the effect of a picture4 ,the lines of leadwork1 which1 in the older method1 held the pieces of vari-coloured glass together1 were abandoned as much as possible1 as they naturally marred the delicate pictorial effect of the work1 and were sometimes confined to the boundary lines of the panel4 ,under such conditions it was natural that the glass-workers should turn to artists for their supply of designs1 since accurate draughtsmanship was now all-important4 ,holbein1 who was largely employed by the ,basel glaziers and glass-painters for this purpose1 made the freest and finest use of this new convention in the decoration of windows4 ,the convention was1 no doubt1 a wrong one1 and in the end all but extinguished the older and more beautiful art1 but ,holbein took it as he found it1 and brought to it all his mastery of design and purity of line1 so that the panels he produced were of great beauty and fine decorative effect4 ,in his day glass-painting was no longer confined to the services of the ,church1 but was introduced into the windows of all private houses of importance1 usually in the form of single panes with the householder's coat of arms1 or with sacred or profane subjects1 according to his tastes4 ,thus he had many opportunities of showing his skill in this form of decoration1 and he made use of a great variety of subjects4 ,in some instances1 such as the 8,passion0 series described below1 the treatment is frankly pictorial1 and the decorative effect is confined to the framework of ,renaissance architecture within which the subject is set2 but in others1 and more particularly those intended for the display of shields with armorial bearings1 the design becomes largely a decorative one1 in which the artist gives free play to his imagination and taste for ornamentation in the ,italian manner4 ,whatever the subject1 however1 each drawing displays wonderfully free yet delicate draughtsmanship1 skilful arrangement of the design in the space to be filled1 and extraordinary facility of invention4 ,the studies appear often to have been made to the exact size of the panel they were to decorate1 and1 as a rule1 ,holbein left the question of colour to the taste of the glass-painter2 in a few cases1 however1 he indicated it by the addition of one or two slight tints4 ,there can be little doubt that they were carried out largely in that combination of pale yellow for the higher lights and brown or grisaille for the darker portions and shadows which was the customary practice in ,switzerland at that period1 with touches of more positive colour here and there in the dresses of the figures1 the landscape backgrounds1 and the coats of arms4 ,the designs are in most cases drawn with the reed pen and washed with ,indian ink4 ,sidenote3 ,,eight ,,panels ,,of ,,saints ,only two or three of these designs1 of which some thirty or more are in existence1 are dated1 and1 with the exception of four or five made during his sojourn in ,lucerne1#cjj they were all produced between the years #aeai and #aebe or #aebf4 ,among the earliest are eight panels of ,saints at ,basel 7,nos4 #ccc-dj71cja which were designed in pairs1 and were to be placed side by side in the two divisions of a single window1 the architectural framework and background in which the figures are set corresponding in almost all details in each pair of designs1 so that it is evident that they were intended to be seen together1 forming between them a complete picture4 ,they were probably produced for the decoration of some large hall1 or the aisle of a church4 ,two other drawings belonging to the same series are contemporary copies after ,holbein from the hand of some follower1 one of which bears the date #aebj and the coat of arms of the town of ,basel1 proving that the designs were made1 most probably towards the close of #aeai1 shortly after his return from ,lucerne4 ,they appear to have been done for the cloisters at ,wettingen4 ,the first pair represent the ,virgin standing with the ,infant ,jesus in her arms1#cjb in the left division1 and some prince of the ,church in the robes of a bishop in the right4#cjc ,this last figure has been described as that of ,st4 ,pantalus1 the patron saint of ,basel1 but there is little resemblance in expression to the fine head of that bishop in ,holbein's design for the organ shutters in the minster4 ,here the face is full of arrogance1 rather than piety1 and the prelate bears himself proudly as though conscious of his exalted position4 ,his mitre and ecclesiastical robes are richly embroidered and ornamented4 ,a marked peculiarity in the drawing of all the figures in this series is their appearance of stumpiness1 the legs being too short for the bodies4 ,a similar defect is to be noted in some of ,holbein's earlier designs for book ornaments4 ,in the case of these glass designs it may have been that they were to be enlarged afterwards by the glass-painter1 and placed at some height from the floor1 and that ,holbein1 therefore1 attempted foreshortening4 ,this1 however1 is not very probable1 as all his designs for this purpose seem to have been intended for small paintings1 to be placed near the eye1 and it is much more likely that this characteristic of his figures was a fault1 also to be noticed in his earlier woodcut designs1 of which he afterwards broke himself4 ,the two in question are placed in an architectural setting of a somewhat fantastic design1 with large open arches through which an extensive mountainous landscape is seen4 ,below the hills1 on the right of the bishop1 are the houses of a village and a stone crucifix by the wayside1 and on the left a torrent rushing down a mountain gorge crowned with trees1 and forming a large waterfall under a bridge of one wide arch where the stream joins the plain4 ,the same landscape is continued in the background of the panel of the ,virgin and ,child1 the river wandering away through another gorge among the hills on the left4 ,this view is strongly reminiscent of the ,st4 ,gotthard district and the ,devil's ,bridge over the ,reuss1 and affords some slight additional proof of ,holbein's expedition across the ,alps4#cjd ,a second pair represent ,st4 ,anna with the ,virgin and ,child1 and ,st4 ,barbara4#cje ,here again the unusual shortness of the figures is very apparent4 ,st4 ,barbara1 who is dressed in the rich costume of a ,basel lady of the sixteenth century1 stands in the characteristic attitude1 with the upper part of her body bent backwards1 and the heavy dress held up in front by the hand1 as is the case in each one of the series of studies of ladies' costumes by ,holbein to be described later1 which thus appears to have been the customary habit of walking at that time4 ,the setting is less fantastic and elaborate than in the two panels just described1 and consists in each of an open arch supported by pillars1 with sculptured figures above the capitals4 ,although the details of the ornamentation of the columns do not exactly agree in the two designs1 they are evidently a pair4 ,on the left-hand panel1 as in the one on the same side in the preceding set1 there is an empty shield for a coat of arms1 and the background is also a mountainous landscape1 though drawn in less detail4 ,in the design of ,st4 ,catherine1#cjf which forms one of a pair with ,st4 ,john the ,baptist1 the background is almost entirely filled with a building with pointed arches supported by short pillars1 but on the left a narrow strip of landscape is visible1 with an archway or bridge across a road with a building on the far side of it1 and distant mountains behind4 ,the face of the saint is a very charming one1 and her hair falls in elaborate ringlets down her back1 and is surmounted with a jewelled crown4 ,in the pair representing ,st4 ,andrew and ,st4 ,stephen1 ,dr4 ,ganz recognises1 in the arcading with flat pilasters and shallow scallop-crowned niches in front of which the saints are standing1 an architectural motive taken from the cathedral of ,como4#cjg ,there is no need to describe every figure in this series in detail1 each one of which wears a halo1 a symbol of which ,holbein afterwards made very little use4 ,sidenote3 ,,the 8,,prodigal ,,son0 ,,window ,two other designs for painted glass in the ,basel ,gallery are of about the same date as these eight sheets with figures of saints1 and were done in the earlier years of his second ,basel period1 either in #aeai or #aebj4 ,one represents the 8,prodigal ,son10 and the other is an heraldic device with two unicorns supporting a shield4 ,the former is a very effective design1 in which the ,prodigal ,son is shown tending a herd of swine 7,pl4 #db 7#b774cjh ,he strides along1 barefooted1 in ragged clothes1 through which his bare knees protrude1 his long staff on his shoulder1 and his short sword grasped in his left hand4 ,his head is turned towards the spectator1 and there is a look of misery and despair on his face4 ,the animals he is driving have come to a halt round the trunk of a large oak tree which fills the greater part of the left-hand side of the sheet1 and is one of the most considerable pieces of tree-drawing ,holbein ever designed4 ,some of the pigs are devouring the fallen acorns2 others raise their snouts as though expecting the food to drop from the branches into their mouths4 ,their keeper1 whose miserable thoughts are far away from his task1 unconsciously thrusts the end of his staff into the eye of one of the herd4 ,the background is a landscape of wide expanse1 with a large walled-in building with farm outhouses on the bank of a river in the middle distance1 and a range of mountains on the horizon4 ,the whole is surrounded by a simple framework consisting of a single arch supported by pillars1 with two nude sculptured figures in the angle above the capitals4 ,the rather weak and wavering line of the flattened arch1 and the similar hesitating double spiral which runs round the pillars1 together with the very simple ornamentation of arch1 capitals and bases1 indicate that the design is quite an early one1 though the drawing of the figure and the accompanying animals is excellent and full of character4 ,an empty shield for a coat of arms is placed in the right-hand corner against the column1 and a flat space is left below for an inscription4 ,,vol4 ,i41 ,,plate #db4 ,illustration3 ,,two ,,landsknechte ,design for painted glass ,,basel ,,gallery ,illustration3 ,,the ,,prodigal ,,son ,design for painted glass ,,basel ,,gallery ,the sheet with the two unicorns#cji is much more elaborate in its architectural treatment1 and is a design of great decorative effect4 ,the two beasts stand on their hind-legs1 and support with their forelegs an empty shield of ,italian fashion4 ,the animals themselves are realistically drawn1 and are not treated merely as conventional heraldic beasts1 the sense of reality being increased by the head of the one on the left1 which is turned round over its back1 so that the horns of both point in the same direction1 but at different angles4 ,they are placed beneath a very richly-decorated edifice which ,holbein appears to have taken from one of the monumental tombs to be seen in many of the cities of ,northern ,italy4 ,the principal feature is a barrel-shaped wooden roof1 supported by a flattened arch and double pillars at the sides and in the centre4 ,at either side of this roof-like structure rise short chimneys of ,italian design1 and above it is a deep frieze with ,renaissance carvings supported by three short pillars4 ,as ,dr4 ,ganz points out1#caj the design has features in common with the fine tomb of ,andrea ,fusina1 now in the ,archological ,museum in ,milan1 while the three sculptured antique heads which crown the lower columns have their counterpart both in the ,certosa of ,pavia and the church of ,s4 ,maria delle ,grazie in ,milan4 ,the whole design1 in fact1 so closely resembles in its elaborate architecture these ,renaissance monuments1 that it is impossible to believe that it was the result of ,holbein's imagination alone1 but rather was due to personal knowledge and actual study4 ,in the landscape background is seen a country chteau with a projecting tourelle4 ,sidenote3 ,,figures ,,of ,,landsknechte ,among these designs for painted glass there is a considerable group in which the mercenary soldier or landsknecht of ,holbein's day forms the chief subject4 ,these warriors are introduced as heraldic supporters of shields1 and were intended1 no doubt1 for the use of burghers and nobles who had seen military service1 while others were designed for the city authorities4 ,the fact that in most cases the shields are left blank shows that ,holbein produced them as stock patterns for the glass-painters1 which could be adapted to the use of any customer who desired a military subject for his window4 ,in these designs ,holbein has made effective use of the picturesque and sumptuous dress and richly-decorated weapons these bold and reckless fighting-men affected4 ,one of the earliest of them in point of date is in the ,historical ,museum of ,berne4#caa ,it is1 unfortunately1 only the lower half of a design1 of which the remaining portion is now lost4 ,only the legs1 the lower part of the body1 and the left hand1 with which the landsknecht grasps his sword1 are seen1 together with part of the shaft of his lance4 ,his right foot is hidden by a large shield containing the coat of arms of the city of ,basel4 ,the bases of the columns on either side very closely resemble those in the glass design of the 8,prodigal ,son10 which places the date at about #aebj4 ,the soldier is represented as standing on a platform above the river ,rhine1 and down below1 seen between and on either side of his outstretched legs1 is a distant landscape1 drawn in a free and masterly manner1 of exceptional interest on account of its elaborate detail4 ,across the rapidly-flowing river stretches a wide tressel bridge supported on wooden piers1 which leads to an arched gateway in a high tower4 ,along the river bank1 on either side of the bridge1 are a number of houses1 and behind them a town within steep fortified walls1 with many buildings huddled together1 and a church tower rising above the surrounding roofs4 ,in the distance ranges of snow mountains close in the view4 ,trees and a high rock on the near side of the water fill the background on the left-hand side of the design4 ,the view ,holbein has thus shown is by no means an exact representation of ,basel as seen from across the water1 but is rather the simplified type of a ,rhine town of his day4 ,it is not improbable that the artist1 in addition to the wall-paintings in the new ,town ,hall1 also supplied designs for the windows in some of the rooms1 in which case this fragment of a drawing1 which contains the city coat of arms1 may very possibly have formed a part of such decoration4#cab ,the other sheets with landsknechte were produced some few years after the ,berne study1 though1 according to an old copy of one of them1 not later than #aebd4 ,in most of them the motive consists of two warriors supporting an empty shield between them4 ,it was first used by ,holbein in #aeag in a glass painting for ,hans ,fleckenstein of ,lucerne1#cac and was followed a year or two afterwards by the beautiful design in the ,basel ,gallery and the still later and equally beautiful study in the ,berlin ,print ,room4 ,the date of the last-named drawing can be fixed with some certainty from an old copy which is inscribed #aebc4 ,the example at ,basel 7,pl4 #db 7#a77cad must have been done shortly after the completion of the wall-paintings of the ,hertenstein house4 ,in the decorative details of the architectural setting it bears a close resemblance to the glass design of the ,madonna with the view of ,lucerne in the background1 of the year #aeai1 while the warrior on the right is seen again in an early glass design in the ,bibliothque ,nationale in ,paris4#cae ,the double columns carrying the arch in the ,basel drawing are richly ornamented1 and at the base are supported by a number of small nude sculptured figures4 ,festoons of laurel leaves and ribbons hang down from the arch--a feature to be found in many of these designs--and in the angles over the capitals are round medallions with antique heads1 which was also a favourite decorative motive with ,holbein1 and1 as already noted1 is rarely missing from any of his ,renaissance frameworks4 ,the two landsknechte wear breastplates over their gay attire1 and large slouched hats with many feathers4 ,the one on the left1 a bearded man1 carries sword and dagger1 and holds a battle-axe on his shoulder2 the one on the right1 clean shaven1 leans upon the shaft of his lance4 ,the two figures are splendidly conceived and drawn with the greatest force and truth2 and the whole design affords proof of how considerable an effect his stay in ,lucerne and his short visit to ,northern ,italy had upon his art1 and of the extraordinarily rapid manner in which his genius for decorative design1 and his delight in the invention of these settings of ,renaissance architecture1 developed under these new influences4 ,the background of this particular design1 which1 according to ,dr4 ,ganz1 is strongly reminiscent of the country in the ,vierwaldstttersee1 shows the tall tower of some village church1 the lower part of which is hidden by the beautifully-designed ,italian shield which the two warriors support1 situated in a hilly landscape1 with the sharp peaks of a range of mountains in the distance4 ,sidenote3 ,,figures ,,of ,,landsknechte ,a similar background is shown in the design in the ,berlin ,print ,room1#caf though only the red roof of the church tower appears above the shield4 ,this drawing has been touched with colour in places1 the faces of the two landsknechte with red1 and also the roofs of the houses of the village seen in the distance1 the landscape with green and brown1 while colour is also used in several of the decorative details1 such as the festoons hanging from the wide flattened arch4 ,the attitudes of the two shield-bearers are more natural and less forced than in the ,basel sheet4 ,they are dressed in the same fashion1 the man on the right wearing his large feathered hat fastened to his back1 and leaning on a large pike held with both hands4 ,the soldier on the left1 an exceedingly graceful figure1 with a long lance placed point downwards1 rests one hand on the shield1 and with the other touches his sword hilt4 ,the architectural setting is similar in general design to that of the ,basel example1 though here the arch is supported by pairs of short slender columns1 with sculptured figures of ,judith and ,lucretia standing on the capitals1 and above them ,samson and ,hercules1 while a long frieze over the arch contains a battle of nude foot soldiers and horsemen1 in the midst of a shallow stream4 ,in another drawing in the ,basel ,gallery1#cag the shield1 a fine heraldic design1 completely fills the right-hand side of the sheet4 ,it contains a coat of arms consisting of two pears hanging from a branch and a star on either side1 and1 surmounting the shield1 a helmet with large upstanding wings1 between which is placed a branch with a single pear1 elaborate scroll-work falling on either side4 ,on the left stands a fierce-looking landsknecht1 with his plumed hat on his back1 and a great two-handed sword upon his shoulder4 ,over the crown of the arch1 but not forming part of the architectural design1 is a battle scene with four men fighting1 two with long lances and one with a gun4 ,this drawing1 which is a most effective one1 is signed 8,h4,h40 ,the design in the ,bibliothque ,nationale1 ,paris1#cah appears to be one of the earliest of all1 produced during his stay in ,lucerne4 ,it is evident1 from the figure on the left-hand side1 that it was ordered in celebration of a wedding1 the richly-dressed young lady wearing a bridal crown being the newly-wedded wife of the landsknecht standing on the right4 ,each one supports a shield with a coat of arms1 the woman's consisting of three arrows1 and the man's of an anchor4 ,the soldier1 with long pike over his shoulder1 has a strong facial likeness1 as already mentioned1 to the warrior on the right of the ,basel design1 while the face of his wife is of the same type as the head in the ,louvre study for the ,solothurn 8,madonna40 ,in the background is a castle on a precipitous rock by the side of a lake1 shut in by a mountain range4 ,the framework consists of two columns with grotesque heads in the capitals1 supporting some elaborate scroll-work in place of an arch4 ,several other drawings in which these mercenaries form the subject are in existence1#cai including a study from life of a seated landsknecht at ,berlin1#cbj which was formerly in the ,lawrence and ,suermondt ,collections4 ,,vol4 ,i41 ,,plate #dc4 ,illustration3 ,,design ,,for ,,painted ,,glass ,with the ,coat of ,arms of the ,von ,hewen ,family #aebj ,,basel ,,gallery ,a glass design at ,basel 7,no4 #cda71 remarkable for the beauty and freedom of its luxuriant ,renaissance scroll design1 and also for its fine architecture1 bears the date #aebj 7,pl4 #dc74cba ,this design is without supporting figures1 the whole of the centre of the sheet being filled with a blank shield1 surmounted by two helmets with elaborate crests1 one with the rampant body of a winged goat1 and the other with a pair of curved trumpet-shaped horns4 ,from them flows1 down either side of the shield1 a mass of beautifully-drawn scroll and leaf ornament4 ,this elaborate coat of arms1 designed for a married couple1 is placed in an architectural setting resembling a ,romanesque church portal4 ,the circular arch is supported by six pillars on either side4 ,at the base of the two nearer ones kneel warriors in ,roman armour1 supporting a blank tablet for some inscription2 above each is a small blindfolded and trumpet-blowing cupid1 with a body ending in foliated scrolls1 and on the capitals stand sculptured figures of ,mercury and ,cronos1 the devourer of mankind1 resting on his scythe1 and about to swallow a small naked child4 ,behind their heads are two tablets1 chained to the crown of the arch1 one inscribed 8,,merchvrivs ,,ein ,,plonet10 and the other1 8,,anno ,,domini,m,d,,xx,h40 ,the upper moulding of the arch is filled with small sculptured figures of saints1 kings1 warriors1 and others of humbler rank4 ,in the lower right-hand corner is written 8d he' von ,hewen10 showing that the design was made for a member of the noble family of ,von ,hewen1 who was probably a churchman1 and1 judging from the inscription round the helmet on the right--8,,dhioeqv0--a knight of the ,order of ,st4 ,john4 ,dr4 ,ganz suggests1#cbb therefore1 that the orderer of the glass was ,wolfgang von ,hewen1 ,canon of ,trier1 ,strasburg1 and ,chur1 who became ,rector of ,freiburg ,university in #aejd4 ,there is in the ,basel ,gallery a companion drawing with the coat of arms of the ,von ,andlau family1 which1 however1 is not so fine a design4#cbc ,another and still more elaborate design of a like nature1 and of the same year1 #aebj1 was made for ,georg von ,massmnster1 ,abbot of ,murbach1 of which the original glass painting is in a private collection in ,basel4#cbd ,the coat of arms which fills the centre of the panel is surmounted by a mitre between two croziers1 and many small putti and other figures are introduced into the architectural setting4 ,sidenote3 ,,coat ,,of ,,arms ,,of ,,petrus ,,fabrinus ,another purely heraldic drawing may be mentioned here1 although not intended for reproduction as a glass painting4 ,it contains the arms of a compatriot of ,holbein's1 ,petrus ,fabrinus of ,augsburg1 who became ,rector of ,basel ,university4#cbe ,it is painted in gouache on vellum1 and was done for insertion in the ,matriculation ,book of the ,university in #aebc4 ,the arms are placed in front of a ,renaissance portico1 supported by two columns of green marble1 and with a triangular pediment1 over which is a flaming brazier1 while two naked cupids are seated on the capitals of the columns4 ,in the angles of the arch are two medallions with antique crowned heads4 ,a yellow curtain hides the whole of the lower part of the background4 ,the left half of the shield shows three roses on a blue ground1 and the right three fishes on black4 ,it is crowned with a helmet1 from which springs the figure of a ,moor in parti-coloured dress1 who holds in either hand1 attached to ribbons from his turban1 the three roses and the three fish4 ,another heraldic drawing for glass-painting is of particular interest because it was designed by ,holbein for ,erasmus4#cbf ,it represents the truncated form of the god ,hermes as ,terminus within an arch supported by single columns1 standing in a wide1 undulating landscape4 ,the statue is turned three-quarters to the left1 the head surrounded by rays1 the eyes looking upwards4 ,over the head1 suspended by ribbons from the arch1 hangs a large wooden tablet for an inscription1 placed slantwise1 like the figure below it4 ,the latter bears a considerable likeness to ,erasmus himself4 ,the setting is unusually simple1 both pillars and arch being almost devoid of ornament1 with the exception of a panel with roughly-indicated winged figures terminating in floriated scrolls1 and two roundels with the customary heads in the angles of the arch4 ,the background1 which consists of some open fields1 with a tree or two1 one distant house1 and hilly country beyond1 the whole indicated with a few lines and touches of green colour1 slight as it is1 shows to advantage ,holbein's knowledge of landscape perspective4 ,there is a freedom and simplicity in the drawing1 a dignity of conception1 and a fine sense of proportion1 which indicate that it is one of the latest in date of his drawings for glass1 and that it was most probably made shortly before his departure for ,england in #aebf4 ,erasmus adopted ,terminus1 the god of boundaries and established ways1 as his symbol after ,alexander ,stuart1 ,archbishop of ,st4 ,andrews1 had presented him1 when in ,italy1 with a gold ring set with a cornelian on which was engraved the figure of ,hermes and the motto 8,,concedo ,,nulli02#cbg and this motto ,holbein has placed in large letters across the sky of the drawing on either side of the head4 ,thus the design1 by means of the symbols used1 suggests the character of the philosopher himself1 a man who in the opinions he held would yield to no man1 and yet in his writings confined himself to established ways1 and broke few boundaries4 ,this drawing is in the ,amerbach ,collection4 ,in the ,british ,museum there is a glass design representing a ,wild ,man of the ,woods1 drawn with the brush and washed with ,indian ink and a slight colour wash4#cbh ,it represents a naked bearded man1 with a defiant look1 his head and loins girt with forest leaves1 holding an uprooted sapling in his hands1 and with feet planted apart4 ,he stands on a stone ledge forming the sill of a window1 decorated with pilasters and garlands in the ,renaissance style and opening upon a hollow among mountains covered with pines4 ,it was purchased in #ahie with the ,malcolm ,collection1 and is an exceedingly fine drawing4 ,sandrart appears to have possessed a copy of it4 ,sidenote3 8,,christ ,,on ,,the ,,cross0 ,two glass designs1 one in the ,basel ,gallery and the other in ,paris1 show that though ,holbein at this period of his life was strongly influenced by ,north ,italian art1 yet the earlier influence of such ,german painters as ,grnewald and ,hans ,baldung ,grien1 gained through a study of their great altar-pieces1 had by no means been completely overshadowed4 ,for some years at least after he had become a citizen of ,basel these two divergent forces in his development both made themselves felt in varying degrees in much of his work1 so that it is not at all easy to arrange in chronological order the large number of decorative designs and other works he produced at this time4 ,this double influence can be easily traced in these 8scheibenrisse0 of 8,christ on the ,cross between the ,virgin and ,st4 ,john10 and 8,the ,annunciation40 ,in the former#cbi the influence of ,grnewald is to be seen in the two standing figures1 in both of which1 and more particularly in that of ,st4 ,john1 the acute grief which overpowers them as they gaze on the crucified ,christ is strongly1 even violently1 depicted4 ,st4 ,john1 by the agitated movements of his whole body1 his extended fingers1 and his open mouth1 shows how passionately he is suffering4 ,the framework which surrounds them is over-decorated with a conglomeration of ,renaissance motives4 ,the side columns are covered1 and their form almost hidden1 by masses of plastic ornament1 writhing snakes round the bases1 and above them grotesque heads with long tassels hanging from their mouths2 and1 higher up1 sculptured figures of a sphinx-like nature4 ,in contrast to this1 the background is filled with one of his naturally-treated landscape scenes1 with a high rock on the right behind ,st4 ,john1 from which a tree is growing1 and on the left a glimpse of a town by a lake1 with mountains beyond and a cloudy sky overhead4 ,the 8,annunciation0 drawing1 in the collection of ,m4 ,lon ,bonnat1 ,paris1#ccj shows so many points in common with ,grnewald's altar-piece at ,isenheim1 not only in the general arrangement of the figures1 but in numerous details1 that it seems evident that ,holbein must have been well acquainted with it4#cca ,as his father was working at ,isenheim for some considerable time1 it is exceedingly probable that his sons1 even if they did not accompany him directly there from ,augsburg1 as the first stage on their journey to ,basel1 paid him one or more visits1 for the distance between the two places was not great4 ,holbein has placed the kneeling ,mary on one side of a wooden chest on which rests a cushion with her book2 on the other side the ,angel of the ,annunciation has just alighted1 an imposing winged figure1 very richly and elaborately dressed1 holding a long sceptre in one hand1 and the other outstretched towards the ,virgin4 ,the latter is by no means one of ,holbein's most pleasing representations of the ,mother of our ,lord2 it is to the angel the eye turns as the centre of interest4 ,the ,romanesque pillar and frieze behind the ,virgin is a motive taken from the crypt of the ,minster of ,basel1 while the wooden barrel roof of the chamber at the back1 in which the ,virgin's bed is placed1 was common in ,holbein's day throughout ,switzerland in council chambers1 courts of justice1 and other large rooms4#ccb ,the architectural framework resembles that of the 8,crucifixion0 drawing in the lavishness of its somewhat incongruous ornamental details4 ,the bases of the columns are sheathed with grotesque heads from which spring large foliated scrolls1 supporting wicker baskets filled with fruit and leaves4 ,dr4 ,ganz gives the date of the drawing as about #aeba or #aebb4 ,,vol4 ,i41 ,,plate #dd4 ,illustration3 ,,st4 ,,elizabeth1 ,,with ,,kneeling ,,knight ,,and ,,beggar ,design for painted glass ,,basel ,,gallery ,in composition and technique the foregoing drawing resembles a design for a glass painting in the ,basel ,collection1 representing 8,st4 ,elizabeth0 7,pl4 #dd71ccc like the last named touched with bistre4 ,the figure of the saint is placed within a semicircular niche1 round which run a number of slender1 decorated pillars1 apparently of wood1 which support the dome-shaped roof with its large rosettes in compartments and a frieze of ox-heads and ribbons4 ,st4 ,elizabeth1 who is dressed in the rich costume of a noblewoman or wealthy burgher's wife1 with her hair covered by a long veil which falls down her back1 holds up the front of her gown with her right hand in the customary ,basel manner1 and with the other pours wine or water into a bowl held by a kneeling and almost naked beggar1 who gazes up into her face4 ,on the other side of her kneels a bearded knight in full armour1 with hands raised in prayer1 his feathered helmet and his mailed gloves on the ground before him4 ,he is evidently the donor of the window for which the drawing is the original design4 ,his breastplate1 with its high gorget1 and his other accoutrements1 resemble those worn by ,st4 ,ursus in the ,solothurn picture1 and the kneeling beggar recalls the penitent in the same work4 ,the saint1 a very graceful and beautifully-drawn figure1 is placed on a low circular platform of wood or stone1 giving the suggestion of a work of sculpture4 ,the whole is strongly reminiscent of the more elaborate monumental tombs of the ,italian ,renaissance erected in the interior of some church4 ,at the bottom of the drawing1 on either side1 rise the capitals of two columns1 as though the niche in which the figures are placed were raised at some considerable height from the ground4 ,these capitals bear small boys in ,roman helmets holding empty shields4 ,the graceful and refined architecture of this drawing suggests1 according to ,dr4 ,ganz1 that it was designed after ,holbein's journey to ,montpellier in #aebc1 during which he became acquainted with the fine buildings of the ,french ,renaissance in ,besanon1 ,dijon1 ,lyon1 and elsewhere4 ,sidenote3 8,,st4 ,,elizabeth ,,with ,,kneeling ,,donor0 ,the same influence is to be seen in a second glass design at ,basel1 representing the ,virgin with the ,child in her arms and a kneeling donor on the left 7,pl4 #de71ccd in which the architectural setting is even more beautiful than in the one just described1 of which it is a free variant4 ,the ,virgin stands1 crowned1 on a low sculptured pedestal in front of a shallow niche under a circular arch beneath a pointed vaulting1 the filling in of which is carved like a scallop-shell1 as in the 8,meyer ,madonna40 ,the pilasters which support it and the frieze of ,renaissance ornamentation are flat1 and the whole setting is admirable in its restraint and quiet beauty1 and its well-balanced masses4 ,the ,virgin is surrounded with projecting rays from head to foot1 a symbol of the ,immaculate ,conception1 and the whole figure1 like that in the foregoing design1 is of tall1 fine proportions1 unlike so many of ,holbein's figures in his earlier drawings1 and gives the impression of a carved wooden statue with rays of metal or gilded wood4 ,the ,child in her arms is kicking out his legs1 and raises one chubby fist in the air1 looking over his mother's arm with a cross expression1 as though angry at having been lifted from the ground4 ,the armed1 kneeling knight appears to be the same donor as in the other drawing1 but is turned more towards the spectator1 with hands uplifted as he gazes in adoration4 ,this exceptionally beautiful and masterly design is said to have been reproduced on a considerably larger scale for a window of the church of ,st4 ,theodore in ,little ,basel4 ,a fragment of the glass1 containing the ,madonna's head1 is preserved in the ,historical ,museum in ,basel4 ,,vol4 ,i41 ,,plate #de4 ,illustration3 ,,the ,,virgin ,,and ,,child1 ,,with ,a ,,kneeling ,,donor ,design for painted glass ,,basel ,,gallery ,by far the most important of ,holbein's designs for glass windows are those forming the series of ten subjects from the 8,passion of ,christ10 in the ,basel ,gallery1 which in dramatic power and fertility of invention surpass all his earlier treatments of this great subject4 ,the range over which the series extends is a shorter one than in the painted altar-piece in eight scenes representing the same subject4 ,the latter begins with the 8,mount of ,olives0 and ends with the 8,entombment10 whereas the glass designs start with 8,christ before ,caiaphas0 and conclude with the 8,crucifixion10 so that the part of the story which is represented is told with greater detail4 ,in most cases the designs are arranged in pairs1 with the architectural framework in close though not exact correspondence1 and similarly shaped and decorated spaces left at the bottom for the inclusion of the appropriate scriptural text4 ,evidently in each of the windows of the church for which they were designed pairs of subjects were to be placed side by side4 ,two of the scenes1 however1 seem to be single designs1 the 8,mocking0 7,no4 #c71 and the 8,ecce ,homo0 7,no4 #f71 in which the setting corresponds with none of the other drawings2 while in the two last of the series1 the 8,nailing to the ,cross0 and the 8,crucifixion10 the architectural framework only agrees in its general lines1 though the designs evidently form a pair4 ,apparently1 therefore1 the series was made for a range of six windows1 four of them with double and two with single divisions4 ,according to ,dr4 ,ganz1 the series was begun1 but not completed1 by ,holbein in #aebc1 his journey to the south of ,france intervening4 ,on his return to ,basel he resumed the work1 which was probably finished by the end of the same year or early in #aebd4 ,he sees differences1 more particularly in the architecture1 in certain of the drawings1 such as the 8,mocking10 which suggest that the artist had gained fresh ideas from his study of the buildings in the towns through which he passed on his way to ,montpellier1 where he went to deliver the portrait of ,erasmus to ,bonifacius ,amerbach4 ,sidenote3 ,,the 8,,passion ,,of ,,christ0 ,,series ,the series opens with 8,christ before ,caiaphas0 7,pl4 #df 7#a774cce ,the high priest is seen from the side1 seated upon a throne raised on steps within a richly-decorated hall1 through the entrance to which the soldiers escorting ,christ are crowding4 ,christ stands below his judge1 his hands bound1 and his sorrowful face turned towards one of the soldiers1 who1 with uplifted fist1 is about to strike him4 ,the second scene1 that of the 8,scourging0 7,pl4 #df 7#b771ccf is enacted in another part of the same building1 showing the same low1 flattened arches1 and a corresponding pillar on the right with ,renaissance carving in flat relief and inlaid marble4 ,christ1 his head drooping on his shoulder1 an almost nude figure1 is bound to a broad circular column with a decorated top4 ,in the action of the three soldiers who are plying their whips and scourges there is little of that exaggerated vehemence of action which is to be seen in ,holbein's earlier versions of this subject1 while in both this and the succeeding pictures the type of face is less repulsive1 and greater reticence is shown in the display of brutality4 ,in most cases the faces of the soldiers are turned away from the spectator1 or half hidden by their action1 or only seen in profile4 ,the distortion and caricature have disappeared1 and his types have become natural ones1 taken from the daily life around him4 ,the costume in few instances only is that of ,holbein's time1 and the soldiers wear what is intended to be the antique ,roman dress1 such as had become familiar to him through ,mantegna's designs4 ,near ,christ1 in 8,the ,scourging10 a little behind the central group1 stands a bearded man in the gown and hood of a monk1 resting on a stick1 as though superintending the punishment1 and waiting for a confession2 and in the background a gallery runs across the building under the arches1 from which a second hooded figure is looking down on the scene4 ,unlike the other sheets of the set1 the 8,mocking of ,christ0 7,pl4 #dg 7#a77ccg takes place beneath the high1 pointed vaulting of some ,gothic building1 with its arches open to the sky4 ,christ1 blindfolded and with tied hands1 his body covered by the robe they have placed over him1 is seated in the centre1 with bent head1 and mouth half open with pain4 ,one of the soldiers kneels1 and thrusts the reed into his hand as a sceptre1 while a second1 stooping down1 clutches his hair with one hand1 and raises the other as though about to strike him in the face4 ,on the left between two pillars stands a tall figure clad in a long gown1 and the upper part of his face concealed by a hood of a peculiar pattern1 with a hanging peak behind1 such as is associated with portraits of ,dante4 ,this spectator1 who is also to be seen among the crowd in the first design1 has a cynical smile on his face4 ,the whole group1 which suggests a study for a work of plastic art1 is shown in strong foreshortening1 as though it were intended to be seen from some distance below2 and the same effect is produced by the perspective of the vaulting and in the drawing of the hanging lamp1 of an unusual and interesting pattern1 over ,christ's head4#cch ,this drawing is1 perhaps1 the most beautiful of all1 the happiest in its composition1 and the most spiritual in its feeling4 ,,vol4 ,i41 ,,plate #df4 ,illustration3 ,,christ ,,before ,,caiaphas ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,illustration3 ,,the ,,scourging ,,of ,,christ ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,,vol4 ,i41 ,,plate #dg4 ,illustration3 ,,the ,,mocking ,,of ,,christ ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,illustration3 ,,christ ,,crowned ,,with ,,thorns ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,sidenote3 ,,the 8,,passion ,,of ,,christ0 ,,series ,the remaining sheets of the series have each an independent architectural framework1 which forms no part of the actual setting of the scene itself1 but through which it is seen like a picture4 ,in the 8,crowning with ,thorns0 and 8,pilate washing his ,hands0 it consists of two pillars with large diamond-shaped panels containing antique heads in medallions1 and1 above the elaborately-carved capitals1 charmingly-drawn winged putti supporting the ends of a wreath which hangs from the centre of the frame4 ,in the 8,crowning0 7,pl4 #dg 7#b771cci ,christ is seen from the side1 an almost nude figure1 seated on a high stone step in front of a building upon which ,holbein has given free play to his delight in the richest ,renaissance forms4 ,in the ,saviour's downcast face is a look of intense suffering1 nobly borne4 ,two of the soldiers press the crown of thorns upon his head by means of a long curved stick held across it1 which a third man is striking violently with a stout staff1 in order to force it securely down4 ,a fourth kneels in front and thrusts the reed into the victim's hands with a jeer4 ,behind them1 on the left1 ,pilate stands1 his wand of office held aloft4 ,in the next scene 7,pl4 #dh 7#a77cdj ,pilate is seated on a high throne with a canopy supported by chains fastened to the necks of two sculptured figures1 and long curtains1 both canopy and curtains being decorated with the lilies of ,france4 ,this throne1 or judgment-seat1 is placed in an open court1 and in the background rises a ,gothic building of the type to be seen in the streets of ,basel in ,holbein's day4 ,pilate performs the symbolic action of washing his hands with the greatest vigour and determination1 one attendant holding a large flat basin in front of him while a second pours in the water4 ,on the right ,christ is being led away by a crowd of soldiers with uplifted pikes and spears4 ,pilate1 with head turned towards the departing ,saviour1 is calling after him1 strong excitement shown on his face4 ,sidenote3 ,,the 8,,passion ,,of ,,christ0 ,,series ,the next scene1 the 8,ecce ,homo0 7,pl4 #dh 7#b771cda also takes place outside the hall of judgment1 with a large ,gothic building with pinnacled gables filling in the background4 ,this building is neither ,german nor ,italian in style1 but of late ,gothic ,french architecture1 of the type of the hospital founded by the ,chancellor ,nicolas ,rollin in ,beaune1 a town through which ,holbein would be likely to pass on his way to ,montpellier1 and for this reason ,dr4 ,ganz regards it as one of the latest of the series1 done after the artist's return to ,basel in #aebd4 ,holbein has made use of the same building in the cut of the ,empress in the 8,dance of ,death40#cdb ,pilate stands in the open doorway on the right1 with ,christ by his side4 ,one hand grasps his wand of office1 and the other is held up as though demanding silence from the crowd of spectators and soldiery filling the space below him1 who are shouting and gesticulating1 and pointing their fingers in scorn at the drooping figure by ,pilate's side4 ,here again the expression of suppressed anguish and pain on ,christ's face has been admirably suggested by the artist1 who has also produced the effect of a large and vehemently-agitated crowd of people by means of a few figures cleverly grouped and contrasted4 ,behind the ,saviour is seen the head of the man in the hood-like cap1 possibly intended for some official of the ,court1 who is shown in two of the earlier designs of the set4 ,he appears again in the 8,cross-bearing0 7,pl4 #di7a771cdc the last figure issuing from the gate1 and here1 too1 ,holbein1 with admirable skill in composition1 has produced the effect of a large body of excited people4 ,the procession on its way to ,calvary has just issued through the gateway of the town1 a view of the street with its high-roofed houses being seen in the background through the archway1 and on the right the outer wall with a circular tower at the angle4 ,the general composition follows with some closeness ,holbein's earlier versions of the subject1 though marked by less passionate action and less insistence on ugly facial types4 ,christ1 a most nobly-conceived figure1 in the centre of the procession1 is stumbling under the weight of the great cross1 though he has not actually fallen to the ground4 ,he is urged forward by the soldiers who surround ,him1 some of whom raise their clenched fists1 while one1 clad in ,roman helmet and armour1 thrusts a great cudgel into his side with a brutal energy which is mirrored in his face4 ,in front walk the two thieves1 almost nude1 their hands tied behind them1 the one who is turning towards the spectator with a finely-drawn head full of character4 ,above the crowd rise the shafts and points of weapons of many shapes1 together with the uplifted ladder and the reed4 ,the framework surrounding this drawing and its fellow is exceptionally rich in its decorative treatment4 ,the columns with their basket-work and flat stucco-like ornament are connected across the top of the sheet by an acanthusleaf scroll design of great beauty1 recalling similar work on the organ shutters in ,basel ,minster1 which surrounds and supports a wreath containing an antique head in the centre4 ,the scroll-work in the next design1 the 8,stripping of ,christ's ,garments0 7,pl4 #di 7#b771cdd is entwined round the bodies of two naked boys4 ,the ,saviour kneels upon the ,cross1 in the utmost misery and dejection1 while two soldiers tear his garments from him with great violence4 ,in striking contrast to these two men is the figure of the kneeling man in the front who is boring holes in the wood to take the nails4 ,he bends over his work1 indifferent or oblivious to the turmoil around him1 or to the tragedy in which he is playing his humble part4 ,behind the central group there is a great concourse of people1 among whom can be distinguished one of the thieves1 and a man with uplifted mattock preparing a hole for the ,cross1 and1 on the right1 the head and shoulders of ,pilate4 ,in this scene most of the figures are clad in contemporary dress4 ,,vol4 ,i41 ,,plate #dh4 ,illustration3 ,,pilate ,,washing ,,his ,,hands ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,illustration3 ,,ecce ,,homo ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,,vol4 ,i41 ,,plate #di4 ,illustration3 ,,christ ,,bearing ,,the ,,cross ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,illustration3 ,,the ,,stripping ,,of ,,christ',s ,,garments ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,an even greater crowd is shown in the last scene but one1 the 8,nailing to the ,cross0 7,pl4 #ej7a774cde ,christ lies stretched upon the ground1 his body upon the ,cross4 ,one of the kneeling executioners forces down his right arm with both hands1 while a second1 with uplifted hammer1 is driving in a huge nail through his palm4 ,on the other side a third man has seized the left arm and is dragging it with violence towards him in order to stretch the body to the utmost4 ,behind them the soldiers are casting lots for the garments1 and still farther away the crosses with the two thieves are being raised aloft4 ,on the right ,pilate1 on a mule1 gazes down at the agonised body of the ,saviour1 as does a man placed nearer to the spectator1 wearing a scholar's cap and gown1 who bears some small likeness to ,erasmus4 ,in the front1 on the ground1 is placed a circular wooden box with handles1 containing the executioner's tools4 ,the columns of the framework are supported by fauns4 ,in the last scene of all1 representing the 8,crucifixion0 7,pl4 #ej 7#b771cdf the two crosses with the bodies of the thieves are placed at right angles to the central one1 on which ,christ is nailed1 as in the same subject in the painted altar-panel4 ,this drawing is the only one in the set in which the ,virgin and ,st4 ,john are introduced4 ,st4 ,john1 gazing upwards at the ,saviour1 whose sufferings are at length over1 supports the ,virgin's drooping body as she leans forward with clasped hands against the foot of the ,cross4 ,on the opposite side1 on the right1 the ,centurion1 in full ,roman armour1 and with a large shield decorated with a ,medusa head1 lifts up his right arm as a sign of his belief4 ,behind him is a soldier with his crossbow under his arm1 and his hands clasped as though he1 too1 were moved to the utmost by the tragedy4 ,a man who has just affixed the placard over ,christ's head is descending a ladder raised at the back of the ,cross1 and on either side1 above the heads of the crowd1 are seen the uplifted reed with the sponge dipped in vinegar1 and the spear which pierced the ,saviour's side4 ,in this scene there is little of the energy and even violence of the earlier pictures2 for the action has come to an end with the death of ,christ1 and ,holbein has depicted it as though a hush had fallen over the multitude of people who1 with uplifted faces1 are gazing on their handiwork4 ,their attitudes are quiet and restrained1 the vehemence of passion has subsided1 and the presence of death has quelled all anger and clamour4 ,each picture of the series is characterised by great dramatic power1 and a force and dignity of conception which shows a striking advance in ,holbein's art when compared with the early 8,passion0 scenes on canvas4 ,in the simplicity and grandeur of their composition1 and in the largeness of their design1 they afford evidence that had ,holbein worked on the southern side of the ,alps1 he would have equalled1 if he had not surpassed1 in work of this kind1 the frescoes and wall-paintings of the great ,italian masters4 ,,vol4 ,i41 ,,plate #ej4 ,illustration3 ,,christ ,,nailed ,,to ,,the ,,cross ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,illustration3 ,,the ,,crucifixion ,the 8,passion0 series of designs for painted glass ,,basel ,,gallery ,replicas of seven of these ten designs1 but reversed1 are in the ,british ,museum4#cdg ,they are not the direct work of ,holbein's hand1 but offsets taken from the ,basel drawings by means of damped paper1 a common practice with the artist in making decorative designs for such things as cups or goblets1 in which the ornamentation on both sides of the object was similar4 ,in the same manner ,holbein obtained copies of the 8,passion0 drawings1 and they were afterwards strengthened in places by retouches with a fine brush and ,indian ink1 undoubtedly the work of ,holbein himself4 ,they have thus very largely the character of the original drawings1 and are equal to them in effect1 though lighter in appearance on account of the method employed1 the ,indian ink shading being paler in colour than in the originals4 ,in the 8,cross-bearing0 additional retouches in sepia by a later and weaker hand1 which greatly mar the design1 are to be seen4 ,the three missing subjects are the 8,scourging10 8,christ ,crowned with ,thorns10 and the 8,nailing to the ,cross40 ,this set was formerly in the ,lawrence ,collection1 from which it was purchased for the ,museum4 ,it may possibly be the series possessed by ,sandrart1 which he calls a 8,passion in folio10 of which two compositions of the set were missing4 ,sandrart offered #bjj florins to anyone who would procure them for him1 so that he could exhibit the work complete for the honour of the great master who designed it4 ,sidenote3 ,,costumes ,,worn ,,by ,,basel ,,ladies ,among the drawings and designs of this period which were not made for the purpose of reproduction in painted glass1 the set representing the costumes worn by contemporary ,basel ladies is among the most important4 ,there are six of these1#cdh or rather five1 for the sixth1 which represents a fille de joie with large hat and low-cut dress 7,pl4 #ea 7#a771 is not regarded as a work from ,holbein's own hand4 ,they are pen and wash drawings1 and1 with the exception of the last one1 were in ,amerbach's possession4 ,it is not easy to say exactly for what purpose they were made1 but certainly not for painted glass4 ,it has been suggested that they represent designs for dresses invented by ,holbein--sixteenth-century fashion plates--which the ladies of ,basel afterwards used as models2 but a simpler and more natural explanation is that they are merely studies of costume made from time to time when ,holbein saw a dress which pleased him1 which would be of use in the carrying out of his wall-paintings1 or his book illustrations1 or in other ways4 ,they appear to have been done during his first years in ,basel4 ,perhaps the earliest of them is the one of the noble lady with a hat covered with ostrich feathers1#cdi and her hair confined in a silken net at the back1 who wears a dress of watered silk with a train1 which she holds up with her right hand4 ,this1 according to ,dr4 ,ganz1 is of about the date #aeaf or #aeag1 and in draughtsmanship and handling has much in common with the portrait of ,meyer's wife1 ,dorothea1 while the embroidery and tassel-work of the bodice in both the drawing and the picture are very similar4 ,the drawing of the ,basel 8,edeldame0 7,pl4 #eb71cej taken almost from the back1 which is the most beautiful of the series1 is certainly a little later in date1 and shows great freedom1 delicacy1 and truth of draughtsmanship4 ,her hair is covered with a semi-transparent striped gauze cap1 of a similar pattern to the one in the portrait of the burgomaster's wife4 ,the neck and shoulders are covered with fine white lawn1 and the plain dress is only relieved by deep bands of velvet1 and a girdle from which is suspended a metal case of chased work for a measure or 8house-wife0 at the end of a long band4 ,at least two ladies appear to have served ,holbein as a model for these studies4 ,the 8,frau ,burgermeister10 ,dorothea ,kannengiesser1 posed as the ,baseler 8,burgersfrau10#cea and perhaps as the 8,edeldame10 while for the remaining studies1 among them that of the patrician dame with the feather hat already described1 a model of a more lovely and a more wanton appearance served him1 who later on was painted by him as 8,las ,corinthiaca40 ,in a second drawing of the set the same lady appears in a gown with puffed sleeves and deep velvet bands1 embroidered petticoat and head-dress1 and wearing a number of ornaments round her neck1 including an openwork collar with the word 8,,amor40#ceb ,the same model appears in a third drawing 7,pl4 #ea 7#b771 in which she poses as a waitress1 or hostess1 with a tall cylindrical beer-glass supported on her right hand1 while with the other she holds up her finely-pleated apron4#cec ,she wears a large flat hat of unusual shape on the side of her head1 trimmed all round with bunches of feathers1 and round her neck is a gold collar of openwork with the initials 8,m4,o40 repeated several times4 ,the 8,amor0 of the first-named collar or neckband was the invention1 in all probability1 of the artist himself1 by adding an ,a and an ,r to the initials1 ,m4,o41 of the lady's name4 ,these initials indicate that ,holbein's sitter was ,magdalena ,offenburg1 and the likeness between these studies and the 8,las0 and 8,venus0 pictures is striking4#ced ,this notorious personage1 by birth a ,tschekkenbrlin1 and the mother of ,dorothea ,offenburg1 who at one time was regarded as the model of the 8,las10 married1 on the death of ,hans ,offenburg in #aead1 ,christof ,truchsess von ,wolhusen4 ,she appears to have served as a model and to have had relationships of a doubtful character with more than one painter of ,basel4 ,there is a drawing of her by ,urs ,graf1 dated #aeaf1 to which he has added an indecorous marginal note reflecting upon her course of life4#cee ,,vol4 ,i41 ,,plate #ea4 ,illustration3 ,,costume ,,study ,two drawings from a set of designs of ,ladies' ,costumes ,,basel ,,gallery ,illustration3 ,,costume ,,study ,two drawings from a set of designs of ,ladies' ,costumes ,,basel ,,gallery ,,vol4 ,i41 ,,plate #eb4 ,illustration3 8,,the ,,edeldame0 ,one of a set of designs of ,ladies' ,costumes ,,basel ,,gallery ,sidenote3 ,,costumes ,,worn ,,by ,,basel ,,ladies ,one use to which ,holbein put such drawings as these is to be seen in the 8,dance of ,death0 woodcuts4 ,in several of them in which women are introduced1 these costume studies are closely followed2 for instance1 in the little picture of the newly-married couple1 the wife's dress is almost identical with that in the first drawing of the 8,baseler ,frauentrachten0 series2 and other dresses of the set are closely copied in such cuts as 8,the ,countess0 and the 8,arms of ,death40 ,these drawings1 as already noted1 show very plainly the peculiar carriage of the body in walking which the ladies of ,basel adopted in ,holbein's day1 with the back hollowed so that the lower part of the figure was thrust forward1 in a very ugly fashion to modern eyes1 but no doubt necessary to some extent owing to the length of the dress in front1 which had always to be held up by one hand4 ,there is a very beautiful costume study in the ,library at ,dessau1#cef which is closely allied to the ,basel series4 ,it is an exceedingly graceful rendering of a fair lady in an elaborate dress with long hanging sleeves1 and a close-fitting cap over her curled hair4 ,the body is slightly inclined1 and with her right hand she holds up her dress1 and from the other1 which is stretched out1 hangs a bridle and harness4 ,there is much elegance and grace of movement in the figure1 which ,holbein has set down with a light and flowing touch4 ,it is doubtful what character the model is intended to represent4 ,dr4 ,ganz calls her 8,die schne ,phyllis10 and1 from the bridle she is holding1 it is very possible that ,holbein intended her for that fair ,phyllis who made the learned ,aristotle serve her as a horse2 or she may represent ,nemesis1 the driver of mankind1 whom ,holbein introduced into his ,steelyard wall-painting of 8,the ,triumph of ,riches10 flying through the sky with somewhat similar attributes in her hands4 ,such a representation of ,nemesis or ,fortune was not unusual1 and occurs in more than one drawing of the period4 ,there is one in the ,basel ,gallery of 8,frau ,venus0 by ,niklaus ,manuel ,deutsch1 and ,drer also makes use of the bridle in his 8,great ,fortune40 ,the beautiful study of 8,st4 ,adrian0 in the ,louvre1#ceg a pen and wash drawing1 touched with white1 on grey paper1 is probably the preliminary design for the outer side of the shutter of an altar-piece1 to be carried out in grisaille4 ,the saint is represented in full armour1 with a long cloak1 holding the sword and anvil1 symbols of his martyrdom1 in either hand1 and a lion crouching at his feet4 ,he stands on a stone parapet1 in front of which is an empty shield4 ,the figure has much in common with that of ,st4 ,ursus in the ,solothurn ,madonna picture1 and there is a still closer resemblance in face to the 8,st4 ,george0 in the ,karlsruhe panel1 both of the year #aebb4 ,holbein evidently made use of the same model both for the 8,st4 ,adrian0 and the 8,st4 ,george10 for the facial likeness is very close1 and both wear the same bushy1 curling hair4 ,it is1 therefore1 safe1 following ,dr4 ,ganz1 to date the ,louvre drawing as of the same year1 #aebb4 ,it was formerly catalogued as of the ,north ,italian ,school4 ,holbein's studies from the nude are so rare that the one of a young woman in the ,basel ,gallery is of exceptional interest4#ceh ,it is a pen and wash drawing1 touched with white in the high lights1 on red paper4 ,with the exception of the 8,christ in the ,tomb10 and a single leaf of the ,basel 8,sketch-,book10#cei this nude woman is almost the only drawing of the kind by him that is known4 ,it appears to have been made merely as a study of muscular movement1 and not as a preliminary design for a picture4 ,the model is stepping forward from the side of a plain stone pillar1 a heavy stone held in either hand1 the weight of which brings the muscles of the arms into prominence4 ,her hair falls in long curls down her back1 the head is bent towards the right shoulder1 and the eyes are cast downwards1 and the lips parted4 ,both in movement and in the suggestion of the rounded softness of the figure the drawing is admirable1 and at the same time displays an ,italian influence1 recalling similar studies by ,raphael and ,leonardo4 ,dr4 ,ganz places it among the work of ,holbein's second ,english period4 ,,vol4 ,i41 ,,plate #ec4 ,illustration3 ,a ,,fight ,,between ,,landsknechte ,drawing in ,indian ink ,,basel ,,gallery ,sidenote3 8,a ,,fight ,,of ,,landsknechte0 ,holbein made use of the ,swiss landsknechte for other purposes than that of painted windows4 ,one or two of his most masterly drawings depict incidents in the lives of these men1 whose picturesque dress and gay and manly bearing made a strong appeal to him4 ,the finest and most important of them is the large study in the ,basel ,gallery representing a fierce conflict between two considerable bodies of warriors 7,pl4 #ec74cfj ,it depicts the contemporary methods of warfare with the utmost vivacity and close adherence to truth4 ,it is1 according to ,dr4 ,ganz1 a work of ,holbein's last residence in ,basel1 probably made just before his return to ,england in #aecb4 ,in the foreground of the fight two men are at close quarters1 one of whom1 with sword whirling over his head1 grips the hair of his opponent1 who is striking at his throat with a long dagger4 ,on either side of them two soldiers are forcing a space round them with enormous pikes1 while behind is a great crowd of shouting1 panting1 and struggling men1 whose lances1 dashed in with a few hasty strokes1 stand out against the sky with an extraordinary effect both of number and movement4 ,in the hottest part of the fight one combatant uplifts a great double-handed sword1 while another protects his face with his raised drum4 ,beneath their feet are many trampled bodies and shattered weapons4 ,the composition is a very fine one1 and the draughtsmanship of extraordinary vigour and vitality4 ,one can almost hear the cries and yells1 and the clash of the arms1 so completely has ,holbein realised the scene1 and so vividly set it down on paper with rapid but unerring pencil4#cfa ,it is impossible to give here even a list of his many drawings1 of which so large a number are in the ,basel ,gallery4 ,in the ,amerbach ,collection there is a sheet with studies of a recumbent lamb and a lamb's head1#cfb both drawn with the utmost delicacy in silver-point and slightly washed with water-colour1 most faithful renderings of nature1 perhaps made as a preliminary study for some picture of the youthful ,st4 ,john2 and a second sheet with a drawing of the underside of a bat with outstretched wings1#cfc carried out with the same minute care1 the red veins1 which show through the transparent membranes of the wings1 being put in with water-colour4 ,in the same collection there are numerous designs for jewellery1 dagger-sheaths1 cups and other vessels1 for the use of silversmiths and metal-workers2 but as much of ,holbein's best work of this kind was produced in ,england1 discussion of them may be reserved until a later chapter dealing with his designs for the ,london goldsmiths4 ---------------------------------------- -------------------------------- ,,chapter ,,viii ,,portraits ,,of ,,erasmus ,,and ,,his ,,circle ,portraits of ,erasmus and gidius by ,quentin ,metsys--,copy of the 8,erasmus0 at ,hampton ,court and the original in ,rome--,portraits of ,erasmus by ,holbein sent to ,london--,the ,longford ,castle 8,erasmus0 and copies of it--,the ,louvre portrait1 and the study for it at ,basel--,holbein's journey to the ,south of ,france--,drawings of the sepulchral effigies of the ,duke and ,duchess of ,berry--,the ,greystoke portrait and the version at ,parma--,the ,basel roundel--,woodcut portraits of ,erasmus--,portraits of ,froben--,melanchthon--,holbein's drawing of himself at ,basel4 ,,the portraits painted by ,holbein prior to his departure from ,basel to ,england were not numerous1 even when allowance is made for the probable disappearance or destruction of several of which no trace now remains4 ,there are less than a dozen in all1 even when the three different versions of ,erasmus are included4 ,the ,burgomaster ,meyer and his wife1 ,benedikt von ,hertenstein1 ,amerbach1 ,froben1 ,erasmus1 and his own portrait almost complete the list1 to which may be added the two versions of ,magdalena ,offenburg as 8,venus0 and as 8,lais10 and the portrait at the ,hague now said to represent his wife shortly after he married her4 ,considering the mastery he had already displayed in this branch of art1 it is extraordinary that he did not receive more commissions for portraits from his fellow-citizens4 ,he found a good patron in ,erasmus1 however1 who was always ready to sit for his likeness4 ,he was painted by several well-known artists1 and employed ,holbein on more than one occasion4 ,he presented several of these portraits to friends and supporters in ,england and elsewhere1 and as he had many admirers who were anxious to possess one1 ,holbein's original pictures of him were copied a number of times both during the philosopher's lifetime and afterwards4 ,although ,erasmus paid his first visit to ,basel in #aeac for the purpose of making the acquaintance of ,froben1 who was about to publish several of his works1 including his edition of the ,new ,testament1 and renewed this visit on several occasions1 sometimes remaining there for months at a time1 he did not make the city his permanent home until #aeba4 ,both during these earlier visits and after he had settled in ,basel1 he made ,froben's home his own4 ,this house1 8zum ,sessel10 was in the ,fischmarkt1 but after ,froben's death in #aebf1 ,erasmus moved to the house of ,froben's son1 8zum ,luft10 now ,no4 #ah in the ,bumleingasse1 and it was in this latter house that he died in #aecf4 ,he was attracted by the freedom and independence of the life within the city1 and the opportunities it afforded both for quiet study and daily intercourse with many learned men1 and also by the number and fame of its printers and their presses4 ,sidenote3 ,,portraits ,,of ,,erasmus ,,and ,,gidius ,the earliest portrait of ,erasmus of which we have a record is the one painted by ,quentin ,metsys in ,antwerp in #aeag1 which formed the left-hand side of a double portrait or diptych1 of which the other half contained the portrait of ,peter gidius1 the learned traveller1 and town-clerk of ,antwerp1#cfd to whom the ,utopia was dedicated1 and whose garden was selected by ,more as the scene in which ,raphael ,hythlodus told the imaginary story of that island city4 ,it was painted as a joint-gift from ,erasmus and gidius to ,sir ,thomas1 and the two portraits were hinged together1 and sent over to ,england4 ,several letters in the correspondence of ,more and ,erasmus have reference to this present4 ,the painting was delayed in the first place by the serious illness of ,peter1 and then by indisposition on the part of ,erasmus4 8,i was well enough10 ,erasmus tells ,more1 8but some fool of a doctor prescribed for me a couple of pills for purging my bile1 and ,i1 still more foolishly1 followed his advice2 my picture had been previously begun1 but1 from the physic ,i took1 when ,i came back to the painter1 he declared that my features were not the same1 so that his work is delayed for a few days until ,i become more alive40 ,the portraits were finished by the #afth of ,september #aeag1 and sent to ,more1 who was then at ,calais1 in charge of ,erasmus' 8famulus10 ,peter ,cocles4 ,more's letter of thanks1 dated ,october #fth1 expressed the greatest delight with the gift1 and contained a ,latin poem in honour of the portraits1 in which they were both minutely described4 ,in a postscript he spoke in admiration of the way in which ,quentin had imitated his 7,more's7 handwriting on the letter which ,peter holds in his hand4 ,these two portraits no longer hang together1 and until quite recently all traces of the 8,erasmus0 had been lost4 ,the 8gidius0 is now in ,longford ,castle1 in the possession of ,lord ,radnor1 and with it hangs a portrait of ,erasmus2 but the latter is not by ,metsys1 but by ,holbein4 ,at what period the original pair were parted is not known1 but the two in ,longford ,castle were purchased at ,dr4 ,meade's sale in #aged1 the first ,lord ,folkestone giving #aje guineas for the 8,erasmus10 which was rightly sold as by ,holbein1 and #ia guineas for the 8gidius10 also described as by the same painter2 and for many years both portraits were regarded as the work of ,holbein4 ,dr4 ,meade placed ,latin inscriptions on the frames1 in which the names of ,erasmus1 gidius1 and ,holbein were joined together4 ,in more recent years the authorship of the 8gidius0 has been rightly ascribed to ,metsys1 while ,holbein's signature1 and the date #aebc on the 8,erasmus0 prove conclusively that it is not the original companion-half of the diptych painted in ,antwerp in #aeag1 further proof of this being afforded by the fact that both subjects are represented looking to the spectator's left1 instead of towards one another1 and that the 8,erasmus0 is painted on a considerably larger scale than the other1 which would not have been the case had the portraits been intended as a pair4 ,the matter was finally cleared up by the late ,mr4 ,john ,gough ,nichols4#cfe gidius#cff is represented in a fur coat1 holding in his left hand a letter addressed to himself in the handwriting of ,sir ,thomas ,more1#cfg and his right touching a book which is inscribed 8,antibarbaroi0 in ,greek capitals4 ,an ivory sand-castor and a gold cup and cover are on one of the shelves at the back1 which are covered with books4 ,there is a replica of it in the ,antwerp ,museum1 which differs slightly in a few of the details1 and is either a fine contemporary copy or from the hand of ,metsys himself1 though until quite recently it was still officially described as a portrait of ,erasmus by ,holbein4#cfh ,sidenote3 ,,the 8,,erasmus ,,writing0 ,until a year or two ago all traces of the original 8,erasmus0 by ,metsys had disappeared1 but ,herman ,grimm1 ,woltmann1 and ,h4 ,hymans all identified a picture at ,hampton ,court as a reduced copy of the original4 ,this is the 8,erasmus ,writing0 7,no4 #eid-cca71 a small half-length1 turned to the right1 but with both eyes seen4 ,he is writing in a book which lies on a desk in front of him4 ,other books are on a shelf at the back1 with the titles inscribed on the edges of the leaves1 all of them works by ,erasmus published before #aeag4 ,mr4 ,ernest ,law#cfi suggests that it is identical with the picture in ,charles ,i's catalogue described as 8,some schollar without a beard1 in a black habit and a black cap1 looking downwards upon a letter which he holds in both hands1 being side-faced1 less than life2 which was sent to the ,king by his ,majesty's sister1 by ,mr4 ,chancellor1 ,sir ,henry ,vane1 ,lord ,ambassador from the ,king to the ,king of ,sweden1 painted upon the right light--done by ,cornelius ,vischer40 ,the poorness of the execution1 the indistinctness of the lettering on the books1 and the utter gibberish of the words which ,erasmus is writing1 betray the hand of some ignorant copyist1 though enough of the wording can be traced to show that the philosopher is engaged in setting down the title and first words of his commentary on ,st4 ,paul's ,epistle to the ,romans1 which was begun in #aeag4cgj ,there is a second copy of this portrait in the ,amsterdam ,museum2 and in the #aijd edition of the ,amsterdam ,catalogue 7p4 #bjj71 a third example was first described1 which is now generally regarded as the work of ,metsys himself and the missing half of the diptych4 ,it is in ,rome1 until recently in the collection of the late ,count ,stroganoff1 and was in the possession of ,count ,alexander ,stroganoff as early as #ahjg4 ,it is slightly smaller than the 8gidius0 at ,longford ,castle1 but has evidently been cut down1 as the height of the heads as seen against the shelves at the back is the same in both pictures4 ,metsys represented the two friends as though seated in a single chamber4 ,erasmus is placed on the left1 facing the right1 and engaged in writing1 and gidius is on the other side of the room1 looking up with ,more's letter in his hand1 and pushing forward his own book of travels as though about to present it to the ,englishman4 ,the same bookshelves run across the background in both portraits4#cga ,the picture has been recently presented by ,count ,stroganoff's heirs to the ,corsini ,gallery in ,rome4 ,three or four years later ,erasmus' likeness was taken by ,albrecht ,drer1 who met him during his tour in the ,netherlands in ,july #aebj4 ,drer appears to have made two drawings#cgb of him at this time1 and some years afterwards1 in #aebf1 he engraved his head from memory1 with the aid of one of these two studies4 ,this engraving#cgc by no means equals ,holbein's several portraits of the scholar1 either as a likeness1 or in its subtle expression of character4 ,erasmus1 writing to ,pirkheimer1 said that it was not at all like him1 but that this was not surprising1 as he had greatly changed in five years4 ,sidenote3 ,,the 8,,erasmus ,,and ,,froben0 ,,diptych ,there is no direct evidence to prove that ,holbein painted any portrait of ,erasmus before the year #aebc1 though it is very possible that he did so4 ,perhaps the earliest may be the one mentioned by ,remigius ,faesch1 who infers1 in his manuscript life of the painter1 that ,holbein once painted a double picture of the friends ,erasmus and ,froben4#cgd ,it is said that after the sudden death of the latter in #aebg1 from injuries caused by a fall on the pavement1 ,erasmus obtained the two portraits1 and had them hinged together1 as a perpetual memorial of their great friendship4 ,after the death of ,erasmus in #aecf this diptych remained in ,basel for nearly a century1 and was then bought1 about the year #afbe1 by ,michel ,le ,blond1 the well-known collector of works of art1 for one hundred golden ducats1 and shortly afterwards sold by him to the ,duke of ,buckingham4 ,the ,duke afterwards gave the panels to ,charles ,i4 ,on the back of the 8,froben0 portrait at ,hampton ,court there is pasted a piece of paper inscribed--8,this picture of ,frobonus was delivered to his ,mt4 by ye ,duke of ,buckingham before he went to the ,isle of ,ree10 the five words in brackets being now illegible4 ,in ,king ,charles' ,catalogue they are entered as1 8,the picture of ,frobonius1 with his printing tools by him1 being ,erasmus of ,rotterdam's printer and landlord at ,basil4 ,done by ,holbein02 and1 8,the picture of ,erasmus of ,rotterdam1 in a high black frame2 done by ,holben1 fellow to the aforesaid piece of ,frobenius1 painted upon the right light40 ,they were sold separately1 after the ,king's execution1 by order of the ,commonwealth1 and fetched larger prices than almost any other pictures from the royal collection4 ,they were valued at #ajj each1 and at that price were purchased by ,mr4 ,milburne and ,colonel ,hutchinson respectively4 ,they were returned to the royal collection at the ,restoration1 and in #afgb ,patin saw them hinged together as they had been in earlier days4 ,they are now in ,hampton ,court4 ,while in the possession of ,charles ,i1 or more probably ,le ,blond1#cge these two portraits were 8restored10 and by no means improved4 ,four inches were added to the top of the 8,frobenius0 in order to make it a pendant to the 8,erasmus10 and the backgrounds were repainted and altered by ,von ,steenwyck4 ,the original background of the 8,frobenius0 was either plain or a simple room with a window1 but has been changed to a lofty apartment with pillars and a paved floor1 part of the original blue-green ground being left behind the head2 in the 8,erasmus0 it has been turned into an elaborate arrangement of stone pillars and arches1 resembling the gloomy interior of a church4 ,walpole states that ,von ,steenwyck's name and the date #afbi are on the 8,frobenius10 but this inscription cannot now be discovered4 ,the latter is by far the finer work of the two4 ,the portrait of ,froben1 which most modern critics do not admit to be an original work1 is described below4 ,the companion portrait of ,erasmus--,no4 #eig 7#cbd7--;is certainly only a copy1 and not a very good copy1 of some original by ,holbein1 possibly the ,longford 8,erasmus10 to which it bears a close resemblance4 ,it was accepted by ,wornum as a genuine work of the early ,basel period1#cgf but modern criticism is unanimous in condemning its authenticity4 ,its only claim1 and a very slight one1 to genuineness is that it was formerly hinged to the portrait of ,froben2 but ,mr4 ,ernest ,law#cgg throws doubt on the story that ,erasmus himself had the two joined together1 which he regards as a myth1 and suggests that the joining was done by some picture-dealer in ,basel after ,erasmus' death1 or by ,le ,blond himself when he purchased them4 ,in the ,hampton ,court picture#cgh the scholar is represented at half-length1 less than life1 turned slightly to the left4 ,he is dressed in the usual black coat trimmed with fur1 and a black cap4 ,the hands1 excellently drawn1 rest on a closed red-bound book in front of him4 ,the original plain background1 as already stated1 has been elaborated and spoilt by ,von ,steenwyck4 ,it is probable that the double portrait spoken of by ,faesch1 of which he had a copy1 was not the original work of ,holbein1 and in that case the supposition1 based on his manuscript1 that at some unknown period in the history of the diptych the 8,erasmus0 was removed1 and a copy substituted for it1 is equally incorrect4#cgi ,most possibly the picture now at ,hampton ,court was the one actually purchased by ,le ,blond in ,basel1 to whom it would be sold as a genuine work by ,holbein4 ,a still less probable supposition is that a change took place after the sale of the royal collection in #afej1 when the picture was in the possession of ,mr4 ,milburne1 who1 it is suggested1 at the ,restoration returned a copy in place of the original4 ,sidenote3 ,,portraits ,,of ,,erasmus ,the first portraits of ,erasmus by ,holbein to which a date can be given are the ,longford ,castle example and the profile likeness in the ,louvre1 both of which were painted in #aebc1 probably towards the end of that year1 when the artist was about twenty-six2 and it is generally agreed that these are the two which were sent to ,england by ,erasmus in #aebd4 ,in a letter to his friend ,wilibald ,pirkheimer at ,nuremberg1 dated ,june #crd of that year1 ,erasmus says3 8,only recently ,i have again sent two portraits of me to ,england1 painted by a not unskilful artist4 ,he has also taken a portrait of me to ,france40 ,that the painter to whom ,erasmus refers was ,holbein is proved by a passage in ,beatus ,rhenanus' ,emendations of ,pliny1 published by ,froben in ,march #aebf1 and written in the previous year4 ,in speaking of the most celebrated ,german painters of the day1 he mentions ,drer in ,nuremberg1 ,hans ,baldung in ,strasburg1 and ,lucas ,cranach in ,saxony1 and concludes with ,hans ,holbein in ,switzerland1 8born in ,augsburg1 but for a long time a burgher of ,basel1 who last year painted1 most successfully and finely1 two portraits of our ,erasmus of ,rotterdam1 which he afterwards sent into ,england40#chj ,one of the two sent to ,england was a present to ,william ,warham1 ,archbishop of ,canterbury1 whose yearly pension to ,erasmus was increased about this time4 ,the latter wrote to ,warham on ,september #d1 #aebd3 8,i hope that the portrait painted of me1 which ,i sent to you1 has reached you1 so that you may have somewhat of ,erasmus should ,god call me hence40 ,it is not known for whom the second portrait was intended4 ,no reference to it is to be found in the numerous letters despatched to ,england by ,erasmus in that year1 addressed1 among others1 to ,fisher1 ,tunstall1 ,wolsey1 and the ,king himself4 ,it was not1 apparently1 meant for ,sir ,thomas ,more1 for he already possessed the portrait of his friend by ,metsys1 and it is not very probable that ,erasmus would send him a second4 ,nor does ,more speak of it in his letters to ,basel1 although he is certain to have done so had he received so valuable a gift1 for he was lavish in his praise and his thanks for the ,metsys portrait in #aeag4 ,it has been generally supposed that the well-known letter from ,more to ,erasmus1 in which he speaks of ,holbein as a wonderful artist1 affords proof that ,sir ,thomas had seen one or both of these two portraits1 and that it was of them he was speaking when he praised the painter's skill4 ,the date of this letter is given as ,december #ah1 #aebe1 in the published works of ,erasmus1 but ,herman ,grimm showed that it was incorrect1 and altered the year-date to #aebd1 in which ,woltmann followed him4 ,this1 however1 is also an error4 ,the real date of the letter is #aebf1 as is proved by the literary work of ,erasmus mentioned in it2 and it has1 therefore1 nothing to do with the two portraits sent over in #aebd1 but was written shortly after ,holbein's arrival in ,london1 when ,more had made his personal acquaintance4#cha ,it is impossible to say which of the two portraits of #aebc is the earlier in date4 ,no doubt the preliminary drawings for both were made in the little room or study in which the scholar sat daily at work upon his own writings1 or supervising the publication and correcting the proofs of other volumes issued by ,froben1 for whom he was then acting as a kind of editor-in-chief4 ,in the ,longford ,castle example 7,pl4 #ed7chb ,holbein has shown his sitter to the waist1 turned to the left1 the face seen in three-quarters4 ,he is wearing his invariable dress of black lined with sable1 and over it a dark cloak trimmed with black fur1 and a black doctor's cap over his grey hair4 ,he gazes in front of him1 with a half-smile in his blue eyes and on his fine1 sensitive mouth4 ,his hands rest on a red book placed on the table before him1 on the gilt edges of which is inscribed1 partly in ,greek and partly in ,latin characters1 8 ,,erasmi ,,rotero--0 7,the ,herculean labours of ,erasmus of ,rotterdam7--the end of the last word being hidden by the sable cuff of the cloak4 ,the background shows on the left a flat1 richly-ornamented pillar and capital of ,renaissance design1 and on the right a green curtain hung from a rod by rings1 partly drawn aside1 and revealing a shelf on which are three books and a glass water-bottle4 ,on the cover of the book which leans against the latter is the date 8,,mdxxiii410 and on the edge of the same volume is a damaged couplet in ,latin1 now partly defaced1 which ,j4 ,mhly1 after supplying several missing words1 read as follows3-- 8,ille ego ,joannes ,holbein1 en1 non facile ullus4 ,tam mihi mimus erit quam mihi momus erat40#chc ,these lines1 no doubt1 were composed by ,erasmus himself in praise of the artist4 ,traces of further inscriptions1 now undecipherable1 are to be seen on the edges of the other books4 ,this work shows an extraordinary advance in ,holbein's powers as a portrait-painter when compared with even so fine a work as the 8,bonifacius ,amerbach10 painted four years earlier4 ,the modelling of both head and hands is searching in its truth1 and he rarely accomplished anything more perfect in the subtlety of its delineation of character1 and in a realism without exaggeration or hardness of detail4 ,we see the 8little old man10 as ,drer described him when he met him in ,brussels some years earlier1 just as he was in reality1 the marks of age on his strongly-lined face1 and about the eyes something of the tired look of the scholar and bookman1 but the face still stamped with mental energy1 and a calm1 tolerant1 and dignified outlook on life4 ,a faint smile lights up his features1 as though satisfied both with his own accomplished work and with the world in which he was living4 ,for penetrating insight1 indeed1 this portrait is almost unsurpassed4 ,it shows that side of the character of ,erasmus which is displayed in his familiar letters to friends1 in his ,praise of ,folly1 and his ,colloquies1 a gentle1 genial sense of humour which sweetened his intercourse with his fellows4#chd ,a sheet in the ,print ,room of the ,louvre contains a slight1 almost obliterated1 study for the head in this picture1 but full face1 and a masterly drawing for the right hand1 full of character2#che a second contains two studies of the left hand1 and one of the right hand holding the pen in the ,louvre portrait 7,pl4 #ee74chf ,in the catalogue of the ,meade sale it was stated that the picture had been at one time in the ,arundel ,collection4#chg ,,vol4 ,i41 ,,plate #ed4 ,illustration3 ,,erasmus #aebc ,from the picture in the collection of the ,earl of ,radnor at ,longford ,castle ,sidenote3 ,,the ,,longford ,,castle 8,,erasmus0 ,this version of ,erasmus was repeated and copied more than once1 with slight modifications1 during the lifetime of the sitter as well as after his death4 ,such versions are to be found at ,turin1 ,vienna1 and elsewhere1 the best of which is the one in the collection of ,mr4 ,walter ,gay1 in ,paris2#chh while there are others1 less closely following the original1 such as the 8,erasmus0 at ,hampton ,court already described1 which forms a pendant to the 8,frobenius40 ,there is a fine portrait of ,erasmus in ,windsor ,castle by ,george ,pencz#chi of ,nuremberg1 a pupil of ,drer's1 which is evidently based on the ,longford ,castle picture1 or a good copy of it1#cij which bears the artist's initials and the date #aecg1 so that it was painted the year after the scholar's death4 ,it has a plain green background1 on which the shadow of the head is cast1 and part only of the clasped hands are shown4 ,the dress closely resembles that worn by ,erasmus in the ,longford ,castle picture4 ,this portrait1 though it lacks much of the character of the original which inspired it1 reproduces many of its small details1 including the peculiar patch of darkened skin between the left cheek-bone and the ear1 which is to be seen in almost all ,holbein's portraits of him4#cia ,it was bought by the ,duke of ,hamilton in ,nuremberg and presented by him to ,charles ,i in #afeb4 ,it was ,no4 #ac in ,van der ,doort's ,catalogue of that ,king's collections4 ,everything indicates that the original picture of which this is a version was in ,england in #aecg2 but as there is no record of any visit paid to this country by ,pencz1 he must have worked1 not from the ,longford original1 but from one of the variants painted about #aecj1 after ,holbein's return to ,basel from ,england4 ,the portrait in the ,louvre 7,pl4 #ef7cib is smaller than the ,longford ,castle picture4 ,erasmus is shown in profile to the left1 about two-thirds the size of life1 seated at a table1 writing1 his eyes cast down on the paper1 which he holds in position with his left hand upon a book he is using as a writing-desk4 ,in his right#cic is a reed pen4 ,his dress is the same as in ,lord ,radnor's picture1 and his black cap almost conceals his grey hair4 ,in the background on the left is a damask curtain of dark bluish green1 with a pattern of trees and lions in sage green1 and powdered with small red and white flowers2 and1 on the right1 some wooden panelling4 ,the inscription on the paper he holds is now quite illegible1 but in the study for the picture1 in the ,basel ,gallery1 it is still to be plainly read1 and shows that the scholar is setting down the title of the work upon which he was engaged at the time he was sitting to ,holbein4 ,it runs-- 8,in ,evangelium ,marci paraphrasis per ,d4 ,erasmum ,roterodamium auctorem ,cunctis mortalibus insitum est40 ,this is the heading of his paraphrase of the ,gospel of ,st4 ,mark1 upon which he was at work in #aebc1 and gives the date of the picture4 ,the inscription on the ,louvre portrait was undoubtedly the same4 ,,vol4 ,i41 ,,plate #ee4 ,illustration3 ,,study ,,for ,,the ,,hands ,,of ,,erasmus ,drawing in silver-point and red and black chalk ,,louvre1 ,,paris ,,vol4 ,i41 ,,plate #ef4 ,illustration3 ,,erasmus #aebc ,,louvre1 ,,paris ,sidenote3 ,,portrait ,,of ,,erasmus ,,in ,,the ,,louvre ,this portrait1 like the one in ,longford ,castle1 is painted with the utmost perfection1 in dark but warm tones2 it almost surpasses the other both in colouring and in its mastery of expression4 ,the features are firmly set1 the sitter's thoughts entirely concentrated on his work1 so that he is oblivious to all else but the matter in hand4 ,the drawing of the hands is masterly4 ,the complexion is warm and healthy1 and the eyebrows1 unlike the hair1 locks of which straggle below the cap1 have not yet turned grey4 ,this picture was once in the possession of the ,newton family4 ,on the back of the pine panel on which it is painted is pasted a paper memorandum1 now partly destroyed1 which runs3 8,of ,holbein1 this 444 of ,erasmus ,rotterdamus was given to 444 ,prince by ,jos4 ,adam ,newton40 ,in addition there is a red seal with the ,newton arms and their motto1 8,vivit post funera virtus10 as well as the brand of ,charles ,i 7,c4 ,r4 surmounted by a crown71 and of the ,french royal collection 7,m4 ,r4--i4e4 ,muse ,royal--also below a crown74 ,king ,charles afterwards exchanged this picture and a 8,holy ,family0 by ,titian with ,louis ,,xiii for ,leonardo's 8,st4 ,john the ,baptist10 through the medium of the ,french ,ambassador1 the ,duc de ,liancourt4 ,after ,charles's execution the ,leonardo returned to the ,french royal collections1 being purchased at the sale by the ,french banker ,jabach for #adj1 and presented by him to ,louis ,,xiv4 ,in the catalogue of the ,louvre by ,,mm4 ,lafenestre and ,richtenberger it is stated that the 8,erasmus0 was 8painted for ,sir ,thomas ,more10 but this is mere conjecture1 and probably not correct4 ,it was engraved by ,franois ,dequevauvillers for the 8,galerie du ,muse ,napolon10 and etched by ,flix ,bracquemond about #ahfj4 ,a facsimile of the first state of this fine plate was reproduced in the ,gazette des ,beaux-,arts#cid shortly after the etcher's death4 ,the original study for the ,louvre portrait1 in the ,basel ,gallery 7,no4 #cai71cie is painted in oil on paper1 afterwards fastened down on panel4 ,with the exception of a plain background1 and some slight differences in the costume1 it agrees in all points with the more elaborately finished picture4 ,erasmus is using a book bound in red as a writing-desk1 which rests upon a second volume4 ,the tablecloth is green4 ,his upper lip shows several days' growth of iron-grey hair4 ,although not so fine in execution1 it is nevertheless a remarkable and lifelike study4 ,the present plain green background1 however1 is not original4 ,it had at one time a patterned tapestry hanging behind the figure1 as can be seen in the woodcut taken from it by ,rudolf ,manuel in the ,latin edition of ,sebastian ,mnster's ,cosmography1 published in #aeej1 which has an inscription beneath it referring to the portrait in terms of high praise1 and stating that ,holbein painted it from life4#cif ,it is described in the ,amerbach inventory as 8,ein ,erasmus mit olfrb vf papir in eim ghs ,h4 ,holbeins arbeit10 and it appears to have belonged to ,bonifacius almost from the day it was painted4 ,all evidence points to this oil-study being the third portrait mentioned by ,erasmus in his letter to ,pirkheimer of the #crd ,june1 #aebd1 which was taken by the painter into ,france4 ,bonifacius ,amerbach was absent in that country1 studying law at ,avignon under ,alciat1 and afterwards at the ,university of ,montpellier1 for two years1 from ,may #aebb to ,may #aebd4cig ,in his absence ,erasmus sent him his own portrait as a present1 and by the hands of the artist who painted it4 ,if the date of the letter to ,pirkheimer is correct1 ,holbein must have paid his visit to the ,south of ,france in the early spring of #aebd4 ,the letter to ,pirkheimer1 written in the beginning of ,june1 states that the pictures had been sent to ,england and ,france 8recently10 but1 according to ,woltmann1 ,amerbach was back again in ,basel in ,may1 before the date of the letter1 so that the sequence of events becomes a little confused4 ,it is1 of course1 possible that ,amerbach received the portrait on the eve of his departure from ,montpellier1 and that he may even have made the journey home in ,holbein's company2 while ,erasmus may not have troubled himself to inform his correspondent that the portrait sent into ,france was already back again in ,basel4 ,sidenote3 ,,visit ,,to ,,the ,,south ,,of ,,france ,nothing is known of this journey undertaken by ,holbein1 but it is not at all likely that he set out solely as the messenger of ,erasmus1 for the set purpose of delivering the portrait to ,amerbach4 ,it is much more probable that the desire for travel was still strong in him1 and that the spirit of adventure1 combined with the wish to discover fresh fields for the practice of his art1 may have sent him forth as a wanderer again4 ,in this connection1 ,dr4 ,ganz points out the somewhat strange coincidence that at this very time1 the #aith ,april #aebd1 his patron1 ,jakob ,meyer1 set out from ,basel for ,lyon1 with a band of two hundred men1 in order to join the ,french expedition about to proceed against ,milan4#cih ,holbein may have seized the opportunity of travelling with him1 not necessarily as a fighting man1 but for the sake of company on his journey4 ,the route followed was probably through ,besanon1 ,dijon1 ,beaune1 ,macon1 ,lyon1 and down the ,rhne to ,avignon1 ,nimes1 and ,montpellier4 ,in these cities he would see many fine examples of ,french ,renaissance architecture1 the influence of which1 as already pointed out1 can be detected in certain of his designs for glass-painting2 and it is highly probable1 also1 that he must have had opportunities of studying to some extent the work of the ,clouets and their school1 with whose art1 both in point of view and technique1 his own had certain features in common1 and that their portraits1 with their enamel-like surfaces1 and more particularly their lifelike and elegant portrait-studies in coloured chalks1 must have made a considerable impression upon him4#cii ,beyond such influences as these1 to be seen in his later work1 there is nothing to indicate such a journey1 nor1 if it were actually taken1 for how long he was absent from ,basel4#djj ,the scarcity of dated works between #aebc and #aebf may suggest a lengthy absence abroad1 but this is more than counterbalanced by the fact that1 with the exception of a couple of drawings1 there is nothing from his hand1 either portrait1 or church picture1 or wall decoration1 so far discovered1 which can be shown to have been carried out in ,france4 ,it is possible1 though not probable1 that the greater number of the 8,dance of ,death0 woodcuts1 which were first published in #aech at ,lyon1 were finished by #aebc1 and that ,holbein1 during his stay in that city1 may have made arrangements with the ,trechsels for their publication2 but there is nothing to show that this was the objective of his journey4 ,moreover1 everything seems to indicate that ,holbein merely supplied the designs for these woodcuts to the engraver ,ltzelburger1 and had no further monetary interest in them or their publication in which case his visit to ,lyon need not necessarily have had anything to do with them4#dja ,the two drawings to which reference has been made are in the ,basel ,collection1 and are studies of two life-size sepulchral effigies of the early fifteenth century1 in the cathedral of ,bourges1 representing the ,duke ,jehan de ,berry1 who died in #adaf1 and his wife1 kneeling with hands clasped in prayer4 ,in ,holbein's day the monument was still in its original position in the private chapel of the ,dukes of ,berry1 afterwards pulled down1 when the figures were removed to the ambulatory of the choir4 ,other parts of the monument are now in the local museum4 ,holbein's masterly touch has vivified the somewhat stiff and formal attitudes of these kneeling figures1 in which1 however1 can be seen the beginnings of that realism and individuality which formed so marked a characteristic of the work of a later period of sculpture4 ,these two fine drawings1#djb of which that of the ,duchess 7,pl4 #eg7djc is the more beautiful1 have almost the appearance of being studies from life instead of mere transcripts from the stone1 and this effect is heightened by the skilful use the artist has made of touches of red and yellow crayons to his black chalk drawings4 ,the sharp features of the ,duchess1 with high forehead and pointed nose1 seen in profile1 are full of expression4 ,she wears the costume of the early fifteenth century1 with a high ruff and heavy gold necklace1 her golden hair enclosed in a fine net1 and surmounted by a diadem set with square stones and jewels4 ,it is now only possible to compare ,holbein's truth of likeness to the original in the case of the statue of the ,duke1 for in that of the ,duchess the head was broken off during the ,french ,revolution1 and was replaced by another some forty years later1 lacking all expression1 and with a royal crown instead of the ducal diadem4 ,these two studies1 however1 cannot have been made during ,holbein's visit to ,southern ,france in #aebd2 the draughtsmanship of them points to a later period1 when his art had reached its greatest pitch of perfection4 ,the position of ,bourges1 too1 in the very centre of ,france1 was far distant from the route he would take to reach ,montpellier4 ,nor can they be connected with his first journey to ,england in #aebf1 for on that occasion he passed through ,antwerp1 his direct route being down the ,rhine2 and he made use1 no doubt1 of the same waterway on his return to ,basel in #aebh4 ,in all probability the visit to ,bourges took place in #aech4 ,in the late summer of that year ,holbein went with ,philip ,hoby to ,joinville and ,nancy on ,henry ,,viii's business1#djd and took the opportunity of paying a visit of a few weeks' duration to his family and old friends in ,basel4 ,on his return to ,england he is supposed to have taken his eldest son with him as far as ,paris1 where he apprenticed him to the goldsmith ,jakob ,david1 and from ,switzerland ,bourges would be on the route to the capital of ,france4#dje ,,vol4 ,i41 ,,plate #eg4 ,illustration3 ,,the ,,duchess ,,of ,,berry ,drawing in black and coloured chalks ,,basel ,,gallery ,after ,holbein's return to ,switzerland from ,england in #aebh he painted ,erasmus again4 ,a number of versions of this third type exist1 of which the finest are the small ,greystoke portrait1 which in #aiji passed into the collection of the late ,mr4 ,j4 ,pierpont ,morgan1 and the small roundel in the ,basel ,gallery4 ,one of the versions1 in the ,parma ,gallery1 bears the date #aecj4 ,erasmus had retired to ,freiburg with ,amerbach in #aebh in order to avoid the iconoclastic disturbances in ,basel1 and he must have given ,holbein a sitting1 most probably in that town1 between #aebh and #aecj4 ,these later portraits closely follow the ,longford ,castle type as regards the pose and the position of the head1 three-quarters face to the spectator's left1 and the details of the dress2 but the sitter appears considerably older1 and in every instance the background is a plain one4 ,sidenote3 ,,the ,,greystoke ,,portrait ,,of ,,erasmus ,the ,greystoke picture#djf has every appearance of being a work from ,holbein's own brush4 ,the masterly modelling1 the fine and subtle draughtsmanship1 the wonderful expression of the mouth and the still keen and brilliant eyes1 are too good and too true to life to be the work of a mere copyist4 ,the cheeks are more sunken and the face more heavily lined than in the portraits of #aebc4 ,the eyebrows are still dark1 but the hair which straggles from below the black cap is white1 and is drawn with all the minute care and delicacy with which ,holbein always portrayed it in his portraits1 and the stubble of a beard of a few days' growth is also indicated with the touch of a master4 ,the hands1 resting on a narrow ledge in front of him1 and half concealed by the deep fur cuffs of his gown1 are not so good1 and are much less expressive than was usual with ,holbein4 ,the picture is in a fine state of preservation1 and the colour scheme is rich and harmonious1 though the plain blue background has turned to a greenish hue in the course of time4 ,upon it1 to the left of the head1 is a small white label1 with the inscription1 8,erasmus ,roterodamus10 which appears to be fastened to the wall with red wafers and a pin1 like the label in the portrait of the ,duchess of ,milan4 ,according to ,sir ,sidney ,colvin1#djg both labels were probably the work of the same hand1 and are of later date than the paintings4 ,he suggests that the inscription on the 8,erasmus0 portrait was added to it when it was in the ,arundel ,collection4 ,on the back of the panel is an interesting inscription1 written1 according to the same authority1 in a hand of not later date than #aecj-ej4 ,it runs as follows3-- 8,haunce ,holbein me fecit ,johannes ,noryce me dedit ,edwardus ,banyster me possidit40 ,john ,norris1 or ,noryce--the name was spelt in various other ways--was one of the minor officials of ,henry ,,viii's court1 filling the part of gentleman usher1 which he afterwards held under ,edward ,,vi and ,queen ,mary1 dying in #aefd as chief usher of the ,privy ,chamber to the latter queen4 ,among other offices which he obtained was that of ,controller of ,windsor ,castle4 ,he was son and heir of ,sir ,edward ,norris of ,bray and ,yattendon in ,berkshire1 and elder brother of that ill-fated ,henry ,norris1 one of ,henry's close companions1 who was involved in the tragic fate of ,anne ,boleyn4 ,the inscription shows that at some time1 probably during ,holbein's life1 ,john ,norris owned this portrait of ,erasmus1 and that he presented it to a friend named ,edward ,banister4 ,according to ,sir ,sidney ,colvin's researches1 this ,banister was also employed about the ,court4 ,in #aebf he appears as a gentleman usher out of wages for the county of ,hants1 and in #aeci he was one of the representatives of the same county appointed to receive ,anne of ,cleves at ,calais and escort her to ,england4 ,the inscription on the picture was probably written by ,banister himself4 ,this portrait may have been the one in the possession of ,john1 ,lord ,lumley1 son-in-law of ,henry ,fitzalan1 twelfth and last ,earl of ,arundel of that creation4 ,in the ,lumley inventory of #aeij it is described as 8,of ,erasmus of ,roterdame1 drawne by ,haunce ,holbyn40 ,among his other portraits by ,holbein1 ,lord ,lumley also possessed the full-length of the ,duchess of ,milan1 and it is most probable that the label with the inscription was added to both portraits when in his collection4 ,the 8,erasmus0 was afterwards in the famous collection of ,thomas ,howard1 the great ,earl of ,arundel1 from which it passed by bequest of ,alathea1 ,countess of ,arundel1 to her grandson1 ,charles ,howard1 into that of the ,greystoke branch of the ,howard family1 where it remained1 at their seat in ,cumberland1 until its recent purchase by ,mr4 ,morgan4 ,the ,earl of ,arundel possessed two portraits of ,erasmus by ,holbein1#djh the second being the ,longford ,castle picture4 ,while in this collection the ,greystoke version was engraved by ,lucas ,vorsterman1 a very excellent print1 undated1 in which the figure is in reverse of the picture4#dji ,it was engraved again1 when in the same collection1 by ,andreas ,stock1 the plate being dated from the ,hague1 #afbh4 ,in this engraving the position is the same as in the portrait1 which suggests that ,stock merely copied from ,vorsterman1 and not from the picture itself4 ,in the inscription at the foot of ,stock's engraving it is stated that the portrait from which it was taken was the one which ,erasmus himself told ,sir ,thomas ,more he very greatly preferred to the one of him by ,albrecht ,drer2 but the statement appears to have no real foundation in fact4 ,whether the portrait was sent to ,england by ,erasmus in charge of ,holbein when he returned to ,england in #aecb1 as a present to some friend or admirer1 or whether the artist brought it over in the ordinary way of his business1 it is now impossible to say4 ,it is now in the ,metropolitan ,museum1 ,new ,york4 ,sidenote3 ,,parma ,,portrait ,,of ,,erasmus ,the ,greystoke portrait closely resembles the ,parma picture1 which is regarded by most critics as an original work1 though to the present writer it appears to be no more than a fine contemporary copy or adaptation of ,mr4 ,morgan's picture or the ,basel roundel4 ,the ,parma example1#daj in which ,erasmus is shown with his hands holding open one of his own books1 has the date #aecj on the plain background1 two figures on either side of the head4#daa ,documentary evidence#dab exists1 showing that ,holbein had painted one or more portraits of ,erasmus at this period4 ,one of them was in the possession of ,goelenius1 professor at ,louvain1 and in #aeca ,johannes ,dantiscus1 ,bishop of ,kulm1 and afterwards of ,ermeland1 was anxious to obtain a copy of it1 and wrote asking to have this done for him by a painter of ,malines4 ,goelenius1 in reply1 sent to his friend the original portrait as a gift4 ,the ,bishop1 however1 not to be outdone in generosity1 returned the present1 at the same time saying that the portrait was an earlier one than he had supposed1 and that he wanted one of a more recent date4 ,in answer to this ,goelenius wrote that fortunately he was on terms of such close friendship with ,holbein that he could get him to do anything he wished1 and would procure from him a portrait of ,erasmus which he had quite recently painted4 ,some portrait1 whether an original or only a copy1 was eventually sent1 and it has been suggested that it was the portrait now in the ,parma ,gallery4 ,when ,dantiscus became ,bishop of ,ermeland1 he would1 in all probability1 take the portrait with him2 and this district was afterwards devastated by the ,swedes during the ,thirty ,years' ,war1 and many of the art treasures of the province carried to ,sweden4 ,some of these spoils of war became the property of ,queen ,christina1 who took them with her to ,italy1 where she lived in later life1 and among the works so taken1 it is conjectured1 may well have been the ,erasmus portrait now at ,parma4 ,,vol4 ,i41 ,,plate #eh4 ,illustration3 #a4 ,,erasmus ,roundel ,,basel ,,gallery ,illustration3 #b4 ,,philip ,,melanchthon ,roundel ,,provinzial ,,museum1 ,,hanover ,the little roundel in the ,basel ,gallery 7,no4 #cbd7 7,pl4 #eh 7#a771dac which is about four inches in diameter1 forms part of the ,amerbach ,collection1 and1 no doubt1 came into the possession of ,bonifacius on the death of ,erasmus4 ,it agrees in all respects with the ,greystoke portrait1 though only the head and shoulders are shown1 and it is not quite so masterly in its execution4 ,it is very possibly the original study made by ,holbein in ,freiburg1 upon which the ,greystoke and other portraits were based4 ,it has a plain blue-green background1 and is perhaps not quite in its original state4 ,there is a third 8,erasmus0 at ,basel1 the small panel in the ,faesch ,collection 7,no4 #cef71dad a good old copy of the roundel in the ,amerbach ,collection4 ,all three are mentioned by ,patin4 ,it would serve no useful purpose to enumerate and describe the many other versions of the roundel1 the ,greystoke1 and the ,longford portraits1 which exist in various ,european collections at ,st4 ,petersburg1#dae ,cassel1 ,karlsruhe1 ,vienna1 ,turin1#daf ,rotterdam1 ,lausanne1#dag and elsewhere4 ,as already stated1 they were in great demand among the admirers of ,erasmus1 so that numerous copies must have been made4 ,in the lifetime of ,amerbach's son ,basilius there were no less than five in ,basel1 and when ,richard ,strein of ,vienna wrote to him asking him to procure him a portrait of the great humanist1 ,amerbach1 in reply1 wanted to know which of the five he would like copied4 ,the copy by ,pencz1 already described1 may have been taken from one of these later portraits rather than from the ,longford portrait of #aebc4 ,the copy at ,rotterdam is said to have been presented by the ,basel ,council to the ,rotterdam ,council in #aecb4 ,sidenote3 ,,woodcuts ,,portrait ,,of ,,erasmus ,two other portraits of ,erasmus by ,holbein cannot be overlooked4 ,these are the two beautiful woodcuts from his designs1 which1 from the fineness and accuracy of their execution1 must have been cut by ,hans ,ltzelburger4 ,the first is a small round portrait1#dah showing the head and shoulders only1 in profile1 turned to the spectator's right1 seen against a plain background1 and inscribed round the plain circular framework 8,erasmus ,roterodam40 ,it is evidently of about the same date as the ,louvre portrait1 and may have been one of the first of ,holbein's designs engraved by ,ltzelburger1 who settled in ,basel about #aebc4 ,the delicate and rather emaciated features of the scholar have been reproduced with wonderful skill4 ,it was first used on the back of the title-page of the ,adagiorum opus ,des4 ,erasmi ,roterodami1 published by ,froben in #aecc1 and again in ,des4 ,erasmi ,rot4 ,ecclesiast sive de ratione concionandi libri quatuor 7#aece74 ,the second1#dai and still more beautiful1 woodcut is considerably larger1 being #aa inches high by #i inches wide 7,pl4 #ei74 ,in his catalogue ,amerbach calls it 8,erasmus ,rotterdamus in eim ,ghs40 ,erasmus is represented at full length1 standing1 turned three-quarters to the right1 in his doctor's cap and furred gown1 his right hand resting on the head of a truncated figure of ,terminus1 towards which he points with his other hand4 ,the framework or 8ghs0 within which he is placed shows to the fullest advantage ,holbein's complete mastery of ,renaissance design1 and is equal to the finest contemporary ,italian work of the kind4 ,it is purer in style1 and lighter and more elegant in effect1 than the greater number of his earlier designs for woodcuts4 ,two pillars with caryatid figures1 with long beards and folded arms1 and baskets of fruit on their heads1 support a round arch above which on either side are nude figures with cornucopi1 from which hang long wreaths of fruit and foliage4 ,the whole is surmounted by a winged cherub above a lion's head1 from the mouth of which hangs a tablet inscribed 8,,er4 ,,rot40 ,at the base a larger tablet is supported by two fish-tailed female figures4 ,as a portrait this engraving is as fine as either the ,longford or the ,louvre pictures4 ,the small head is full of force and character2 and equally fine is the expression on the smiling face of the ,terminus1 while the treatment of the draperies is just as admirable4 ,it is difficult to know which to admire the most1 the beauty of the artist's design and draughtsmanship1 or the wonderful fidelity of the engraver1 who in cutting it has lost little or nothing of the delicacy of ,holbein's touch1 for both are masterly4 ,the original pear-wood block is in the ,basel ,gallery4 ,early proof impressions of it are in the ,british ,museum1 the ,berlin and ,munich ,print ,rooms1 and elsewhere4 ,these have a two-lined ,latin inscription on the tablet at the base-- 8,corporis effigiem si quis non vidit ,erasmi1 ,hanc scite ad vivum picta tabella dabit40 7,if anyone has not seen ,erasmus in his bodily shape1 this cut1 drawn from life1 will give his counterfeit47 ,the design was evidently made for a complete edition of the works of ,erasmus1 but no such publication has been met with in which this impression with the single distich appears4 ,the woodcut is first encountered in the complete edition of his writings published by ,froben's son1 ,hieronymus1 and ,nic4 ,episcopius in #aedj1 with a four-lined inscription1 in which ,holbein's name is coupled with that of ,erasmus in terms of high praise-- 8,pallas ,apellam nuper mirata tabellam1 ,hanc ait1 ternum ,bibliotheca colat4 ,ddaleam monstrat ,musis ,holbeinnius artem1 ,et summi ,ingenii ,magnus ,erasmus opes40 ,no one but ,ltzelburger can have cut it1 so that the design must have been made before ,holbein's first visit to ,england4 ,why ,froben made no earlier use of it1 it is impossible to say4 ,,vol4 ,i41 ,,plate #ei4 ,illustration3 ,,erasmus ,from a woodcut in the ,british ,museum ,sidenote3 ,,portraits ,,of ,,froben ,the history of the double portrait of ,erasmus and ,froben1 as far as it is known1 has been already given4 ,the version of ,froben1 at ,hampton ,court#dbj--,no4 #fjc 7#cbc7--;is a drawing on parchment1 afterwards fastened down on a panel1 and roughly finished as a picture1 and has little of the careful elaboration of ,holbein's painted portraits4 ,it is a half-length figure1 less than life-size1 turned to the right1 the face seen almost in profile4 ,the arms are folded1 and the hands1 thrust within the sleeves of his brown cloak1 which is lined with fur at the neck1 are not seen4 ,he wears no cap1 and his straight hair is growing thin4 ,the head is seen against what now appears to be a window or opening1 sea-green in colour1 which is part of the original plain background1 afterwards repainted by ,von ,steenwyck with various pillars and mouldings4 ,in front is a narrow stone ledge1 over the greater part of which hangs what appears to be a white cloth1 on which is inscribed1 8,,ioannes ,,frobenius ,,typ4 ,,hholbein ,p40 which is not the original handiwork of the painter4 ,the face is a kindly but ugly one1 and bears out the character given to him by ,erasmus1 who was overcome with grief at his sudden death4 8,all the friends of the belles lettres10 he wrote to a friend1 8should put on mourning attire and shed tears at the death of this man1 and should wreath his grave with ivy and flowers4 ,never before have ,i felt how great is the power of sincere friendship4 ,i bore with moderation the death of my own brother2 but what ,i cannot endure is the longing for ,froben4 ,so simple and sincere was his nature that he could not have dissembled had he wished4 ,to show kindness to everyone was his greatest delight1 and even if the unworthy received his benefits1 he was glad4 ,his fidelity was immovable1 and as he himself never had evil in his mind1 he was never able to cherish suspicion of others40 ,there is a similar portrait of ,froben in the ,basel ,gallery 7,no4 #ceg71dba an old copy1 which was presented to the ,basel ,university by ,christian von ,mechel1 who acquired it as an original work by ,holbein from the publisher ,enschede at ,haarlem in #agib1 and was transferred to the ,gallery in #ahaa4 ,in the letter making the gift he speaks of it as softer1 richer1 and more powerful than the usual ,holbein style4 ,a third1 and inferior1 example was lent to the ,tudor ,exhibition in #ahij by ,sir ,henry ,b4 ,st4 ,john ,mildmay1 ,bt4 7,no4 #acd71 which is perhaps identical with the small portrait in oil which belonged to ,walpole and was sold in #ahdb at the ,strawberry ,hill sale for #ai guineas4 ,the genuineness of the ,hampton ,court portrait of ,froben has been often disputed1 and to-day the consensus of opinion is not in its favour4 ,both ,waagen and ,woltmann regarded it as a copy1 and more recent writers1 among them ,dr4 ,ganz1 hold the same view4 ,even those who consider it to be a genuine work by ,holbein are forced to own that it is by no means a fine example of his portraiture4 ,the head1 however1 has more character than is usually found in a copy1 and1 no doubt1 its present condition is due to some extent to the mishandling it received from ,von ,steenwyck1 who probably did not confine his attentions solely to the background4 ,it is possible1 therefore1 to regard it as an original study by ,holbein1 which has suffered somewhat severely in the course of years4 ,mr4 ,ernest ,law speaks of it as a genuine though not first-class example1 and refers to the version at ,basel as 8little more than a clumsy imitation0 of it4#dbb ,the ,basel ,catalogue1 on the other hand1 says that the latter portrait1 which is an old copy or else an original which has suffered severely from repainting1 is 8incomparably better than the seventeenth-century replica at ,hampton ,court40 ,woltmann considered the ,basel version to be merely a late ,netherlandish copy1#dbc while ,knackfuss says that it is 8very bad as regards colouring40#dbd ,sidenote3 ,,roundel ,,of ,,melanchthon ,another friend and correspondent of ,erasmus1 ,philip ,melanchthon1 was painted by ,holbein1 though there is no evidence to show when or how they met4 ,the small roundel in oils of the young ,german scholar in the ,provinzial ,museum at ,hanover 7,pl4 #eh 7#b77dbe may perhaps have been done as a pendant to the circular 8,erasmus0 at ,basel4 ,it is almost exactly the same size1 about four inches in diameter1 and is carried out with an almost equal delicacy and freedom of touch1 as though it were a study direct from nature4 ,melanchthon is shown nearly in full profile to the right1 with dark smooth hair falling on his ears1 and a scanty beard and moustache4 ,his coat and plain white shirt are open in front1 showing the bare chest4 ,the background is grey1 but may possibly have been at one time blue4 ,the head itself is not free from retouching4 ,it is preserved in its original circular box1 the inner side of the cover being decorated in grey monochrome with a very beautiful design of foliage and fruit intermingled with the heads and figures of satyrs in the ,renaissance style from ,holbein's own hand1 and across the centre a cartouche with the following inscription in gold3 8,qui cernis tantum non1 viva ,melanthonis ora1 ,holbinus rara dexteritate dedit10#dbf which is perhaps the sitter's own personal tribute to the skill of the painter4 ,the style of the ,renaissance decoration indicates that in all probability the portrait was painted during ,holbein's third stay in ,basel 7#aebh-cb74dbg ,melanchthon attended the ,imperial ,diet at ,speier in #aebi1dbh and a little later visited his mother in ,bretten1 and it is by no means impossible that he also went to ,freiburg to see ,erasmus1 and that while there1 some time during #aecj1 ,holbein painted the roundels of both friends4 ,a second version of this portrait was in the possession of ,horace ,walpole1 in which the inscription runs round the outer edge4 ,it fetched fifteen guineas at the ,strawberry ,hill sale in #ahdb1 and is now in the collection of ,sir ,william van ,horne in ,montreal4 ,with these portraits of ,erasmus and some of his most intimate friends may be placed ,holbein's own portrait of himself 7,frontispiece71 the very exquisite drawing in the ,basel ,gallery 7,no4 #cbj71dbi in which he is represented almost full face1 wearing a large red hat1 a brown-grey cloak or overcoat with bands of black velvet1 and a white shirt tied with strings at the neck4 ,he is beardless1 with short dark-brown hair1 and brown eyes4 ,the study is on paper1 and is drawn in ,indian ink and coloured chalks1 and washed with water-colour which has faded in parts4 ,this drawing1 like the portrait of ,holbein's wife and children1 and the one of ,von ,rdiswiler of ,lucerne by ,ambrosius ,holbein1 has been at some time cut out round the outlines1 and afterwards mounted on a greyish paper1 which produces the slight effect of hardness which must certainly have been missing in its untouched state4#dcj ,in #aijg the plain blue background was carefully renewed from an old example4 ,some writers have held that it is not absolutely certain that this drawing really represents the painter4 ,in the ,amerbach inventory of #aehf it is described as1 8,item ein tafelen gehort darin ein conterfehung ,holbeins mit trocken farben 7a counterfeit of ,holbein in dry colours1 i4e4 crayons71 so im grossen kasten vnder ,holbeins kunst ligt02 and in the later inventories it is described in much the same way4 ,knackfuss1 among others1 says that from these words it is not positively to be concluded that the 8counterfeit0 was of ,holbein himself4 ,there can be little doubt1 however1 that ,amerbach intended to describe it as a portrait of ,holbein by himself2 if it had been a drawing of some unknown sitter he would have so described it4 ,as far back as #afgf it was published by ,patin in his edition of the ,praise of ,folly as ,holbein's portrait from his own hand4 ,it bears1 too1 a strong likeness to the portraits of ,holbein as a boy by the elder ,hans1 both in the 8,st4 ,paul0 picture and in the drawing of #aeaa of the two brothers at ,berlin4 ,there is the same massive head1 with its fine forehead1 breadth of cheek-bones1 strong chin1 and firm mouth4 ,it has great resemblance1 too1 when due allowance has been made for the passing of twenty years or so1 to the miniature portraits of himself which he painted at the end of his life4 ,it may be accepted1 indeed1 without reservation as a genuine portrait of ,holbein1 of about the date #aebc-e1 when he was some twenty-six years old4#dca ,as a portrait it is a magnificent study4 ,the face is a strong one1 of a somewhat serious cast1 but with a suggestion of humour about the finely shaped mobile mouth and in the clear brown eyes4 ,the broadly built head with its high forehead indicates strength of character and intellectual capacity1 and there is a quiet dignity and a sense of power in the whole countenance and in the carriage of the youthful figure1 which one would expect to find in the likeness of a painter possessed1 as ,holbein was1 of such brilliant technical abilities and so wonderful a creative genius4#dcb ---------------------------------------- -------------------------------- ,,chapter ,,ix ,,designs ,,for ,,book ,,illustrations ,holbein's work for the ,basel publishers--,imperfection of the cutting of his earlier book illustrations--,his connection with ,hans ,ltzelburger--,his first title-page--,more's ,utopia--the ,table of ,cebes--,luther's translation of the ,new ,testament--,title-page to the quarto edition--,work for ,luther's translation of the ,old ,testament--8,the ,sale of ,indulgences0--8,christ the ,true ,light0--,woodcuts representing incidents of common life1 dancing1 merry-making1 c4--,initial letters and alphabets--,trade-marks and devices for printers4 ,,throughout the whole period of his first residence in ,basel a considerable part of ,holbein's time was occupied with the production of designs for book illustrations1 such as title-pages1 head and tail-pieces1 ornamental borders1 initial letters1 and printers' marks4 ,including the 8,dance of ,death0 and ,old ,testament illustrations1 and the various alphabets of his designing1 ,woltmann enumerates more than three hundred woodcuts or metal engravings1 large or small1 for which ,holbein made the drawings4 ,much of his work of this kind was done for ,froben1 but he was also frequently employed by ,adam ,petri1 ,thomas ,wolff1 and other printers and publishers4 ,the old contention that ,holbein himself cut the blocks bearing his own designs1 which at one time produced much acrimonious dispute and a voluminous literature1 has long since been abandoned1 and there is absolutely nothing to be said in its favour4 ,he must1 however1 have had a thorough working knowledge of the technical side of woodengraving1 and of the limits within which it was necessary to confine his art2 and within those limits he produced the most splendid results4 ,a number of his earlier designs were not cut in wood1 but in metal4 ,the method was similar to that of wood-cutting1 the drawing being left in relief1 as on the wood block1 a process exactly opposite to copperplate engraving1 in which the lines to be reproduced are incised4 ,several of his title-pages and ornaments from metal blocks bear the initials ,i4,f4 upon them1 and it was at one time considered that they were probably the work of ,froben himself1#dcc who is described more than once as 8chalcographer10 or a worker in metal4 ,the term1 however1 may mean only a designer and caster of type1 which was a trade ,froben followed side by side with that of a publisher4 ,the ,i4,f4 of these engravings was not ,froben1 but ,jakob ,faber1 who was the best of the cutters in metal who worked after ,holbein4 ,froben1 no doubt1 employed a permanent staff of engravers1 both for his own publications and also for the sale of blocks and plates to other publishers4 ,faber was possibly one of those who found more or less regular employment in his service1 and another was the engraver with the signature 8,c4,v410 who engraved the eight metal cuts in illustration of the ,lord's ,prayer1 which appeared about #aebc1 badly printed1 in two rare editions of the ,precatio ,dominica of ,erasmus1 copies of which are included in the ,william ,mitchell ,collection in the ,british ,museum4 ,the proofs in the ,basel ,gallery have ,german text2 the ,mitchell set1 with a clause of the ,paternoster in ,french printed at the top of each cut1 is a unique state1 and the impressions are very early and sharp4 ,the same 8,c4,v40 engraved in metal the ,evangelists in the ,greek ,testaments of #aebd and #aedj4 ,one of the finest of ,faber's metal-cuts is the folio title-page issued by ,cratander in #aebe1 representing ,christ before ,god the ,father1 surrounded by a great crowd of boy-angels1 in the lunette at the top1 the symbols of the four ,evangelists in niches shown in perspective at the sides1 and the ,apostles at the foot4 ,this title-page is made up of four separate plates1 each of which bears the initials 8,i4,f40#dcd ,quite recently 7#aiac7 the ,british ,museum has received from the ,national ,art-,collections ,fund a rare ,book of ,hours1 printed at ,lyon in #aedh1 containing fourteen metal-cuts by ,faber after ,holbein's designs4 ,sidenote3 ,,hans ,l,,tzelburger ,according to ,woltmann1 many copper plates after ,holbein's designs were still in existence in ,basel as late as #aheb1 in the possession of the family of a publisher named ,haas1 but were subsequently sold on a division of the property1 all further traces of them being lost4#dce ,these metal engravings of ,holbein's book ornaments as a rule do but little justice to the original designs1 and compare very unfavourably with the later wood engravings cut by ,hans ,ltzelburger4 ,they miss much of the strength and character of ,holbein's line1 and are marked by a hardness of effect which is by no means pleasing4 ,many of the earlier wood engravings1 too1 suffer in the same way from the imperfection of the cutting1 inferior workmen having been employed to reproduce them1 just as in the case of the book illustrations of ,ambrosius ,holbein1 who was employed by ,froben quite as often as his brother ,hans1 and whose work also suffered from inadequate translation4 ,it thus becomes difficult1 in the case of several unsigned prints1 to decide which of the two young men was the designer of them4 ,in these earlier efforts1 too1 ,hans had not reached to that pitch of excellence in adapting his design to the requirements of the wood-cutters to which he attained some years later1 when he was working in conjunction with ,ltzelburger1 nor had his powers of draughtsmanship and composition yet found their complete expression4 ,having at length met with an engraver who could do full justice to his ideas1 and one who was as great a master in one branch of art as he himself was in another1 ,holbein's genius for decorative design matured rapidly1 so that the two men between them produced works in this field which have never been surpassed4 ,they worked together from the autumn of #aebb until ,ltzelburger's death and ,holbein's departure from ,basel in #aebf4 ,modern researches have failed to glean much information about the life and career of ,ltzelburger4 ,on a tablet below a wood engraving of his cutting representing a battle between peasants and naked men in a fir wood in ,utopia1 designed by the unknown ,augsburg master ,n4,h41 he signs himself 8,,hanns4 ,,levczellbvrger4 ,,fvrmschnider4 #a4e4b4b40 ,at a later date1 on the proofs of ,holbein's 8,dance of ,death0 alphabet1 he calls himself 8,hanns ,ltzelburger1 furmschneider1 genant ,franck10 that is1 8,hans ,ltzelburger1 wood-engraver1 called ,franck40 ,this is printed in movable type1 the first ,h being an ornamented ,roman capital1 while the other letters of the name are in the ,german character4 ,he was one of the group of wood-engravers who were working at ,augsburg about #aeaf-ai1 under the direction of ,jost de ,negker1 on the blocks for the ,emperor ,maximilian1 and his name is written or his monogram cut upon the back of nine of the 8,triumph0 blocks1 still preserved at ,vienna1 and he also cut nine of the series of 8,saints connected with the ,house of ,habsburg0 in #aeaf-ag4 ,all available evidence indicates that the 8,battle of ,naked ,men0 was engraved in ,augsburg4 ,in the same year1 #aebb1 ,ltzelburger cut an alphabet for the printer ,schffer at ,maintz1 of which the letter ,l is signed 8,h4,l4,f410 and the same date and initials occur on two specimen ornamental alphabets evidently designed by the same unknown artist4#dcf ,whether he was residing at ,maintz at the time is uncertain1 but by the autumn of #aebb ,ltzelburger had moved to ,basel1 and was at work on ,adam ,petri's folio ,new ,testament4 ,there he remained until his death in the summer of #aebf1 in constant collaboration with ,holbein1 engraving1 among many other designs1 the 8,dance of ,death0 woodcuts and many of the ,old ,testament illustrations4 ,what little is known of him points rather to ,augsburg than to ,basel as his place of birth1 though1 according to ,herr ,his-,heusler's researches1 a family of that name was then living in ,basel1 the names of both a ,michael and a ,jakob ,ltzelburger appearing in the baptismal register of ,st4 ,leonhard between #aebi and #aecc2 while the same name occurs frequently in the parish register of the adjacent town of ,colmar during the first half of the sixteenth century4 ,further documents discovered by ,his-,heusler show that ,ltzelburger died in ,basel before the #bcrd ,june #aebf1 and that he was insolvent at the time4 ,among his creditors were the printer1 ,melchior ,trechsel1 of ,lyon1 for an advance of #bg florins #ae shillings1 and ,hans zum ,sessel 7,froben71 for #c florins #aj shillings4 ,trechsel1 the publisher of the 8,dance of ,death0 and 8,old ,testament0 woodcuts1 on hearing of ,ltzelburger's death1 also demanded certain wood blocks ordered by his firm1 for which the money had been advanced1 upon which the deceased had been at work4 ,these blocks were sent to him on the condition that he appointed some person of substance in ,basel as security1 in case some other creditor proved to have prior claims on the estate2 and in accordance with this arrangement he appointed ,johan ,lukas ,iselin as his surety4#dcg ,in the list of ,ltzelburger's furniture and effects seized by the court he is described merely as 8,hans ,formschneider10 but there is no doubt that this 8form-cutter0 was ,ltzelburger1 who at the time of his death was cutting the block of 8,the ,waggoner0 for the 8,dance of ,death10 which he left incomplete4 ,holbein drew all these designs directly on the wood block4 ,there is not a single sketch or study in existence for any one of the very numerous book illustrations and decorations which he produced4#dch ,his title-pages consist1 in almost every case1 of an ornamental framework of ,renaissance design with small panels on either side containing figure subjects1 usually taken from classical history or mythology1 and across the bottom a larger panel in which the chief subject is depicted4 ,these title-pages do not always consist of a single block1 but of four separate borders or strips1 not always used together1 but combined with others1 or used singly as chapter-headings or sidepieces4 ,these title-pages1 designed in the first place for some particular book1 were thus afterwards often made to serve for the ornamentation of other publications1 with which at times their subjects had very little connection2 and they were also copied by various publishers and printers in other cities of ,switzerland and in ,germany and elsewhere4 ,sidenote3 8,,mucius ,,sc,,vola ,,and ,,lars ,,porsena0 ,holbein's earliest design for this purpose1 drawn in #aeae1 shortly after his arrival in ,basel1 and signed with the abbreviated name 8,hans ,holb410 has been already described4#dci ,this title-page1 with its nine little cupids1 which has suffered from inferior cutting1 but nevertheless has considerable charm1 was first used by ,froben in the winter of #aeae1 and appeared in a number of books issued during the next five years1 including ,more's ,utopia1 published by ,froben in #aeah4 ,the first of his designs from ancient history formed the title-page to ne ,platonici ,christiani de immortalitate anim1 issued by ,froben in #aeaf1 and also appeared in the ,basel edition of the ,utopia1 and again in ,erasmus' ,praise of ,matrimony in #aeah4 ,it represents the story of ,mucius ,scvola and ,lars ,porsena 7,pl4 #fj71ddj but has been so badly cut that much of the dramatic force of ,holbein's composition has been lost4 ,when ,porsena1 the ,etruscan king1 was blockading ,rome1 after his attempted entry into the city had been frustrated by the bravery of ,horatius ,cocles1 ,mucius1 a young ,roman nobleman1 resolved to rid his country of the invader4 ,in disguise he entered the hostile camp1 and1 approaching the tent in which ,porsena sat1 with his secretary1 dressed in similar fashion to his master1 by his side1 plunged his dagger into the latter's body1 mistaking him for the king4 ,he was seized by the guards1 and condemned to death1 but thrust his right hand into a fire which was already lighted for a sacrifice1 and held it there without flinching1 to show how little he heeded pain4 ,amazed at his bravery1 ,porsena allowed him to go free2 and ,mucius afterwards received the name of ,scvola1 or the left-handed1 on account of his courage4 ,holbein has depicted the two chief incidents of this legendary story side by side across the bottom of the title-page4 ,on the right is an open tent1 in which ,mucius is stabbing the secretary1 who is seated at a table by the side of the king4 ,on the left1 ,mucius1 held by a guard1 plunges his hand into the fire in the presence of ,porsena and his courtiers4 ,over each of the principal characters is a label with his name1 and in the background is a small walled city labelled 8,roma40 ,the figures1 which are clad in sixteenth-century costume1 are short and stumpy1 these faults1 no doubt1 being exaggerated by the inadequate rendering of the engraver4 ,the sides of the page consist of two narrow panels of conventional foliated design1 with small figures1 springing from vases1 while the upper border contains a group of naked children1 blowing trumpets and dragging one of their number in triumph4 ,a small shield in the middle of the left-hand border contains ,holbein's initials1 8,h4,h40 ,,vol4 ,i41 ,,plate #fj4 ,illustration3 ,,mucius ,,sc,,vola ,,and ,,lars ,,porsena ,first used in #aeaf ,from a copy of ,more's 8,epigrams0 in the ,british ,museum ,froben1 on the recommendation of ,erasmus1 undertook the publication of ,sir ,thomas ,more's ,utopia in #aeah1 and the edition was lavishly ornamented with woodcuts1 title-pages1 and initials1 in honour of the author4 ,the book had been already published in ,louvain in the winter of #aeaf4 ,gerardus ,noviomagus1 of ,nimeguen1 writing to ,erasmus on ,november #abth of that year1 says that his friend ,theodoricus has undertaken to print it1 and that ,paludanus will show him 8a cut of the island by a great artist10 in order that ,erasmus may make any suggestions he may think necessary4#dda ,in ,froben's edition this 8cut of the island0 was drawn by ,ambrosius ,holbein1 as also the charming little picture of ,hythlodus recounting his adventures in ,utopia4 ,as already stated1 two of ,hans ,holbein's designs were re-used for this work1 the title-page with the children for the dedication to gidius1 and the 8,scvola0 for ,more's ,epigrams1 which were added to the volume1 together with others by ,erasmus1 for which ,urs ,graf provided a title-page with the beheading of ,st4 ,john the ,baptist4 ,the title-page to the book itself1 with the story of ,tarquin and ,lucrece1#ddb was designed by ,ambrosius1 who in this instance took a much more important share in the work of illustration than his brother1 and he was possibly the 8great artist0 of whom ,noviomagus spoke in his letter4 ,sidenote3 ,,the ,,table ,,of ,,cebes ,the title-page for the ,statute ,book of ,freiburg-im-,breisgau1 published in #aebj1 with the beautiful design of the patron saints of that city on the back1 has been already described4#ddc ,it is more finely cut than most of these earlier book illustrations1 as is also the title-page representing the 8,table of ,cebes0 7,pl4 #fa71 perhaps the most important work of the kind undertaken by ,holbein before his connection with ,ltzelburger began4#ddd ,the unknown cutter of this block has rendered ,holbein's design with considerable truth and artistic feeling4 ,it is founded on the or 8,table10 a philosophical work of ,cebes of ,thebes1 the disciple and friend of ,socrates1 a book which enjoyed a great popularity4 ,it gives an allegorical picture of human life1 as explained by an old man to a circle of youths1 and is intended to show that true happiness is only to be attained by the cultivation of the mind and the possession of real virtue4 ,the 8,picture0 described in the book was shown to the sage in a temple of ,chronos1 and was a painting containing many figures1 representing the progress of man towards the desired goal4 ,holbein has followed the text very closely4 ,the whole picture is surrounded by a wall1 which indicates the limits of human life4 ,outside this wall1 at the bottom of the design1 are groups of naked children1 representing the souls of those who have not yet entered life4 ,they are playing and fighting1 and some are begging admittance of the old man1 labelled 8,genius10 who stands beneath the archway of the portal4 ,on the right1 within the first courtyard1 is the winged1 naked figure of ,fortune on her rolling sphere1 between two groups of people1 on the one side those on whom she has smiled and on the other the unfortunate ones1 who are railing at her2 on the left is the seated figure of a woman1 richly dressed1 representing ,seduction or ,persuasion1 with her attendant ladies as ,false ,opinions4 ,she holds out a gold cup to tempt the newcomer to life from the true path4 ,behind1 gazing over the wall into the second courtyard1 is the ,traveller on life's journey4 ,he next encounters ,avarice1 ,lust1 ,incontinence1 and other pitfalls1 all represented by small and characteristic groups of figures4 ,then1 passing through a gate1 he follows a winding road1 encountering on the way ,pain and ,sorrow1 the latter an old woman crouching in a ruined hut1 who threatens him with a whip1 until he is welcomed at a further gateway by ,penitence1 who holds out both hands in welcome4 ,all danger1 however1 has not yet been overtaken1 for within he meets with ,false ,discipline1 a grandly dressed lady and her attendants1 but he gives her only a sidelong glance as he hastens forward4 ,the road now becomes rougher and narrower1 and he comes next upon a group of people engaged in the pursuit of all the arts and sciences1 which they regard as the end of life4 ,after this he has to clamber up steep rocks1 which he does with the help of ,fortitude and ,courage1 the latter holding a golden cup in either hand4 ,further on1 at the entrance to the innermost enclosure1 he kneels before ,true ,discipline1 who1 in the guise of a saint1 with a halo1 stands on a small pedestal1 attended by ,truth and ,conviction4 ,from here he enters the ,castle of ,true ,happiness1 and again kneels1 this time to receive the laurel crown1 the reward for his avoidance of all evil and error on his life's journey1 which is placed on his head by ,happiness1 who sits enthroned in the centre1 in front of a castellated building4 ,she wears a crown and holds a sceptre1 and her head is surrounded by a halo of brilliant light4 ,on either side are groups of the ,virtues4 ,many of the small figures in this design have great charm1 and the whole composition is well arranged and full of interest4 ,holbein has signed it on one of the stones of the wall in the lower left-hand corner with his initials in the form of a monogram1 a small ,h within a larger one4 ,this woodcut was first used in the edition of ,tertullian published by ,froben in #aeba1 and in the following year it formed the title-page of ,erasmus' ,latin edition of the ,new ,testament4 ,it became very popular1 and was frequently used for dictionaries1 lexicons1 and similar publications during the next sixty years1 being copied and imitated by numerous printers4 ,,vol4 ,i41 ,,plate #fa4 ,illustration3 8,,the ,,table ,,of ,,cebes0 ,first used in #aeba ,from a copy of ,perotto's 8,cornucopi0 in the ,british ,museum ,sidenote3 ,,luther',s ,,new ,,testament ,the first fruits of the collaboration of ,holbein and ,ltzelburger appeared in an edition of ,luther's ,german translation of the ,new ,testament1 which was issued by ,adam ,petri in ,basel in ,december #aebb4 ,for this ,holbein drew a very beautiful title-page1#dde which1 although it bears no name or initials1 is unmistakable in its authorship 7,pl4 #fb74 ,the sides of the design are occupied with niches within which stand ,st4 ,peter and ,st4 ,paul1 grandly conceived figures of great nobility and dignity4 ,st4 ,peter1 on the left1 has a great key in one hand1 and an open book in the other1 from which1 with head and eyes cast down1 he is reading4 ,on the right is ,st4 ,paul1 with a long1 flowing beard1 holding a sword across the open volume of his gospel4 ,the architectural background is simple1 with shell ornamentation behind the heads of the two saints4 ,in the four corners of the page are the symbols of the four ,evangelists--the ,angel1 ,eagle1 ,lion1 and ,bull--which serve as heraldic supporters to the volumes of the gospels4 ,in the centre at the top are the arms of ,basel1 with the motto 8,,inclyta ,,basilea10 and at the bottom is placed the printer's mark1 a naked child riding on a harnessed lion1 and bearing a standard with ,petri's monogram1 and antedated #aebc1 the background filled in with roses1 a very fine design4 ,a second edition of this folio volume was published in ,march #aebc1 and at the same time one in octavo4 ,in the latter the title-page#ddf closely follows the one in the folio edition1 and the book is also embellished with other woodcuts of ,holbein's designing4 ,on the first page of each gospel is a cut of the figure of the ,evangelist enclosed within a framework of ,renaissance design 7,pl4 #fc74ddg ,the first three are each shown within a room1 on the wall of which is a framed picture illustrating that part of the career of ,christ most fully treated by the respective writers4 ,st4 ,matthew looks up from his writing1 and listens to the kneeling ,angel1 who raises a finger in admonition4 ,the picture on the wall represents ,christ in the manger1 with ,mary kneeling1 and ,joseph kindling a fire4 ,st4 ,mark is seen from behind1 deep in thought1 the ,lion crouching by his side4 ,the picture hanging above him is of ,christ rising from the ,tomb4 ,st4 ,luke1 busily writing1 wears a high cap1 the ,bull standing at the back of the desk4 ,christ on the ,cross forms the subject of the picture on the wall4 ,in each of these three pictures the ,evangelist's desk or writing-table and seat form an interesting feature1 as each one is of a different design1 and illustrates the furniture of ,holbein's own day4 ,st4 ,john is represented in the wilderness1 seated among rocks1 writing his gospel1 his candle sheltered from the wind by stones1 and the ,eagle looking down upon it4 ,christ appears in glory in the sky over the distant mountains1 and the saint is gazing up at the vision4 ,this woodcut is without an ornamental framework4 ,four other designs by ,holbein are included in the volume4#ddh ,at the head of the ,acts of the ,apostles is a representation of the ,outpouring of the ,holy ,spirit4 ,the ,epistle to the ,romans is headed by the figure of ,st4 ,paul1 preaching1 his sword under his arm1 beneath a richly-decorated portal4 ,the other two represent the ,conversion of ,saul and ,st4 ,peter's ,vision of the ,unclean ,beasts1 and there are also a number of initial letters 7,pl4 #fc74 ,the beautiful engraving of the title-page and many of the woodcuts points to the hand of ,ltzelburger1 though none of them are signed by him4 ,another fine woodcut with the figure of ,st4 ,paul1 with sword and book1 standing within an architectural niche1 is to be found in the ,greek ,new ,testament issued by ,t4 ,platter of ,basel in #aedj4ddi ,,vol4 ,i41 ,,plate #fb4 ,illustration3 ,,title-,,page ,,to ,,luther',s 8,,new ,,testament0 ,first used in #aebb ,from a copy in the ,british ,museum ,,vol4 ,i41 ,,plate #fc4 ,illustration3 ,,the ,,four ,,evangelists ,woodcuts1 and ,initial ,letters used on the first page of each gospel1 in the #aebc edition of ,luther's ,new ,testament ,s ,d ,from a copy in the ,british ,museum ,illustration3 ,,the ,,four ,,evangelists ,woodcuts1 and ,initial ,letters used on the first page of each gospel1 in the #aebc edition of ,luther's ,new ,testament ,d ,i ,from a copy in the ,british ,museum ,in the same year1 #aebc1 a second ,basel publisher1 ,thomas ,wolff1 issued a quarto edition of ,luther's translation of the ,new ,testament1 in the decoration of which both ,holbein and ,ltzelburger were employed4 ,the title-page#dej shows ,holbein's fertility of invention1 his power of dramatic representation1 and his sense of style to the greatest advantage4 ,in the centre of the upper border ,st4 ,john is baptizing the ,saviour in the river ,jordan1 the angel standing on the bank with his garments1 and on either side are the symbols of the four ,evangelists4 ,the lower border contains ,wolff's device1 a philosopher in a niche enjoining silence1 his monogram1 and the motto1 8,digito ,compesce ,labellum10 and on either side of it the ,vision of ,st4 ,peter and the ,conversion of ,st4 ,paul1 who1 dressed in ,german costume1 is flung from his horse4 ,on the right-hand border ,st4 ,paul is shown on the island of ,melita1 shaking off the viper from his hand into the fire1 and in the background the wreck of the ship2 on the left-hand border is a representation of the ,baptism of the ,treasurer of the ,king of ,ethiopia by ,st4 ,philip1 while in the distance is depicted the journey of the same eunuch along a hilly road shaded by trees4 ,he is riding in a small four-wheeled carriage1 drawn by two horses tandem fashion1 with the driver mounted on the after one--one of the methods of travelling in ,holbein's own day4 ,this title-page is a masterpiece of the engraver's art1 and is signed 8,h4,l4,,fvr40 on the footstool on which ,st4 ,paul is kneeling1 in the lower border4 ,holbein also furnished twenty-one illustrations to the ,revelation of ,st4 ,john for the same edition1#dea which1 however1 for the most part were very badly cut1 so that ,ltzelburger cannot have been the engraver of them4 ,they were used again in ,adam ,petri's folio ,new ,testament of the same year4 ,they are particularly interesting as representing the same subjects as those treated by ,drer in his first important work1 which must have been known to ,holbein1 who1 however1 has borrowed very little in his rendering of the ,visions4 ,he shows less imagination and grandeur of conception than ,drer1 but follows the text with even closer fidelity1 and treats each subject with greater simplicity and clearness4#deb ,the last one of the series1 the ,angel showing the ,saint the ,new ,jerusalem 7,pl4 #gj 7#c771 contains a view of ,lucerne with its covered bridge4 ,sidenote3 ,,the 8,,creation ,,of ,,eve0 ,for ,adam ,petri's reprint of ,luther's translation of the ,old ,testament1 published in ,december #aebc1 for which a title-page was provided by ,urs ,graf1 ,holbein1 in addition to numerous initial letters1 was the designer of the large woodcut which was placed at the head of the first chapter of ,genesis1 representing the ,creation of ,eve1#dec a very beautiful conception1 in which ,god the ,father is uplifting ,eve from the side of ,adam1 while a small angel tugs at his mantle4 ,the earlier days of the ,creation are also represented--the ,earth as a small island with various animals upon it1 surrounded by a strip of water containing fish1 and round this again a ring of clouds and stars1 and a final circle of angels1 above whom the ,almighty is shown again1 blessing his work4 ,in the four corners are placed the heads of the four winds4 ,several other illustrations were drawn by ,holbein for this edition1 but in most instances they are marred by bad cutting4 ,one of the finest of his designs for woodcuts is the one representing the ,death of ,cleopatra and the ,sacrileges of ,dionysius of ,syracuse 7,pl4 #fd71ded first used by ,froben in #aebc as the title-page for several works by ,erasmus4 ,the framework1 in the form of a sculptured monument in the ,italian style1 is exceptional among ,holbein's work as a book-illustrator1 being shown in marked perspective as though seen from the right4 ,at the foot1 beneath an arch1 the dying ,cleopatra1 at full length on the ground1 holds an asp in each hand4 ,on either side is represented an act of sacrilege on the part of the ,tyrant of ,syracuse4 ,on the right he is reaching up to pluck off the golden beard from the statue of sculapius1 and on the left he is robbing the statue of ,jupiter of its golden mantle and ornaments4 ,above the frieze on the top are ,cupids riding on dolphins4 ,the figures throughout are finely conceived1 and the ,italian influence is marked4 ,another fine title-page of his designing was cut for ,bugenhagen's ,interpretation of the ,psalms1 published by ,petri in ,march #aebd1 and afterwards used in ,mnster's ,cosmography1 and elsewhere1 in which the principal subject is ,david dancing before the ,ark2#dee and there are others of which the scope of this book does not permit any description4 ,two important woodcuts1 8,christ the ,true ,light10 and 8,the ,sale of ,indulgences0 7,pl4 #fe71def from their oblong shape were probably intended to be placed at the head of some broadsheet written by a supporter of the ,reformation4 ,in these designs1 in which ,ltzelburger's extraordinary skill in delicate and at the same time forcible use of the cutter's knife has rendered with the utmost fidelity the beauty of ,holbein's line1 the artist shows himself to have been in close sympathy with the new movement1 in defence of which he brings to bear considerable powers of ridicule and satire4 ,the rarity of these two prints is owing1 no doubt1 to the fact that the ,basel ,council maintained at that time a very severe censorship over all theological controversies1 and strictly prohibited every publication or picture dealing with such debatable topics4 ,these two woodcuts1 therefore1 attacking with merciless scorn the clergy1 ecclesiastical abuses1 and superstitions1 would come under the ban of the ,council1 and1 at the same time1 every copy falling into the hands of the clerical party would be destroyed4 ,hence only three or four copies of each are known4 ,,vol4 ,i41 ,,plate #fd4 ,illustration3 ,,the ,,cleopatra ,,title-,,page ,first used in #aebc ,from a copy of ,erasmus' 8,christiani ,matrimonii ,institutio0 in the ,british ,museum ,,vol4 ,i41 ,,plate #fe4 ,illustration3 #a4 ,,christ ,,the ,,true ,,light ,from proofs in the ,british ,museum ,illustration3 #b4 ,,the ,,sale ,,of ,,indulgences ,from proofs in the ,british ,museum ,sidenote3 ,,the 8,,sale ,,of ,,indulgences0 ,the 8,sale of ,indulgences0 is divided into two parts4 ,on the right is shown the interior of a church1 with the ,pope enthroned1 and surrounded by his cardinals4 ,in the decorations of the building the arms of the ,medici occur many times4 ,leo ,x is handing a letter of indulgence to a kneeling ,dominican4 ,in the choir-stalls on either side are seated a number of ,church dignitaries4 ,on the right1 one of them rests his hand on the head of a kneeling youth and with a stick points to a large iron-bound chest for the money-offerings1 into which a woman is putting her contribution4 ,at a table on the left various ,dominicans are preparing and selling indulgences4 ,one of them repulses a beggar1 who has nothing to give in exchange for the remission of his sins1 while another is carefully checking the money which a suppliant is counting out on the table1 and holding back the letter until the full amount has been received4 ,the small figures are very lifelike1 and the whole composition is a bitter satire upon the traffic of the ,church4 ,the left-hand half of the picture shows a landscape in which three true penitents are beseeching forgiveness from ,god the ,father1 who appears with outstretched arms in the clouds above them4 ,over the head of each figure is a label inscribed1 8,k4 ,david10 8,manasses10 and 8,offen-,synder10 respectively4 ,the first-named kneels1 with his harp by his side on the ground2 the others stand with clasped hands and bowed heads4 ,the second sheet1 called in the ,amerbach inventory 8,christus vera lux1 philosophi et papa in foveam cadentes10 is divided into two halves by a magnificent candlestick which rises in the centre1 the flame surmounted by a large halo of light4 ,the stem contains sculptured figures of the four ,evangelists1 and the base is supported by their four symbols4 ,on the left1 ,christ1 a finely-conceived figure1 points to the light with uplifted hand1 and addresses a group of citizens1 peasants1 beggars1 and other simple folk1 who listen eagerly to his words4 ,on the right1 a procession of the clergy and learned men turn their backs upon the true light1 and wander forth into the wilderness1 led by ,plato and ,aristotle1 the first of whom has stumbled into a deep pit1 while the second is about to fall after him4 ,they are followed by the ,pope1 a bishop1 canons1 and other churchmen1 and monks of various orders1 and a figure which appears to represent ,erasmus4 ,behind them rise lofty snow mountains1 while a distant city is seen across the plain in the centre1 and trees on the left4 ,this woodcut bears witness to the rapidly growing change in the point of view of the ,reformers1 who were already parting company with their former allies1 the humanists and scholars4 ,holbein in this design gives expression to the popular feeling of his day in ,basel1 which was beginning to regard classical learning with suspicion as a supporter of the theology to which it was opposed4 ,this woodcut was used in #aebg to illustrate a large broadsheet1 the 8,evangelistical ,calendar0 of ,dr4 ,johannes ,copp4 ,holbein's fertility of invention in this field was not confined to subjects chosen from the ,bible or from classical literature4 ,numerous woodcuts occur in which he has made excellent use of incidents taken from the ordinary life of his day4 ,there is a well-known border representing a group of peasants chasing a fox which has stolen a goose from the farmyard1 an engraving on metal1 which1 in spite of the inferiority of the cutting1 is full of humour and rapid movement4#deg ,the small figures1 carrying flails1 spades1 and other hastily snatched-up weapons--among them a girl with a hayrake on her shoulder and a soldier with his spear--are running at full speed1 while behind them an old man1 leaning on a stick1 stands among the remaining geese and shouts directions for the fox's capture4 ,another border shows a peasants' dance1#deh very similar in treatment to the same subject in the wall-painting of the ,house of the ,dance4 ,these two borders1 with two side ones1 representing children climbing trees1 were frequently used by ,cratander of ,basel in books published between #aebf and #aecd1 and a second 8,peasants' ,dance0#dei is often found in ,adam ,petri's publications4 ,similar borders with dancing or playing children frequently occur4 ,most of them appear to have been cut in metal by ,faber4 ,sidenote3 ,,alphabets ,,with ,,peasants ,,children ,both peasants and children were favourite themes with him in his designs for initial letters1 which formed an important part of the decoration of the books issued from the ,basel presses4 ,he produced a number of complete alphabets1 from ,a to ,z1 in which the little pictures which surrounded the letters formed a connected series of designs4 ,almost invariably the letter itself was shown in plain ,roman type1 placed within a small square1 the background being filled in with small figures which have no actual connection with the letter1 but are so combined with it as to produce a very decorative effect4 ,one of the most beautiful of these alphabets1 of which complete proof-sheets are to be found at ,basel and ,dresden1 represents the merry-makings of a rustic fair1#dfj and was used by both ,froben and ,cratander4 ,the series opens with two musicians playing bagpipes1 and the ten next letters represent dancing couples4 ,in succeeding letters the peasants are represented making love1 fighting1 playing games and practical jokes1 drinking1 and other scenes in which the humour is too gross for modern tastes1 and concluding with the return from the fair1 the peasant riding home with his wife behind him1 and the visit of the doctor on the following morning1 made necessary by over-indulgence in merry-making4 ,the cutting of the set is so beautiful that it must be from the hand of ,ltzelburger2 no other engraver then working in ,basel was capable of such minutely fine work1 or could do such full justice to ,holbein's genius for filling such small spaces with designs which appear so spacious and so large in style4 ,another alphabet1 which was evidently also cut by ,ltzelburger and used by ,cratander1 of which there is a proof-sheet at ,basel1 is devoted to the games of children4#dfa ,they are represented dancing1 playing music1 tilting on hobby-horses1 riding on one another's backs1 hair-pulling1 wrestling1 and so on1 while in one instance a small boy is chasing a cat with a bird in its mouth4 ,holbein was always very happy in his treatment of children1 and in this instance1 as in the ,peasants' ,alphabet1 the delicacy of the execution is wonderful4 ,there are three other alphabets dealing with children1 and portions of others1#dfb in one of which they are engaged in various trades and employments1 and appear as carpenters1 millers1 masons1 fishermen1 bakers1 painters1 doctors1 and so on4 ,another alphabet gives scenes from the ,old ,testament1#dfc and a second consists of ,greek initials4#dfd ,other letters1 far too numerous to enumerate here1 represent ornaments1 flowers1 animals1 still life1 love scenes1 and soldiers4 ,the most famous series of all1 however1 is the one known as the 8,alphabet of ,death10 which is described in the next chapter4 ,sidenote3 ,,woodcuts ,,produced ,,in ,,england ,holbein also designed a number of marks or devices for the various printers who employed him1 which were used on the first and last pages of their publications4 ,for ,johann ,bebelius he drew a palm-tree with a heavy weight pressing down the branches among which it is placed2 in a second design for the same publisher a naked man is shown beneath this weight1 who attempts with hands and feet to resist the pressure4#dfe ,cratander's trade-mark was ,fortune or ,opportunity1 a naked goddess1 with long flowing hair and winged feet1 poised on a revolving ball1 a broad-bladed knife in her hand4 ,valentine ,curio's device was the ,table of ,parrhasius1 a hand drawing#dff on a panel one straight line between two others1 enclosed1 like the mark of ,cratander1 within an ornamented shield4 ,for ,thomas ,wolff#dfg ,holbein drew the figure of a scholar or publisher issuing from a doorway1 his finger on his lips enjoining silence1 with the inscription3 8,digito compesce labellum40 ,the devices of ,matthias ,bienenvater or ,apiarius of ,berne and ,christopher ,froschover of ,zrich1 contain punning allusions to their name4 ,the former#dfh represents a bear climbing a tree after honey1 with the bees swarming round him2 for the latter#dfi ,holbein made three different designs1 each one containing frogs4 ,in one the frogs are climbing a tree1 with a beautiful landscape background of hills and peasants' houses1 the whole within a ,renaissance framework1 and evidently cut by ,ltzelburger2 in the two others a boy is represented riding on a large frog1 one of them with a background representing the ,lake of ,zrich1 with villages at the foot of the mountains1 and the other with a hilly landscape with a castle on a height4 ,lastly1 a very beautiful device made for ,reinhold ,wolfe#dgj appears to have been produced during ,holbein's last residence in ,england1 though the cutting of the block was most probably done in ,basel4 ,it represents three boys flinging sticks into an appletree laden with fruit1 and bears his motto 8,charitas40#dga ,wolfe1 who was settled in ,london1 was possibly some relation of ,thomas ,wolff1 the ,basel publisher1 and so may have sent his book illustrations to ,switzerland to be engraved4 ,this particular device1 in any case1 is too finely cut to have been done in ,england at that period4 ,wolfe was the publisher of ,john ,leland's ,naeni1 which contained a woodcut portrait of ,sir ,thomas ,wyat after ,holbein1#dgb and also of the same writer's poem on the birth of the ,prince of ,wales1 which was not issued until #aedc4 ,on the back of the title-page of the last publication is the device of the ,prince1 8,ich ,dien0 under a crown of ostrich feathers1 within a halo1 which appears to be after a design by ,holbein4#dgc ,a few other woodcuts which date from the artist's last residence in ,england are referred to in a later chapter4#dgd ---------------------------------------- -------------------------------- ,,chapter ,x ,,the 8,,dance ,,of ,,death0 ,,and ,,old ,,testament ,,woodcuts ,the 8,dance of ,death0 in literature and art--,early examples in ,basel--,date of ,holbein's 8,dance of ,death0 woodcuts--,early proofs--,date of publication--,description of the first edition--,reasons for delay in publication--,description of the separate woodcuts--,holbein's 8,alphabet of ,death0--,his illustrations to the ,old ,testament4 ,,holbein',s fame as a designer of woodcuts1 which had spread throughout ,europe before the close of the sixteenth century1 was due almost entirely to his celebrated 8,dance of ,death0 pictures1 and1 in a lesser degree1 to his ,old ,testament illustrations1 both first published in #aech1 though they were drawn1 and for the greater part cut1 between the years #aebc and #aebf4 ,they attained an immediate and widespread popularity1 a popularity which has been a lasting one4 ,edition after edition followed in quick succession1 and throughout the succeeding years down to the present day hardly a decade has passed without a fresh version being given to the world4 ,for centuries before the birth of ,holbein the subject of ,death in both pictorial and literary art was a favourite one throughout ,europe1 and more particularly among the ,german-speaking peoples1 to whose imagination it made a strong appeal4 ,its representation both in painting and in literature was of common occurrence long before he made use of it1 and by his genius rendered it immortal4 ,the whole history of the subject is of great interest1 and a voluminous literature has gathered round it1 upon which it is not possible to touch in these pages4 ,from the ,middle ,ages onwards these representations of the ,dance of the ,dead became common1 and were painted on the walls of churches1 the cloisters of convents1 and castle halls4 ,well-known examples of such wall-paintings at one time existed in ,paris1 ,blois1 ,berlin1 ,dresden1 ,lubeck1 ,strasburg1 ,basel1 ,berne1 and other places1 while in ,england a famous one was painted on the north side of ,st4 ,paul's ,cathedral during the reign of ,henry ,,vi4 ,with the invention of printing1 small versions of the pictures were issued in book form1 and beneath them the old verses which accompanied the earlier wall-paintings1 pointing out the terrors of death1 and exhorting the wicked to repentance ere it was too late4 ,in course of time the illustrations assumed greater importance1 the number of the figures was increased1 and the verses played only a secondary part4 ,sidenote3 ,,wall-,,paintings ,,of 8,,dance ,,of ,,death0 ,more than one early wall-painting of the ,dance existed in ,basel in ,holbein's day1 and there can be little doubt that the constant sight of them stirred his imagination1 and influenced his conception of the subject when he in his turn made use of it4 ,the earliest in point of date was the one in the ,klingenthal nunnery in ,little ,basel1 which is said to have been dated #acab2 but it is doubtful whether much of this wall-painting remained by the beginning of the sixteenth century4 ,only a few badly-damaged portions were in existence in #aggc1 when it was rediscovered by ,emanuel ,bchel1 a baker1 who made coloured copies of what was left1 which are now in the ,basel ,gallery4 ,no traces of the original painting are now to be seen4 ,the better-known ,dance of the ,dominican monastery in ,great ,basel in the suburb of ,st4 ,john was of later date1 executed probably towards the end of the fourteenth or early in the fifteenth century4 ,according to tradition1 for which there is no absolute proof1 it was painted after the deliverance of ,basel from the horrors of the terrible plague which raged there in #adci4 ,it was copied or adapted from the older ,klingenthal painting1 closely following its arrangement of the various couples1 but showing a great advance in artistic treatment1 and in the variety and movements of the dancers4 ,it consisted of about forty life-sized groups4 ,in course of time it became so faded that in #aefh it was restored by ,hans ,hug ,kluber1 who made several additions to it2 and it was again repaired in #afaf1 and in #agjc4 ,after that it was allowed to fall into a state of dilapidation1 and in #ahae the wall of the cemetery of the monastery on which it was painted was pulled down by order of the ,council1 for the purpose of street improvements4 ,a few remnants of it are still preserved in the ,gallery1 as well as coloured copies made by ,emanuel ,bchel in the same year as those he took from the ,klingenthal painting4 ,it is also well known from the engravings made after it by ,merian in the seventeenth century4#dge ,this wall-painting was formerly regarded in ,basel as the work of ,holbein1 a legend which was a long time dying4 ,the mistake1 no doubt1 originally arose through the wide celebrity attained by the artist's woodcut designs of the ,dance1 underneath which were printed verses taken from the older wall-paintings1 so that the confusion between the two gradually grew1 at first in ,germany and elsewhere outside ,switzerland1 until in the end the error became established in ,basel itself4 ,at one time1 too1 the almost equally celebrated 8,dance of ,death0 in the cemetery of the ,dominican monastery in ,berne1 painted with the most biting satire by ,niklaus ,manuel1 called ,deutsch1 was also attributed to ,holbein4 ,this wall-painting1 which was finished before the year #aebb1 had completely perished by #affj1 and the only records of it now remaining consist of a few drawings copied from it before its disappearance4 ,holbein's designs for the 8,dance of ,death0#dgf were all made1 and nearly all the blocks were cut1 before ,ltzelburger's death in the summer of #aebf and his own departure for ,england later in that year4 ,this is not only proved by the evidence of the cuts themselves1 which display a hand so masterly that it can only be that of ,ltzelburger1 but also more directly from a series of copies of twenty-three of them preserved in the ,berlin ,museum4 ,these are circular studies1 about five inches in diameter1 on brown paper1 enlarged from the original blocks4 ,they are somewhat coarse in execution1 and appear to have been made for reproduction as glass-paintings4 ,that they are not the original designs for the woodcuts1 or taken from such designs1 but were copied from the woodcuts themselves1 is proved1 first1 by the fact that they are not reversed1 as they would have been if based on the original drawings1 and1 secondly1 that the one of 8,the ,duchess0 repeats the initials 8,h4,l40 on the bedpost with which ,ltzelburger signed his work4 ,these copies1 therefore1 must have been executed after the actual cutting of the blocks2 and as one of them 78,the ,emperor07 is dated 8#aebg10 it gives a date before which both the woodcuts1 and the designs for them1 must have been prepared4 ,the copies were taken1 no doubt1 from one or other of the several proof impressions which were printed off while the work of cutting was in progress1 complete sets of which are in the ,british1 ,berlin1 and ,basel ,museums1 the ,bibliothque ,nationale in ,paris1 and the ,grand ,ducal ,cabinet at ,karlsruhe1 while less complete sets are to be found elsewhere4 ,the ,basel set is printed on four folio sheets1 on one side of the paper only1 with ten cuts on each page1 and the title of each subject printed over it in ,german1 in italic movable type1 as in all but one of the other proof impressions known4 ,these proofs include the whole of the subjects in the first printed edition of #aech1 with the exception of the one of 8,the ,astrologer10 and they are of the greatest beauty and sharpness1 and are printed in a fine black ink4 ,the ,bibliothque ,nationale also possesses a second but incomplete set of proofs1 but among the subjects that of 8,the ,astrologer0 is included1 which is missing in the other sets1 which seems to indicate that it is a little later in date4 ,this is the only copy extant1 and1 like the earlier ones1 the set is printed on one side of the paper only1 but has slight variations in the titles1 which are printed in upright ,german ,gothic characters instead of the more usual sloping ,latin lettering4 ,sidenote3 ,,reasons ,,for ,,delay ,,in ,,publication ,ltzelburger's work upon the blocks was probably spread over several years4 ,the 8,alphabet of ,death10 which appears to have been undertaken before the 8,dance10 was first used in #aebd1 and ,holbein's designs for both series must have been prepared during that year and the following one4 ,this was the period of the ,peasants' ,war1 years of misery and bloodshed throughout ,switzerland1 and the state of feeling which it excited can be traced to some extent in these little pictures4 ,this unsettled state of public affairs may have been the cause1 otherwise almost inexplicable1 of the long delay in the publication of the 8,dance10 which was not issued until twelve years after the engraver's death1 and then not in ,switzerland1 but ,france4 ,the acuteness of the religious controversy which divided ,basel into two hostile factions1 resulted1 in #aebd1 in an edict of the ,council forbidding the publication of all controversial matter2 and although it is difficult to see much cause for controversy in the 8,dance of ,death10 it is easy to understand that in those days of doubt and disturbance the ,basel publishers may well have hesitated to produce anything which might be considered as coming1 however indirectly1 within the ban of the civic authorities4 ,otherwise it seems certain that such a printer as ,froben1 or one of the other leading publishers1 who knew so well the capabilities of both artist and engraver1 would have been only too pleased to issue so fine a result of their united labours4 ,publication in ,basel being debarred for the time1 ,ltzelburger appears to have entered into negotiations with the ,trechsels of ,lyon1 to whom1 in the end1 the blocks were transferred4 ,the engraver was working for them at the time of his death1 most probably on the 8,dance0 itself1 one of the subjects of which1 8,the ,waggoner10 he left unfinished1 and the ,trechsels1 as already explained1#dgg were put to some trouble before they could obtain possession of it4 ,probably ,holbein had nothing to do with this transaction4 ,he seems to have received a commission from ,ltzelburger for the designs1 and to have had no further interest in the venture4 ,it is equally difficult to explain the delay on the part of the ,trechsels in publishing the book1 unless for a similar reason--a belief that the times were inopportune for the issue of such a satire4 ,the cuts were at length published in #aech under the title of 8,les ,simulachres ,historiees ,faces de la ,mort1 avtant elegammt pourtraictes1 que artificiellement imagines0 7,the ,images and ,storied ,aspects of ,death as elegantly delineated1 as ingeniously imagined74 ,from this it will be seen that the popular title for the work1 8,the ,dance of ,death10 by which it was already known by the end of the sixteenth century1 is an incorrect one4 ,the woodcuts were 8,pictures of ,death10 and though the characters introduced are largely those of the earlier representations1 ,holbein has entirely abandoned the general motive of a dance of the living and the dead1 which was the leading characteristic of the numerous wall-paintings4 ,instead1 each sheet forms a separate dramatic scene1 in which ,death1 in the guise of a skeleton1 claims the living as his prey4 ,in ,basel1 however1 where the wall-painting of the ,dominican monastery was one of the most familiar sights1 and one in which the citizens took great pride1 the title by which it was known1 8,the ,dance of ,death10 was also popularly applied to the woodcuts shortly after their appearance1 and the name has adhered to them ever since4 ,sidenote3 ,,first ,,edition ,,of ,,the ,,dance ,the first edition is in the form of a small quarto4 ,on the title-page below the title is a printer's mark or emblem1 which is not of ,holbein's designing or ,ltzelburger's cutting1 representing three heads--of an old man1 a youth1 and a woman--joined together1 two in profile1 and the central one1 that of the woman1 full face1 with a star on her forehead1 and a wreath above4 ,from the shoulders spring a pair of peacock's wings1 the whole resting on a pedestal1 on the top of which is an open book inscribed in ,greek characters1 8,gnothi ,seauton10 and at the foot a serpent and two chained globes1 one surmounted by a small cross1 and the other with two wings4 ,this emblem has the further motto 8,usus me ,genuit40 ,at the bottom of the page is printed1 8,a ,lyon1 ,soubz lescu de ,coloigne1 ,m4,d4,,xxxviii40 ,at the end of the book1 within an ornamental border1 is the imprint3 8,excvdebant ,lvgdvni ,melchior et ,gaspar ,trechsel ,fratres4 #aech40 ,next to the title-page comes a preface of six pages1 which is followed by seven pages descriptive of 8diverses tables de ,mort1 non painctes1 mais extraictes de l'escripture saincte1 colores par ,docteurs ,ecclesiastiques1 et umbrages par ,philosophes40 ,after these verbal sketches come the woodcuts themselves1 forty-one in all1 each one printed on a separate page1 and1 in place of the ,german titles of the various sets of early proofs1 a text in ,latin above the pictures1 and beneath them a four-lined verse in ,french1 written by ,gilles ,corrozet1 containing moral reflections appropriate to the various subjects4 ,the subjects themselves are not arranged in the same order as in the proof impressions1 in which the clergy are separated from the laity1 and the men from the women1 beginning with the ,pope and ending with the ,little ,child4 ,in the ,lyon edition the ,emperor follows the ,pope1 and is in turn followed by the ,king1 the ,cardinal1 the ,empress1 and so on4 ,the pictures are succeeded by a series of descriptions of ,death and reflections on mortality of a didactic character1 under the title1 8,figures de la ,mort moralement descriptes1 depeinctes selon l'authorit de l'scripture des sainctz ,peres10 the whole being brought to a conclusion with a discourse1 8,de la ,necessite de la ,mort qui ne laisse riens estre pardurable40 ,a passage in the ,french preface is of considerable interest1 as it relates to the engraver of the woodcuts4 ,this preface is dedicated 8,a moult reverende ,abbesse de religieux ,couuent ,s4 ,pierre de ,lyon1 ,madame ,jehanne de ,touszele1 ,salut dun vray ,zele40 ,the convent of ,saint ,pierre les ,nonnains1 of which ,madame ,jehanne was abbess1 was a religious house of long standing1 among its inmates being many noble and wealthy ladies4 ,the author of this preface1 who only signs it with his motto1 8,d'un vray zelle10 was ,jean de ,vauzelles1 ,pastor of ,st4 ,romain and ,prior of ,montrottier1 poet and scholar1 one of three famous brothers who took a leading part in the literary life of ,lyon4 ,the passage referred to may be translated as follows3 8,but to return to our figured representations of ,death1 we have greatly to regret the death of him who has imagined 7imagin7 such elegant figures as are herein contained1 as much excelling all those heretofore printed 7patrones7 as the pictures of ,apelles or of ,zeuxis surpass those of modern times2 for his funereal histories1 with their gravely versified descriptions1 excite such admiration in beholders1 that the figures of ,death appear to them most lifelike1 while those of the living are the very pictures of mortality4 ,it therefore seems to me that ,death1 fearing that this excellent painter 7painctre7 would paint him in a manner so lively1 that he should be no longer feared as ,death1 and apprehensive that the artist would thus become immortal1 determined to shorten his days1 and thus prevent him finishing other subjects which he had already drawn4 ,among these is one of a waggoner1 knocked down and crushed under his broken waggon1 the wheels and horses of which appear so frightfully shattered and maimed that it is as fearful to see their overthrow as it is amusing to behold the liquorishness of a figure of ,death1 who is perceived roguishly sucking the wine out of a broken cask1 by means of a reed4 ,to such imperfect subjects1 as to the inimitable heavenly bow named ,iris1 no one has ventured to put the last hand1 on account of the bold drawing1 perspectives1 and shadows contained in this inimitable chef d'uvre1 there so gracefully delineated1 that from it we may derive a pleasing sadness and a melancholy pleasure1 as in a thing mournfully delightful40#dgh ,sidenote3 ,,vauzelles' ,,preface ,,to ,,the ,,book ,this passage is rather confusing1 and at one time was supposed to refer to the designer1 and not to the engraver of the woodcuts1 and that ,holbein1 therefore1 who was alive in #aech1 could not have been the author of the designs4 ,now1 however1 that more modern research has proved that ,ltzelburger died in the summer of #aebf1 leaving several blocks which had been commissioned by the ,trechsels unfinished1 it becomes clear that ,vauzelles1 in his preface1 is praising the woodcutter1 and not the artist4 ,it is true that the word 8painctre0 is used in one place1 and that the term 8imagin0 has been taken in the modern sense by earlier writers1 whereas it is from the ,latin 8imaginatus0 which has the same meaning as 8sculptus40 ,in old ,french 8ymaginier0 is the same as 8tailleur d'images10 just as 8sculptor0 was the common ,latin expression for a stone-cutter or engraver4 ,there is the possibility that ,vauzelles was ignorant of ,holbein's share in the work1 and imagined that both the designing and cutting of the blocks were the work of one man2 but this is not very probable1 for in the same year the ,trechsels published the ,old ,testament woodcuts1 also engraved by ,ltzelburger1 in a second edition of which1 issued in the following year1 #aeci1 ,holbein's name as the designer is expressly mentioned in ,nicolas ,bourbon's ,latin verses which were added to the volume4 ,bourbon was in ,lyon at the time1 and in a new edition of his ,nug1 published shortly afterwards1 he included a ,latin epigram1 not given in the first edition of #aecc1 headed1 8,de morte picta ,hanso pictore nobili10 which undoubtedly refers to ,holbein as the painter or deviser of the 8,dance of ,death40 ,taking these facts into consideration1 it does not seem probable that ,vauzelles would have been ignorant of ,holbein's connection with the work4 ,in any case1 the publishers must almost certainly have known it1 and it may be conjectured that ,bourbon's verses were written expressly to accompany the 8,dance10 just as his other lines were written for the ,old ,testament woodcuts1 but that for some reason they were not used for that purpose4 ,woltmann's contention that ,holbein's name was purposely suppressed on account of the satirical character of the pictures1 and that the preface was written with the intent to mystify1 may be the correct solution4 ,holbein's interest1 he says1#dgi like that of the publisher1 rendered it desirable that they should appear anonymously4 ,in ,lyon every movement towards the ,reformation was zealously opposed by the bishop and the authorities1 and the bloody edict against heretics issued by ,francis ,i was put in force4 ,many of these pictures of ,death1 especially sheets such as the ,pope or the ,nun1 might have given offence to the strict ,catholic party4 ,this would possibly have been all the more serious1 had the book appeared with the name of ,holbein1 who was at that time residing at the court of the ,protestant ,king of ,england1 and was a citizen of ,basel1 in ,switzerland1 from whence the new doctrines emanated4 ,these arguments1 however1 as far as the suppression of ,holbein's name is concerned1 seem a little far-fetched4 ,if certain of the woodcuts were likely to give offence1 it is difficult to see how such offence could be removed by merely withholding the artist's name4 ,it is probable1 as already pointed out1 that ,holbein had no personal interest in the publication either of the 8,dance0 or the ,old ,testament pictures1 his active co-operation in the work having ceased twelve years or more earlier1 when he had completed ,ltzelburger's commission for the designs2 and under such circumstances it is not likely that the ,trechsels would have consulted him as to the use of his name or otherwise4 ,the most reasonable explanation seems to be that it was omitted from the preface through an oversight or some confusion on the part of ,vauzelles as to the separate identities of the artist and engraver1 which the publisher did not consider was important enough to rectify4 ,if it was safe to issue the book1 there was surely no need to indulge in mysteries as to its authorship4 ,the book had an almost instantaneous success1 and new editions followed in the course of a few years4 ,the second edition was issued in #aedb from the same address1 but by the brothers ,frellon--8,a ,lyon1 ,a lescu de ,coloigne1 chez ,jan et ,franois ,frellon1 freres0--and it has been assumed that the new publishers had acquired the business of the ,trechsels4 ,the latter were ,germans who had settled in ,lyon1 the father1 ,johann ,trechsel1 having started business there as a printer in #adhg4 ,the ,frellons were equally well known in the town as publishers1 and it is probable that they had become the proprietors of the rival establishment by #aech1 and that the ,trechsels were then only conducting the printing under their orders1 for the preface to the ,old ,testament pictures1 first published in that year1 is signed by ,franciscus 8,frellus10 and subsequent editions of both publications bore the name of this firm4 ,a third edition1 in ,latin1 was published in the same year1 #aedb1 with the title 8,imagines de morte et epigrammata e ,gallico idiomate in ,latinum translata10 c4 ,the fourth appeared in #aede1 with the title1 8,imagines ,mortis10 c41 in which ,corrozet's ,french verses under the cuts were translated into ,latin by ,george mmel or milius1 ,luther's brother-in-law4 ,the only addition to the illustrations was a cut representing a lame beggar1 introduced as a tail-piece to one of the discourses on death at the end of the book1 but so poorly engraved that it is difficult to trace ,holbein's hand in the design4 ,a fifth edition was issued in the same year1 #aede1 also under the title 8,imagines ,mortis10 in which eleven new cuts were added to those which had appeared in earlier editions1 or twelve1 counting the one of the 8,lame ,beggar40 ,these new subjects were1 8,the ,soldier10 8,the ,gamblers10 8,the ,drunkards10 8,the ,fool10 8,the ,robber10 8,the ,blind ,man10 8,the ,waggoner10 and four subjects with naked children1 in one of which they are represented as hunters1 in another they lead a horse upon which one of them is mounted1 bearing a standard1 while in a third they are engaged in carrying one of their comrades in triumph4 ,these latter cuts have no real connection with the subject-matter of the book1 although ,french verses and ,latin texts were added to them in an endeavour to find one1 however far-fetched1 but the designs are undoubtedly ,holbein's1 and must have been drawn by him on the blocks and cut by ,ltzelburger4 ,it may be conjectured that after the engraver's death they were sent to ,lyon with other unfinished blocks which the ,trechsels had ordered from him4 ,three more editions were issued in #aedg1 the third of them with the title1 8,les ,images de la ,mort10 and the original ,french verses of the first edition2 and in #aedi a version was published with ,italian title and text4 ,in the preface to the latter1 ,jehan ,frellon1 who was the sole publisher from #aedg onwards1 makes complaint of a pirated edition which had been printed in ,venice two years previously4 ,sidenote3 ,,later ,,editions ,,of ,,the ,,book ,further editions followed in #aeed and #aefb1 the number of illustrations in the last-named being increased to fifty-eight by the addition of five new cuts1 thus making seventeen more pictures than had appeared in the original edition of #aech4 ,two of these fresh illustrations1 8,the ,bridegroom0 and 8,the ,bride10 rightly belong to the series1 and though they made their first appearance nineteen years after ,holbein's death1 were undoubtedly drawn by him1 and in all probability at the same time as the other designs of the series1 between #aebc and #aebf4 ,the remaining additions consist of three more subjects with children1 which again have every appearance of the same authorship4 ,in one of these they appear as ,bacchanalians1 in another as musicians1 and in the third they are carrying a suit of ,roman armour4 ,it is needless to enumerate the many editions which followed these earlier ones4 ,inferior copies and pirated editions1 in which much of the beauty of the original woodcuts was lost1 were numerous1 and appeared in many parts of ,europe4 ,the earliest copy was apparently the small folio1 entitled 8,todtentantz10 printed at ,augsburg in #aedd1 and published by ,jost de ,negker4#dhj ,in the following year appeared the pirated ,venetian copy4 ,five editions of a third version1 with fifty-three cuts1 were published in ,cologne between #aeee and #aegc1 while another copy appeared at ,wittemberg in #aeij4 ,of the copperplate engravings copied from them the most important were the set of thirty etched by ,wenceslaus ,hollar between #afdg and #afea1 which appear to be based not on one of the original ,lyon editions1 but on the copy produced at ,cologne4 ,forty-six of the subjects were etched by ,david ,deuchar in #aghh1 but these are of very inferior workmanship1 and mere caricatures of ,holbein's designs4 ,in #aghi a free copy was cut by ,john ,bewick1 the younger brother of the more famous ,thomas1 and published under the title of 8,emblems of ,mortality40 ,turning to more recent days1 they were reproduced upon stone in #ahcb with great care by ,joseph ,schlotthauer1 ,professor in the ,academy of ,fine ,arts at ,munich2 and these were re-issued in ,england by ,john ,russell ,smith in #ahdi4 ,the best modern wood engravings after them are those cut by ,bonner and ,john ,byfield for ,douce's 8,holbein's ,dance of ,death0 in #ahcc4 ,the 8,dance0 has also been rendered in photo-lithography for an edition issued by ,h4 ,noel ,humphreys in #ahfh1 and for the ,holbein ,society in #ahgi4 ,in #ahhf ,dr4 ,f4 ,lippmann edited for ,mr4 ,quaritch a set of reproductions of the engraver's proofs in the ,berlin ,museum2 and the editio princeps has been facsimiled by one of the modern processes for ,hirth of ,munich1 as vol4 x4 of the ,liebhaber-,bibliothek1 #ahhd4dha ,sidenote3 ,,beauty ,,and ,,dramatic ,,force ,these woodcuts are among the finest manifestations of ,holbein's art4 ,small as they are1 they have a largeness of design1 a dramatic force and fertility of invention1 and a brilliance of draughtsmanship which place them not only among the greatest achievements of the artist1 but of the century in which he worked4 ,each little picture tells its tale and points its moral with the utmost clearness1 and the interest never flags throughout the series1 although each one is merely a variation on a single theme4 ,detail there is in plenty1 but it does not confuse the main action of the play1 but rather helps to make the meaning which underlies it still clearer4 ,there is nowhere a line too much or too little4 ,the space to be filled is so small that these details are minute1 yet ,holbein's line is so broad1 and his hand so unerring1 that nothing is confused or meaningless4 ,the spacing of each cut is masterly1 so that they produce the effect of a great design set forth on some spacious canvas4 ,few as the touches of the pencil may be1 they are sufficient to give each small figure its own individual appearance and character1 as though it were an actual portrait studied from the life1 while the action is natural and unexaggerated1 and well expresses the particular emotion called forth in each separate case by the sudden and unexpected appearance of ,death4 ,death is represented throughout the series as a skeleton1 occasionally with scanty1 tattered garments1 and wearing the most characteristic portions of the dress of the particular mortal he is about to snatch from the world of the living4 ,thus1 in the woodcut of the ,pope1 ,death wears a cardinal's hat2 in the ,abbot he has a mitre on his head1 and carries a crosier across his shoulder2 and in the ,knight he is dressed in chain mail4 ,in two of the pictures1 the ,empress and the ,nun1 ,death is represented as a woman1 and in several there are two skeletons who seize or attend the victim4 ,in his representation of them ,holbein displays little anatomical knowledge1 but in spite of this the dead bones live1 and in their movements1 their expression1 and their suggestion of the grim horror of death1 produce an effect of vivid reality1 which could not be bettered even though he had thought fit to give them greater scientific accuracy4 ,in almost every case ,death greets his prey with a mocking1 ironical grin1 and in most instances1 too1 he comes quietly1 his presence unnoticed by those about to fall into his clutches2 and with natural1 unexaggerated movements and actions he assumes the principal part in the drama4 ,in a few instances1 however1 he makes known his presence in a more aggressive manner1 and seizes his victims with such violence that they cry aloud in terror or rage1 and struggle to break away from his merciless grip4 ,the victims whom he treats in this fashion are those who have themselves led violent lives4 ,his action1 in short1 is always appropriate to the character and worldly position of those whose days he is about to cut short4 ,he comes always as a mocker1 and the prevailing note of the whole series is one of irony4 ,the first four cuts form1 as it were1 a preface to the actual 8,dance of ,death0 which follows4 ,the first of all represents the ,creation4 ,the ,almighty bends over ,adam1 who lies asleep on a small island amid the waters1 and draws ,eve from his side4 ,then comes one of ,adam and ,eve in ,paradise4 ,the serpent1 with human head1 is twined round the branches of the tree1 beneath which ,adam is reaching up to pluck the fruit1 while ,eve is seated below1 leaning against a rock4 ,all around them1 as in the first sheet1 are animals--a stag1 a sheep1 a goat1 a dog1 a monkey1 a rabbit1 a hedgehog1 a lizard1 and so on--while in the branches of the beautifully drawn tree are a number of birds4 ,the third cut represents the ,expulsion from ,paradise1 with the angel with the flaming sword flying in a cloud over the heads of the guilty couple4 ,in this cut ,death makes his first appearance4 ,playing upon his viol1 he leads the way1 dancing as he goes4 ,this is one of the few instances throughout the set in which ,holbein has so represented ,death2 in most of the illustrations he does not follow at all closely the earlier wall-paintings1 in which the living and the dead are shown dancing together4 ,in the next scene ,adam is at work clearing the rough ground1 with ,death at his side helping him to uproot a tree1 and ,eve seated1 half naked1 in the background1 suckling her child1 her distaff held across one arm4 ,this is followed by a design headed in the proof impressions 8,gebeyn aller ,menschen0 7,bones of all ,men71 a crowd of skeletons in front of a charnel-house1 with drums1 trumpets1 and other musical instruments1 as though forming the orchestra which is to provide the music for the play which is about to follow4 ,some wear fantastic head-dresses1 and their winding-sheets still hang around them in tatters4 ,sidenote3 ,,the ,,emperor1 ,,and ,,others ,the ,dance opens with the ,pope upon his throne1 whom ,death seizes as he is about to place the crown upon the head of a king who kneels to kiss his foot4 ,round him stand high dignitaries of the ,church1 among whom is a second figure of ,death1 a mocking figure1 wearing a cardinal's hat surmounted with a cross1 and holding another cross aloft4 ,in the curtain over the throne lurks a small devil or demon1 and a second1 holding a bull with five seals1 flies over the heads of the ecclesiastics4 ,in this the satire is so bold that it was altered in some of the later editions of the book4 ,the ,emperor 7,pl4 #ff 7#a771 too1 sits on his throne1 underneath a baldachin supported by ,renaissance pillars1 the ,golden ,fleece across his shoulders1 the sword of justice in his hand1 and the orb on a cushion at his feet4 ,he is surrounded by his counsellors1 and on the right a poor man kneels demanding justice4 ,the ,emperor1 who bears a recognisable likeness to ,maximilian1 turns from him with frowning face towards the rich oppressor1 who attempts1 with little success1 to excuse himself4 ,death has sprung upon the throne behind the monarch1 and is about to tear the imperial crown from his head4 ,on the ground is the hour-glass1 with the sand almost run out1 which is introduced into nearly all the pictures4 ,the ,king 7,pl4 #ff 7#b771 who sits at table within an open loggia1 is evidently intended to represent ,francis ,i4 ,the face1 small as it is1 has a strong resemblance to his portraits1 and the curtain behind his chair is patterned with the lilies of ,france4 ,the table is crowded with dishes1 among which stands the hour-glass4 ,death mingles with the serving-men1 and pours wine from a jug into a bowl for the ,king to drink4 ,between the pillars of the room can be seen the houses of the city4 ,the ,cardinal 7,pl4 #ff 7#c771 a distinguished figure1 sits among the vine-trees1 and1 just as he presents a letter of indulgence to a kneeling man1 ,death1 a grisly figure with long wisps of hair hanging from skull and chin1 tears his hat from his head4 ,next comes the ,empress 7,pl4 #ff 7#d771 walking in the garden in front of her palace1 with her ladies of honour around her1 one of whom bears her train4 ,death1 disguised as one of her women attendants1 leads her by the arm to the brink of an open grave1 of which she and those with her are quite unconscious4 ,she is followed by the ,queen1 whom ,death1 in the motley of a court jester1 seizes by one hand1 and drags away1 while in the other he holds his hour-glass aloft4 ,she shrieks aloud in terror1 while the cavalier who accompanies her attempts to set her free1 and her maid-of-honour flings up her arms in despair4 ,the scene takes place in front of a ,renaissance loggia1 with open country and a village in the distance4 ,the woodcut of the ,bishop is one of the most beautiful of the designs4 ,death takes the arm of the aged prelate and gently leads him away4 ,it illustrates the text3 8,i will smite the shepherd1 and the sheep of the flock shall be scattered abroad40 ,behind the two chief actors the sheep and their distracted shepherds are seen wandering in all directions4 ,the background is a very picturesque landscape with high mountains1 on one of which rises a castle1 and the western sun1 filling the sky with light1 is just sinking behind their crests4 ,next comes the ,duke with his retinue1 of whom a poor woman with her child begs alms1 and as he turns his head away in refusal1 ,death1 crowned with a wreath of vine-leaves1 reaches forward as though to pluck his ermine cape from his shoulders4 ,underneath a tree1 in the branches of which is placed the hour-glass1 the same grim skeleton1 with mitre on head and crozier on shoulder1 seizes the fat ,abbot by the robes1 and pulls him after him1 his victim vainly protesting1 and striving to hurl his breviary at his attacker's head4 ,in similar fashion he drags along the ,abbess by her scapulary from the convent gateway with its little belfry4 ,she cries aloud in her terror1 clutching her beads in her clasped and trembling hands1 while the porteress joins in her lamentations1 raising her arms to heaven4 ,the ,nobleman shows less fear when his time comes4 ,he flourishes his long sword over his head1 and attempts at the same time to push away ,death1 who drags him towards a bier on the ground with the hour-glass resting upon it4 ,in striking contrast to the violence of this scene is the following one of the ,canon or ,prebendary1 who is entering a church1 attended by his falconer1 his jester1 and his page4 ,death1 wearing a hood1 walks quietly by his side1 holding his hour-glass in front of him1 as though to show the worldly churchman1 whose face is not visible1 that the sands have nearly run out4 ,the unjust ,judge stretches out his hand to receive a bribe from the rich man1 while the poor petitioner on the other side is ignored2 but ,death1 unnoticed1 stands on a ledge behind his chair and breaks in two the ,judge's staff4 ,the next picture harps upon the same theme4 ,the ,advocate 7,pl4 #ff 7#e77 is receiving his fee from a wealthy citizen whom he has helped in despoiling a poor man1 who stands with clasped hands in the background4 ,death thrusts himself between them1 hour-glass held aloft1 and drops into the ,advocate's open hand a few gold coins4 ,the action takes place in a street of gabled houses and cobbled pavements1 a transcript of a corner of ,basel of ,holbein's own day4 ,the ,counsellor 7,pl4 #ff 7#f771 in his furred gown and cap1 is also shown in the street1 deep in consultation with a nobleman1 and oblivious to the entreaties of a man clad in rags1 who1 hat in hand1 touches him on the shoulder to attract his attention4 ,perched upon the ,advocate's back1 a little winged devil with curly tail blows into his ear with a small pair of bellows2 while ,death1 as a sexton1 lies at his feet1 with spade and hour-glass1 ready to trip him up4 ,,vol4 ,i41 ,,plate #ff4 ,illustration3 ,,the ,,dance ,,of ,,death ,,woodcuts #a4 ,,the ,,emperor #b4 ,,the ,,king #c4 ,,the ,,cardinal #d4 ,,the ,,empress ,from proofs in the ,british ,museum ,illustration3 #e4 ,,the ,,advocate #f4 ,,the ,,counsellor #g4 ,,the ,,preacher #h4 ,,the ,,priest ,from proofs in the ,british ,museum ,sidenote3 ,,preacher1 ,,priest1 ,,nun1 ,,and ,,others ,one of the most beautiful designs of the series shows the ,preacher 7,pl4 #ff 7#g77 in his pulpit1 expounding a false doctrine which he believes to be the true one1 his hands held forth in exhortation4 ,behind him stands the other preacher1 ,death1 wearing a stole1 and with a jaw-bone upraised over the unheeding victim's head as though about to strike him down4 ,the members of his congregation1 some standing1 some seated on low stools1 gaze upwards with close attention1 except one who has fallen asleep with his head against the pulpit base4 ,both the preacher and several of his listeners1 especially the woman seated in the front on the right1 are very expressive figures1 and are drawn with masterly precision4 ,next comes the ,priest 7,pl4 #ff 7#h771 one of the few of ,death's victims whom ,holbein has depicted without a touch of irony or satire4 ,he passes along the street in his robes1 bearing the sacrament to the bedside of some dying man1 preceded by ,death1 who acts as his sacristan1 with bell and lantern1 his hour-glass tucked under his arm4 ,very different is ,death's treatment of the ,mendicant ,friar1 whom he seizes roughly by the hood1 just as he is about to enter his monastery with well-filled box and begging-bag4 ,there is bitter satire1 too1 in the picture of the ,nun1 kneeling in front of the altar in her cell1 but her head turned behind her towards the young gallant who sits on the edge of her bed and plays his lute4 ,behind them ,death1 in the guise of an old hag1 stretches forth a hand to extinguish the altar candles4 ,two skeletons accompany the ,old ,woman1 who totters along a rough road by the aid of a stick1 telling her rosary as she goes4 ,one of them dances in front1 playing with two sticks a musical instrument slung from his shoulders1 while the other1 crowned with a wreath1 and a malicious grin upon his fleshless face1 takes her by the arm1 and dances by her side4 ,to the ,physician in his chamber ,death leads an old man broken down in health1 and at the same time warns him that his hour1 too1 has come4 ,a dog is curled up asleep in the foreground1 and over the ,physician's head is a shelf with books and glass water-bottles as in ,holbein's portrait of ,erasmus in ,longford ,castle4 ,the setting of the ,astrologer is one of the most effective and elaborate of the series4 ,his chair and the circular table1 covered with books and mathematical instruments1 at which he sits1 are richly carved and ornamented4 ,he is gazing at a celestial globe which hangs over his head1 while ,death strives to attract his attention by holding a skull for his inspection4 ,the ,rich ,man1 in a gloomy chamber with a window with heavy double bars1 sits surrounded by his money-chests and bags1 a heap of gold spread before him on the table4 ,he springs up in a fury of anger at the sight of ,death1 perched on a stool and filling a large bowl with money from the heap4 ,it is as bitter to him to lose his wealth as his life4 ,equally furious is the feeling displayed by the ,merchant1 upon whom ,death pounces1 seizing him by both hair and cloak1 at the moment when he is examining and checking his bales and barrels of merchandise which have just been unshipped on the quay4 ,a companion1 a bearded man1 cries out in fear1 with uplifted hands4 ,behind them the masts and spars of the ships in the harbour stand out against the sky4 ,terror1 too1 is the keynote of the ,mariner4 ,the storm is raging violently1 the wind howls1 and the waves dash over the ship4 ,the greater part of the sail has blown away1 and the sailors have abandoned all hope1 and wring their hands in terror1 as ,death clambers over the side and snaps the mast in two4 ,,vol4 ,i41 ,,plate #fg4 ,illustration3 ,,the ,,dance ,,of ,,death ,,woodcuts #a4 ,,the ,,old ,,man #b4 ,,the ,,countess #c4 ,,the ,,noble ,,lady #d4 ,,the ,,duchess ,from proofs in the ,british ,museum ,illustration3 #e4 ,,the ,,ploughman #f4 ,,the ,,young ,,child #g4 ,,the ,,last ,,judgment #h4 ,,the ,,arms ,,of ,,death ,from proofs in the ,british ,museum ,sidenote3 ,,the ,,duchess1 ,,and ,,others ,some of the finest designs are to be found among the remaining woodcuts4 ,death1 clad in chain mail1 runs a lance through the body of the ,knight1 a man in full armour1 with huge plumes in his helmet1 who gives a last despairing cry and attempts to strike down his enemy with his sword4 ,a low-lying landscape stretches out in the distance1 lit up by the rays of the fast-sinking sun4 ,the ,count has little of the ,knight's bravery4 ,he clasps his hands in terror as ,death1 disguised as a peasant1 with his flail flung on the ground1 prepares to strike him down with his own heraldic escutcheon4 ,on the other hand1 the ,old ,man 7,pl4 #fg 7#a771 bent with the weight of years1 tottering down his garden with the help of a thick stick1 finds in ,death nothing but a kindly companion1 who leads him gently by the hand to the edge of a deep grave dug in the turf1 while with the other hand he plays a dulcimer4 ,the ,countess 7,pl4 #fg 7#b77 in her chamber1 to whom her maid is handing a sumptuous dress1 is helped in her toilet by ,death1 who fixes round her shoulders a necklace of dead men's bones4 ,the ,nobleman's ,wife 7,pl4 #fg 7#c77 walks along hand in hand with her husband1 who gazes on her with affection1 oblivious to all else1 while a grinning skeleton precedes them1 beating vigorously on his drum4 ,the woodcut of the ,duchess 7,pl4 #fg 7#d77 is the one which ,ltzelburger has signed with his initials in an escutcheon on the foot of the bedpost4 ,the lady1 fully dressed1 springs up from her sleep in fright1 as ,death at the end of the bed tears the coverlet from her4 ,a second skeleton plays the fiddle1 while her greyhound crouches terrified on the floor4 ,death is also accompanied by a music-making comrade when he encounters the ,pedlar with his heavily-laden pack on his back1 and clutches him by the sleeve4 ,once again he comes in the guise of a friend to the old and weary ,ploughman 7,pl4 #fg 7#e771 in rags and barefooted1 his hair straggling through his broken hat4 ,death helps him in ploughing the last furrow1 and flogs forward the worn-out team of thin and miserable horses4 ,at the end of the field with its long ploughed lines a delightful landscape lies stretched1 with the houses of a village nestling among the trees1 the church tower rising from the hillside on one of the lower spurs of the ,swiss mountains1 the whole peaceful scene flooded with the light of the setting sun4 ,this background is1 perhaps1 the most beautiful of all1 and yet its lovely effect is produced with the simplest means4 ,the long list of ,death's victims concludes with the ,young ,child 7,pl4 #fg 7#f771 whom he leads by the hand through the doorway of a miserable1 half-ruined cottage1 with broken roof open to all weathers4 ,the child turns back in terror1 its free hand stretched towards its mother1 who kneels stirring the pot on the scanty fire1 the smoke of which half fills the room4 ,both she and an older child gaze after the little one with mouth wide open in astonishment and fear1 and hands uplifted to head4 ,the original series concludes with two cuts1 one representing the ,last ,judgment 7,pl4 #fg 7#g771 with ,christ enthroned on the rainbow over the celestial globe1 with the saints around him1 and down below a crowd of men and women newly risen from the grave2 and the other showing the ,arms of ,death 7,pl4 #fg 7#h771 which recalls1 in its arrangement1 more than one of ,holbein's designs for painted glass4 ,the shield1 on which is placed a skull1 with a worm hanging from its jaws1 is shattered and torn in places1 as though fashioned from a great bone which has mouldered in the grave4 ,a tattered winding-sheet is draped round it1 and it is surmounted by a helmet with an hour-glass for a crest1 from the base of which two skeleton arms grasping a large stone are raised aloft4 ,the supporters are a man and woman in the rich costume of ,holbein's day1 each of whom rests a hand on the escutcheon1 the latter gazing down at it1 while the former points to the skeleton arms and looks towards the spectator as though to urge him to remember that death is the end of all things4 ,in the background rise the peaks of the ,alps beneath a cloudy sky4 ,dr4 ,woltmann saw in these two figures likenesses of ,holbein and his wife1 but they evidently represent personages in a higher sphere of life4 ,sidenote3 ,,the ,,waggoner ,,and ,,others ,the eight additional subjects which were included in the edition of #aede were1 with possibly one exception1 designed by ,holbein1 and it seems almost certain that the cutting of most1 if not all1 of the blocks had been begun by ,ltzelburger1 and that they were sent to ,lyon after his death in #aebf1 as part of the commission he had received from the ,trechsels4 ,the first of them represents the ,soldier1 who is attacking ,death with his two-handed sword4 ,the latter is armed with a great bone and a circular shield4 ,the ground beneath them is strewn with the dead and dying1 and over the hills in the background comes rushing a body of soldiers1 with a second skeleton beating a drum as he leads the charge4 ,next we have the ,gamester1 seated at table with two comrades4 ,death clutches him by the throat1 and a devil seizes him by the hair4 ,one of the party is counting his gains1 and cards are strewn over the floor4 ,this is followed by the ,drunkard1 a scene with men and women in the middle of a disorderly carouse1 among whom ,death stalks1 and1 pulling back the head of one of them1 a gross and bloated old man1 pours wine down his throat from a tankard4 ,the ,fool dances over the rough ground1 one finger in his mouth1 and a long bladder grasped in the other hand1 as though about to strike at ,death1 who1 falling into his humour1 dances by his side to the music of the bagpipes he is playing4 ,the ,robber1 hidden in the recesses of a wood1 is springing from behind the trees in order to snatch the market-basket from the head of a barefooted woman who passes by as night is falling1 but ,death has him by the neck before he can accomplish his purpose4 ,in the next scene he is leading the ,blind ,man by his stick towards the water into which the next step or two will plunge him2 and then comes the ,waggoner1 the woodcut which in the preface is mentioned by name as the one which the engraver left unfinished4 ,vauzelles' description of it is not in complete accord with the finished block4 ,the driver is not crushed beneath his waggon1 but stands with hands clasped over his head1 and a look of mingled fear and consternation on his face4 ,the horse within the shafts has fallen on the side of a steep hill1 and the cart with its great barrels is overturned4 ,death springs up behind1 and untwists the stick by which the cord which fastens the barrel is kept taut4 ,a second skeleton carries away one of the waggon wheels1 which has been broken off4 ,the concluding design shows the ,beggar1 lame and blind1 and almost nude1 seated among the straw and rubbish in front of some rich man's house1 his hands raised as though imploring ,death to come for him2 but he is the only one from whom ,death keeps aloof4 ,this block1 as already noted1 is so badly cut that it is not easy to say with certainty whether ,holbein was the designer of it4 ,in the 8,young ,wife0 of the #aefb edition1 ,death is dancing as he leads her away in tears1 while they are preceded by a gaily dressed gallant who plays a guitar4 ,in the companion cut1 ,death also dances1 and blows a trumpet1 as he drags off the 8,young ,husband0 by the corner of his cloak4 ,in the background is a ruined building4 ,it would be difficult to find a happier partnership than that which existed between the designer and the engraver of this great ,dance4 ,ltzelburger has reproduced ,holbein's dramatic story with the utmost sympathy and understanding1 and from a technical point of view the cutting comes as near perfection as possible4 ,holbein's delicate and expressive line is retained almost unimpaired1 and there is no pretentious elaboration of detail merely to show the skill of the woodcutter4 ,with the simplest methods--with sparing use of cross-hatching for the indication of light and shade--methods best suited to the material used1 the most beautiful results have been obtained1 for which designer and engraver must share the praise4 ,so admirably are these cuts executed1 says ,chatto1 8with so much feeling and with so much knowledge of the capabilities of the art1 that ,i do not think any wood-engraver of the present time is capable of surpassing them4 ,the manner in which they are engraved is comparatively simple3 there is no laboured and unnecessary cross-hatching where the same effect might be obtained by simpler means2 no display of fine work merely to show the artist's talent in cutting delicate lines4 ,every line is expressive2 and the end is always obtained by the simplest means4 ,in this the talent and feeling of the engraver are chiefly displayed4 ,he wastes not his time in mere mechanical execution--which in the present day is often mistaken for excellence2--he endeavours to give to each character its appropriate expression2 and in this he appears to have succeeded better1 considering the small size of the cuts1 than any other wood-engraver1 either of times past or present40#dhb ,in this great work 8in little0 ,holbein's imagination found its fullest and most expressive play1 and it is small wonder1 therefore1 that the ,dance soon gained a wide popularity4 ,almost from the beginning it appears to have been well known as ,holbein's work1 and numerous references to it occur in contemporary literature4 ,the learned ,conrad ,gesner1 of ,zrich1 a younger contemporary of the artist1 expressly ascribes it to him in his ,partitiones ,theologic1 c41 published in #aedi4 ,the passage runs3 8,imagines ,mortis express ab optimo pictore ,johanne ,holbein cum epigrammatibus ,georgii mylii1 excus ,francofurti et ,lugduni apud ,frellonios1 quorum editio plures habet picturas4 ,vidi etiam cum metris ,gallicis et ,germanicis1 si bene memini40 ,van ,mander1 whose ,het ,schilder ,boek was first published in #afjd1 includes the ,dance among ,holbein's works2 and ,joachim von ,sandrart1 in his ,life of the artist1 tells a charming story which indicates in how high an estimation ,holbein's designs were held just one hundred years after he drew them on the wood4 ,sandrart1 who was a pupil of ,gerard ,honthorst at ,utrecht1 says3 8,i remember that in the year #afbg1 when the celebrated ,rubens was proceeding to ,utrecht to visit ,honthorst1 ,i accompanied him as far as ,amsterdam2 and during our passage in the boat ,i looked into ,holbein's little book of the ,dance of ,death1 the cuts of which ,rubens highly praised1 recommending me1 as ,i was a young man1 to copy them1 observing that he had copied them himself in his youth40 ,sandrart was then a young man of twenty1 and was on his way to ,england with his master4 8,and after this10 he adds1 8,rubens held a beautiful and laudatory discourse almost the whole way upon ,holbein1 ,drer1 and other old ,german painters40#dhc ,,vol4 ,i41 ,,plate #fh4 ,illustration ,illustration ,illustration3 ,,the ,,dance ,,of ,,death ,,alphabet ,from proof in the ,royal ,print ,cabinet1 ,dresden ,sidenote3 ,,the 8,,dance ,,of ,,death0 ,,alphabet ,holbein's ,alphabet of ,death 7,pl4 #fh71dhd also engraved by ,ltzelburger1 displays all the inventive power and dramatic feeling of the larger ,dance4 ,these diminutive inch-square letters show the engraver's wonderful delicacy of cutting1 and his power of reproducing the artist's designs in almost their full beauty and force4 ,much of the space in each one of them is occupied by the plain ,roman letter itself1 behind which the subject is arranged1 and ,holbein has succeeded in placing his minute figures so ingeniously that the action is not concealed by the letters to an extent detrimental to the clearness of the story4 ,isolated examples of the use of these letters in printed books occur as early as #aebd1 the letter ,n appearing in the ,greek ,new ,testament issued by ,bebelius in that year1 and a number of them are to be found in the publications of several ,basel printers from #aebe onwards4 ,this proves that the ,alphabet was designed at about the same time1 if not before1 the ,dance4 ,the subjects of the twenty-four letters 7,j and ,u are not included7 are1 with few exceptions1 the same as in the larger woodcuts1 although in most cases they are treated differently4 ,it is possible that ,holbein1 in drawing these letters on the blocks1 became so fascinated with his theme1 and delighted with the skill of his engraver1 that he determined to carry it still further1 and on a more important scale1 in which the play of his poetic and ironic fancy could find even wider scope1 without the hampering presence of the letters themselves4 ,the backgrounds of the ,alphabet are plain1 but in the more than quadrupled space which the size of the ,dance woodcuts permitted1 he was able to add many details which helped to point his moral and tell his tale more vividly1 and also those wonderful backgrounds1 landscapes1 street scenes1 the interiors of palaces1 offices1 and hovels1 which form so charming and characteristic a part of each little picture4 ,the smaller series begins1 like the ,dance1 with the concourse of skeletons playing weird music for the dancers who follow1 from the ,pope in the letter ,b down to the ,young ,child in the letter ,y4 ,in certain instances1 such as the ,bishop 7,h71 the ,monk 7,o71 the ,soldier 7,p71 the ,fool 7,r71 and the ,gamblers 7,x71 the action has a close resemblance to that in the cuts dealing with the same characters in the ,dance1 though differing in slight details4 ,thus the ,fool in the ,alphabet wears cap and bells1 and ,death1 instead of dancing with him and playing the pipes1 is seizing him violently by the shoulder4 ,in a number of the letters two skeletons are shown1 and they are occasionally aided by a small devil4 ,the little child is torn from the cradle in the sight of its agonised mother1 the ,queen is dragged away by a rope round her neck1 the ,nun is led off gently by the hand1 with head downcast1 and the ,drunkard1 prone on the ground1 has his last draught poured roughly down his throat1 while the second skeleton seizes him by the leg as though to pull him up4 ,three new subjects are introduced into the series3 the ,courtesan1 whom ,death1 wearing the high hat of a gallant1 closely embraces1 while his companion crawls away on his hands and knees1 the hour-glass balanced grotesquely on his back2 the ,hermit1 who is led gently from his cell1 and the ,horseman1 behind whose back ,death has sprung4 ,the letter ,z contains a reproduction of the ,last ,judgment conceived in a similar fashion to the woodcut of the ,dance4 ,the inclusion in this ,alphabet of the ,fool1 the ,soldier1 and the ,gamblers1 who appear for the first time in the #aede edition of the ,dance1 after the death of both artist and engraver1 and the similarity of the conception in both series1 afford further proof that the new subjects added to the ,dance seven years after it was first published were drawn by ,holbein on the blocks1 although portions of the cutting of them were probably the work of some other hand than ,ltzelburger's4 ,sidenote3 ,,early ,,editions ,,of ,,the ,,woodcuts ,the third great work in which these two masters collaborated was the series of woodcut illustrations to the ,old ,testament1#dhe first published1 like the ,dance of ,death1 at ,lyon by the brothers ,trechsel1 and in the same year1 #aech4 ,the total number of these woodcuts is ninety-one1 but the whole of them are not included in the earlier editions4 ,the first issue 7#aech7 contains eighty-eight of them1 the rare 8,fall0 7#a71 8,nathan rebuking ,david0 7#dj71 and 8,isaiah lamenting over ,jerusalem0 7#gb7 being absent4 ,in the second edition 7#aeci7 only the first of the series1 8,the ,fall0 is missing4 ,in addition to these illustrations1 the first four woodcuts of the 8,dance of ,death0--the ,creation1 the ,temptation1 the ,expulsion1 and ,adam tilling the ,ground--were borrowed from that publication1 and placed at the beginning of the new one4 ,the ,bible cuts1 which vary slightly in their dimensions1 are of different form1 being oblong and almost double the size of those of the ,dance4 ,they were issued as a small quarto picture-book1 instead of being included1 as was probably the artist's or the engraver's original intention1 as illustrations to an edition of the ,bible4 ,in the same year1 however1 as the first issue of the book1 they were used for the latter purpose1 the complete set of ninety-one appearing in a ,latin edition of the ,bible produced by another ,lyon printer1 ,hugo a ,porta1 though with the imprint of the ,trechsels4 ,the title of the first edition is as follows3 8,historiarum veteris ,instrumenti ,icones ad vivum express4 ,una cum brevi sed quoad fieri potuit1 dilucida earundem expositione4 ,lugduni1 sub scuto ,coloniensi4 ,m4,d4,,xxxviii40 ,the title-page contains an emblematic cut almost exactly similar to the one in the ,dance1 and with the same motto1 8,usus me genuit40 ,the imprint at the end is also the same1 with the names of ,melchior and ,gaspar ,trechsel1 and the date4 ,the address to the reader is signed 8,franciscus ,frellus0 in the first two editions1 but in subsequent issues the surname was given as 8,frellonius40 ,this seems to indicate that the ,frellons were already associated with the ,trechsels in the business1 of which they shortly afterwards obtained full control1 the third edition 7#aedc7 of the ,old ,testament illustrations being published in their name1 8apud ,joannem et ,franciscum ,frellonios fratres10 and from the same address1 8sub scuto ,coloniensi40 ,chatto#dhf suggests that they were the actual publishers of the first editions of both the ,bible cuts and the ,dance1 but for reasons of policy1 connected with the satirical nature of the subject-matter of the designs1 their names were withheld until the success of the two publications was assured4 ,there is no mention of ,holbein's name in the first edition1 but a year later1 in the second1 the publisher's address is followed by a set of ,latin verses by ,holbein's friend1 ,nicolas ,bourbon1 the ,french poet1 in which the artist's name1 as the author of these designs1 is coupled with ,apelles1 ,zeuxis1 and other famous painters of classical times1 whom he is said in all ways to eclipse4 ,other verses in ,french were added1 from the pen of ,gilles ,corrozet1 which form more or less a rhyming paraphrase of ,frellon's address1 in which the reader is exhorted to avoid seductive paintings of ,venus1 ,diana1 ,helen1 ,dido1 and other ladies celebrated in fable and poetry1 and to turn instead to those sacred pictures taken from the ,holy ,scriptures1 from the study of which far greater profit is to be obtained4 ,corrozet1 no doubt1 was also responsible for the ,french explanatory verse which1 together with the appropriate ,latin text1 accompanied each woodcut1 just as he was the author of the 8descriptions severement rithmes0 of the ,dance of ,death4 ,there is no need to give a list of the later editions1 which are almost as numerous as those of the ,dance4 ,an ,english edition was published in #aedi1 with the title--8,the ,images of the old ,testament1 lately expressed1 set forthe in ,ynglishe and ,frenche with a playn and brief exposition4 ,printed at ,lyons by ,johin ,frellon1 the yere of our ,lord ,god1 #aedi40 ,these illustrations were drawn on the blocks by ,holbein at about the same date as the ,dance of ,death pictures4 ,this is proved not only from the fact that a number of them were engraved by ,ltzelburger1 and that in style and composition they closely resemble the 8,todtentanz0 and other ,basel designs by ,holbein before his departure for ,england in #aebf1 but also because copies of more than half of them are to be found in the ,bible published by ,froschover in ,zrich in #aeca1 showing that at least proofs of them were well known among ,swiss publishers long before they were issued in book form in ,lyon4 ,there is a proof impression of the whole series in the ,basel ,gallery1 on sheets printed only on one side1 which was probably struck off immediately after the blocks were completed4 ,it begins with the very rare 8,fall10 which otherwise only appears in ,hugo a ,porta's ,bible of #aech1 being missing in all editions in which the pictures appear alone1 its place being taken in the latter by the four introductory sheets borrowed from the ,dance of ,death4 ,the two other woodcuts already noted as missing from the first edition 7,nos4 #dj and #gb71 and absent1 too1 from the ,latin ,bible1 are also to be found among the ,basel proof impressions4 ,in one instance1 the 8,david and ,uriah0 7,no4 #ci7 there are two versions among these proofs1 in one of which a background of wall1 window1 and curtain is introduced1 but so badly engraved that it was evidently decided to abandon or alter the block in favour of the second version1 in which the two figures are shown against a plain1 white surface4 ,a large number of the illustrations were engraved by ,ltzelburger1 but side by side with them are others which are the work of a far less skilful hand or hands4 ,in one or two instances1 such as the 8,joel0 7,no4 #hf7 and the 8,zechariah0 7,no4 #ij71 the workmanship is so rude that it is difficult to say with certainty that they are based on ,holbein's own designs4 ,woltmann suggests that these woodcuts were originally commissioned by ,adam ,petri1 with the intention of using them to illustrate later editions of his ,german ,old ,testament1 but that on account of the acute religious strife which then existed in ,basel1 it was thought advisable to hold them in reserve4#dhg ,even though ,holbein's name had been withheld from these designs1 as it was from the ,dance of ,death1 his authorship of them would still remain undoubted1 for in style and method they are in exact agreement with the ,dance woodcuts1 and certain of the figures recall the still earlier 8,praise of ,folly0 drawings4 ,the children in some of these ,bible cuts1 such as those who jeer at the ,fool 7,no4 #fi1 ,psalm lii471 those among the captive ,midianites 7,no4 #bf1 ,numbers xxxi471 and those mocking ,elisha 7,no4 #dg1 #b ,kings ii471 all delightfully sympathetic little figures1 have the closest resemblance to the children in the ,duke or ,elector1 and the ,young ,child woodcuts of the ,dance4 ,the same resemblances are to be seen between many of the other figures1 some of which still retain that stumpiness which marked his delineation of the human form at that time1 and in the minor details1 such as the representation of smoke and water1 of trees1 and in the landscape backgrounds4 ,in the cut of ,esther kneeling before ,ahasuerus 7,no4 #fe1 ,esther ii471 the curtain at the back of the ,king's throne is covered with fleurs-de-lis1 as in the representation of the ,king in the other series1 showing that when kingship was in question ,holbein's thoughts turned to ,francis ,i1 as the most notable monarch of his day4 ,many other instances of resemblance can be easily perceived when a close comparison of the two sets of designs is made4 ,sidenote3 ,,their ,,excellence ,,as ,,illustrations ,regarded as illustrations to the books of the ,old ,testament1 these woodcuts are in all ways admirable4 ,holbein has brought to their making less of that imaginative power and biting humour which characterise the marvellous little pictures of the great ,dance4 ,he has concentrated his skill rather upon the faithful and accurate telling of these sacred stories as they are given in the text itself1 and he does this with a perfect understanding of their strong dramatic power and their equally strong human interest4 ,they are historical rather than spiritual in their conception1 filled with the actual spirit of the narrative itself1 to the exclusion of all else4 ,he is revealed in them as a teller of stories of the first rank1 with the power of seizing the most dramatic moment of each incident he depicts with unfailing instinct1 and then representing it with a few unerring strokes of his pencil clearly and simply1 with no over-elaboration of needless detail or overcrowding of characters4 ,all that is absolutely necessary he gives1 and no more2 but within these narrow limits1 a space only of a few square inches1 he produced a series of designs admirable in composition1 dignified and noble in conception1 and yet free and dramatic in action4#dhh ,it is impossible within the limits of this book to attempt even a short description of these illustrations4 ,among the finest are ,abraham sacrificing ,isaac 7,no4 #e71 ,jacob blessing ,ephraim and ,manasseh 7,no4 #i7 7,pl4 #fi 7#a771 ,moses and the ,burning ,bush 7,no4 #aa71 the ,brazen ,serpent 7,no4 #be71 the ,submission of the ,midianites 7,no4 #bf71 ,ruth and ,boaz 7,no4 #cb7 7,pl4 #fi 7#b771 ,hannah and ,elkanah 7,no4 #cc71 the ,death of ,jeroboam's ,son 7,no4 #de71 ,elisha and the ,children 7,no4 #dg71 ,david before the ,ark 7,no4 #ec71 ,solomon blessing the ,faithful 7,no4 #ee71 the ,blinding of ,tobit 7,no4 #fa71 ,job 7,no4 #fb71 ,esther and ,ahasuerus 7,no4 #fe71 ,judith with the ,head of ,holofernes 7,no4 #fg7 7,pl4 #fi 7#c771 ,daniel in the ,lion's ,den 7,no4 #hd71 ,amos 7,no4 #hg7 7,pl4 #fi 7#d771 and ,jonah under the ,walls of ,nineveh 7,no4 #hh74 ,considerable charm is added to a number of them by the beauty of the landscape or architectural background1 put in with a few simple but masterly lines1 as in the ,burning ,bush 7,no4 #aa71 in which ,moses kneels to unfasten his shoes1 his sheep grazing round him2 in ,moses receiving the ,commandments 7,no4 #ba7 7,pl4 #gj 7#a771 with the people at work in the vineyards1 and in the distance a harvest waggon passing along a road towards a village on the plain2 and in the walled city of ,jerusalem with the ,temple rising in its midst1 in the ,return from the ,captivity 7,no4 #eh7 7,pl4 #gj 7#b774 ,many others could be cited1 as well as subjects containing dramatic battle scenes1 recalling the masterly study of a fight of landsknechte in the ,basel ,gallery which has been described on a previous page4#dhi ,this is particularly the case in the cut showing the ,defeat of ,sennacherib's ,army 7,no4 #eg74 ,other animated battle scenes occur in ,david learning of the ,death of ,saul 7,no4 #cg71 and ,david triumphing over the ,philistines 7,no4 #ch74 ,,vol4 ,i41 ,,plate #fi4 ,,old ,,testament ,,woodcuts ,illustration3 #a4 ,,jacob ,,blessing ,,ephraim ,,and ,,manasseh #b4 ,,ruth ,,and ,,boaz ,from proofs in the ,british ,museum ,illustration3 #c4 ,,judith ,,with ,,the ,,head ,,of ,,holofernes #d4 ,,amos ,,preaching ,from proofs in the ,british ,museum ,,vol4 ,i41 ,,plate #gj4 ,,old ,,testament ,,woodcuts ,illustration3 #a4 ,,moses ,,receiving ,,the ,,tables ,,of ,,the ,,law #b4 ,,the ,,return ,,from ,,the ,,babylonian ,,captivity ,from proofs in the ,british ,museum ,illustration3 #c4 ,,the ,,angel ,,showing ,,st4 ,,john ,,the ,,new ,,jerusalem ,revelation xxi4 ,woodcut from ,adam ,petri's ,new ,testament1 #aebc ,from a copy in the ,british ,museum ,sidenote3 ,,the ,,old ,,testament ,,alphabet ,holbein also went to the ,old ,testament for the subjects of an ,alphabet of twenty-four letters1 engraved on metal1 and of considerable size4#dij ,they begin with the ,creation of ,eve1 and conclude with ,jacob's journey into ,egypt4 ,the letters ,n to ,y are occupied with the story of ,joseph1 which is thus given in considerable detail4 ,in the letter ,o1 representing ,joseph and ,potiphar's wife1 the bed on which the latter sits has curtains ornamented with the ,french lilies4 ---------------------------------------- -------------------------------- ,,chapter ,,xi ,,the ,,meyer ,,madonna ,,and ,,the ,,departure ,,for ,,england ,commission from ,jakob ,meyer for the 8,meyer ,madonna0--,description of the picture at ,darmstadt--,preliminary studies for the heads--,the copy at ,dresden--,history of the two pictures--,magdalena ,offenburg and the 8,lais ,corinthiaca0 and 8,venus0--,lack of work in ,basel owing to the disturbed state of the city--,holbein's departure for ,england4 ,,the year #aebf was by no means a favourable one for the members of the ,basel guild of painters1 although1 in all probability1 it was in this very year that ,holbein received one of his most important commissions1 the famous altar-piece known as the 8,meyer ,madonna10 now in the ,grand-ducal palace of ,darmstadt1 in the possession of the ,grand ,duke of ,hesse4 ,at this period ecclesiastical dissension had reached its acutest pitch1 and party feeling ran so high that there was little time or inclination among the leading citizens for the patronage or even the consideration of the fine arts4 ,the ,reformers1 then in the ascendant in the control of public affairs1 were strongly opposed to all forms of pictorial or decorative art for church use1 and it was this side of the painter's craft which1 until then1 had been the most lucrative4 ,times1 indeed1 were so bad for them that in ,january of this year the ,painters' ,guild had been forced to petition the ,council for permission to remain in ,basel in the pursuit of their art in order that they might obtain means for the support of their families4 ,holbein1 in spite of his outstanding merits and the high reputation he had made for himself in his adopted city1 felt the pinch of adverse circumstances almost as severely as his brother painters4 ,the authorities1 unwilling1 apparently1 to complete the decorations of the ,town ,hall1 had no remunerative work to give him4 ,from ,november #aebc1 when he received the last instalment of his money for his wall-paintings in that building1 down to the beginning of #aebf there is no record of any civic payment made to him4 ,on the #crd of ,march1 however1 in the latter year1 he received the meagre sum of two ,basel pounds ten shillings1 about equal to two gulden1 for the painting of some shields or coats of arms for the borough of ,waldenburg1 a township on the slopes of the ,jura within the jurisdiction of ,basel1 no doubt for the decoration of the court of justice or public hall of that place4 ,the entry runs as follows3 8,sampstag nach ,reminiscere1 #aebf3 ,item ij ll4 x sh4 geben ,holbein dem moler1 fr etliche schilt am stettlin ,waldenburg vergangener ,iaren zemolen40#dia ,unimportant commissions of this nature cannot have been of much help in keeping the wolf from the door1 and that he was willing to undertake such mere journeyman's work1 in which his splendid talents could have little opportunity for their full display1 affords proof that for the time being an artist's life in ,switzerland was a very precarious one4 ,sidenote3 ,,meyer',s ,,commission ,,for ,a ,,picture ,happily for him1 at about this time his old patron ,jakob ,meyer 8zum ,hasen0 gave him a commission for a votive picture1 in which he and the members of his family were to be represented as kneeling in adoration under the direct protection of the ,virgin ,mary1 a work in the painting of which his genius found complete expression4#dib ,meyer1 who since #aeba had been removed from all public offices1 was a thorough-going adherent of the old religion1 and the party to which he belonged was by this time in the minority2 but his sturdy belief remained unshaken1 and in #aebi1 immediately before the fiercest iconoclastic outburst in the city1 he was at the head of the ,catholic party4 ,at the time when the greater number of his fellow-citizens were beginning to view with disfavour all sacred paintings1 he proved that he had the courage of his convictions by ordering this picture1 in which his faith was very plainly expressed4 ,it is doubtful whether it was intended to be placed over an altar in some chapel in one of the ,basel churches1 or to be hung in ,meyer's own house1 but in either case it was a definite public profession of his faith4 ,the figures in the picture 7,pl4 #ga7 are about three-quarters of the size of life4 ,the ,virgin is not represented on her throne1 but stands amid the donor's family as the ,mother of ,grace1 her mantle spread over them as a sign of her protection4 ,holbein has placed her in the centre of the composition in front of a shallow niche with a circular arch1 fluted like a shell1 against which her head is relieved4 ,in her arms she clasps the ,infant ,christ1 whose head rests against her shoulder1 his left arm outstretched over the kneeling suppliants below as though in benediction4 ,the edge of her cloak falls over the shoulders of ,meyer1 who kneels on the left1 with hands clasped1 gazing upwards in adoration4#dic ,in front of him kneels his elder son1 a youth of about sixteen1 whose attention is diverted from his prayers by his small brother1 a little naked boy with curly hair1 standing upright on the ,turkey carpet which is placed beneath the group1 whom he is holding with both hands4 ,the child stands1 with left arm outstretched1 gazing at his open palm4 ,on the right-hand side is a group of three kneeling women1 ,meyer's second wife1 ,dorothea ,kannengiesser von ,tann1 with her daughter ,anna in front of her1 and1 next to the ,virgin1 a third woman who has been taken to represent either the ,burgomaster's first wife1 ,magdalena ,baer1 who died in #aeaa1 and was a widow when he married her1 or her daughter by her earlier marriage4 ,it has been also suggested that the figure represents ,meyer's mother1 or his mother-in-law1 but it is most probable that it is a portrait of his first wife1 for it was by no means unusual at that time to combine both the living and the dead in such a votive picture4 ,,vol4 ,i41 ,,plate #ga4 ,illustration3 ,,the ,,meyer ,,madonna ,,darmstadt ,sidenote3 ,,description ,,of ,,the ,,picture ,this picture is ,holbein's greatest masterpiece of sacred painting1 noble and dignified in feeling and composition1 remarkable for the direct and striking veracity of its portraiture1 and the splendour of its rich1 subdued colour4 ,there is extraordinary expression in ,meyer's head1 with its rapt1 tense look1 in which the depth of his faith is clearly portrayed4 ,his ruddy complexion and blue shaven chin form a strong colour contrast with the fresher1 paler flesh tints of his two sons1 in whom the likeness to the father can be plainly traced4 ,there is an equal contrast1 too1 between the face of the living wife1 energetic and capable1 and that of the other woman1 seen in profile1 whose features are nearly concealed by the white hood and the chin band she is wearing1 giving almost the appearance of grave-clothes1 though it was a head-dress then in common use1 as can be seen from a number of ,holbein's book illustrations4 ,in the ,virgin's face1 with its downcast eyes1 there is a look of heavenly tranquillity4 ,her complexion is fair1 and her cheeks have a rosy tinge4 ,she wears a golden crown set with pearls and precious stones1 below which her golden hair falls upon her shoulders and over her mantle1 and is painted with all ,holbein's minute care and complete technical mastery4 ,the pale1 delicate flesh tints are continued in the body of the ,infant ,christ and in the hands of his mother1 the two heads forming a lovely chord of colour in perfect harmony with the reddish marble and grey stone of the niche against which they are set4 ,the ,virgin's dress is dark blue1 which has turned almost green with the passing of time1 with under-sleeves of gold1 in the painting of which actual gold has been used1 as also in the crown1 and in ,anna ,meyer's head-dress and other ornamental parts of the picture4 ,her girdle is red1 and her mantle a greenish grey4 ,meyer's hair is black1 and his black surcoat is lined with light-brown fur4 ,the kneeling boy wears a dress of light brown trimmed with bands of dark red velvet1 and red hose1 and from his belt hangs an elaborate purse with long blue tassels4 ,the colouring of the group on the spectator's right is largely black and white4 ,the two elder women are in black1 with plain white head-dresses4 ,the daughter's dress is also white1 decorated with deep bands of gold material embroidered with pearls1 her head-dress being formed of two similar bands1 with crimson tassels1 which almost conceal the brown braided hair1 and a little wreath of white and red flowers on the top4 ,she gazes across the picture at her little brother1 her rosary in her hands1 of which1 owing to the long sleeves of her dress1 only the tips of her fingers can be seen4 ,the ,turkey carpet1 which falls over the low step upon which the figures are grouped1 has an elaborate pattern of red1 green1 black1 and white on a yellow-brown ground4 ,the monotony of its geometrical design is broken by a large irregular fold in the centre1 as though the rug had been hastily thrown down and not straightened out4 ,on either side of the shell-shaped circular niche the carved pilasters of two low columns are seen above the heads of the kneeling figures1 and the green branches of a vine or fig-tree stand out against a bright-blue sky4 ,the picture1 like the ,solothurn ,madonna1 is of peculiar shape1 the top of the panel following the lines of the architectural background4 ,it measures about #d ft4 #h in4 7#a4dd m47 to the top of the circular niche1 and #c ft4 #h in4 7#a4abe m47 to the horizontal edge above the pilasters at the side1 and is nearly #c ft4 #c in4 7#a4ja m47 wide4 ,it is possible that in its original state it was furnished with a pair of shutters4 ,it is now generally agreed that its date is about #aebe or #aebf1 and that it was the last work of importance painted by ,holbein before he left ,basel4 ,meyer took a second wife in #aeac1 and their daughter ,anna1 who afterwards married ,nikolaus ,irmi1 appears in the picture to be about the age of twelve1 which gives the year #aebf as the one in which ,holbein received the commission4 ,nothing is known of the two boys1 who must have died young1 for ,meyer left no male heirs4 ,after his decease his widow was twice married1 and on her death in or about #aedi her heir was her daughter ,anna4 ,the elder boy was perhaps the son of the first wife4 ,the technical qualities of the painting1 too1 place it in the years immediately preceding ,holbein's first visit to ,england4 ,,vol4 ,i41 ,,plate #gb4 ,illustration3 ,,jakob ,,meyer ,drawings in black and coloured chalks ,,basel ,,gallery ,illustration3 ,,dorothea ,,kannengiesser ,studies for the ,meyer ,madonna ,drawings in black and coloured chalks ,,basel ,,gallery ,there are three preliminary studies for the picture in the ,basel ,gallery1 portrait heads of the ex-burgomaster1 his wife1 and their daughter4#did ,all three are drawn in his customary manner in black chalk1 with spare use of coloured chalks and water-colour here and there4 ,the head of ,meyer 7,pl4 #gb 7#a771die in black and red1 is in the same position as in the picture1 and placed against a greenish background4 ,his wife 7,pl4 #gb 7#b77dif is also taken in the position she occupies in the finished work1 but her head-dress is a different one1 and the chin and the greater part of the mouth are hidden by a linen band similar to the one worn by the unknown kneeling woman4 ,red is used in the face1 and brown for the hair1 which is seen through the muslin cap1 and for the fur lining to the collar of her gown4 ,the daughter1 ,anna1#dig is shown almost at three-quarter length1 with the arms and hands visible4 ,she wears the same dress with embroidered bands as in the picture1 but her hair1 instead of being almost hidden by the elaborate cap1 hangs down straightly below her waist4 ,more colour is used in this drawing than in the others1 the face being worked in flesh tints1 the hair of a golden-brown colour1 the girdle red1 and the ornaments of the collar in yellow1 while the background is washed with pale green4 ,the effect produced is very delicate and beautiful1 and the portrait is perhaps finer and more natural than in the picture itself4 ,these drawings closely resemble in style those which ,holbein produced shortly afterwards in ,england1 and approach them very nearly in their complete mastery of expressive line4 ,sidenote3 ,,the ,,battle ,,of ,,the ,,pictures ,for many years the fine early copy of the ,meyer ,madonna in the ,dresden ,gallery#dih was regarded as ,holbein's original work1 and one of the greatest treasures of the collection1 and it was not until #ahbb1 when the ,darmstadt picture1 purchased in that year by ,prince ,william of ,prussia from a ,parisian picture-dealer1 was first brought to the notice of connoisseurs1 that any doubt was thrown upon the authenticity of the better-known example1 which was then almost universally regarded as one of the greatest masterpieces of the ,german school4 ,a few ,german critics of note1 among them ,dr4 ,kugler1 admitted that the ,darmstadt picture was a genuine work by ,holbein1 but it was many years before anyone had the temerity to refuse a like honour to the famous example in ,dresden4 ,the first to do so publicly was ,wornum1 in his ,life of ,holbein1 published in #ahfg1 and he was followed by ,woltmann1 ,a4 von ,zahn1 and others4#dii ,in spite of such critics1 however1 both pictures were still regarded by most people as from ,holbein's own hand1 and it was not until the ,holbein ,exhibition1 held in ,dresden in #ahga1 when the two panels were placed side by side1 and a close comparison became possible1 that the undoubted genuineness of the ,darmstadt painting was admitted by all except the few who had a personal interest in upholding the prestige of the ,dresden ,gallery1 and who1 therefore1 refused to believe that their own picture was a mere copy1 however good4 ,throughout the autumn of #ahga1 a fierce battle raged between the contending parties1 and ,dresden was split up into two hostile camps4 ,a manifesto was issued by thirteen of the leading critics1 headed by ,woltmann1 ,thausing1 ,de ,lutzow1 and ,a4 ,bayersdorfer1 affirming their belief that the ,darmstadt picture was indubitably a genuine work by ,holbein1 with considerable and later retouches in the heads of the ,virgin1 the ,infant ,christ1 and the ,burgomaster1 and that the ,dresden ,madonna was a free copy of it1 in which the hand of ,holbein was not to be seen in any part4 ,the other party retaliated with a manifesto of their own1 in which they claimed that the modifications of the design in the ,dresden example were so free1 and were such great improvements1 particularly in the spacing and the proportions of the figures1 that no one but ,holbein could have accomplished it1 and that he alone could have given so lofty an ideality and beauty of expression to the figure of the ,virgin1 and that the picture remained a monument which attested the culminating point of ,german art4 ,the ,darmstadt picture1 on the other hand1 they found to be so badly obscured by dirty varnish and partial repaints that it was impossible to judge seriously the question of its originality4 ,an interesting account of the dispute was given in the ,gazette des ,beaux-,arts#ejj by the artist ,rudolf ,lehmann1 who was a staunch upholder of the genuineness of the better-known picture4 ,he saw in it a greater beauty1 maturity1 and nobility1 and held that the modifications were so intelligent as to be in reality corrections of the earlier work1 and therefore only from the hand of the master himself4 ,the ,darmstadt picture had certainly suffered from retouching in many places1 but in #ahhg it underwent a careful cleaning at the hands of ,hauser of ,munich1 by means of which the dirt and the spurious paint were removed4 ,it was then found to be in a very perfect state of preservation1 with the original splendour of its colour almost undimmed1 and the details as fine and as clear as when ,holbein first painted them4 ,the differences between the two pictures are many1 but in colour1 in expression1 and in technical achievement the one at ,darmstadt is far superior4 ,the copyist who produced the ,dresden picture has apparently attempted to improve upon the original1 by beautifying the face of the ,madonna1 which has lost much of its character in the process1 and giving a more graceful form to the rather thickset1 stumpy figure of the original1 so characteristic of ,holbein4 ,the proportions of the background have been also changed1 with the same idea of improvement4 ,the copyist appears to have thought that the top of the semicircular niche pressed too closely upon the ,virgin's head1 and he accordingly raised it1 thus relieving what he considered to be a cramped position2 whereas in ,holbein's original arrangement1 in which the diameter of the semicircle cuts across the shoulders of the figure1 the spacing is more effective than in the copy1 in which the line passes through the ,virgin's neck4 ,in the same way the pilasters over the kneeling figures on either side have been raised well above the heads1 so that the upper parts of the columns become visible4 ,in richness and harmony of colour the ,darmstadt version is far finer4 ,in the ,dresden copy the ,virgin's dress is green1 which proves that it was painted at some time considerably later than the original1 when the blue of the latter had taken on a greenish tint from the discoloration of the varnish4 ,again1 the extraordinary delicacy and precision of the draughtsmanship of all the details of dress is far more marked in the original work1 in which1 too1 there is much greater expression and animation in the faces4 ,sidenote3 ,,history ,,of ,,the ,,darmstadt ,,picture ,the history of the ,darmstadt picture can be traced1 with few breaks1 from the day it was painted4 ,on the death of ,dorothea ,meyer about #aedi it passed into the possession of her daughter ,anna and the latter's husband1 ,nikolaus ,irmi1 or ,irmy 7#aejg-eb74 ,anna ,irmi1 who married1 after ,irmi's death1 ,wilhelm ,hebdenring1 and died a widow in #aeeh1 left it to her daughter ,rosa or ,rosina1 who1 in #aegf1 married1 as his third wife1 ,remigius ,faesch1 burgomaster of ,basel4 ,rosa died about #afjf1 and shortly afterwards ,faesch sold the picture for one hundred golden crowns 7coronatos aureos solares7 to a certain ,lucas ,iselin4 ,this information is contained in a ,latin manuscript in the ,basel ,library1 which was written about the middle of the seventeenth century by a second ,remigius ,faesch1 grandson of the burgomaster4 ,he was a doctor of laws1 and a collector of pictures1 and his manuscript bears the title1 8,human ,industri ,monumenta40 ,the thirty-fifth folio is concerned with ,holbein1 and from it the history of the picture may be taken a step farther4 ,faesch says3 8,in the year #afc-1 the above-named painter1 ,le ,blond1 bought here of the widow and heirs of ,lucas ,iselin1 of ,st4 ,martin's1 a painting on wood1 about three ,basel ells in size1 the height and width being the same2 in which were represented the foresaid ,burgomaster ,jakob ,meier1 together with his sons on the right side1 and on the opposite side his wife with the daughters1 all painted from life1 kneeling before the altar4 ,i possess copies of a son and a daughter1 painted in ,belgium from the picture itself by ,joh4 ,ludi4 ,le ,blond paid for the picture #ajjj imperials1 and sold it afterwards for three times as much to ,maria de' ,medici1 ,queen ,dowager of ,france1 mother of ,king ,louis ,,xiii1 while she was residing in ,belgium1 where she died4 ,whither it afterwards went1 is uncertain40 ,a marginal note1 added by ,faesch1 probably at a later date1 further states3 8,this panel belonged to my grandfather1 the ,burgomaster ,remigius ,faesch1 from whom ,lucas ,iselin gained possession of it1 ostensibly for the ambassador of the ,king of ,france1 and paid #ajj gold crowns for it about the year #afjf40eja ,lucas ,iselin died in #afbf1 and his heirs appear to have sold the picture some years afterwards to ,michel ,le ,blond1 the ,german engraver1 who lived for the greater part of his life in ,amsterdam1 where he was occupied in providing engraved plates of ornaments for the use of jewellers1 and was also a picture collector and dealer4 ,he acted as agent to the ,court of ,sweden at ,amsterdam1 and in #afbe he negotiated for the ,duke of ,buckingham the purchase of a large collection of works of art from ,rubens4 ,he was a friend of ,sandrart1 ,holbein's biographer1 and travelled with him in ,italy4 ,sandrart1 in his ,life of ,holbein1 continues the history of the picture1 and in speaking of ,le ,blond's collection1 says3 8,this gentleman has long ago0 7lang vorher7--he refers to some time before he1 ,sandrart1 was in ,amsterdam1 about #afdj-de--8sold to the bookkeeper 7or banker7 ,johann ,lssert1 at his urgent request for the sum of #cjjj gulden1 a standing figure of the ,virgin painted on a panel1 holding her little ,child in her arms1 and under her is a carpet on which some figures are kneeling before her1 taken from life40#ejb ,sandrart's description shows that the picture in question was undoubtedly the ,meyer ,madonna1 and this is confirmed by ,patin's account4 ,the latter had access to the ,faesch manuscript1 and speaks of it as 8,a standing ,mary on a panel with the ,child on her arm1 under her a carpet on which some figures are kneeling before her1 painted from the life40 ,sidenote3 ,,history ,,of ,,the ,,darmstadt ,,picture ,sandrart's story indicates that ,faesch must have been wrong in stating that ,le ,blond sold the picture to ,maria de' ,medici1 then in exile in ,holland2 she appears to have been contented with a copy of it4 ,sandrart himself took sketches of some of the figures1 and others were made1 according to ,faesch1 by ,joh4 ,ludi4 ,this was ,johannes ,ldin1 a pupil of ,sarburgh1 who has been confused by earlier writers with ,giovanni da ,lodi1 an obscure painter whose work is to be found in several churches in ,lodi4 ,wornum thought that ,giovanni might have been the author of the ,dresden copy of the picture1#ejc but later researches have shown this to be a mistake4 ,quite recently 7#aiaa71 ,dr4 ,e4 ,major has identified it as a copy made for ,queen ,maria de' ,medici by ,bartholomus ,sarburgh1 a portrait-painter who1 in #afcd1 was living at the ,hague1 which was about the time the picture went to ,holland4 ,sarburgh1 who was born about #aeij1 worked in ,basel and in ,berne1 and may have known the painting in his youth4 ,it is extremely probable1 in ,dr4 ,major's opinion1 that the ,dresden example is identical with the copy known to have been in the possession of the ,french ,queen4#ejd ,there are numerous copies of ,holbein's works by ,sarburgh still in ,basel1 and several portraits by him in the ,picture ,gallery of that city4 ,it has also been suggested that ,faesch was mistaken in saying that ,le ,blond bought the picture from ,iselin's widow in ,basel1 and that in reality he obtained it from ,iselin himself at some earlier date2 for in #afba there was an important example of ,holbein's work in ,amsterdam which the ,earl of ,arundel was anxious to obtain4 ,sir ,dudley ,carleton1 writing to the ,earl from the ,hague1 #bbnd ,june #afba1 says3 8,having wayted lately on ye ,k4 and ,q4 of ,bohemia to ,amsterdam1 ,i there saw ye picture of ,holben's yor ,lp4 desires2 but cannot yet obtayne it1 though my indeavours wayte on it1 as they still shall doe40#eje ,sir ,dudley1 however1 gives no description of the picture1 which he was unable to get for the ,earl1 so that it is impossible to say more than that there is some probability that it may have been the ,meyer ,madonna4 ,sandrart1 who was a personal friend of ,le ,blond1 is no doubt correct when he says that the latter sold it direct to the banker ,johann ,lssert2 and it remained in the possession of that family for some seventy or eighty years4 ,it next appears in a sale of the pictures of ,jacob ,cromhout and ,jasper ,loskart1 held at ,amsterdam on the #gth and #hth ,may #agji1 the latter evidently a descendant of ,johann ,lssert4 ,according to the catalogue1 both owners were deceased1 and the greater number of the pictures seem to have belonged to ,cromhout1 the catalogue-heading concluding with the words1 8and some other fine pictures coming from the cabinet of the deceased ,herr ,jasper ,loskart40#ejf ,it is possible that the two owners were relations1 or partners in business1 as the coat of arms of the ,cromhouts is on the old frame of the ,darmstadt panel1 indicating that at some time or other the picture had been transferred from the one family to the other4#ejg ,the picture was ,no4 #bd in the sale1 and was described as1 8,a capital piece1 with two doors1 representing ,mary with ,jesus on her arm1 with various kneeling figures from life1 by ,hans ,holbeen--fl4 #bjjj02 just double the price paid for a large altar-piece by ,rubens in the same sale1 and equal to about #afj in modern money1 a large price for a picture in those days4 ,it will be seen that in #agji it still had wings1 which have since disappeared4 ,for more than one hundred years after the ,cromhout sale all traces of the picture are missing1 though it appears to have been in ,england for at least a part of the time1 for on the back is written in ,english3 8,no4 #hb1 ,holy ,family1 ,portraits1 ,a4,d410 the latter initials indicating that when here it was attributed to ,drer4 ,on the old seventeenth-century frame there are1 in addition to the ,cromhout coat of arms1 the armorial bearings of a member of the ,von ,warberge family and his wife1 apparently indicating yet another ownership4 ,it reappeared in #ahbb1 when it was purchased by ,prince ,william of ,prussia from the ,parisian picture-dealer ,delahante1 through the latter's brother-in-law1 ,spontini1 at that time royal musical director in ,berlin1 at a cost of #bejj or #bhjj thalers--about #dbj4 ,on the death of the ,prince its purchase for the ,berlin ,museum was urged by ,dr4 ,waagen1 but the authorities were not willing to consider it4 ,on the division of the ,prince's property1 it was assigned to his daughter1 ,princess ,elizabeth1 who married ,prince ,charles of ,hesse-,darmstadt in #ahcf2 and from that day the picture has remained in the private apartments of the old palace4 ,sidenote3 ,,history ,,of ,,the ,,dresden ,,version ,the first definite information about the ,dresden version is that at the beginning of the eighteenth century it was in ,venice1 in the possession of the ,delfino family1 from whose representative1 ,giovanni ,delfino1 it was purchased by ,count ,francesco ,algarotti on the #dth ,september #agdc1 for ,augustus ,,iii1 ,elector of ,saxony1 for one thousand sequins4 ,a previous attempt to buy it had been made by the ,duke of ,orleans in #agbc4 ,it is to be gathered from ,algarotti's correspondence that the picture had been bequeathed to ,delfino's father by the ,venetian banker ,avogadro1 and1 according to an old servant of the latter's1 named ,griffoni1 his master had obtained it in or about the year #afij in ,amsterdam as payment for a debt of #bjjj sequins owing to him by the house of ,lssert1 which had recently become bankrupt4 ,algarotti was of opinion that it was the very picture mentioned by ,sandrart4 ,as1 however1 the original picture was still in ,amsterdam in #agji 7the date of the ,cromhout sale71 nearly twenty years after ,avogadro is said to have received it1 the version which went to ,venice can only have been a copy1 which it is now known to be4 ,it appears1 therefore1 that at one time ,loskart or ,lssert possessed two versions of the picture2 and it may be conjectured that at the time of the bankruptcy1 or perhaps earlier1 the original was sold to or taken over by ,cromhout1 and the early seventeenth-century copy retained1 until it was given to ,avogadro in lieu of the debt4 ,it is not1 however1 necessary to suppose that the transaction was an underhand one1 and that a copy was knowingly palmed off on the banker as an original1 for very possibly by that time both pictures were regarded as genuine works by ,holbein4 ,at the time the ,venetian example was purchased for the ,elector of ,saxony1 it was generally regarded as a portrait-group of the ,more family1 owing to the similarity of the names ,meyer and ,more4 ,horace ,walpole1 who saw it in ,venice1 gave it its correct title4 ,he says1 when referring to the various examples existing of the ,more family group3 8,the fifth#ejh was in the palace of the ,delfino family at ,venice1 where it was long on sale1 the first price set1 #aejjl4 ,when ,i saw it there in #agda they had sunk it to #djjl41 soon after which the present ,king of ,poland bought it4444 ,the old man is not only unlike all representations of ,sir ,thomas ,more1 but it is certain that he never had but one son4 ,for the colouring1 it is beautiful beyond description1 and the carnations have that enamelled bloom so peculiar to ,holbein1 who touched his works till not a touch remained discernible6 ,a drawing of this picture by ,bischop was brought over in #agbc1 from whence ,vertue doubted both of the subject and the painter2 but he never saw the original6 ,by the description of the family picture of the ,consul ,mejer1 mentioned above1 ,i have no doubt but this is the very picture--,mejer and ,more are names not so unlike but that in process of time they may have been confounded1 and that of ,more retained1 as much better known40#eji ,the cost of the picture was #ajjj sequins1 or #bb1jjj livres de ,venise--about #deh in ,english money--and the expenses in connection with its purchase1 packing1 and forwarding to ,dresden1 came to some #abe more1 including a liberal present to the painter ,tiepolo1 who helped in the negotiations1 and smaller gratuities to various retainers of the ,delfino family4 ,the total cost1 therefore1 was considerably more than three times the price paid for the original painting in the ,amsterdam sale4 ,although the ,meyer ,madonna possesses no hidden meaning1 and is merely a customary representation of a donor and his family kneeling in adoration before the ,virgin and ,child1 yet a number of fanciful interpretations were given to it in the last century1 of which some echoes still remain4 ,it has been suggested that it is a votive picture to commemorate the recovery of a sick child1 whom the ,virgin has taken into her arms1 placing her own child on the ground among the donors4 ,this idea was carried still farther by others1 who saw in the infant on the ,madonna's breast the soul of a dead child2 while a third theory propounded was to the effect that the little one was merely the soul of the woman kneeling next the ,virgin1 supposed to be ,meyer's first wife4 ,these are all sentimental refinements of nineteenth-century ,german criticism1 first voiced by such writers as ,ludwig ,tieck and ,friedrich ,schlegel1 and in all probability would never have been heard of had the original picture been in ,dresden instead of the copy4 ,in the latter the unknown copyist has not been so successful in the figure of the infant ,christ as in other portions of the picture4 ,it is far less animated than in the original1 and a little sickly and unhappy in expression1 and it was this1 no doubt1 which first suggested these over-refinements of meaning4 ,ruskin was on the side of the sentimentalists4 ,he says3 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#eaj ,as a matter of fact1 there is nothing of death or sickness about the work1 which tells its story with the utmost simplicity and mastery of means1 without needing such refined subtleties for its proper explanation4 ,sidenote3 ,,holbein',s ,,model ,,for ,,the ,,virgin ,it is difficult to follow ,holbein's latest ,english biographer1 ,mr4 ,g4 ,s4 ,davies1 in his belief that the influence of ,gherardt ,david can be seen in this work1 and1 in particular1 to find1 as he does1 indications of ,holbein's acquaintance with ,david's great picture of the 8,madonna with the ,saints and ,angels10 now in the ,rouen ,museum1 but in ,holbein's day1 and for three centuries afterwards1 in the ,carmelite ,church in ,bruges1 for which it had been painted4 8,i do not think that any one who thoroughly knew the ,darmstadt ,holbein can fail10 he says1 8as he looks at this masterpiece of the ,flemish painter1 to be at once reminded by something in the feeling and in the type of ,madonna1 and even in such details as the choice of crown and robe1 in the outspread mantle1 in the fashion of the robe1 in the wavy golden hair lying along the shoulder1 and in the pose of the head as she looks down at the ,child1 of the greater ,german master4 ,holbein's is a stronger1 more intensely sympathetic1 more real and convincing vision2 but the original type seems to be common to both men40#eaa ,to render this possible1 a visit to ,bruges on ,holbein's part becomes necessary1 and ,mr4 ,davies considers it to be most probable that he did so either on his way to ,england in #aebf or on his return in #aebh1 and he states1 but without bringing forward any proofs1 that ,holbein 8spent several months in or about ,antwerp0 on the former journey1 and that he would not be likely to omit a visit to so great a centre of art as ,bruges4 ,this theory also necessitates the alteration of the date of the painting of the ,meyer ,madonna1 whereas everything points to its completion before ,holbein left ,basel for ,england2 nor will he find many to agree with him that in this great picture1 so essentially ,german in feeling1 strong traces of ,flemish influence are to be seen4 ,such alien influence as can be traced in it is undoubtedly ,italian4 ,for the ,meyer ,madonna1 ,holbein's wife no longer served as the model for the ,virgin1 as she had done for the ,madonna of ,solothurn4 ,her place was taken by that lady of somewhat notorious character in ,basel1 ,magdalena ,offenburg4 ,as pointed out in an earlier chapter1 she had already twice served ,holbein as a model for his costume studies of ,basel ladies1#eab and she also sat to him for the two pictures of 8,venus0 and 8,las ,corinthiaca0 in the ,basel ,gallery1 in which the similarity of features to those of the ,virgin in the ,darmstadt altar-piece is very marked1 while all three bear an evident likeness to the model of that one of the costume studies in which the sitter wears a necklace with the recurring initials 8,m4 ,o40 ,her daughter ,dorothea1 wife of ,joachim von ,sultz1 who at one time was considered to be the lady represented in the 8,las0 and 8,venus0 pictures1#eac led an equally scandalous life4 ,she was divorced in #aede1 and both she and her husband were imprisoned1 and afterwards expelled the country4 ,,vol4 ,i41 ,,plate #gc4 ,illustration3 ,,magdalena ,,offenburg ,,as ,,venus #aebf ,,basel ,,gallery ,illustration3 ,,magdalena ,,offenburg ,,as ,,lais #aebf ,,basel ,,gallery ,sidenote3 ,,the 8,,la,s0 ,,and 8,,venus0 ,,pictures ,these two small1 delicately painted portraits of ,magdalena ,offenberg as 8,las0 and 8,venus10 the former being dated 8#aebf10 were among the last works produced by ,holbein before he left ,basel for ,england4 ,they bear a very close resemblance to one another1 except in the position of the head1 so that one appears to be almost a copy of the other4 ,in the ,amerbach catalogue of #aehf they are described as3 8,zwei tfelin doruf eine ,offenburgin conterfehet ist vf eim geschriben ,lais ,corinthiaca1 die ander hat ein kindlin b sich4 ,h4 ,holb4 beide1 mit lfarben vnd in ghsern40 ,in each the figure is about one-third the size of life1 and the costume is the same1 a rich dress of dark red velvet with slashings showing white silk puffs1 each fastened at top and bottom with gold tags4 ,the wide upper sleeves are of a deep gold hue4 ,in each picture she is shown at almost three-quarter length1 behind a plain stone parapet1 with a dark green curtain as background4 ,in the 8,las0 7,no4 #cbb7 7,pl4 #gc 7#b77ead she wears a closely-fitting gold-embroidered head-dress or cap on her fair hair1 and with her left hand grasps the folds of a blue mantle draped across her knees4 ,on the parapet in front of her--which is inscribed 8,lais ,corinthiaca4 #aebf10 in ,roman letters1 as though incised in the stone--is placed a little heap of scattered gold coins1 and she is holding out her right hand1 with palm upwards1 as though asking for more of them in payment for her favours4 ,the pose is slightly varied in the 8,venus0 7,no4 #cbc7 7,pl4 #gc 7#a771eae which is undated1 the head being bent a little to the right1 instead of to the left1 and there are small changes in the costume4 ,the lower sleeves of red slashed velvet are omitted1 and the arms are bare to the elbow1 while the head-dress is black1 with a little gold ornamentation4 ,the position of the hands is almost the same1 though the left one is hidden by the head and shoulders of a small naked1 red-haired ,cupid1 whose right arm rests on the parapet with two long arrows in his hand4 ,the golden coins are missing1 but the open palm of the lady's right hand carries the same suggestion as in the 8,las40 ,the old frame still retains the curious and singularly inappropriate inscription1 8,verbum ,domini manet in ternum10 which was upon it when the ,amerbach ,collection was purchased by the town of ,basel in #affb4 ,sidenote3 ,,holbein ,,and ,,magdalena ,,offenburg ,the face is a refined one1 with a high forehead1 long nose1 finely cut lips1 and fair complexion1 and in the 8,las0 in particular1 does not suggest the supposed character of the sitter as tradition has handed it down4 ,it is possible that the painter to some extent idealised her features4 ,the 8,venus0 is less tender and attractive in expression2 so much so1 indeed1 that ,woltmann#eaf suggests that it was painted at an earlier date1 and that the 8,las0 was a renewed and more successful attempt to represent the same idea4 ,what that idea may have been has given rise to considerable speculation4 ,wornum#eag quotes an old legend to the effect that the artist could not obtain payment for the 8,venus0 picture1 and so1 in revenge1 he painted her as the famous courtesan1 ,las of ,corinth1 the mistress of the great painter ,apelles2 but this explanation is an absurd one4 ,woltmann's suggestion is that both pictures were painted for some lover of the lady1 who wished1 in the first instance1 to express his love1 and then1 later on1 his contempt4 ,it is more probable that the pictures were the result of relationships between the painter himself and ,magdalena1 though beyond the fact that she served him more than once as a model1 there is no proof of this4 ,this supposed connection between ,holbein and the lady has given rise to much imaginative writing in recent monographs4 ,in one of them we are told that 8when ,holbein inscribed his second portrait of ,dorothea with the words ,las ,corinthiaca1 the midsummer madness must have been already a matter of scorn and wonder to himself4 ,his whole life and the works of his life are the negation of the groves of ,corinth4 ,the paint was not long dry on the ,goddess of ,love--at any rate1 her dress was not worn out--before he had seen her in her true colours3 the daughter of the horseleech1 crying #8,give1 give4' ,and so he painted her in #aebf2 to scourge himself1 surely1 since she was too notoriously infamous to be affected by it4 ,as if in stern scorn of every beauty1 every allure1 he set himself to record them in detail4444 ,las is far more beautiful1 and far more beautifully painted1 than ,venus4 ,no emotion has hurried the painter's hand or confused his eye this time4 ,in vain she wears such sadness in her eyes1 such pensive dignity of attitude1 such a wistful smile on her lips4 ,he knows them1 now1 for false lights on the wrecker's coast4 ,no faltering2 no turning back4 ,he can even fit a new head-dress on the lovely hair1 and add the puffed sleeves below the short ones4 ,he is a painter now2 not a lover4444 ,the plague was raging in ,basel all through that spring and summer1 but ,i doubt if ,holbein shuddered at its contact as at the loveliness he painted10#eah and so on4 ,this is all very pretty1 but the imagination of the writer has run away with her4 ,what suggestion could be more fantastic than that in painting the ,venus1 ,holbein's love for the lady was so great that both hand and eye faltered in depicting her charms1 and that he could only do full justice to her beauty when his affection was dead and her loveliness made him shudder8 ,a more recent writer#eai is of opinion that ,holbein succumbed to the charms of ,magdalena ,offenburg before his marriage1 and that she deigned to honour the young ,swabian painter with her favours almost directly after his return to ,basel from ,lucerne4 ,though forced to confess that he can find no traces of her as ,holbein's model in any of his finished paintings of the period before ,elsbeth ,schmidt came into his life1 in his opinion she served him in that capacity not only for the series of studies of the costumes worn by the ,basel ladies1 but also for his early glass designs of the ,madonna gazing down at the ,infant ,christ in her arms1 the ,st4 ,barbara of the same set1 and the fine design of a wooden statue of ,st4 ,michael1 all three of which have been already described4#ebj ,no doubt the type of face in all these studies is much the same1 but there is a tendency in this search for likenesses to go too far1 and to see ,magdalena ,offenburg or ,elsbeth ,schmidt as the only models used by ,holbein at this time4 ,in some instances the likeness is largely imaginary4 ,his wife1 the same writer continues1 may not have been beautiful1 but she certainly had charm1 as the portrait at the ,hague proves1 and ,holbein must have loved her when he painted her4 ,for two years afterwards he remained the devoted husband1 using her as the model for the ,solothurn ,madonna1 the ,virgin of the ,basel organ doors1 and for the glass design of the ,mary in the niche with the cavalier kneeling before her4 ,then1 after this short period of happiness1 her place in the pictures and designs is again taken by ,magdalena4 ,the impudent creature appears as the ,st4 ,ursula of the ,karlsruhe painting1 and the 8arrows in her hands are those with which in succeeding years she is to pierce the poor heart of the painter's wife40 ,in the ,meyer ,madonna1 this writer sees in the ,virgin nothing but the elegant1 banal visage of the courtesan1 and a complete want of all humanity4 ,the 8,las0 and 8,venus0 of #aebf1 he adds1 affirm finally and cynically the victory of the mistress over the legitimate wife1 while the last and worst insult of all was in using his own eldest child as the model for the ,cupid1 and placing him in the company of the hateful rival1 who in the end robbed his wife of all her beauty and all her happiness4 ,there may be some truth in this attempt to reconstruct a few pages of ,holbein's life-story1 but there is little proof to support it4 ,where proof is lacking1 however1 the writer's imagination fills the gaps2 but it is not fair to condemn the painter upon such evidence as this1 or to hold him guilty of infamous conduct upon the strength of a few supposed likenesses in his pictures or designs4 ,whatever ,holbein's personal relations to ,magdalena ,offenburg may have been1 she appears to have been a good model1 which is in itself quite sufficient to explain the fact that he painted these two portraits of her4 ,that he held her in no particular esteem may be gathered from the name he gives her1 just as ,niklaus ,manuel ,deutsch1 as noted in a previous chapter1 wrote an offensive remark as to her character on the drawing he made of her4 ,her face1 as represented by ,holbein1 is fair1 but devoid of any strong feeling1 though ,knackfuss holds that 8a deep and quiet sorrow lies in the expression of the refined face20 and that 8the sense of the two paintings is explained by their juxtaposition3 the gold which she desired cannot make the young woman happy2 love alone can do so40#eba ,this last-named writer considers that the pictures were not painted to some one's order1 but for the artist's own amusement4 ,a question of much more interest in connection with these two works is their authorship4 ,they differ from all other portraits by ,holbein of the ,basel period1 because in them the ,milanese influence upon his art is seen at its strongest1 so that more than one writer of repute has refused to admit that they are his work4 ,rumohr regarded them as from the hand of some ,netherlandish painter1 and ,waagen was of opinion that ,holbein painted them under ,netherlandish influence4 ,wornum considered them to be the work of some ,milanese4 8,the style of the painting10 he says1 8is more ,milanese1 in colouring and in treatment1 than anything else1 exceedingly elaborate1 cool in colour1 dry in manner1 and altogether unlike any other known work by our painter4 ,in this case ,i have not the slightest faith in the ,amerbach inventory4444 ,the two portraits have a decided ,milanese character1 in the manner of the scholars of ,leonardo da ,vinci4 ,a visit to ,milan could not have had such a wonderful influence on ,holbein's taste as is shown in these portraits1 or if such be allowed to be possible1 it is just as remarkable that he should have laid this taste down again without leaving a trace behind40#ebb ,mr4 ,davies follows ,wornum1 but goes still farther in suggesting the name of the ,north ,italian artist who painted them4 ,he says3 8,i may say at once that ,i am quite unable to see any ,netherlandish influence or probable authorship in the pictures4 ,on the other hand1 ,i see the strongest evidence of ,lombard influence1 and that in so direct a fashion and to such a degree that ,i believe them to be the work of some ,lombard artist who had come under the influence of the later work of ,raphael4 ,the name of ,cesare da ,sesto at once occurs to one1 and if it were not for the date #aebf on the ,las picture1 there would be no great difficulty in accepting it as a work by him which had found its way across from ,milan--possibly even in the pack of ,holbein himself40#ebc ,he acknowledges the difficulty of the date--,da ,sesto was dead in #aebf--;and also of the red-haired ,cupid in the ,venus picture1 so evidently both ,german and from ,holbein's own hand1 and bearing so close a resemblance to the children in other pictures of his1 such as the ,meyer ,madonna and the ,family ,group of #aebh2 but in spite of this1 his final opinion is that they are most probably the work of ,cesare da ,sesto4 ,he further suggests that ,holbein1 8possessing1 or seeing in the possession of ,amerbach1 these two small examples1 very similar in attitude and motive10 sought to give them variety1 by inserting the figure of ,cupid in the one1 and thus giving this ,italian lady the character of ,venus1 and in the other the gold coins and the title of ,las1 8so as to turn a somewhat unmeaning picture of a woman into a quasi-classical personality40 8,the ,offenburg tradition10 he adds1 8,i should wholly reject1 nor indeed can ,i persuade myself that these pictures are portraits by ,holbein either of that shadowy lady or of any other lady whatever4 ,they appear to me to be pictures1 not of some well-marked personality1 but merely ,lombard school types40 ,sidenote3 ,,milanese ,,influence ,,in ,,the ,,la,s ,it is impossible to follow ,mr4 ,davies in this attribution4 ,woltmann's opinion1 with which most modern critics are in agreement1 that they are genuine works by ,holbein in which ,lombard influence is more strongly marked than in most of his other ,basel paintings1 is the correct one4 ,the two panels are unmistakably the product of a northern painter working under some southern influence1 and just as unmistakably the work of ,holbein himself1 as a close comparison with his other work of this period shows very plainly4 ,this ,milanese influence was the result of his visit to ,lombardy1 and is to be traced in a greater or lesser degree in all that he accomplished previously to his first visit to ,england4 8,their warm1 transparent technique and the realistic ungracefulness of the draperies10 says ,mr4 ,c4 ,j4 ,holmes1 speaking of the ,las and its companion1 8make them characteristic northern works1 just as the ,raphaelesque folds and cool opaque pigment of ,cesare da ,sesto in his later paintings--the small ,madonna in the ,brera1 for example--are characteristically southern40#ebd ,possibly for once in a way ,holbein was making a conscious attempt to imitate the manner of some artist of the ,north ,italian school whose work he had seen and admired1 perhaps in ,basel itself1 so that the ,lombard influence is more pronounced than in those pictures and designs in which he was less evidently making an experiment based upon what he had seen in ,italy1 and in which his own native genius was the predominating force4 ,for the same reason it is very possible that in the ,las and the ,venus1 ,holbein1 instead of following his model closely1 gave play to his imagination1 and attempted1 as the type of face1 with downcast eyes1 and pensive1 almost melancholy charm of expression suggests1 to emulate the ,leonardesque manner1 so that at the best they are merely idealised representations of the notorious ,magdalena ,offenburg4 ,there is no doubt that during the summer of #aebf1 in spite of his reputation as a painter1 he found it increasingly difficult to gain a living1 and that1 in consequence1 he made up his mind to seek his fortunes in some other country1 and finally decided to visit ,england4 ,in those early days of the ,reformation in ,switzerland1 when the ecclesiastical disputes were assuming so acute a form1 and risings of the peasants and other violent disturbances were growing common1 there was very little opportunity for artists to find remunerative employment1 and ,holbein suffered with the rest4 ,the town authorities had no time for considering such important public works as the completion of the ,town ,hall decorations1 and all that they could find for him to do was an ill-paid job or two at long intervals1 such as the one already mentioned1#ebe which in happier times would have been hardly worth his attention4 ,basel1 indeed1 no longer offered a means of livelihood to a painter with a wife1 a stepson1 and two children of his own to keep4 ,throughout this year1 too1 the plague was raging in the city1 and this may have proved the last straw which definitely turned his thoughts in the direction of ,england4 ,numerous legends have grown up around this journey of his1 which for the most part have no foundation in fact4 ,the commonest1 first voiced by ,van ,mander1 is to the effect that the ,earl of ,arundel1 when passing through ,basel on his way home from ,italy some years previously1 was so delighted with ,holbein's work that he urged him to try his fortunes in ,england4 ,later on1 when ,holbein had taken his advice1 he was asked by ,sir ,thomas ,more1 who it was who had suggested this course to him4 ,holbein replied that he had forgotten the nobleman's name1 but1 taking up a piece of charcoal1 he rapidly sketched a face1 which the ,chancellor instantly recognised4 ,another version gives the ,earl of ,surrey as ,holbein's adviser2 but the tale is a pure legend1 and has been told of more than one painter4 ,another story1 which has been often repeated1 gives as the reason of his departure the desire to escape from the constant tempers of an ill-humoured wife1 and that he therefore left ,basel surreptitiously1 without obtaining the necessary leave of absence from the ,town ,council4 ,his earlier biographers all describe his relationships with his wife as not very cordial ones1 but they merely copied from one another1 and this again may be mere legend4 ,patin1 in particular1 whose account of ,holbein is palpably exaggerated and often false1 describes him as a drunkard1 who led a disorderly life1 and was always so poverty-stricken that ,erasmus and ,amerbach had frequently to come to his assistance--a statement entirely devoid of fact1 and sufficiently disproved by ,holbein's brilliant performances in many branches of art4 ,patin also1 when speaking of ,holbein's journey to ,england1 makes use of another favourite story told of numerous artists4 ,he says that on his way he passed through ,strasburg1 and called on the principal painter of the town1 but found him out4 ,an unfinished portrait stood on the easel1 whereupon ,holbein painted a fly on the forehead1 and then left4 ,when the painter returned he attempted to brush it away1 imagining it to be a real one1 and was so impressed by his unknown visitor's skill1 that he at once sought him out1 but found that he had already left the town4 ,sidenote3 ,,reasons ,,for ,,leaving ,,basel ,it is1 of course1 possible that ,holbein's domestic relations by that time were not as cordial as in earlier days1 and that his supposed connection with ,magdalena ,offenburg may have rendered them still less pleasant1 and that this may have had something to do with his departure2 but this again is mere conjecture1 of which no actual proof is forthcoming4 ,want of work was undoubtedly the chief1 and possibly the only cause of his journey1 and no doubt it was largely the advice of ,erasmus which finally decided him to take the step4 ,erasmus1 who had already sent more than one example of ,holbein's skill as a portrait-painter to ,england1 had a large circle of friends and patrons here1 to whom he could recommend the artist4 ,to ,warham and ,more1 at least1 ,holbein's portrait of ,erasmus had already provided an informal introduction1 and they may have been aware1 also1 though this is less likely1 that it was he who designed the title-page used in the edition of the ,utopia published by ,froben in #aeah1 signed 8,hans ,holb40 ,in #aebe a certain ,thomas ,grey and his youngest son were living with ,erasmus in ,basel1 according to a letter from the latter to ,lupset2#ebf and ,grey1 too1 may have advised ,holbein to seek fortune at ,henry's court4 8,grey10 says ,erasmus1 8reports that there is no disturbance in ,england10 and this news may have proved an added inducement to the painter to quit a country agitated with religious and civil contention for a more peaceful locality where the arts could flourish in peace4 ,before leaving ,basel1 ,holbein made one last attempt1 as already recounted1#ebg to obtain from the ,antonine ,abbey of ,isenheim the painting materials which his father had left there some years previously4 ,the strongly-worded letter1 dated #dth ,july #aebf1 which the ,burgomaster of ,basel1 ,heinrich ,meltinger1 wrote at his request1 is addressed to the 8venerable ,herr ,vicar and preceptor of the ,order of ,st4 ,antonius at ,isenenn1 our dear and gracious ,master10 and runs as follows3 8,venerable1 gracious1 and dear sir1 receive our friendly and ready service4 ,hans ,holbein1 painter1 our citizen1 has proposed to us to paint an altar-panel1 such as his deceased father painted in former years4 ,he left some implements of an expensive kind1 weighing about three hundred and two cubic measures1 with you at ,isenheim1 which he1 ,hans ,holbein1 repeatedly during the lifetime of his father1 and at his desire1 and also after his decease1 being his heir1 demanded of you1 but could never obtain2 for what reasons he knows not4 ,thus the matter has been delayed to such an extent that the peasants1 he is informed1 have wasted these implements in the last uproar1 and when he again desired them of you1 as his father's heir1 you referred him1 with his request1 to the peasants1 with whom he has nothing to do1 and to whom he has intrusted nothing1 and notified to him an appointment on the ,saturday after the next ,ulrici 7#gth ,july7 at ,ensisheim4 ,we1 having heard his business1 and given credence to it1 and being well inclined to further him1 have not allowed him to keep such an appointment1 or to make any demand of the peasants 7with whom he1 as we have heard1 has nothing to do71 but have firm confidence in you1 that you will weigh the matter thoroughly1 and hand over to him1 as the heir of his deceased father1 completely and without difficulty1 the aforementioned implements1 or1 in case nothing of them now exists1 compensate him for their loss1 and so show yourself towards him in the affair1 that he may feel that our intercession has been advantageous1 and that no further steps are necessary4 ,such behaviour on your side we wish for him1 to whom it is justly due40#ebh ,this letter affords proof that ,ambrosius ,holbein was dead1 for in it ,hans is mentioned more than once as his father's heir1 and it also shows that the ,basel ,council were not so actively opposed to the painting of altar-pieces as other incidents of the time suggest4 ,nothing further is known of this altar-panel which ,holbein proposed to paint for them4 ,sidenote3 ,,erasmus' ,,letter ,,of ,,introduction ,it is evident that the materials1 which would now have been very useful to him1 had been destroyed or dispersed in the peasant rising1 and that he obtained neither colours nor redress4 ,he left ,basel for ,england on or about ,august #bi1 #aebf1 as appears from a letter of introduction of that date which he carried with him from ,erasmus to his friend ,peter gidius1 the learned traveller and town-clerk of ,antwerp1 in which ,holbein was recommended to his notice as the artist who had painted ,erasmus4 gidius is also asked to introduce him to ,quentin ,metsys4 ,the part of the letter which refers to ,holbein 7though not by name7 runs as follows3-- 8,the bearer of this letter is the man who painted my portrait4 ,i do not trouble you with any commendation of him1 though he is an excellent artist 7artifex74 ,if he wants to call on ,quentin1 and you have not leisure to introduce him1 you can send a servant with him to show him the house4 ,the arts are freezing in this part of the world1 and he is on his way to ,england to pick up some angels there 7petit ,angliam ut corrodat aliquot ,angelatos--,erasmus plays upon the words ,angles and ,angels74 ,you can send on any letters you like by him40#ebi ,there is no reason to suppose that ,holbein delayed his departure after receiving this letter from his patron1 who must also have supplied him with introductions to ,more1 ,warham1 and other friends in ,england4 ,it was1 no doubt1 necessary for him to arrange with the ,town ,council for leave of absence1 and this having been done1 he must have started not later than the first days of ,september1 reaching ,london towards the close of the same month4 ---------------------------------------- -------------------------------- ,,chapter ,,xii ,,native ,,and ,,foreign ,,artists ,,in ,,england ,,during ,,the ,,reign ,,of ,,henry ,,viii ,henry ,,viii's patronage of the fine arts--,english painters in his service--,john ,browne--,the ,paynter-,stayners' ,company--,andrew ,wright--,john ,hethe--,foreign artists at ,henry's ,court--,gerard1 ,lucas1 and ,susanna ,hornebolt--,katherine ,maynors and ,henry ,maynert--,johannes ,corvus--,the ,italian painters and sculptors--,paganino--,pietro ,torrigiano--,vincent ,volpe--,alessandro ,carmillian--,antonio ,toto and ,bartolommeo ,penni--,benedetto da ,rovezzano and ,giovanni da ,maiano--,nicolas ,bellin of ,modena--,girolamo da ,treviso4 ,,before describing the work carried out by ,holbein during his first visit to this country1 it may be of service to give a short account of the state of art in ,england at that period1 and of the various foreign painters and craftsmen then settled in ,london1 and of the few native artists whose names have survived4 ,england under ,tudor rule offered a far better field for lucrative employment than ,basel for a painter of ,holbein's genius4 ,henry ,,viii was still at the highest point of his reputation as a monarch1 popular with all classes of his subjects1 and an ardent patron of literature and the fine arts4 ,he was himself one of the most accomplished men of his time within his own realm4 ,he was proficient in ,latin1 ,french1 ,spanish1 and ,italian1 and assiduous in all affairs of state4 ,he was passionately fond of music1 and skilful both in its practice and theory1 playing well upon the lute1 organ1 and harpsichord4 ,he also sang and danced well4 8,his delight in gorgeous pageantry and splendid ceremonial10 says ,dr4 ,brewer1#ecj 8if without any studied design1 was not without advantage4 ,cloth of gold and tissue1 ,new ,year's gifts1 ,christmas masquerades1 and ,may ,day mummeries1 fell with heavy expense on the nobility1 but afforded a cheap and gratuitous amusement to the people4 ,the roughest of the populace were not excluded from their share in the enjoyment4 ,sometimes1 in a boisterous fit of delight1 he would allow and even invite the lookers-on to scramble for the rich ornaments of his own dress and those of his courtiers4 ,unlike his father1 he showed himself everywhere4 ,he entered with ease into the sports of others1 and allowed them with equal ease to share in his40 ,sidenote3 ,,henry ,,viii ,,as ,a ,,patron ,,of ,,arts ,henry's ,court was considered to be the most magnificent of its time4 ,large sums were spent on luxuries1 on dress1 and in other directions4 ,foreign jewellers1 and dealers in the fine arts1 found in the ,king a ready purchaser4 ,he was interested in architecture1 and gave a close personal attention to the building and decoration of his various palaces4 ,he was a collector of beautiful armour and weapons1 and employed many foreign craftsmen in different decorative arts4 ,in painting he took an equal pleasure1 and he was the first of the ,english kings to form an important collection of pictures1 which was hung in a gallery in his palace of ,whitehall1 of which he himself kept the key4 ,he threw out inducements to foreign artists to settle in ,england and enter his service1 and in his patronage of the fine arts displayed a keen but friendly rivalry with ,francis ,i4 ,these foreigners were chiefly ,italian1 though a certain number of painters and craftsmen had come over from the ,netherlands4 ,among them all1 however1 there was no one who in any way approached the greatness of ,holbein as an artist4 ,several men of considerable skill and some artistic pretensions remained in ,england for more or less lengthy periods1 but there was no master of the first rank either from ,italy or ,flanders4 ,unlike his rival1 ,francis ,i1 ,henry was unable to attract to his ,court men of such outstanding powers as ,leonardo da ,vinci1 ,benvenuto ,cellini1 or ,primaticcio1 all of whom entered the service of the ,french ,crown4 ,holbein1 indeed1 had nothing to fear from the rivalry of any foreigner at that time settled in ,london1 and still less from the numerous ,english painters1 who were of little importance and of mediocre abilities4 ,native talent1 indeed1 was at a very low ebb4 ,the influence of the ,italian revival of learning made itself felt in this country at an earlier date than that of the renaissance of the arts4 ,no school of ,english painting was in existence capable of taking advantage of such influence1 and of basing a new native art upon it4 ,the ,english painters1 indeed1 were hardly painters at all in the modern sense4 ,many of them were mere house-painters and decorators2 tradesmen occupied in various more or less artistic ways1 but rarely1 if ever1 in the painting of pictures or portraits4 ,they were painters of heraldic devices and shields1 of banners and armour1 of walls1 ceilings1 and ships1 which can be definitely assigned to any one of them2 even such third-rate productions as those preserved at ,hampton ,court1 like 8,the ,battle of ,spurs10 or 8,the ,field of the ,cloth of ,gold10 for generations attributed to ,holbein1 were probably not from the hand of an ,englishman1 but the work of foreigners4 ,at the time of ,holbein's arrival in ,london1 in the winter of #aebf-aebg1 the leading ,english artist was ,john ,browne1 who was serjeant-painter to the ,king1 an office he held for more than twenty years4 ,he was appointed to the post on the #bjth ,december #aeaa1 in the third year of ,henry's reign1 with an allowance of twopence a day out of the issues of the lordship of ,whitley1 in ,surrey1 and four ells of cloth at ,christmas1 annually1 of the value of #fs4 #h;d4 an ell1 from the keeper of the great wardrobe1 for his livery4#eca ,sidenote3 ,,john ,,browne1 ,,serjeant-,,painter ,on the #bdth ,september #aeaa he received the balance of his bill for painting the streamers1 banners1 flags1 and staves belonging to the ,king's ship1 ,the ,mary and ,john1 amounting to #af1 #ads4 #h;d41 and on the #agth ,december in the same year1 #adb1 #ds4 #f;d4 for painting and staining banners for ,the ,mary ,rose and ,the ,peter ,pounde ,garnarde 7,pomegranate74#ecb ,browne occasionally employed the services of ,vincent ,volpe1 an ,italian1 for this banner-painting1 and also from time to time supplied the materials for the royal revels4 ,thus1 for the jousts on the #ast ,june #aeab1 8#b1ajj of party gold0 for surcoats was bought from him for #b1 #fs41 and in the following year he received #aj;d4 for the hire of sails 8to shadow the percloos for the pageant40#ecc ,in ,june #aeac he received #d1 #hs4 #h;d4 from the royal purse for painting 8divers of the ,pope's arms in divers colours10 and on the #ajth ,april in the following year he rendered an account for work done on the ,king's royal ship1 the ,great ,harry or ,henry ,grace ,dieu1 which included the supply of flags1 banners1 and streamers1 two of them with crosses of ,st4 ,george1 and painting sixty staves in the ,king's colours in oil at #f;d4 apiece4#ecd ,browne was among those employed upon the temporary buildings at ,guisnes1 which included a banqueting house and a chapel1 and lodgings for ,henry and his ,queen and the members of the ,english and ,french ,courts1 erected for the purpose of ,henry's state visit to ,france1 and his meeting with ,francis1 known as the ,field of the ,cloth of ,gold4 ,sir ,nicholas ,vaux wrote to ,wolsey that they would be able to finish the square court by the last day of ,may1 provided ,john ,rastell1 ,clement ,urmeston1 and ,john ,browne1 the ,king's painter1 8do make and garnish all the roses--a marvellous great charge1 for the roses be large and stately40#ece ,later on complaint is made from the same correspondent1 that ,browne1 who has to gild the roofs1 has not yet reached ,calais4#ecf ,for this work he received two payments of #ff1 #acs4 #d;d41 and #ccc1 #fs4 #h;d4 ,for the masking at ,new ,hall on the #aith ,february #aebj1 he was paid #ai1 #acs4 #d;d4 for the beating and putting on the scales of gold and silver on the garments and bonnets of seven children1 one in red1 powdered with gold suns and clouds2 the second in yellow1 powdered with moons and clouds2 the third in blue1 powdered with drops of silver2 the fourth powdered with gold primroses2 the fifth with silver honeysuckles2 the sixth with gold stars1 and the seventh with silver snowflakes4#ecg ,by right of his office of serjeant-painter he had the provision of coats for the heralds4 ,thus1 in #aebj he received #djs4 for a tabard of sarcenet painted for ,nottingham pursuivant4#ech ,in #aebc he rendered an account of 8parcellis of stuff0 made for the 8high and myghty prynce ,charlis duke of ,suffolke1 then beyng a poynttyd to be lyffetenant generall of ,kyngis royall armye in to the partyes of ,france40 ,the items included a standard wrought with fine gold and silver on double sarcenet fringed with silk 7#c71 banners with the ,duke's arms1 a coat of arms wrought with fine gold and silks and in oil on double sarcenet for his herald1 and escutcheons in metal on paper royal1 and others in colour1 and on buckram1 each with his arms1 and so on1 the total bill amounting to #bf1 #cs4#eci ,in #aebd1 for the revels at ,greenwich1 in which a castle was assaulted in the tilt-yard1 he provided the painted cloths of which the sham buildings were made--8iiij pessys of clothe payntyng of ,antuyke1 wherewith the ,kastell was envenyd10 and for various banners and coats of arms1 #d1 #ajs4#edj ,for revels held on the #ajth ,november #aebg1 ,browne supplied all the materials1 including paints1 glue1 scissors1 gold-foil1 c41 to the amount of #ba1 #fs4 #j;d41 which were used for making trees1 bushes1 branches1 roses1 rosemary1 hawthorn1 mulberries1 panes of gold1 8flosynge of stars10 c41 for a 8place of plesyer0 erected under the superintendence of ,richard ,gibson at ,greenwich4 ,the masque was a theological one1 in which ,luther and his wife appeared1 as well as the ,apostles1 ,religion1 ,heresy1 and similar characters4#eda ,these various details1 which could be multiplied1 are sufficient to indicate the kind of work upon which the ,king's serjeant-painter was usually engaged2 and all the other ,english painters were men of a similar stamp--decorators1 scene-painters of a kind1 but rarely1 if ever1 painters of a panel picture4 ,sidenote3 ,,andrew ,,wright1 ,,serjeant-,,painter ,browne prospered in his calling1 and on ,may #g1 #aebb1 was elected an ,alderman of ,london for the ,ward of ,farringdon ,without4 ,at first he was unwilling to accept office1 and was committed to ward for refusal1 but afterwards complied1 and was appointed one of the ,aldermen to the ,haberdashers' ,company4 ,in the following year1 on ,july #beth1 he was translated to the ,ward of ,farringdon ,within4 ,his service1 however1 always appears to have been an unwilling one1 and in #aebe1 before he had served the office of ,sheriff or ,mayor1 he was on his own request discharged from the office of ,alderman1 for which he gave to the ,chamber of ,london two great standing salts of silver-gilt4 8,he made his will on the #agth ,september #aecb1 and on the #bast of the same month he conveyed to his brethren of the ,paynter-,stayners a house in ,trinity ,lane1 which he had purchased nearly thirty years before1 and which has from that time continued to be the ,painters' ,hall4 ,dying soon after1 he was buried in the church of ,st4 ,vedast1 at the west end of ,chepe2 and his will was proved on the #bnd ,december following40#edb ,this will1 and the documents in connection with the transference of the house to the ,paynter-,stayners1 make us acquainted with the names of many of the ,english painters at work in ,london at that period4 ,he left all his books of arms and badges and books of tricks of arms to his apprentice1 ,rychard ,bygnalle1 as well as painting materials and other materials at cost price to a second apprentice or 8servaunte10 ,john ,childe4 ,to ,richard ,calard and ,john ,howell1 both brother painters1 he left his best 8prymmer0 and a doublet respectively4 ,among other ,english painters mentioned in the deed of ,september #bast1 #aecb1 were ,andrew ,wright1 who succeeded him as serjeant-painter1 ,christopher ,wright1 ,richard ,rypyngale1 ,richard ,laine1 ,thomas ,alexander1 ,john ,hethe1 ,richard ,gates1 ,thomas ,crystyne1 ,william ,lucas1 ,richard ,hauntlowe1 and ,robert ,cope4 ,a later conveyance 7of #aedi7 adds the names of several members of the ,wysdom family1 and ,david ,playne1 ,thomas ,ballard1 ,thomas ,uncle1 ,thomas ,cob1 ,thomas ,spenser1 ,john ,feltes1 ,william ,wagynton1 ,william ,cudnor1 ,richard ,flint1 ,richard ,wright 7probably a son of ,andrew71 and ,melchior ,engleberd1 a foreigner who had become naturalised4#edc ,walpole#edd mentions ,john ,browne's portrait as still preserved in ,painter-,stainers' ,hall1 but it is not a contemporary work4 ,it represents him attired in the gown and gold chain of an alderman1 and was probably painted some time after the ,great ,fire of #afff1 to take the place of an earlier one that had been destroyed4 ,andrew ,wright succeeded ,john ,browne4 ,on ,june #ai1 #aecb1 he received a grant of the 8reversion of the office of the ,king's serjeant-painter1 with an annuity of #aj out of the small custom and subsidy of tonnage and poundage in the port of ,london1 as the said office was granted by patent #abth ,march1 #ah ,hen4 ,,viii1 to ,john ,browne40#ede ,in the ,king's accounts for ,february #aecb he appears1 in the phonetic spelling of the day1 as 8,andrewe ,oret10 receiving on the #bjth of that month #cj for 8painting of the ,king's barge1 and the covering of the same40#edf ,during #aecb he was at work in ,westminster ,palace4 ,thirty-one painters were occupied there upon a large wall-painting of the ,coronation of ,henry ,,viii1 8made and set out in the ,low ,gallery by the orchard1 as also upon the outsides of the walls of the ,new ,gallery40 ,both ,englishmen and foreigners were engaged4 ,isaac ,lebrune1 who appears to have been the foreman painter1 received a shilling a day2 ,john ,augustyne and ,nic4 ,lasora1 tenpence2 ,william ,plasyngton1 sevenpence2 and ,robert ,short1 sixpence4 ,andrew ,wright's share was the gilding of the gallery roof1 including the painting and gilding of four 8cases of iron for clockis10#edg the latter being very similar to at least one piece of work undertaken by ,holbein in ,basel shortly after his return from his first visit to ,england4 ,in a list of debts1 dated #aecf1 owing by ,queen ,anne ,boleyn at her death1 occurs the name of 8,androw1 paynter10 for #bis4 #d;d41 which probably refers to ,wright2#edh and on the #bith ,september #aeci1 his name1 as the ,king's painter1 appears in the ,great ,wardrobe accounts as one of the royal creditors4#edi ,again1 on the #agth ,july in that year 7#aeci7 he is mentioned in ,thomas ,cromwell's accounts as ,andrew ,wryte or ,wryght1 8for things done at my ,lord's stallation10 as ,knight of the ,garter1 #ba1 #gs42#eej while in ,may #aeda he is paid by warrant1 out of the ,king's household expenses1 #ci1 #fs4 #h;d4 8for the painting of certain coats of arms for the heralds at arms40#eea ,wright died in the same year as ,holbein1 but a few months earlier1 and his will was proved in the ,prerogative ,court of ,canterbury on the #bith ,may #aedc4 8,he left estates at ,stratford-le-,bow1 at #8the ,gleane' in the parish of ,st4 ,olave1 ,southwark1 #8the ,bottle' in ,bermondsey1 and at ,cowden1 in ,kent1 where he had a manufactory of #8pynck4' 7,pink was a vegetable pigment1 answering to the giallo santo of the ,italians1 and stil-de-grain of the ,french47 ,he desired to be buried1 like his predecessor1 ,browne1 in the church of ,st4 ,vedast1 and requested his friend ,garter 7,christopher ,barker7 to be overseer of the will1 a circumstance which testifies to his connection in business with the ,college of ,heralds40#eeb ,he left #dj and all his vessels and apparatus for the making of pink to his eldest son1 ,christopher1 and #dj to the younger son1 ,richard1 and #d a year so long as he lived with his mother4 ,sidenote3 ,,the ,,hornebolt ,,family ,john ,hethe1 or ,heath1 another member of the ,painter-,stainers' ,company1 one of the painters to whom ,john ,browne's house was consigned1 was also in the royal employment1 and was very probably one of the men engaged at ,nonsuch ,palace4#eec ,his will is dated #ast ,august #aeeb1 and in it he leaves to his elder son1 ,lancelot1 8my frames1 tentes1 stoles1 patrons1 stones1 mullers1 with the necessaries belonging or appertaining to ,payntour's crafte10 and to his second son1 ,lawrence1 8all my moldes and molded work that ,i served the ,kinge withal10 while to each of his apprentices he bequeathed #fs4 #h;d4 and a grindingstone1 and to his ,company #bjs41 8to make them a recreation or banket ymmediatlye after my decease40#eed ,among the list of the things which he wished to be left in his house so long as his wife dwelt there1 he mentions 8pictures in tables10 which at first sight would seem to indicate that he occasionally painted pictures4 ,it is more likely1 however1 that these were works by other artists1 for1 like his brother painter-stainers1 he appears to have been chiefly a decorator and a maker of moulded and coloured work for house-fronts and royal residences such as ,nonsuch and other more temporary purposes1 such as masques and revels1 and the ornamentation of buildings erected for particular occasions1 which were pulled down when done with1 while the moulded work was preserved for future use4 ,the more valuable of these moulds were often kept in leather cases made on purpose for them4 ,of far greater importance as artists1 and more dangerous rivals to ,holbein in his search for work in ,england1 were the numerous ,italians and ,netherlanders at that time settled here1 and1 in most instances1 attached to the ,court4 ,the most important group of painters of the latter nationality were the three members of the ,hoorenbault1 ,hornebolt1 or ,hornebaud family1 ,gerard1 ,lucas1 and ,susanna4 ,this family belonged to ,ghent1 and from the first years of the fifteenth century had been painters and masters of the ,guild of ,st4 ,luke4 ,the exact relationships of the three are not entirely clear4 ,walpole rolled the two men into one1 and called him ,gerard ,luke ,horneband4#eee ,mr4 ,nichols#eef suggests that ,luke was ,gerard's elder brother1 and that ,susanna was their sister4 ,mr4 ,wornum#eeg regarded ,gerard as the father of the other two4 ,there are several ,hoorenbaults named ,lucas in the lists of the masters of the ,ghent ,guild--one in #aeab1 who was sub-dean in #aebe2 another who was admitted in #aecc1 and was sub-dean in #aeci2 and a third ,lucas1 the son of ,lucas1 admitted in #aecd4eeh ,the name ,gerard does not occur in the lists1 but in the communal accounts for #aeaj-aa1 there are payments to ,gheraerd ,hurebaut1 scildere1 for painting a plan of part of the town of ,ghent and its neighbourhood4 ,he painted altar-pieces for the church of ,st4 ,bavon1 designed vestments1 and was employed as an illuminator of books by ,margaret of ,austria at ,antwerp and ,mechlin4#eeh ,albrecht ,drer met him at ,antwerp in #aeba1 when on his journey through the ,netherlands1 and noted in his diary--8,item1 ,master ,gerhart1 ,illuminator1 has a young daughter1 about eighteen years of age1 her name is ,susanna2 she has made a coloured drawing of ,our ,saviour1 for which ,i gave her a florin2 it is wonderful that a woman should be able to do such a work40 ,sidenote3 ,,the ,,hornebolt ,,family ,this ,gerard was married to ,margaret ,svanders1 of ,ghent1 daughter of ,derich ,svanders and widow of ,jan van ,heerweghe4#eeh ,she died at ,fulham on #bfth ,november #aebi in the house of her daughter ,susanna1 who was then the wife of ,john ,parker1 the ,king's bowman and a yeoman of the robes1 as may be gathered from a brass plate with a ,latin inscription in ,fulham ,church1 in which her husband is spoken of as ,gerard ,hornebolt1 the most noted painter of ,ghent4#eei ,there is no evidence to show that it was this ,gerard who came to ,england1 and ,mr4 ,cust's surmise is probably correct1#efj that the ,lucas1 ,gerard1 and ,susanna who were employed at ,henry's ,court1 were the children of ,gerard and ,margaret ,hoorenbault4 ,luke was always in receipt of a higher salary than ,gerard from the royal purse1 his monthly wages being #ees4 #f;d41 whereas ,gerard only received #ccs4 #d;d4 ,this would hardly have been the case had the latter been his father4 ,luke was probably the elder brother4 ,the elder ,gerard was dead in ,ghent in #aedj-a1 when his son ,joris was served as his heir4 ,his wife ,margaret seems to have been only in ,england on a visit to her daughter and son-in-law when she died at ,fulham in #aebi4 ,the three ,hornebolts1 as their name was anglicised1 appear to have arrived in ,england only a year or two before ,holbein4 ,the exact date of their entry into ,henry's service cannot be ascertained1 as1 unfortunately1 none of the royal household accounts prior to ,october #aebh have been preserved1 and in that month both ,luke and ,gerard are entered as receiving the salaries mentioned above4 ,both ,vasari and ,lodovico ,guicciardini 7#aefg7 speak of ,lucas ,hurembout as a well-known illuminator of ,ghent1 and state that his sister ,susanna was so renowned for similar work that she was induced to come to ,england by ,henry ,,viii1 where she was in great favour at the ,court1 and died here rich and honoured4 ,immerzeel in his ,de ,levens en ,werken der ,hollandsche en ,vlaamsche ,kunstschilders 7#ahdb7 says that she married an ,english sculptor named ,whorstley1 and died at ,worcester1 but upon what authority he based this statement is not known4 ,luke ,hornebolt received a grant of denization by patent dated #bbnd ,june #aecd1 in which he is described as a native of ,flanders1 with licence to keep in his service four journeymen or covenant servants1 born out of the ,king's dominions1 notwithstanding the statute of #ad #ae ,henry ,,viii to the contrary4 ,by a second patent of the same date he received a 8grant of the office of ,king's painter1 and of a tenement or messuage in the parish of ,st4 ,margaret in ,westminster1 an empty place on the east side of the same tenement1 the south of which looks upon the hermitage of ,st4 ,katherine1 and the north part on a tenement lately built by the ,crown40#efa ,he died in ,london in ,may #aedd2 his will1 which is dated #hth ,december #aedc1 was proved on #bgth ,may #aedd4 ,he received his wages up to ,april in that year1 but in ,may is entered as 8,item1 for ,lewke ,hornebaude1 paynter1 wages nil quia mortuus40 ,in his will he calls himself ,lucas ,hornebolt1 8servante and painter unto the ,kinges majestie10 and requests to be buried where it shall please his friends in the parish of ,st4 ,martins-in-the-,fields beside ,charing ,cross4 ,he leaves his wife1 ,margaret1 possibly an ,englishwoman1 and his daughter1 ,jacomyne1 his executrices1 with two-thirds of his property to the former and one-third to the latter4 ,richard ,airell was appointed overseer of the will1 and ,william ,delahay and ,robert ,spenser were the witnesses4 ,nothing is definitely known as to the paintings produced by these three artists in ,england1 though it is very possible that certain of the numerous portraits of ,henry ,,viii still in existence were painted by ,luke and ,gerard1 and that some of the miniatures of him were from the brush of ,susanna1 all such paintings1 in earlier days1 being attributed to ,holbein4 ,the portrait of ,henry ,,viii in ,warwick ,castle1 and similar versions in ,kimbolton ,castle1 ,st4 ,bartholomew's ,hospital1 and elsewhere1 are now generally ascribed to one or other of the ,hornebolts4 ,the last-named version is dated #aedd1 so that ,holbein could not have painted it4 ,another version1 belonging to the ,marquis of ,bute1 was said by ,dr4 ,waagen1 who saw it at ,luton ,house1 to be 8exactly like the picture by ,holbein at ,warwick ,castle1 only less finished4 ,if by ,gerard ,horebout1 as stated here1 it is a copy from ,holbein40 ,the very fact that tradition attached the name of an almost unknown artist to this picture of the ,king1 in the days when it was the fashion to regard every portrait of ,henry ,,viii as a work of ,holbein's1 is sufficient to suggest that the tradition is in all probability the correct one4 8,when tradition10 says ,mr4 ,wornum1 8notwithstanding the mischievous activity of presumptuous ignorance1 has still handed down works with comparatively obscure names attached to them1 the fact alone should go a great way towards its confirmation as truth40#efb ,dr4 ,waagen1 however1 never hesitated to discard such attributions1 and often saw ,holbein in pictures which more modern criticism has shown could not have been from his brush4 ,lucas is said to have given ,holbein his first instructions in miniature-painting1 and no doubt all three members of the family were miniaturists and illuminators1 and were employed in producing the small portraits of the ,king and the members of his family so often required by ,henry for sending abroad as gifts to other reigning monarchs or as presents to subjects whom he wished to honour4 ,thus1 in the summer of #aebg1 the ,king sent1 through his representative in ,paris1 portraits of himself and the ,princess ,mary to ,francis ,i4 ,whether these were miniatures or not is uncertain1 but upon the backs of them were painted various royal devices1 which were explained to the ,french ,king1 who 8liked them singularly well1 and at the first sight of ,henry's #8phisonamye' took off his bonnet1 saying he knew well that face1 and further1 #8,je prie ,dieu que il luy done bone vie et longue4' ,he then looked at the ,princess's1 standing in contemplation and beholding thereof a great while1 and gave much commendation and laud unto the same40#efc ,these two portraits may have been painted by one or other of the ,hornebolts4 ,sidenote3 ,,miniatures ,,of ,,the ,,king ,,in ,,deeds ,more than one deed of the period1 preserved in the ,record ,office1 is ornamented with an initial letter containing a portrait of ,henry ,,viii4 ,thus1 on one confirming to ,wolsey's ,college at ,oxford all the possessions granted to them by the ,king1 dated #eth ,may #aebf1 there is a fine miniature of ,henry in the initial letter done by an artist of considerable ability4#efd ,other deeds having reference to the ,cardinal's ,college at ,ipswich have the royal miniature and arms1 as well as ,wolsey's arms and insignia1 beautifully tricked by some foreigner2 and another1 dealing with the same college1 with a miniature of the ,king1 the royal supporters1 c4 c41 with an architectural column by the side of the initial letter1 and an angel bearing the letters 8,h4,r40#efe ,these are all of the year #aebh1 while another1 dated #ast ,january #aebi1 is illuminated in the same way1 and is equally well done4#eff ,in an account of ,wolsey's for preparing these deeds for the college there is an item3 8,for vellum and making great letters for my ,lord his patents1 #acs40 ,also 8,to ,hert1 for vellum1 parchment and drawing of great letters1 #cis4 #b;d40 ,the writing appears to have been chiefly done by ,stephen ,vaughan1 for which he received #f1 #ags4 #i;d41 and among the payments made to several people 8for writing10 there is mention of one 8,gerarde10 who was very possibly ,gerard ,hornebolt4#efg ,it is1 therefore1 not unlikely that ,lucas and ,gerard were responsible for the miniatures at the head of such deeds4 ,who 8,hert0 or ,hart1 was1 who drew the 8great letters10 there is so far no evidence to show1 but he was probably an ,englishman4 ,the work of ,lucas ,hornebolt as a painter of portrait-miniatures1 and his almost certain identity with the 8,master ,lukas0 who first instructed ,holbein in this branch of art1 is dealt with in a later chapter4 ,in ,april #aecb he received the grant of a royal licence to export #djj quarters of barley1 in which he is called 8,luke ,hornebolt1 a native of ,flanders20#efh and in #aecf-g 7#bh ,hen4 ,,viii71 in connection with some revels and masques at ,hampton ,court1 occurs the item1 8,to ,lucas ,horneholte1 painter1 for painting with black upon paper1 of #c bulls and #c small rolls1 #es40#efi ,among the presents received by the ,king on ,new ,year's ,day1 #aeci1 was a fire-screen from ,lucas ,hornebolt1 which is entered in the royal accounts thus3 8,by ,lewcas paynter a skrene to set afore the fyre1 standing uppon a fote of woode1 and the skrene blewe worsted40#egj ,he was given in return a gilt cruse weighing #aj oz41 and his servant who delivered it #fs4 #h;d41 ,holbein and ,antonio ,toto receiving similar presents at the same time4 ,gerard ,hornebolt's service in the royal household was of shorter duration than ,luke's4 ,up to ,may #aeca his name always occurs in the treasurer's accounts in conjunction with his brother1 but there is a break in the records from that date until ,lady ,day #aech1 the household books for that period having disappeared1 and from ,october #aech ,luke's name alone appears4 ,his death is not recorded1 as it was the custom to do when salaries were concerned1 by some such entry as 8wages nihil quia mortuus10 as was done in the case of his brother ,luke in #aedd2 so that it is probable that he returned to ,ghent at some date between #aeca and #aech1 leaving his brother and sister permanently settled in ,england4 ,in this connection it is interesting to note that in a list of payments made by ,sir ,richard ,wingfield in ,calais between the #hth ,january #aeac and the #bast ,november #aead1 there is an entry of #cc1 #fs4 #h;d4 paid to 8the glazier of ,antwerp 7possibly ,galyon ,hone7 for glazing the great east window in ,st4 ,nicholas' ,church1 ,calais1 by the ,king's command10 and that #bes4 was paid 8to a painter of ,gaunt for taking the portraiture of the ,king's visage to be set in the said window40#ega ,the name of the elder ,gerard may be suggested as the artist employed for this purpose1 as one of the leading painters of ,ghent4 ,it does not follow from the entry that the drawing was supplied by some painter then settled in ,england1 while the small fee paid almost precludes the possibility that an artist was sent over specially from ,calais to ,london to sketch the ,king2 but ,gerard ,hoorenbault appears to have been resident in ,antwerp at about that time 7#aeac71 and the commission may have been given him by the ,antwerp glazier who was carrying out the work4 ,in addition to ,susanna ,hornebolt1 two other skilled ,netherlandish miniaturists of her sex came over to ,england during the later years of ,henry ,,viii's reign4 ,what little is known of ,livina ,teerlinc1 or ,terling1 as she was called in this country1 is given in a later chapter4#egb ,nothing is known about the second miniaturist1 ,katherine ,maynor or ,maynors1 except that she received a patent of denization in ,november #aedj1 in which she is described as a 8widow1 painter1 born at ,antwerp in ,brabant40#egc ,she may1 perhaps1 have been some relation of ,henry ,maynert1 painter1 one of the witnesses to ,holbein's will2 or even the widow of the ,john ,maynard who1 with ,john ,bell1 was employed upon the painting of ,henry ,,vii's tomb4 ,sidenote3 ,,johannes ,,corvus ,another notable painter from the ,low ,countries who was a contemporary of ,holbein's in ,england1 was ,johannes ,corvus1 of ,flanders1 whose style of painting can be judged by two well-authenticated portraits--that of ,richard ,foxe1 ,bishop of ,winchester1 in ,corpus ,christi ,college1 ,oxford1 of which college he was the founder2 and that of ,princess ,mary ,tudor1 sister of ,henry ,,viii and widow of ,louis ,,xii1 painted in #aecb1 when she was the wife of ,charles ,brandon1 ,duke of ,suffolk1 which was lent to the ,exhibition of ,early ,english ,portraiture at the ,burlington ,fine ,arts ,club in #aiji by ,mr4 ,h4 ,dent-,brocklehurst 7,no4 #bh74 ,a similar manner of painting is to be found in a series of portraits of ,princess ,mary ,tudor1 afterwards ,queen1 including the one in the ,national ,portrait ,gallery1 dated #aedd1 which is attributed to ,corvus in the catalogue4 ,this picture has much resemblance to a portrait of a ,tudor princess1 possibly ,queen ,elizabeth1 belonging to ,mrs4 ,booth1 of ,glendon ,hall1#egd which has always borne the traditional name of ,katherine ,parr4 ,to this group may be added the portrait of ,henry ,grey1 ,duke of ,suffolk1 in the ,national ,portrait ,gallery4#ege ,if the portraits of ,queen ,mary are by ,corvus1 he may be identified with some certainty as the 8one ,john that drue her ,grace in a table10 for which he received #e in #aedd1 as noted in the ,princess ,mary's ,privy ,purse ,expenses4 8,corvus10 says ,mr4 ,cust1 8may be safely identified with one ,jan ,raf1 or ,rave1 who was admitted to the ,guild of ,painters at ,bruges in #aeab1 and with the 8,jehan ,raf1 painctre de ,flandres10 who in #aecb painted for ,francis ,i 8une carte ou est figur les villes et pays d',angleterre10 and in #aecd1 8ung pourtraict de la ville de ,londres dont il a ci-devant fait prsent au dict ,seigneur40 ,these entries show that ,jehan ,raf was sent to ,england from ,france1 possibly more than once4 ,the fact that no portraits are attributed to him in ,england between #aecb and #aedd may be accounted for by his return to ,france during the supremacy of ,holbein1 after whose death he found an opportunity of establishing himself at the ,english ,court40#egf ,with regard to ,guillim ,stretes1 the ,dutchman1 ,gerlach ,fliccius1 or ,garlicke1 as he is termed in the inventory of the pictures in ,lumley ,castle made in #aeij1 and the clever painter who used the monogram ,h4,e41 whose true identity as one ,hans ,eworthe or ,eewouts has been recently discovered by ,mr4 ,lionel ,cust by means of the same inventory1#egg as no works of theirs have been so far discovered in this country having a date prior to that of ,holbein's death in #aedc1 consideration of them is reserved until a later chapter dealing with ,holbein's successors4 ,among the foreign painters and sculptors who found employment in ,england under ,henry ,,viii1 the ,italians were by far the most numerous1 though the inducements offered were not sufficiently alluring to artists of the highest rank1 such as were to be found from time to time at the ,french ,court4 ,many of them1 no doubt1 were brought over by the various merchant representatives of the leading ,italian business houses1 such as the ,bardi1 the ,cavalcanti1 the ,corsi1 the ,frescobaldi1 and others4 ,italian workmen were frequently employed upon buildings1 more particularly in the south-east of ,england1 where ,italian handiwork and influences can be easily observed1 as at ,hampton ,court1 ,sutton ,place1 ,layer ,marney1 ,east ,bursham1 and elsewhere1 both in the use of terra-cotta1 plaster-work in ceilings and friezes1 arabesque work in mullions and mouldings1 and in other directions4 ,on more than one house the stone figures and carvings were the work of master workmen brought over from ,italy1 while the few good ,tuscan sculptors employed by ,henry ,,viii exercised considerable influence upon the ,english craftsmen with whom they worked--an influence which did not immediately die away upon their departure4 ,the first ,italians to come over were chiefly sculptors and makers of ornaments1 workers in marble and alabaster and plaster4 ,the few painters who accompanied them were of much the same type as their ,english contemporaries1 decorators of houses1 and makers of heraldic designs1 colourers of sculpture and painters of banners and badges1 though probably more skilful than the ,english1 and capable on occasion of painting a picture4 ,the first of the sculptors employed was ,guido ,mazzoni1 or ,paganino1 of ,modena1 known here as ,master ,pageny1 who was entrusted with the task of designing and erecting the tomb of ,henry ,,vii and his wife1 for which that monarch had left very elaborate instructions4 ,paganino was chosen1 no doubt1 on account of the fame of his tomb of ,charles ,,viii at ,st4 ,denis4#egh ,his design1 however1 was not to ,henry ,,viii's liking1 so that the commission was taken from him and given to ,pietro ,torrigiano of ,florence4 ,in an estimate for the making of this tomb drawn up in #aeji1 the names of the several artificers it was proposed to employ are given4#egi ,among them were ,humphrey ,walker1 the founder1 ,nicholas ,ewen1 the coppersmith and gilder1 ,john ,bell and ,john ,maynard1 the painters1 and ,robert ,vertue1 ,robert ,jenyns1 and ,john ,lobons1 the ,king's three master masons4 ,in it ,paganino is termed 8,master ,pageny40 ,several of these men were employed on the tomb later on under ,torrigiano's directions4 ,sidenote3 ,,paganino ,,and ,,pietro ,,torrigiano ,pietro ,torrigiano1 born in ,florence in #adgb1 studied as a young man in the academy founded by the elder ,lorenzo de' ,medici1 under ,bertholdo1 where he broke ,michelangelo's nose in a quarrel1 and was forced to fly to ,rome4 ,there he was employed by ,pope ,alexander ,,vi on stucco-work in the ,vatican4 ,after an interlude spent in soldiering he returned to art1 and occupied himself in making small figures in bronze and marble1 which1 together with numerous drawings and designs1 he sold to ,florentine merchants1 who probably sent some of them over to their representatives in ,london4 ,in a cause tried before the ,council at the ,palace of ,greenwich in #aeah between ,pietro di ,bardi and ,bernardo ,cavalcanti1 ,torrigiano appeared as a witness1 which shows that he was closely connected with them1 and it was1 no doubt1 upon their recommendations that he was persuaded to come to ,england1 possibly for the very purpose of designing ,henry ,,vii's tomb4#ehj ,vasari says that in ,england 8did ,torrigiano receive so many rewards1 and was so largely remunerated that1 had he not been a most violent1 reckless1 and ill-conducted person1 he might there have lived a life of ease1 and brought his days to a quiet close40 ,the work on the tomb was begun in #aeab1 the date of the indenture between ,torrigiano and the ,king being #bfth ,october of that year4 ,he appears to have been resident in the precinct of ,st4 ,peter's1 ,westminster1 for some time before that date1 making preparations and engaging workmen1 and also working on the beautiful monument to the ,lady ,margaret ,beaufort1 ,henry ,,vii's mother1 who was buried in the ,abbey on the #cjth ,june #aeji4 ,other works of his in ,england include the fine monument to ,dr4 ,john ,younge1 ,master of the ,rolls1 in the ,rolls ,chapel1 erected about #aeaf-g1 and perhaps the monument to ,sir ,thomas ,lovell in the priory of ,holywell in ,shoreditch4 ,in such works as these ,torrigiano reached a very high pitch of excellence4 ,the tomb of ,henry ,,vii was finished in #aeah1 and so delighted ,henry ,,viii1 that he at once commissioned the ,italian to design one for himself and ,queen ,katherine1 of white marble and black touchstone1 which was to be one-fourth larger than the one just finished1 and not to cost more than #bjjj4 ,it was to be placed in a separate chapel1 adorned with frescoes1 and ,torrigiano returned to ,italy to engage competent workmen and artists to assist him4 8,benvenuto ,cellini narrates that when he was about eighteen years old1 there came to ,florence a sculptor named ,piero ,torrigiani1 who arrived from ,england1 where he had resided many years4 ,happening to see ,cellini's drawings1 ,torrigiano told him that he had come to ,florence to enlist as many young men as he could1 for he had undertaken a great work for the ,king1 and wanted some of his own ,florentines to help him4 ,as the work included a great piece of bronze1 he thought that ,cellini would be useful for that purpose4 ,cellini1 who did not accept the offer1 remarks on ,torrigiano's splendid person and most arrogant spirit1 and how he talked every day about his gallant feats among those beasts of ,englishmen40#eha ,torrigiano returned to ,england in #aeai or #aebj1 bringing several ,italian artists with him1 but for some reason--possibly a dispute--his contract for ,henry ,,viii's tomb was never carried out4 ,he thereupon left ,england for ,spain1 where he is said to have gained a great reputation1 but1 quarrelling with the ,duke d',arcos1 to whom he had sold a statue of the ,virgin1 he broke it to pieces with a hammer4 ,this brought him within the clutches of the ,inquisition1 and he is said1 according to legend1 to have starved himself to death in prison in ,seville in #aebb1 through rage and grief4 ,this story1 however1 appears to be largely imaginary4 ,sidenote3 ,,antonio ,,toto ,,and ,,vincent ,,volpe ,for the work on ,henry ,,viii's tomb in ,england he had enlisted the services of a young painter called ,antonio ,toto del ,nunziata1 of ,florence1 who1 together with one ,antonio di ,piergiovanni di ,lorenzo1 sculptor1 of ,settignano1 made a contract with ,torrigiano in ,september #aeai1 to work with him for four and a half years in ,france1 ,italy1 ,flanders1 ,england1 ,germany1 or any other part of the world4#ehb ,toto either stayed behind in ,london when his master went to ,spain1 or returned to ,england from that country on ,torrigiano's death1 and remained in the ,king's service for many years2 but there is no record to show what became of ,antonio di ,lorenzo4 ,before giving a short account of ,toto1 a few words must be said of the ,neapolitan1 ,vincent ,volpe1 who appears to have been the first of the ,italian painters regularly employed by ,henry ,,viii4 ,much of the work he undertook was of a decorative character1 of the same nature as that carried out by ,john ,browne1 ,andrew ,wright1 and other members of the ,painter-,stainers' ,company4 ,volpe was often engaged upon work for the royal navy4 ,the first reference to him in the ,state ,papers occurs in the year #aeab1 in an account for the painting of ships' banners4 ,among the payments made was one 8to ,mr4 ,domynyke ,cyny1 clerk1 in reward for the use of ,vincence of ,naples and ,alexe of ,myllen1 painters1 #f1 #acs4 #d;d40#ehc ,in ,april #aead he was at work with ,john ,browne and others on the royal ship ,henry ,grace ,dieu1 for which 8,vincent ,vulp1 painter1 by the ,king's command10 painted and made various streamers and banners1 one with a dragon1 one with a lion1 one with a greyhound1 and so on4#ehd ,in ,june of the previous year he received #cj for similar work for seven ships1 his name being entered in the ,king's ,book of ,payments as ,vincent ,woulpe4#ehe ,in ,june #aeaf1 as ,vincent ,volpe1 he appears to be definitely in the ,king's service1 with a salary of #bj a year1 paid quarterly4#ehf ,early in #aeah1 his name occurs in some accounts as ,vincent1 the ,king's painter4 ,he was sent to ,antwerp apparently in connection with glass designs for windows for the church or some building in ,calais4#ehg ,in #aebj he was employed at ,guisnes with ,john ,browne and others in the decoration of the temporary buildings erected for the ,field of the ,cloth of ,gold4#ehh ,he received #dj for work done or purchases made in ,antwerp1 and twenty crowns 7#d1 #fs4 #b;d47 for his costs in going there4 ,there is some uncertainty1 however1 about the date of these two last accounts1 and both may refer to the same journey4 ,in ,may #aebd he was employed in connection with the funeral of ,sir ,thomas ,lovell1 ,k4,g41 to make twenty-four small escutcheons in metal1 8with my master's arms in the garter1 to be set on the altars at the interment10 for which he received #aes4 ,for the same funeral1 one ,john ,wolffe1 painter1 was employed for providing stuff1 #cc1 #cs4#ehi ,the name ,wolffe occurs more than once in connection with painting ships4 ,very possibly ,vincent ,volpe is intended1 or this ,john may have been a relation4 ,sidenote3 ,,alessandro ,,carmillian ,volpe was also one of the many artists engaged in the decoration of the ,banqueting ,house at ,greenwich for the reception of the ,french envoys in #aebg1 dealt with in ,chapter xiv41 upon which ,holbein also was employed4 ,he appears1 together with ,john ,browne1 to have provided various materials and also to have done some of the painting1 for which he received a weekly wage1 the entry running1 8,to ,italian painters1 ,vincent ,vulp and ,ellys ,carmyan at #bjs4 the week40#eij ,in the treasurer's accounts for quarter's wages due at ,christmas #aebh he is entered as receiving #ejs4 a quarter1 but this is apparently a mistake in transcribing1 for as early as #aeaf he was getting a salary of #bj a year1 and in ,september #aebi1 the larger amount is again entered against his name1 to be paid quarterly4 ,in ,may #aecj he received #ae1 #ds4 #i;d4 for trimming the ,king's new barge1 and in ,december of the same year #c1 #ajs4 8for paynting of a plat of ,rye and ,hastings0#eia--;evidently a bird's-eye view showing the fortifications and defences1 such as were frequently made for the ,king4 ,on ,new ,year's ,day1 #aecb1 he presented the ,king with two long and two round targets4#eib ,he appears to have died or to have left the country shortly after this4 ,mr4 ,nichols suggests that it is 8by no means improbable that ,vincent ,volpe may have been the painter of some of those curious military pictures1 something between plans and bird's-eye views1 that are still to be seen on the walls of ,hampton ,court0--the large painting of the 8,field of the ,cloth of ,gold10 the 8,embarkation of ,henry ,,viii from ,dover10#eic and others4 ,in the entry respecting ,volpe quoted above1 in connection with the ,banqueting ,house at ,greenwich in #aebg1 he is coupled with another ,italian painter1 8,ellys ,carmyan40 ,the latter1 who was in receipt of a regular salary from the ,king1 it has been customary to regard as a woman1 because the ,christian name is entered in the accounts more than once as ,alice4 ,thus in ,december #aebh1eid the entry for quarter's wages is 8,alice ,carmillion1 painter1 #ccs4 #d;d40 ,the writer1 however1 is of opinion that ,carmillian was a man4 ,at other times the name is given as ,alys1 ,ellys1 ,alye1 and other variations1 and the surname is spelt ,carmillion or ,carmillian4 ,this artist is more often described as a 8millyner0 than as a painter4 ,the payment quoted above immediately precedes that of ,volpe in the accounts1 and the two painters were usually employed together at this period4 ,in the payments for ships' banners in #aeaa1eie ,volpe is joined with one ,alexe of ,myllen1 painter4 ,this ,alessandro of ,milan is evidently the same person as ,ellys or ,alys ,carmillian2 the change from ,alexe to ,alys is an easy one1 and ,bryan ,tuke's spelling of foreign names in his accounts is characterised by remarkable variety4 ,it is not likely that a woman would be employed upon such work as the painting of a building2 and the term 8millyner0 occurs much more frequently in recording payments to men than to women in the royal accounts4 ,mr4 ,digby ,wyatt suggests that the name was ,elisa ,carmillione1 ,milanesa1 and that she was a ,milanese miniaturist4#eif ,it has been suggested1 too1 that this painter was a relative of ,peter ,carmeliano1 of ,brescia1 the poet1 ,latin secretary to ,henry ,,vii and one of the ,king's chaplains1 who became lute player to ,henry ,,viii4#eig ,carmillian was one of those who supplied materials for the work carried out at ,westminster ,palace in #aecb4 ,one of the entries in connection with this runs3 8,to ,elys ,carmenelle1 of ,london1 painter1 for #bjj ,flemish paving tiles1 #cjs40#eih ,on ,new ,year's ,day #aebi he1 or rather his servant1 received a reward of #ajs4 in return for his gift to the ,king4#eii ,carmillian's salary was only #f1 #acs4 #d;d4 a year1 paid quarterly4#fjj ,antonio ,toto1 who1 as already noted1 was brought over to ,england by ,torrigiano1 was an artist of greater capabilities than ,volpe and ,carmillian4 ,he spent nearly forty years in ,england1 and throughout the whole of the time appears to have been in the royal service4 ,he usually worked in conjunction with another ,italian painter1 ,bartolommeo ,penni1 their names almost always appearing together in the ,household ,accounts4 ,toto was the son of one ,toto dell' ,nunziata1 a painter of ,florence of some standing1 a maker of 8puppets10 and a great practical joker1 as ,vasari relates4 ,the son was a fellow-pupil with ,perino del ,vaga in ,ridolfo ,ghirlandajo's studio4 ,toto took part with his master in painting a ,madonna and ,child in the church of ,san ,pietro ,scheraggio1 a building no longer in existence4 ,vasari says that he was taken to ,england by some ,florentine merchants1 and there executed all his works1 8and by the ,king of that province1 for whom he wrought in architecture 7as well as in sculpture and painting71 and for whom he built his principal palace1 was most handsomely rewarded40 ,the 8principal palace0 referred to by ,vasari was evidently ,nonsuch1 near ,cheam1 in ,surrey1 which was begun in #aech by ,henry ,,viii1 who acquired the site1 previously called ,cuddington1 in that year4 ,the original and principal structure was of two storeys1 the lower being of substantial and well-wrought freestone1 and the upper of wood1 8richly adorned and set forth1 and garnished with a variety of statues1 pictures 7i4e4 coloured figures in relief71 and other artistic forms of excellent art and workmanship1 and of no small cost0--it is thus described in the survey of the ,parliamentary ,commissioners in #afej4fja ,this singular building remained in good condition for more than a century1 and was described by both ,evelyn and ,pepys in #affe4 ,the former says that the plaster statues and basso-relievos 8must needs have been the work of some celebrated ,italian40 ,pepys speaks of the same features as 8figures of stories and good painting of ,rubens or ,holbein's doing40 ,in the earliest account of it1 published in ,braun's ,urbium ,prcipuarum ,mundi ,theatrum ,quintium1 in #aehc1 it is stated that ,henry ,,viii 8procured many excellent artificers1 architects1 sculptors1 and statuaries1 as well ,italians1 ,french1 and ,dutch as natives1 who all applied to the ornament of this mansion the finest and most curious skill they possessed in their several arts1 embellishing it within and without with magnificent statues1 some of which vividly represent the antiquities of ,rome and some surpass them40 ,a view of the palace by ,joris ,hoefnagel accompanied this account1 which gives an excellent idea of the building before the additions were made to it by ,lord ,lumley4 ,if ,vasari is to be believed1 ,toto was the chief architect of this building2 in any case1 it may be taken for granted that he was one of the leading ,italians employed there4 ,in the royal accounts he is always spoken of as 8paynter10 but the term included the makers of works in coloured plaster1 with which the exterior of ,nonsuch was covered4 8,toto's earliest education10 says ,mr4 ,digby ,wyatt1 8had specially fitted him for dealing with such an infinity of allegorical and quasi-pictorial sculpture as that with which we shall find ,nonsuch to have been adorned2 since his father1 in whose #8bottega' he was first brought up1 obtained his nickname of #8,nunziata' from his annually furnishing all the quantity of imagery with which the feast of the ,annunciation was wont to be set forth in a tangible shape at ,florence40#fjb ,sidenote3 ,,toto ,,and ,,penni 8,antony ,toto and ,barthilmewe ,penne0 first appear in the ,household ,accounts in #aecj1 8upon several warrantes being dated the iiijth day of ,june1 anno xxij1 for their wages1 after the rate of xxv li a year to every of them1 to be paid unto them quarterly1 during the ,kinges pleasure40#fjc ,thus each received #be a year1 the payment for the two being always entered in one account1 #ab1 #ajs4 each quarter1 and #bbs4 #f;d4 each annually for their livery coats4 ,on one occasion the scribe has confused them1 and has entered them as 8,anthony ,pene and ,bartilmew ,tate40#fjd ,there are some interesting items concerning ,toto in the ,hampton ,court ,accounts1#fje from which we learn that in addition to his work as an architect and decorator he was employed as a painter of pictures4 ,thus1 in #aecj1 there is an entry3 8,to ,antonye ,tote1 painter1 for the painting of five tables standing in the ,king's library--,first1 one table of ,joachim and ,st4 ,anne4 ,item1 another table1 how ,adam delved in the ground4 ,item1 the third table1 how ,adam was droven out of ,paradise4 ,item1 the fourth table1 of the burying of our ,lord4 ,item1 the fifth table1 being the last table1 of the burying of our blessed ,lady4 ,the said ,antonye taking for the said five tables1 by a bargain in great1 #f1 #acs4 #d;d40 ,toto was also a restorer of old pictures1 for on the same page is the following3 8,item1 to the said ,antonye for sundry colours by him employed and spent upon the old painted tables in the ,king's privy closet1 #acs4 #d;d402 and again1 8also paid to ,antoyne ,tote1 painter1 for the painting of four great tables--that is to say1 one table of our ,lady of ,pity2 another table of the four ,evangelists2 the third of the ,maundythe the feet-washing on ,maundy ,thursday84 ,the fourth title omitted4 ,the said ,antonye taking for the said tables1 by a bargain with him made1 by great1 #bjl4 soll40 ,these entries show that painters at ,henry's ,court received separate payment for pictures and other special works1 and that their salaries were in the nature of retaining fees4 ,they also received a daily wage when engaged on work of some duration1 as can be gathered from several quotations from the accounts already given4 ,in #aecj ,toto was engaged in this way at one shilling a day1 and with him were associated ,philyp ,arkeman 7#aj;d471 ,lewes ,williams 7#i;d471 and ,john ,devynk 7#c;d474 ,the work consisted of 8new painting and gilding certain antique heads brought from ,greenwich to ,hanworth at the ,king's commandment1 and new garnishing of the same40 ,in ,june #aecb he was employed upon a similar job3 8,also paid to ,anthony ,tote and ,john ,de la ,mayn1 the ,king's painters1 for their wages1 coming from ,london to ,hanworth for to see the finishing and setting up of certain antique heads new painted and gilded1 either of them by the space of three days at xiid4 the day1 for themselves and their horses40#fjf ,these were the terra-cotta roundels modelled by ,giovanni da ,maiano1 the ,john ,de la ,mayn of the accounts1 which appear to have been painted and gilded by ,toto4 ,sidenote3 ,,antonio ,,toto1 ,,serjeant-,,painter ,on #aeth ,january #aecb he received a special sum of #bj by the ,king's commandment1 for some service not mentioned4#fjg ,he became a naturalised ,englishman in #aech1 his patent of denization being dated #bfth ,june in that year4 ,in it he is described as a native of ,florence1 in the ,emperor's dominions4#fjh ,in the same year he was employed by ,cromwell on some work at ,havering1 for which he was paid #eas4 #a;d4 on #bfth ,may4#fji ,on the #bhth ,november #aech he and his wife ,helen received a grant in survivorship of two cottages and land in ,mycheham 7,mitcham71 near ,nonsuch1 which was to be held by payment of a red rose at ,st4 ,john ,baptist's ,day annually4#faj ,on the following ,new ,year's ,day he presented the ,king with a 8depicted table of ,calomia0 7the ,calumny of ,apelles7#faa2 and on the #ast of ,january #aeda a 8table of the story of ,king ,alexander40#fab ,on the #adth of ,april #aeda he obtained a licence to import #fjj tuns of beer1#fac and on the #bnd ,december #aedb he received a lease of the manor of ,ravesbury1 in ,surrey1 which belonged to ,sir ,nicholas ,carew1 attainted1 for forty years1 at #db1 #fs4 #h;d4 rental4#fad ,toto succeeded ,andrew ,wright as the ,king's serjeant-painter in #aedc1 and he continued to hold the same position throughout the reign of ,edward ,,vi1 and in that capacity he provided the tabards for the heralds1 and at the coronation of ,edward furnished all materials required by the ,college1 whether in satin1 damask1 or sarcenet1 for ,kings1 ,heralds1 and ,pursuivants4 ,he also devised patterns and painted the properties for the court masques4 ,thus1 at ,shrovetide #aedh1 he received #bjs4 as a reward for his pains in drawing patrons 7patterns7 for the masks1 and a similar amount a year or two later for attending the ,revels and drawing and devising for painters and others4 ,in #aeej he supplied 8antique moulded heads0 for a temporary banqueting house1 and in #aeeb he was employed in preparing properties for a masque on the ,state of ,ireland1 and received #ds4 for painting an ,irish halberd1 sword1 and dagger1 and a coat and cap with eyes1 tongues1 and ears for ,fame4#fae ,on ,new ,year's ,day #aeeb he presented ,king ,edward with 8the phismanye of the ,duke of ---- 7name obliterated71 steyned upon cloth of silver1 in a frame of woode10 for which he received in return a gilt salt with cover weighing a little over nine ounces4 ,he was still serjeant-painter at the death of ,edward ,,vi1 and for the ,king's funeral had an allowance of seven yards of black cloth1 with three more for his servant4#faf ,it is to be supposed that the numerous pictures ,toto presented to ,henry ,,viii and his son were of his own painting1 though there is no actual proof of this2 his chief works in ,england appear to have been architectural and decorative4 ,his fellow-worker1 ,bartolommeo ,penni1 another ,florentine1 may possibly have come with him to ,england in #aeai4 ,he was1 in any case1 settled in ,london and in the service of the ,king in the summer of #aebb1 for in a valuation of the lands and goods of the inhabitants of ,london of that date1 he is entered in the parish of ,st4 ,martin ,orgar as 8,bartholomew ,penny1 stranger1 in fees of the ,king yearly1 #be40fag ,penni may possibly have been a brother of ,gian ,francesco ,penni1 called ,il ,fattore1 one of ,raphael's pupils1 and of ,luca ,penni4#fah ,the latter was at work for some years at ,fontainebleau under ,rosso1 and1 according to ,vasari1 afterwards repaired to ,england2 but there appears to be no foundation for this statement1 ,vasari having probably confused him with ,bartolommeo4#fai ,in the royal accounts his name is always coupled with that of ,toto when his quarterly salary is paid1 but otherwise there is no record of him1 except his patent of denization1 dated #bnd ,october #aeda1 in which he is described as a subject of the ,duke of ,florence4#fbj ,for some reason ,penni did not sue for the letters patent for more than a year later1 when the ,king's style and great seal had been altered1 so that by the ,lord ,chancellor's command they were not to bear date until the #bhth ,january #aedc1 and a fine of #acs4 #d;d4 was inflicted4 ,beyond this1 nothing is known about him1 but the work he undertook for the ,crown must have been of a similar nature to that done by ,toto4 ,sidenote3 ,,rovezzano1 ,,maiano1 ,,and ,,bellin ,two ,florentine sculptors of note1 ,benedetto da ,rovezzano and ,giovanni da ,maiano1 were at work here throughout the whole of ,holbein's sojourn in ,england4 ,it is probable that they were brought over by ,wolsey on purpose to work on the great tomb and monument he was erecting for himself in the tomb-house at ,st4 ,george's ,chapel1 ,windsor1 and after ,wolsey's fall1 when ,henry ,,viii seized upon the materials and such of the work as had been finished and proceeded to adapt it for a tomb of his own1 the two sculptors were retained in the ,king's service1 though ,benedetto1 at least1 was anxious to return to ,florence before ,wolsey's downfall4 ,their names occur constantly in the royal accounts4 ,rovezzano is sometimes entered as 8,benedict1 the ,king's tomb-maker40 ,giovanni da ,maiano was a noted worker in terra-cotta1 and ,wolsey employed him on such work at ,hampton ,court4 ,on the #ahth ,june #aeba he rendered an account to ,wolsey for ten roundels of terra-cotta 7rotund imagines ex terra depict7 at #b1 #fs4 #h;d4 each1 and three histories of ,hercules at #d each1 8for the ,palace at ,anton ,cort40#fba ,these were the roundels already spoken of in connection with ,toto4 ,maiano was one of the artists associated with ,holbein in the decoration of the ,greenwich ,banqueting ,house1 in the accounts of which he is entered as ,john ,demyans4 ,he was in the royal service1 and received a salary of #bj1 being entered in ,october #aebh as 8,john ,demayns1 gravour40#fbb ,in #aebf his name occurs in the accounts of ,thomas1 ,lord ,rocheford4 8,to ,mane1 the painter1 for making the pattern of your seal of arms1 #cs4 #d;d410 and it was as a seal-engraver that he was largely engaged at the ,court4 ,in ,cromwell's accounts the two sculptors are sometimes entered as ,benedict ,rovesham or ,rovesame and ,john de ,manion or ,manino4 ,their work on ,henry's tomb appears to have gone on until #aecf1 when the project was abandoned for a time4 ,both men seem to have left ,england shortly afterwards4 ,nicolas ,bellin of ,modena was one of the most prominent of the ,italian artists engaged at the ,english ,court during the latter half of ,holbein's residence in ,england4 ,mr4 ,lionel ,cust#fbc suggests that 8the similarity of name would lead to a possible identification of this ,niccolo with ,niccolo dell' ,abbate da ,modena1 who arrived in ,france after the accession of ,henri ,,ii1 and took an important share in the decorative paintings at ,fontainebleau1 where he died in #aega02 but the latter1 who1 as a painter1 was by far the more important artist of the two1 did not reach ,france from ,italy until #aeeb1 whereas ,bellin had been in the employment of ,francis ,i as early as #aeag4fbd ,bellin was a designer and worker in plaster4 ,he is called in the ,english accounts both 8carver0 and 8moulder10 as well as 8paynter40 ,his name appears in the ,french royal accounts between #aeag and #aecc1 and ,m4 ,dimier infers from lack of any later reference to his name1 that he died shortly after the latter date2 but he had1 in reality1 moved over to ,england4 ,he took a considerable share in the decoration of ,fontainebleau1 where he worked under ,primaticcio1 and perhaps under ,rosso1 upon the ornamental borders and decorations in plaster and stucco with which the various wall-paintings were surrounded4 8,all visitors to ,fontainebleau10 says ,m4 ,dimier1#fbe 8carry away a recollection of the extraordinary mixture of painting and sculptured ornament displayed in the gallery4 ,the high relief and the abundance of the stucco1 which hems in the pictures on all sides and in places even overlaps their edges1 make a unique and inspiring effect1 in which the balance of the two arts would have been disturbed if ,rosso had not scattered among the stuccos little cartouches of painting and placed grounds of gold behind them charged with paintings in varied colours40 ,this was the kind of work upon which ,bellin was employed in ,france1 as can be gathered from the following entry in the 8,account of ,nicolas ,picart10 which was lot #dff in the sale of the late ,sir ,thomas ,phillips' collections1 #aijc3 8,a ,nicolas ,bellin dit ,modne1 painctre1 la somme de cent livres tournois 444 pour cinq mois entiers qu'il avoit vacqu et besongn avec ,francisque de ,primadicis dit de ,boullongne1 aussi painctre1 es ouvraiges de stucq et paincture encommancez faire pour le roy nostre dit seigneur1 en sa chambre de la grosse tour de son chasteau au dit ,fontainebleau1 #bj livres par mois40#fbf ,sidenote3 ,,nicolas ,,bellin ,,of ,,modena ,by #aech he was already in the service of the ,king of ,england1 for in ,december in that year he received a quarter's wages1 on a warrant dated on the previous #bast ,april1 at the rate of #aj a year1 and #bjs4 a year for his livery4#fbg ,he is styled ,nic4 7,nicolas7 de ,modecio1 but in the following ,march 7#aeci7 he appears as ,nicholas de ,modena4#fbh ,bellin did not come to ,england entirely of his own free will4 ,he was1 in fact1 obliged to fly from ,france1 and the ,king and his ministers made every effort to get him back again4 ,francis ,i wrote to ,marillac1 his ambassador in ,london1 on #ajth ,september #aedj1fbi drawing his attention to the fact that some time earlier he had demanded 8a subject and servant named ,modena1 who should be confronted with the president ,gentils 7also spelt ,gentilz and ,jentill7 upon certain malversions he had made1 but he has not been sent10 and ,marillac is ordered to make lively remonstrances thereupon4 ,from the ambassador's reply1#fcj of a week later1 it is to be gathered that ,modena1 who is described as one of the accomplices of the ,president ,gentilz1 had been delivered by ,henry's ,council1 in the spring of #aech1 to the ,bishop of ,tarbes1 then representing ,francis in ,london1 but had not been permitted to be sent to ,france1 8as he was a native of ,italy1 although of ,milan1 which1 they knew1 belonged to ,francis40 ,marillac is afraid that the same reasons will again be alleged against his extradition1 and in writing to ,montmorency1 the ,grand ,constable1 on the same date1#fca says that he will make representations to the ,king's ,council touching ,modena1 8about whom they are sure to make difficulty1 as he is an ,italian40 ,sir ,john ,wallop1 the ,english ambassador to ,france1 also wrote about the matter to ,henry ,,viii1 informing him that ,modena was wanted 8about an account of #ajj1jjj crowns of which ,president ,jentill beguiled the ,king40#fcb ,henry in his answer said1 8as for ,modena1 he 7,francis7 never demanded him as a traitor according to the treaty1 yet ,henry gave him up to the ,french ambassador 7the ,bishop of ,tarbes7 at his request1 and the latter afterwards put him at liberty40#fcc ,the ,council wrote to the same effect1 saying1 8the ,king is not bound to deliver him1 as he is not a ,french subject1 but born in the duchy of ,milan1 being in the ,emperor's hands4 ,and the ,king said that when the ,french ,king should be ,duke of ,milan he would be ready to observe the treaties40#fcd ,in a final letter to ,francis on #bast ,october #aedj1 ,marillac calls ,modena a 8painter and sculptor10 and says that 8the ,king said he would not speak of ,modena until justice had been done in his own case0 7i4e4 the detention in ,france of ,blanche ,rose74#fce ,a further interesting reference to ,modena is to be found in a long letter from ,wallop to ,henry ,,viii1 written from ,melun on #agth ,november #aedj1 in which he describes a visit to ,fontainebleau and an interview with ,francis4#fcf ,the letter also shows how keen an interest the two kings took in one another's building operations1 and their willingness to assist one another with materials and designs4 ,francis asked ,wallop many questions about ,hampton ,court1 and said that he had heard that ,henry used much gilding in his houses1 especially in the roofs1 but for his part he preferred natural wood1 8as ebony1 brasell1 c41 which was more durable2 he would show me ,fontainebleau1 especially his gallery there4 ,he has found mines of marble nigh the sea-side1 white at ,marguyson1 and black at ,sherbroke 7,cherbourg71 and you might have some for nothing if you liked to send for it2 also divers moulds of antique personnages that he hath now coming out of ,italy1 with which he shall have done within three or four months40 ,wallop then describes a visit to 8,fountayne de ,bleawe0 on the following ,sunday1 when the ,king showed him the 8antycall borders0 in his bedchamber1 helping him to mount a bench that was too high for him1 in order that he might examine them more closely4 ,francis afterwards showed him the ,gallery1 which ,wallop describes1 and refers ,henry to 8,modon1 who wrought there at the beginning10 for details4 ,one side of the gallery1 he says1 8is all antique of suche stuff as the said ,modon makith your ,majesties chemenyes40#fcg ,such things1 he adds1 would suit the gallery at ,st4 ,james's1 and the ,french ,king would gladly give the pattern4 ,by a warrant of #adth ,january #aedjfch the wages of 8,nicholas de ,modeno0 were increased to #bj a year1 and on #crd ,october #aeda he received a patent of denization1 with licence to have two apprentices and four journeymen or 8covenant servants10 in which he is described as 8,nic4 ,bellin1 a native of the city of ,modena1 in ,italy1 in the dominions of the ,duke of ,ferrara40#fci ,according to ,mr4 ,nichols1#fdj on ,new ,year's ,day #aecd1 among the royal rewards was one 8to ,nicolas ,modena1 that brought the ,king a story of ,abraham10 #fs4 #h;d4 7i4e4 to his servant74 ,this is not given in the abstract in the ,state ,papers1 but1 if correct1 would seem to prove that ,modena was in ,england some years before he was regularly employed in the royal service1 and earlier than the letters with reference to his extradition suggest4 ,the last year in which he is mentioned in the ,french accounts is #aecc1 which agrees with a possible arrival in ,england towards the end of that year1 when he might seek to draw attention to his abilities by presenting a picture to the ,king4 ,there appears1 however1 to be no further reference to him until #aech4 ,sidenote3 ,,nicolas ,,bellin ,,of ,,modena ,in the autumn of #aedf he was engaged upon work for some ,revels at ,hampton ,court1 arranged for the entertainment of the ,admiral of ,france1 for which he received #ae4 8,nich'as ,modena1 paynt'1 for garments of here 7hair7 upon lether1 for wildme'1 to s've for torcheberers1 wth thayr hed peces1 staves1 and clubbes1 taken in great for all1 #aeli40#fda ,these wildmen were satyrs or savage green-men1 so much in vogue in mimic entertainments of this period4 ,modena was also engaged in freshening up and altering a certain ,mount1 used in some ,revels for the ,coronation festivities of ,edward ,,vi1 this mount being probably the same apparatus for a pageant which had been employed some forty years before1 in the reign of ,henry ,,viii1 and had been laid up in the store of the ,master of the ,revels as a valuable piece of machinery4 ,the entry runs3#fdb 8,to ,nych'as ,modena1 stranger1 for as well his owne wages and #bb other carvers' wages1 workeing upon the mouldyd w'ke appertayning to the mount1 as also for clay1 plaster parys1 sewett1 whyte paper1 flower1 glewe1 syes1 wax1 here1 colis 7coals7 for drying1 with other necessaries40 ,it will be noticed that he is still termed stranger1 though possessed of a patent of denization4 ,in the following year1 at ,shrovetide #aedh1 he is termed 8moulder0--8,nicholas ,modena1 moulder1 for #f heads of heres 7hair7 for masks a' #ajs41 #fjs42 trimming1 colorg1 and lyning #af vysowres1 at #ab;d41 #afs40#fdc ,in the roll of ,new ,year's gifts #aeeb1 received by the ,king1 is an entry showing that he presented a picture4 8,by ,modeno a feire picture paynted of the ,frenche ,king his hoole personage1 sett in a frame of wodde10 and there was given in return 8,to ,modeno1 an ,italian1 oone guilte salte with a cover10 weighing x oz4 iij qrt' di40 ,another picture by him1 the portrait of a boy1 was in the ,arundel ,collection1 and is entered in the #afee inventory as 8,ritratto d'un fanciullo10 by 8,nicolo da ,modena40 ,at the funeral of ,king ,edward ,,vi1 8,modena1 maker of the ,king's picture10 received four yards of black cloth1 and he is mentioned again as 8,nicholas ,modena1 kerver1 four yards40 ,the 8,king's picture0 referred to in this extract was not a painting1 but the coloured effigy carried and displayed on the ,king's coffin1 as was the usual custom4 ,machyn1 in his ,diary1 in his account of the same funeral1 uses the term 8picture0 for the effigy--8then the chariot covered with cloth of gold1 and on the chariot lay a picture1 lying richly with a crown of gold1 and a great collar1 and a sceptre in his hand1 lying in his robes1 and the garter about his leg1 and a coat in embroidery in gold40#fdd ,modena's share in this effigy would be the modelling of the head in the likeness of the ,king4 ,sir ,george ,scharf#fde suggested that the very beautiful little whole-length figure of ,henry ,,viii1 carved in buff honestone1 belonging to ,mr4 ,h4 ,dent-,brocklehurst1 last exhibited at the ,burlington ,fine ,arts ,club in #aiji 7,case ,a1 ,no4 #bh71 was the work of ,nicolas ,modena4 ,it was apparently founded on ,holbein's ,whitehall painting of the ,king4 8,it has evidently been painted1 as traces of blue and crimson on the dress still remain in some of the hollows40 ,sir ,george drew attention to the similarity of this exquisite piece of work1 in its wooden frame1 to ,modena's gift to ,edward ,,vi of the fair painted picture of the ,french king1 whole length1 set in a frame of wood1 mentioned above4 ,sidenote3 ,,girolamo ,,pennacchi ,,da ,,treviso ,another ,italian painter of considerable distinction who was in ,england during the latter part of ,henry's reign1 was ,girolamo ,pennacchi da ,treviso1 son and pupil of ,piermaria ,pennacchi1 born at ,treviso in #adig1 an imitator of ,raphael1 who worked chiefly at ,bologna1 ,venice1 and ,genoa1 and1 so ,vasari relates1 came to ,england mainly on account of his unsuccessful rivalry with ,perino del ,vaga4#fdf ,according to the same authority he was a good portrait-painter1 and in ,england received encouragement and patronage from the ,king4 8,in his service he exercised his talents as architect and engineer4 ,he erected buildings in the ,italian style which delighted and surprised the ,king beyond measure1 who constantly loaded him with gifts1 and assigned him a stipend of #djj scudi a year1 giving him leave also to build himself a handsome house at the ,king's own expense4 ,girolamo lived most happily1 and in the utmost content1 thanking ,god and his good fortune for having placed him in a country where his merits were so well appreciated4 ,but this unusual happiness did not last long2 he went in his capacity of engineer to inspect the fortifications of ,boulogne1 during the siege1 where a cannon-ball struck him lifeless off his horse4 ,he thus died in #aedd1 at the early age of thirty-six40#fdg ,he painted chiefly in fresco1 so that little of his work remains4 ,there is an important example of his art in the ,national ,gallery1 ,no4 #fbc1 an altar-piece painted for the ,boccaferi ,chapel in the ,church of ,san ,domenico at ,bologna1 representing the ,virgin and ,child enthroned1 with ,,ss4 ,joseph1 ,james1 and ,paul1 which was formerly in the ,solly and ,northwick collections4 ,there is no other work in this country which can be pointed out as being with any certainty from his brush1 but ,sir ,george ,scharf was of opinion that the striking full-length portrait of ,sir ,thomas ,gresham at the age of twenty-six1 dated #aedd1 in ,mercer's ,hall1 is1 by its superior merit and its accordance in many respects with the style of ,girolamo1 in all probability by that painter1 and also the portrait of the ,earl of ,surrey at ,knole1 attributed to ,guillim or ,gillam ,stretes4 ,the portrait of ,sir ,anthony ,wingfield1 lent by ,mr4 ,t4 ,humphry ,ward to the ,burlington ,fine ,arts ,club ,exhibition in #aiji 7,no4 #ef1 attributed to ,holbein71 is also suggested1 by the compilers of the catalogue1 as a possible work of the same artist4 ,he is generally referred to in the royal accounts as 8,hierome ,trevix ,bollonia0 or 8,jeronimo ,italion10 and received a salary of #be a quarter4 ,it may be inferred from ,vasari's statement as to his erecting buildings in the ,italian style1 that he was employed at ,nonsuch4 ,in addition to these more important artists and craftsmen1 a number of minor painters1 native and foreign1 were at work in ,england during ,henry's and the succeeding reigns1 such as ,nicholas ,lyzarde1 ,john ,crust1 ,john ,simson1 and the three members of the ,bernardi family--,theodore1 ,lambert1 and ,anthony2 but little or nothing is known about them beyond their names1 and they need no comment here4 ,with some of the more important men dealt with in this chapter ,holbein must often have come in contact1 and with certain of the ,netherlanders1 such as the ,hornebolts1 he seems to have been on terms of friendship4 ,,note4--,much of the information given in this chapter about the foreign artists who practised in ,england under ,henry ,,viii is the result of a long and careful examination1 on the part of the writer1 of the ,calendars of ,letters and ,papers1 ,foreign and ,domestic1 of the ,reign of ,henry ,,viii4 ,since the final proofs of the chapter were passed for printing1 his attention has been called to a very interesting paper on 8,the ,italian ,artists in ,england during the ,sixteenth ,century10 read by ,mr4 ,r4 ,w4 ,carden before the members of the ,society of ,antiquaries on #bhth ,march #aiab1 and published in the ,society's ,proceedings1 second series1 vol4 xxiv4 7#aiaa-ab71 pp4 #aga-bjd1 issued early in #aiac4 ,in this paper1 more particularly that part of it dealing with ,bellin of ,modena1 ,mr4 ,carden covers much the same ground as the present writer1 and his information is based on a similar study of the ,letters1 c4 ,he gives1 however1 further new and valuable details of the work and lives of ,torrigiano1 ,toto1 ,rovezzano1 ,maiano1 and ,bellin1 and strives to prove that the latter and ,niccolo dell' ,abbate were one and the same man4 ,he also shows that ,bellin1 in #aeea1 was engaged upon the completion of ,henry ,,viii's tomb1 and that he was then living within the precinct of ,westminster ,abbey1 as ,torrigiano did before him4 ---------------------------------------- -------------------------------- ,,chapter ,,xiii ,,the ,,first ,,visit ,,to ,,england3 ,,portraits ,,of ,,the ,,more ,,family ,holbein's arrival in ,england and his reception by ,sir ,thomas ,more--,the ,more ,family ,group and the ,basel study for it--,the various copies of the picture at ,nostell ,priory1 ,east ,hendred1 ,burford ,priory1 and elsewhere--,the ,sotheby miniature--,studies for the heads in the ,windsor ,collection--,the portrait of ,sir ,thomas ,more--,miniature of ,more in the late ,mr4 ,pierpont ,morgan's ,collection--,portrait of ,lady ,more--,margaret ,roper--,drawing of unknown lady in the ,salting ,collection--,portrait at ,shere said to represent ,margaret ,roper4 ,,the date of ,holbein's arrival in ,england can be fixed with some certainty4 ,the letter of introduction he carried from ,erasmus to ,peter gidius in ,antwerp1 as already pointed out1 was dated #bith ,august #aebf1 and it must have been written on the eve of the painter's departure from ,basel4 ,travelling was slow in those days1 and ,holbein would not be in a position to afford to make the whole journey on horseback4 ,as he carried letters from ,erasmus1 the latter may have helped him with his travelling expenses1 but no doubt the greater part of the journey would be made by boat down the ,rhine1 and for the rest he would trudge on foot1 the materials of his craft on his back4 ,sidenote3 ,,holbein',s ,,journey ,,to ,,england ,there is no evidence to show that he made a stay of any length in ,antwerp2 nor any record of a meeting with gidius or ,metsys1 though such meetings must almost certainly have taken place1 for the former would be likely to do everything in his power to oblige ,erasmus4 ,woltmann suggests that he stayed in ,antwerp for at least some weeks1 in order to earn some money1 while ,mr4 ,davies thinks that he made a somewhat lengthy sojourn in the ,netherlands before coming to ,england4#fdh 8,one may take it almost for granted10 he says1 8that a man of his sympathies1 the fountain of whose art had already flowed down to him by ,flemish channels1 would not fail to use his opportunity for visiting the great ,flemish primitives1 the ,van ,eycks1 ,memlinc1 ,van der ,weyden1 ,gerard ,david in their own homes4 ,ghent and ,bruges lay at no great distance seaward1 and whether he took ship at ,flushing1 or chose the longer land route and the shorter sea passage by ,calais--an expensive method for one whose pockets were as empty as ,holbein's--he would1 one feels sure1 have made the pilgrimage to those two cities40#fdi ,dr4 ,waagen also believed that ,holbein made a considerable delay in ,antwerp1 for the purpose of painting the portrait of gidius1 now in ,longford ,castle1 at that time considered to be from his hand2 and he also held the theory that the 8,las ,corinthiaca0 and the 8,venus0 were painted on the same occasion1 seeing in them a ,netherlandish influence4 ,mr4 ,davies1 in a second passage1 to which reference has been made1#fej asserts that ,holbein 8spent several months in or about ,antwerp on his way to ,england in #aebf40 ,he admits1 however1 that he is dealing with mere probabilities1 and it is much more likely that ,holbein would waste as little time as possible in reaching the country in which he hoped to improve his fortunes1 and would tarry only a day or two in ,antwerp1 in order to make the acquaintance of ,metsys2 and that he then either took ship at that port1 or1 which is less probable1 tramped on to ,calais1 the customary point of embarkation for ,england4 ,he may thus have reached ,london easily by the beginning or middle of ,october #aebf4 ,it is1 in any case1 quite certain that he did not spend 8several months in or about ,antwerp40 ,this is proved both by a letter from ,sir ,thomas ,more to ,erasmus1 dated #ahth ,december1 and by the fact that the preliminary studies1 or1 at least1 the general study for the grouping in the ,more family portrait1 now in the ,basel ,gallery1 must have been finished before the #gth ,february #aebg4 ,holbein1 of course1 would carry with him a letter of introduction from ,erasmus to ,more1 and very possibly to ,warham1 ,fisher1 and other correspondents of the philosopher then in ,england4 ,there is no reason to throw doubt on ,carel van ,mander's statement that he was received as a guest in ,sir ,thomas ,more's hospitable house in ,chelsea4 ,van ,mander's biography contains numerous inaccuracies1 although he wrote only some sixty years after ,holbein's death2 but in this instance he is probably correct4 ,more1 who was noted for his hospitality1 would welcome to his home any friend sent to him by ,erasmus1 and would do all that he could to help a foreigner1 who can have had little or no knowledge of the ,english language4 ,van ,mander's statement has been copied and amplified by later writers until the legend runs that ,holbein spent the greater part of three years under ,more's roof2 but this is not at all likely to have happened4 ,during the painting of the great family picture1 or1 in any case1 while the preliminary studies were being made1 and other single portraits of members of ,more's household taken1 ,holbein1 no doubt1 remained as a guest at ,chelsea1 if only for the convenience of the several sitters1 but that he stayed throughout the whole of his first ,english visit as ,more's guest is doubtful4 ,he would1 naturally1 wish for a studio and lodging of his own1 however humble1 where he would be free to do just as he liked4 ,whether he set up his easel in the village hard by his patron's house1 or in ,london itself1 where he would find a number of compatriots1 it is not now possible to say1 though an item in the royal accounts in connection with the festivities at ,greenwich in #aebgfea seems to indicate that he had settled in the city2 while1 on the other hand1 nearly all the portraits painted by him at this time were of men who were among ,more's most intimate personal friends1 whom ,holbein would be more likely to meet in ,chelsea than in ,london4 ,more certainly did everything in his power to help the painter4 ,he not only gave him commissions for single portraits of himself and his wife1 and1 possibly1 of his favourite daughter1 ,margaret ,roper1 but also for the large family group already mentioned4 ,it is to be supposed that ,holbein had carried with him some specimens of his handiwork by which ,sir ,thomas could judge of his ability1 and he would almost certainly have with him proofs of the 8,dance of ,death0 woodcuts1 in themselves more than sufficient testimony to the brilliance of his artistic powers4 ,sir ,thomas must also have had earlier knowledge of his skill both as a portrait-painter and a book-illustrator1 in the likenesses of ,erasmus already sent to this country1 and in the various books by ,erasmus and others1 including his own ,utopia1 issued by ,froben and other printers of ,basel1 which ,holbein had helped to decorate4 ,sidenote3 ,,more',s ,,letter ,,to ,,erasmus ,in a long letter to ,erasmus1 mentioned above1#feb dated #ahth ,december1 ,more gives a few words of praise and a promise of help to their common friend and proteg3 8,your painter1 dearest ,erasmus1 is a wonderful artist1 but ,i fear he is not likely to find ,england so abundantly fertile as he had hoped2 although ,i will do what ,i can to prevent his finding it quite barren40#fec ,this letter1 as already stated1 is dated #aebe in the published letters of ,erasmus1 but the correct date is #aebf1 as first pointed out by ,mr4 ,f4 ,m4 ,nichols1 ,f4,s4,a4#fed ,it has been generally supposed that it was written after ,more had seen certain portraits of ,erasmus sent over from ,basel about #aebd1 and that his promise of help to the painter had reference to a projected visit to ,england on the part of ,holbein4 ,mr4 ,nichols1 however1 proves conclusively that it was written after ,more had made his personal acquaintance4 8,the true date10 he says1 8is shown not only by the allusion to ,holbein1 who was evidently in ,england at the time1 but still more certainly by the literary work of ,erasmus mentioned in it4 ,the first part of the ,hyperaspistes 7the answer of ,erasmus to the ,servum ,arbitrium of ,luther71 printed in the spring of #aebf1 and the ,institution of ,christian ,marriage1 printed in ,august of the same year1 are both mentioned as already published1 and the second part of ,hyperaspistes as expected4 ,this last book was published at the close of the same year1 #aebf1 not much after the date of the letter as here corrected40 ,more1 therefore1 wrote to ,erasmus in praise of ,holbein after he had received practical proof1 in the shape of his studies for the ,family ,group1 of what the latter was capable in the way of portraiture4 ,the earliest work undertaken by the artist was the painting of this group of his host's family1 and the several individual portraits of certain members of the ,chelsea household1 of which the first would be undoubtedly that of his new patron4 ,the inscriptions on the study for the ,family ,group1 now in the ,basel ,gallery1 prove conclusively that the beautiful sketch of the general arrangement of the picture was finished1 and possibly the picture itself begun1 before #gth ,february #aebg1 thus indicating that ,holbein must have started upon it with little delay4 ,this fact is made clear through the researches of ,mr4 ,nichols1 included in a second and earlier paper read before the ,society of ,antiquaries in #ahig1fee dealing with the correct birth-year of ,sir ,thomas ,more4 ,it is impossible to give here even a short summary of the evidence which he brings forward1 evidence which proves that ,more was born on #gth ,february #adgg1 a year earlier than the date until then supposed to be the correct one4 ,he then proceeds to show the bearing of this new year-date upon the ,basel sketch4 ,the sketch has the name and age of the persons represented in it written against each figure1 and it is important to observe that there is a strong probability that these inscriptions were written or dictated by ,more himself4 ,they are correctly written in ,latin1 while the painter's notes on the same drawing are in ,german2 and1 as ,mr4 ,nichols says1 the information1 including on the one hand the age of ,more's venerable father1 and on the other that of his domestic fool1 could scarcely have been furnished by any one but ,more himself4 ,woltmann recognises the handwriting as undoubtedly that of ,more from its remarkable resemblance to the address on the letter held in the hand of ,peter gidius in the ,longford ,castle portrait1 which ,more declared was copied quite as closely as he could have copied it himself4 ,sidenote3 ,,basel ,,study ,,for ,,the ,,family ,,group ,in the ,basel sketch he has written above his own portrait1 ,thomas ,morus anno #ej--that is1 anno quinquagesimo1 8in his fiftieth year0--and1 according to the corrected birth-date1 ,sir ,thomas was in his fiftieth year from #gth ,february #aebf to #gth ,february #aebg1 which proves that the big picture had been completely planned out1 and probably well advanced1 before the latter date4 ,in support of this contention1 it will be found that not only the age of ,more himself1 but that of other members of his family where they can be verified1 point to the same date4 ,thus1 ,erasmus1 who prided himself on his remarkable memory for the ages of his friends1 says that ,john ,more1 ,sir ,thomas's only son1 was just about thirteen in the summer of #aeba1 so that he would be in his nineteenth year in the autumn and winter of #aebf1 which is the age attributed to him on the sketch2 while the dates of the birth and death of ,john ,more's wife1 ,anne ,cresacre1 are known1 and tally with the 8anno #ae0 on the same drawing4 ,more's eldest child1 ,margaret ,roper1 is described as in her twenty-second year1 and though the precise date of her birth is not known1 the marriage of her parents took place in the twentieth year of ,henry ,,vii 7#bast ,august #aejd-bast ,august #aeje71 which is consistent with her birth at any time between the summer of #aeje and the #gth ,february #aejf1 and therefore with her being in her twenty-second year at the date attributed to the sketch4 ,it appears1 therefore1 that the evidence of all these inscriptions either confirms that date or is not inconsistent with it4 ,this proves that the ,family ,group was the first work undertaken by ,holbein in ,england1 and that in the intervals of painting the larger picture he was engaged upon a single portrait of ,sir ,thomas ,more and upon others of certain of the latter's friends4 ,unfortunately1 the picture itself1 if ever completed by ,holbein1 has disappeared4 8,for nothing10 says ,walpole1 8has ,holbein's name been oftener mentioned than for the picture of ,sir ,thomas ,more's family4 ,yet of six pieces extant on this subject1 the two smaller are certainly copies1 the three larger probably not painted by ,holbein1 and the sixth1 though an original picture1 most likely not of ,sir ,thomas and his family40#fef ,the ,basel sketch 7,no4 #cde7feg 7,pl4 #gd71 upon which the various pictures still in existence are based1 affords the most faithful record we possess of the great work itself1 now lost1 or buried under the handiwork of some inferior painter4 ,it represents a large apartment with a group of ten persons1 with two smaller figures seen through an open door in a room at the back4 ,sir ,thomas ,more is seated in the centre of the group1 dressed in long robes1 his hands concealed in a muff4 ,in attire1 attitude1 and expression the sketch agrees very closely with the portrait of ,more in the possession of ,mr4 ,edward ,huth4 ,on his right hand1 to the spectator's left1 is seated his old father1 ,sir ,john ,more1 a judge of the ,king's ,bench 7anno #gf71 looking straight out of the picture4 ,by ,sir ,john's right side stands ,margaret ,gigs 7anno #bb71 a relative of the family1 afterwards married to ,dr4 ,john ,clement4 ,she has a book in her left hand1 to which she points with her right1 as though emphasizing a passage she is reading to the old man1 towards whom she stoops4 ,in front of her1 and still further to the spectator's left1 the outside member of the group1 stands ,elizabeth ,dancey 7anno #ba71 ,more's second daughter1 with a book under her arm1 drawing on her glove4 ,on the opposite side1 on the spectator's right1 in the foreground1 is a group of three1 which includes ,more's second wife1 ,alice ,middleton 7anno #ed71 on the extreme right1 kneeling on a prie-dieu1 with a chained monkey by her side jumping up against her dress2 ,margaret ,roper 7anno #bb71 ,more's eldest and favourite daughter1 seated on the ground on a low stool in front of her stepmother1 an open book held in her lap1 gazing in front of her1 as though lost in thought over the volume she has been reading2 and ,cecilia ,heron 7anno #bj71 the youngest girl1 seated behind1 and partly concealed by her sister1 with a book and rosary in her hand1 and her head turned as though speaking to ,lady ,more4 ,in the centre1 behind ,sir ,thomas1 stand1 on the right1 his only son1 ,john ,more 7anno #ai71 looking down1 absorbed in a book1 and on the left1 ,anne ,cresacre1 his betrothed1 a girl in her fifteenth year4 ,the group is completed by the bluff figure of ,henry ,patenson1 ,more's jester1 who stands to the right of ,more's son1 with arms akimbo in the favourite fashion of ,henry ,,viii4 ,over his shoulder1 through a doorway1 with a kind of porch of open woodwork which projects into the apartment1 are seen the heads of the two small figures mentioned above4 ,the room in which the group is placed is probably the dining-hall4 ,on the left there is a sideboard reaching to the ceiling1 with a flower-vase1 tankards1 and silver plate4 ,on the sill of a window on the opposite side of the room there are a jug1 a candlestick1 and some books4 ,the wall at the back in the centre is covered with a curtain1 in front of which a clock with weights is hanging1 and a violin near it4 ,,vol4 ,i41 ,,plate #gd4 ,illustration3 ,,study ,,for ,,the ,,more ,,family ,,group ,drawing in ,indian ink1 with corrections and inscriptions in brown ,,basel ,,gallery ,sidenote3 ,,the ,,nostell ,,priory ,,picture ,the whole arrangement is of a somewhat formal and stately character1 and both in the attitudes and occupations of the figures indicates a house of learning2 even in the foreground books are scattered all over the floor4 ,this masterly sketch1 small as it is1 is full of character4 ,each figure has marked individuality1 and ,holbein1 with a few slight touches of his pencil1 has in every case given a most truthful likeness1 as may be proved by comparison with the larger studies of seven of the heads now in the ,windsor ,collection4 ,from this brilliant study it is quite possible to gain a very adequate idea of how splendid the finished picture must have been1 if1 indeed1 ,holbein ever completed it4 ,whether the ,basel drawing was merely ,holbein's first arrangement of the grouping1 hastily done1 or a drawing made at ,more's request from the outlined design on the canvas for the purpose of sending it to ,erasmus1 is uncertain2 but1 in any case1 the portraiture of all the heads1 which are only sketched in a few lines1 is complete and striking1 and every touch stamps it as the work of one who was a master before he had reached his thirtieth year4 ,there are various copies of this great family picture in ,england1 mostly of late origin and showing numerous differences4 ,the only one which has any real claim to be considered the original work is the large canvas belonging to ,lord ,st4 ,oswald at ,nostell ,priory1 near ,wakefield1 which has been for many years in the possession of the ,winn family 7,pl4 #ge74feh ,most writers have identified it with the picture mentioned by ,carel van ,mander1 whose book was first published in #afjd1 as seen by him in ,london in the possession of ,andries de ,loo1 who had collected a number of ,holbein's works4 8,this lover of art10 he says1 8had a large canvas1 painted in water-colours1 on which was depicted1 as large as life1 from head to foot1 the learned and famous ,thomas ,morus1 with his wife1 sons1 and daughters1 all magnificently arrayed1 a piece worthy to be seen and highly extolled40 ,on ,de ,loo's death1 he continues1 it was purchased by one of ,more's grandsons1 who was also named ,more4 ,according to the family history1 however1 the buyer was the son of ,margaret ,roper1 of ,well ,hall1 ,eltham1 near ,blackheath1 where it still remained in #agca1 when it was carefully described by the ,rev4 ,j4 ,lewis4 ,it eventually passed by marriage to ,sir ,rowland ,winn1 of ,nostell ,priory1 the ancestor of the present owner4 ,van ,mander1 it will be noted1 says that this picture was in water-colours1 or tempera1 on canvas1 which1 if true1 seems to indicate that it was not the work now at ,nostell ,priory1 though repeated repairing and varnishing may have rendered the method of its painting uncertain to decide4 ,van ,mander's account of ,holbein's career is by no means free from inaccuracies1 but the evidence seems to point to the fact that his history of the picture is substantially correct4#fei ,there are considerable but1 with two exceptions1 not very important differences between the ,nostell ,priory picture and the ,basel sketch4 ,the latter is seen at once to be a first study for the grouping of the former1 to which the artist adhered closely in almost all points4 ,in the first place1 it is interesting to note that the only two alterations suggested on the sketch itself1 in ,holbein's own handwriting--8,dise soll sitzen0 7she is to be sitting71 placed against ,lady ,more1 and 8,klafikordi vnd ander ,sithespill vf dem bank0 7harpsichords and other instruments on a shelf71 to the left on the wall at the back1 close by the cupboard or sideboard1 where only a violin is hanging in the sketch--have both been carried out in the completed picture1 though in the end the painter put the instruments on the sideboard in place of the silver plate1 instead of on a shelf4 ,the two chief points in which the finished picture deviates from the sketch are the change in the positions of ,elizabeth ,dancey and ,margaret ,gigs1 and the introduction of ,more's 8famulus10 ,john ,heresius or ,harris1 who stands in the doorway at the back1 with a roll of parchment in his hands1 while beyond him1 in the farther room1 is a man standing at a large bay-window1 holding a book which he is reading4 ,the positions of ,elizabeth ,dancey and ,margaret ,gigs have been reversed4 ,the former now stands next to ,sir ,john1 while the latter has taken her place on the extreme left1 and1 instead of stooping1 stands upright1 looking in front of her1 but with her right hand still pointing to the open book in her left4 ,her head-dress is less elaborate than in the ,basel sketch1 and follows closely the plain white hood she is shown as wearing in the beautiful study at ,windsor1 erroneously inscribed 8,mother ,jak40 ,two dogs are also introduced--a 8cur-dog0 at the feet of ,sir ,john1 and a 8,bologna shock0 at the feet of ,sir ,thomas1 to quote from ,mr4 ,lewis4#ffj ,the various accessories in the room have also been to some extent changed1 both on the sideboard and on the window-sill on the right4 ,the titles of the books are given in most cases4 ,thus ,margaret ,roper holds open ,seneca's dipus at the chorus in ,act iv41 ,elizabeth ,dancey has ,seneca's ,epistles under her arm1 while ,boetius de ,consolatione ,philosophi is on the sideboard4 ,,vol4 ,i41 ,,plate #ge4 ,illustration3 ,,the ,,more ,,family ,,group ,lord ,st4 ,oswald's collection ,,nostell ,,priory ,sidenote3 ,,the ,,nostell ,,priory ,,picture ,the critics are by no means agreed as to the merits of this picture4 ,dr4 ,waagen came to the conclusion that it was nothing more than an old copy1 yet he dated it as about #aecj on technical grounds1 due to the redness of the flesh tints1 which he regarded as a characteristic of ,holbein's painting at that period--a strange conclusion to reach after giving it as his opinion that it was only a copy4 ,passavant1 ,vertue1 and ,walpole considered that it was made up by some inferior painter from ,holbein's separate studies of the heads4 8,as the portraits of the family10 says ,walpole1 8in separate pieces1#ffa were already drawn by ,holbein1 the injudicious journeyman stuck them in as he found them1 and never varied the lights1 which were disposed1 as it was indifferent in single heads1 some from the right1 some from the left1 but which make a ridiculous contradiction when transported into one piece40#ffb ,wornum's opinion was that 8the picture is without question unequal in its parts1 some portions certainly being unworthy of ,holbein2 others1 though much better1 still bear no trace of the great master's hand2 the want of finish1 too1 is in parts apparent4 ,the dogs are very bad1 especially the foremost one2 notwithstanding all this1 however1 there may be a genuine ,holbein groundwork beneath40#ffc ,woltmann1 who saw it when it was in the ,national ,portrait ,exhibition of #ahff1 agreed with ,waagen that it was only a good old copy4 8,still this large picture is in a high degree interesting4 ,though the hand that copied it betrays1 indeed1 an able but in nowise clever painter1 though the coldness of the execution is apparent in the unattractive accessories1 still it shows us1 to a certain extent1 with what careful and delicate study the original picture had been executed40#ffd ,the late ,mr4 ,f4 ,g4 ,stephens examined the picture very carefully in #ahhj1 and embodied the result of his study in one of his series of articles on 8,the ,private ,collections of ,england10 published in the ,athenum4#ffe ,he came to the conclusion that certain portions were undoubtedly from the brush of ,holbein1 but that upon the greater part of the canvas he had merely sketched or pounced in the design1 which had then been finished by some other painter not skilled enough to follow up with any success the lines laid down by the greater master1 who for some unknown reason had abandoned the completion of the work4 ,at the same time he was of opinion that even the parts which he attributed to ,holbein by no means remained in the state in which he left them4 ,his final conclusion was that ,holbein left the canvas with only one head1 that of ,sir ,thomas ,more1 nearly finished2 certain other heads--of ,judge ,more1 and the group of three on the right1 ,margaret ,roper1 ,cecilia ,heron1 and ,lady ,more--far advanced in execution1 and one or two others in the background carried only a little further than the designing stage4 ,beyond this ,holbein did not go2 the remainder was left in outline1 subject to correction to be made as the work proceeded4 ,the man engaged to complete the picture covered the canvas as well as he could1 but failed to retain any of the beauty of ,holbein's original design1 or to introduce the generalising and systematic light and shade with which ,holbein would have brought each part into harmony1 or even to transfer to the canvas the animated portraiture and other high qualities of the cartoons which were available for that purpose4 ,most of the figures are of extreme disproportion1 heads being too large for the bodies1 and bodies too large for the legs1 while the actions are awkward1 and many of the faces lack animation and intelligence4 ,the dogs are so bad that ,mr4 ,stephens was of opinion that they were added even later by a third and still less skilful painter4 ,on the other hand1 he regarded the head of ,more as 8a marvellous rendering of insight into human character1 reproducing with extreme subtlety the utmost energy of thoughtfulness as marked on a visage where a far-seeing1 vigorous soul has1 so to say1 written itself in every line and feature1 and manifested itself in those penetrative yet meditating eyes1 those fine thin lips1 and affected the fine reserve of every lineament40 ,sidenote3 ,,the ,,picture ,,left ,,incomplete ,this solution is possibly the correct one4 ,all the other versions of the picture in existence are based on the ,nostell ,priory example4 ,the ,basel sketch was not available for the purpose1 having been sent to ,erasmus1 and it is far from likely that all these works were copied or adapted from some original painting by ,holbein now lost4 ,at the death of ,sir ,thomas ,more much of his property was seized by the ,crown1 but even if such a picture were taken from the family1 it does not follow that it would be destroyed4 ,thus there is every probability that the version seen by ,van ,mander in the collection of ,de ,loo was the original picture1 and that it was the one now in ,nostell ,priory4 ,the most natural supposition is that ,holbein was unable to finish it through want of time4 ,he was back in ,basel not later than the summer of #aebh1 as on the #bith ,august of that year1 exactly two years from the date of ,erasmus' letter to gidius1 he purchased a house in that city4 ,as a citizen of ,basel he must have obtained leave of absence before starting for ,england1 and such leave would probably be for two years only1 with penalties attached to it if he failed to return in time4 ,his stay in ,england cannot have lasted much more than eighteen months1 and during that period he was very busily occupied4 ,as already shown1 the ,basel sketch for the big picture must have been made before #gth ,february #aebg1 on which day ,more was fifty years old4 ,curiously enough1 on the day following1 #hth ,february1 ,holbein started upon an important work of decoration1 described below1#fff which occupied his entire time from that date until early in ,april1 and for which he received payment from the royal purse4 ,during the remainder of his first ,english visit he was engaged upon a number of portraits1 including those of ,sir ,thomas ,more1 ,lady ,more1 ,archbishop ,warham1 ,sir ,henry ,guldeford and his wife1 the ,godsalves1 ,kratzer1 and possibly one or two others1 such as ,fisher1 ,reskimer1 and ,bryan ,tuke1 while in the intervals between these commissions he was1 no doubt1 busily at work upon the heads of the ,family ,group4 ,his recall to ,basel may have been peremptory1 and so have forced him to leave in a hurry4 ,in any case1 he must have parted on good terms with ,more1 for he was entrusted with the ,basel sketch for delivery to ,erasmus as a present from the author of the ,utopia4 ,very possibly he promised to come back in order to finish the picture1 but when a year or two had passed by without sign of his return1 ,sir ,thomas1 having given up all hope of seeing him again1 may have decided to get it finished by some other painter4 ,when the ,nostell ,priory picture was carefully cleaned some thirty-five years ago1 it was found to be dated #aecj1 a date which well agrees with this theory4 ,the same date1 #aecj1 is on the ,basel sketch1 but it is below the drawing and by a later hand1 and may have been added by some one who had knowledge of the date on one or other of the versions of the picture in ,england1 or from the supposition that ,more was fifty in that year4 ,the sketch was badly engraved by ,nicolas ,cochin in the ,tabell ,select of ,caroline ,patin1 published in #afia1 and on this engraving no date is given4 ,von ,mechel engraved it in #agid in his uvres de ,jean ,holbein1 with the date #aecj1 so that it was added to the drawing between these two dates4 ,von ,mechel gives both a facsimile of the original sketch and an engraving which he inscribes 8,ex tabula ,joh4 ,holbenii in ,anglia adservata02 but none of the alterations which ,holbein1 according to his written notes on the sketch1 proposed to carry out in the finished picture1 are shown in this engraving1 which proves that it was not copied from any original painting4 ,dr4 ,woltmann discovered ,mechel's model in a sepia drawing in the ,gothic ,house at ,wrlitz1 which is evidently a copy of the original ,basel design1 executed long after ,holbein's time1 and bearing some written notices in ,lavater's hand4#ffg ,a careful description is given by ,mr4 ,wornum#ffh of the various versions of the picture still in existence1 all of which are based on the ,nostell ,priory example4 ,two of them were originally of the same size as the latter1 which is #h ft4 #d in4 high by #aa ft4 #h in4 wide4 ,one of these in ,walpole's time was at ,barnborough in ,yorkshire1 the seat of the ,cresacres1 and in #ahfg in the possession of ,mr4 ,charles ,john ,eyston of ,east ,hendred1 ,berkshire2 and the other1 a similar work1 was formerly at ,heron in ,essex1 the seat of ,sir ,john ,tyrrell1 and afterwards in the collection of ,lord ,petre at ,thorndon1 near ,brentford4 ,sidenote3 ,,the ,,burford ,,priory ,,version ,the ,east ,hendred version measures #g ft4 #h in4 high by #i ft4 #i in4 wide4 ,at some time or other it had suffered from damage or decay on the right-hand side1 and has been cut down to fit a panel1 so that the figure of ,lady ,more and her monkey and the more advanced of the two dogs1 together with the window and the vase of flowers1 have disappeared4 ,with the exception of these changes and a few other unskilful repairs1 this picture is in the main identical with the one at ,nostell ,priory1 though very inferior to it4 ,the ,thorndon picture is also on canvas1 and is #h ft4 #c in4 high by #aa ft4 #b in4 wide4 ,it is in a better state than the ,east ,hendred example1 and is copied from the same source1 with slight changes4 ,there is only one dog1 ,lady ,more is seated in a large scarlet arm-chair1 and there are slight differences in the minor details1 while ,sir ,thomas is shown with a moustache4 ,both these pictures are coarsely painted1 and have little but an historical interest4#ffi ,wornum also describes a picture on canvas1 #d ft4 #g in4 by #c ft4 #i in41 of ,sir ,thomas and his father1 the latter in his scarlet robes1 at ,hutton ,hall1#fgj which was lent to the ,tudor ,exhibition1 #ahij 7,no4 #aej71 by ,sir ,henry ,vane1 ,bt41 and is apparently copied from the central portion of the ,nostell ,priory canvas1 with the addition of a coat of arms1 and two original inscriptions over the heads1 and the date #aecj4 ,sir ,thomas's age is given as #ej 7tatis #ej71 but ,sir ,john's as #gg1 instead of 8,anno #gf0 as in the sketch4 ,otherwise1 in all these pictures1 the ages of the sitters agree with the sketch1 though the latter was done in #aebg and the former in #aecj4 ,this may be perhaps explained by the fact that ,sir ,thomas wished the ages to be kept as they were at the time when the studies were made1 rather than when the picture was completed by another hand4 ,one other version of importance was in ,walpole's day at ,burford ,priory1 ,oxfordshire1 the seat of ,william ,lenthall1 the ,speaker 7,pl4 #gf 71#fga who purchased the estate from ,viscount ,falkland1 together with the pictures in the house4 ,this version of the ,group1 before the ,speaker owned it1 had been in the possession of the ,mores1 at ,gubbins1 in ,hertfordshire4 ,by what means it passed into the hands of ,lenthall1 says ,walpole1 is uncertain4 ,he is said to have purchased a number of pictures from the royal collections at ,whitehall and ,hampton ,court1 but the ,more ,family ,group did not come from that source1 nor was it acquired from ,viscount ,falkland1 for1 according to ,dallaway 7note to ,walpole1 vol4 i4 p4 #ia71 it was described by ,aubrey in #afgj when in ,lenthall's earlier home at ,besselsleigh1 ,berks1 who says that it had an inscription in golden letters of about sixty lines4 ,it was bought in at the ,lenthall sale at ,christie's in #ahjh for one thousand guineas4 ,it reappeared in the saleroom in #ahcc1 when it fetched only one hundred guineas1 and came into the possession of the ,strickland family of ,cokethorpe ,park1 ,ducklington1 ,oxfordshire1 and1 later on1 passed from them by marriage to the ,cottrell-,dormer family4 ,a few years ago it was under consideration by the ,trustees of the ,national ,portrait ,gallery1 but was not purchased1 and1 finally1 it made a third appearance at ,christie's on #bfth ,february #aiaj1 when it was acquired by ,sir ,hugh ,p4 ,lane for nine hundred and fifty guineas4 ,it measures #g ft4 #f in4 high by #aa ft4 wide1 and is dated #aeic4fgb ,it contains eleven figures1 and is made up from the original composition and portraits of later members of the family4 ,seven of the figures of ,holbein's group have been pushed to the spectator's left1 the ones omitted being ,lady ,more1 ,margaret ,gigs1 ,patenson1 and the secretary1 ,harris4 ,elizabeth ,dancey has been moved to the centre1 behind and between her two seated sisters4 ,the right side of the picture contains a group of four people of a later generation1 the ,chancellor's grandson1 ,thomas ,more1 and his wife1 ,maria ,scrope1 and their two sons1 the elder of whom was the ,thomas ,more who wrote the life of his great-grandfather4 ,in the background there is a sideboard on the left1 as in the ,basel sketch1 with two vases of flowers1 and musical instruments1 and the hanging clock is shown in its original position in the centre2 but on the left the framed portrait of a lady has been introduced4 ,in addition1 coats of arms have been painted above seven of the heads without regard to the background itself4 ,in an account of the ,priory and its contents1 communicated to the ,gentleman's ,magazine for ,august #agii 7vol4 lxix4 pt4 #b1 p4 #fdd71 by an anonymous correspondent1 who describes the big picture in some detail1 the portrait hanging on the wall is said to represent the wife of ,sir ,john ,more4 ,there is a large miniature painting of the picture1 which was in the ,tudor ,exhibition1 #ahij 7,no4 #ajhg71fgc lent by ,major-,general ,f4 ,e4 ,sotheby1 and attributed to ,peter ,oliver1 as it was by ,walpole1 who says3 8,the painter of this exquisite little piece is unknown1 but probably was ,peter ,oliver40#fgd ,the picture and the miniature do not agree1 however1 in all the details4 ,the latter includes twelve figures1 for ,patenson is introduced in the background peeping through a curtain in the centre4 ,only two coats of arms are shown1 over the heads of ,sir ,thomas ,more and his father1 and on the right-hand side1 behind the later group of portraits1 in place of the wall with the lady's portrait there is an open archway through which is seen the ,mores' walled garden at ,chelsea and a distant view of ,london4 ,according to the ,dictionary of ,national ,biography1 the large picture was the work of ,rowland ,lockey1 who was working about #aeij-afaj4 ,he was a pupil of ,nicholas ,hilliard1 and was extolled by ,richard ,haydock 7#aeih7 and ,francis ,meres 7#aeih7 as among the eminent artists then living in ,england4 ,it is stated in ,nichol's ,history of ,leicestershire#fge that he painted 8a neat piece in oil1 containing in one table the picture of ,sir ,john ,more1 a judge of the ,king's ,bench1 temp4 ,henry ,,viii1 and of his wife1 and of ,sir ,thomas ,more1 lord chancellor1 his son and his wife1 and of all the lineal heirs male descended from them1 together with each man's wife unto that present year40 ,the expression 8neat10 however1 would apply more aptly to the large miniature group1 and it is very possible that he was the author of it4 ,,vol4 ,i41 ,,plate #gf4 ,illustration3 ,,the ,,more ,,family ,,group ,the ,version formerly at ,burford ,priory4 ,now in the possession of ,messrs4 ,parkenthorpe4 ,sidenote3 ,,the ,,portrait ,,of ,,sir ,,thomas ,,more ,there are separate studies for the heads of seven of the sitters in the family picture among the ,holbein drawings in ,windsor ,castle4 ,sir ,john ,more1#fgf ,sir ,thomas1 his son ,john1#fgg his daughters ,elizabeth#fgh and ,cecilia 7,pl4 #gg71fgi ,anne ,cresacre1#fhj and ,margaret ,clement4#fha ,these are all larger than the majority of the sketches in the collection1 and on white unprimed paper4 ,there are two drawings of ,sir ,thomas 7,pl4 #gh71fhb which1 although the face is taken from the same point of view1 are not replicas1 but distinctly separate studies2 the pose is slightly different1 and the hair quite unlike1 and it may perhaps be conjectured that one of them is the study made for the ,group1 and the other a later study made shortly before the artist left ,england4 ,in addition to the family picture1 ,holbein painted separate portraits of ,sir ,thomas1 ,lady ,more1 and1 possibly1 ,margaret ,roper4 ,the portrait of ,more is the well-known one belonging to ,mr4 ,edward ,huth1#fhc which has been frequently exhibited1 most recently at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #ec74 ,before it came into the possession of the ,huth family it was in the collection of an ,irish nobleman1 from whom it was acquired--in payment for a picture-cleaning bill1 so it is said--by ,farrer1 the picture-dealer1 who sold it to ,mr4 ,henry ,huth for #abjj4 ,it was probably the first work painted by ,holbein after his arrival in ,england1 and finished early in #aebg4 ,it is based on the head in the ,windsor ,collection1 and the position corresponds with the figure in the ,basel sketch4 ,it is a half-length1 seated1 three-quarters to the spectator's right1 with dark hair1 and clean-shaven1 but the grey of the moustache and beard indicated4 ,he is dressed in black cap1 black gown lined with brown fur1 with deep fur collar1 and a golden collar of ,,ss4 with portcullis clasps and ,tudor rose pendant4 ,his right elbow rests on a table to the left1 and he holds a folded paper in both hands4 ,the background consists of a green curtain with a gold fringe1 looped back by a gold cord4 ,the date 8,,mdxxvii0 is inscribed on the edge of the table4 ,this noble representation of a noble man is one of the finest portraits painted by ,holbein in this country4 ,it has suffered somewhat in the course of time1 but still remains a wonderful study of character1 penetrating in its insight4 ,the nobility of ,more's nature1 the strength of his will1 the gentleness of his disposition when not roused to just anger1 the firmness of the finely-cut lips1 and the penetrating glance of his bright eyes1 have been mirrored by ,holbein as though in a glass4 ,both the statesman and the scholar stand revealed with that searching power of seizing the essentials of a man's nature which is one of the greatest qualities of ,holbein's art4 ,,vol4 ,i41 ,,plate #gg4 ,illustration3 ,,cecilia ,,heron ,drawing in black and coloured chalks ,,windsor ,,castle ,,vol4 ,i41 ,,plate #gh4 ,illustration3 ,,sir ,,thomas ,,more ,drawing in black and coloured chalks ,,windsor ,,castle ,a portrait of ,sir ,thomas was in the ,orleans ,gallery in #agbg1 and a second was in the possession of ,lord ,lumley in #aeij1 and was sold from ,lumley ,castle in #aghe1 to ,mr4 ,hay1 of ,savile ,row4#fhd ,the latter was probably the one now belonging to ,mr4 ,huth1 and is the original from which so many copies have been made4#fhe ,the panel on which it is painted measures #bi in4 by #bc in4 ,there are also a variety of portraits scattered about the ,european museums to which the name of ,sir ,thomas ,more has been attached erroneously4 ,the small portrait by ,holbein of ,sir ,henry ,wyat1 father of ,sir ,thomas ,wyat1 in the ,louvre1 was long regarded as a likeness of ,more1 and is still so described in the official catalogue4#fhf ,there is another small panel1 in the ,brussels ,museum 7,no4 #fda71 to which the names of ,holbein and ,more were attached on the frame-label until quite recently1 although both ascriptions are absurd4 ,it represents a bearded man with one hand thrust within the folds of his cloak1 and a small book held open with the fingers of the other1 and a small dog on the table in front of him4 ,it was recognised as the work of some second-rate ,french artist more than fifty years ago1 and bears not the slightest resemblance to ,holbein's style4#fhg ,m4 ,a4 ,j4 ,wauters suggests that it is the work of ,nicolas ,denisot 7#aeae-aeei71 a ,french poet and painter of modest capacities1 who was in ,england for three years as ,french tutor to the three daughters of the ,protector ,somerset4 ,under his guidance these young ladies wrote ,latin elegies to ,margaret of ,navarre1 which were published under his editorship4 ,a portrait of ,margaret1 dated #aedd1 is attributed by ,m4 ,bouchot to ,denisot4 ,more recently this work has been attributed to ,corneille de ,lyon1 and is said to be a portrait of ,henry ,patenson4 ,there is certainly a slight likeness between it and the head of ,patenson in the ,basel study for the ,more ,family ,group4 ,sidenote3 ,,legend ,,about ,a ,,portrait ,,of ,,more ,a curious legend with regard to a portrait of ,more which ,henry ,,viii is said to have possessed1 was contributed to the ,athenum by ,dr4 ,augustus ,jessop4#fhh ,he found it among the papers of the ,hon4 ,roger ,north1 in a somewhat elaborate 8,register of ,pictures0 at one time in ,north's custody4 ,in giving an account of a portrait of ,pope ,gregory ,,xiv1 which his brother ,montague had bought at ,marseilles in #afic1 he adds3 8,this picture is judged to be by ,pomerantius1 painter to ,gregory ,,xiv1 who was in ,england tempore ,henry ,,viii1 concerning whom the following story is told4 ,the picture of ,sir ,t4 ,more done by ,holbein was in ,whitehall when the news was brought to ,henry ,,viii that ,sir ,thomas ,more was beheaded4 ,and the ,king fell into a passion upon the news1 and running to the picture1 tore it down and threw it out of the window4 ,and the picture in the fall broke in three pieces2 but ,pomerantius1 then coming by1 took it up1 carried it home1 and so put it together and mended the colours that it is not to be discovered that it was ever broke40 ,however much or however little truth there may be in this story1 which was apparently current in the seventeenth century1 it is certain1 in any case1 that 8,pomerantius0 can have had nothing to do with its rescue4 ,niccolo ,circignano 7,il ,pomarancio7 was born in #aeai1 and would be a lad of sixteen at the time when ,more was executed2 nor is there any evidence to show that he was ever in ,england4 ,he appears to have spent the greater part of his life in ,rome4 ,the account errs1 also1 in saying that he was painter to ,gregory ,,xiv1 for he died in #aeij1 aged seventy-two1 in which year ,gregory ,,xiv became ,pope4 ,north's story is very similar to the one told by ,baldinucci4#fhi ,the latter1 who describes the picture as a stupendous portrait1 says that ,henry kept it in an apartment together with those of some other eminent men4 8,it happened that on the very day of the ex-chancellor's death 7after the king had reproached her71 the wicked ,queen ,anne ,boleyn cast her eyes upon it1 and seeing the expressive face of her enemy looking at her as if he were still living--she never forgave his refusal to be present at her wedding--she was seized with a feeling of either horror or remorse1 and unable to endure the steady gaze and the reproaches of her own conscience1 she threw open the window of the palace1 and exclaiming1 #8,oh me6 the man seems to be still alive1' flung the picture into the street3 a passer-by picked it up and carried it away1 and eventually it found a resting-place in ,rome1 where in ,baldinucci's time it was still preserved in the ,palazzo de' ,crescenzi40#fij ,if this story has any foundation in fact1 it is possible that ,circignano may have put the picture in order after it reached ,rome2 but it can hardly have been the one belonging to ,mr4 ,huth1 as ,dr4 ,jessop suggested4 ,wornum was of opinion that this legendary work might possibly be identified with an unnamed portrait by ,holbein mentioned by an earlier ,italian writer than ,baldinucci1 ,francesco ,scannelli1 who1 in an account of 8an ultramontane painter named ,olbeno10#fia after praising the portrait of ,morette1 then in the gallery of the ,duke of ,modena1 for its exact imitation of nature1 says3 8,a similar excellence is shown in the small portrait by the same master1 now at ,rome in the possession of ,monsignor ,campori40 ,mr4 ,wornum also suggested that this small work praised by ,scannelli might be identical with the portrait of ,sir ,henry ,wyat in the ,louvre1 which at the time he was writing 7#ahfg7 was generally regarded as a portrait of ,more4 ,sidenote3 ,,miniature ,,of ,,sir ,,thomas ,,more ,holbein's work as a miniature painter is dealt with in a later chapter1 but while speaking of the portraits of ,more1 it is impossible to omit reference to the exceedingly fine miniature painting of him to which attention was first called by ,dr4 ,williamson4#fib ,it was then in the possession of the ,quicke family1 of ,newton ,st4 ,cyres1 ,devon2 but in ,july #aije1 it was sold at ,messrs4 ,christie's by the order of the trustees of the late ,mr4 ,john ,quicke1 and passed into the collection of the late ,mr4 ,j4 ,pierpont ,morgan4 ,in position1 dress1 and accessories it bears a close resemblance to ,mr4 ,huth's picture1 upon which it may have been based4#fic ,it is circular1 #b in4 in diameter1 painted on thin paper1 mounted on a playing card1 and is contained in a metal and enamel frame4 ,on the back of the card1 in a hand very little later than the date of the portrait1 is written the one word 8,holben10 while on the reverse of the frame is inscribed 8,,thomas ,,morus ,,cancellarivs ,,holbein ,,pinx40 ,the background is bright blue4 ,for close upon one hundred years it had been in the house in ,devonshire1 and had attached to its frame a small scrap of paper1 on which was written1 in a script of the early ,stuart period1 the information as to whom it represented1 and by whom it was painted4 ,the ,ropers were connected with the ,quickes by marriage1 and as the connection dates from a period soon after the death of ,sir ,thomas ,more1 the family tradition which states that the portrait has been handed down from the time when the great statesman perished on the scaffold has every likelihood of being true4 ,it has usually been asserted that the portrait of ,sir ,thomas ,more is the only independent portrait of a member of the ,more family painted by ,holbein1 with the possible exception of the panel at ,knole1 which by some is regarded as a likeness of ,margaret ,roper4 ,there was1 however1 a small panel portrait1 #ad in4 by #aj in41 exhibited at the ,royal ,academy ,winter ,exhibition1 #aiaj 7,no4 #ajf71 as by ,holbein1 lent by ,general ,lord ,methuen1 which is undoubtedly a portrait of ,lady ,more4 ,it was catalogued under the erroneous title of 8,mrs4 ,anne ,roper10 with a note which stated that it 8has also been thought to be a portrait by ,mabuse1 of ,margaret1 ,countess of ,richmond and ,derby1 mother of ,henry ,,viii40 ,there was no ,mrs4 ,anne ,roper in ,holbein's day2 and the 8,anne0 is probably a mistake for 8,margaret0 on the part of the person who first misnamed the picture4 ,the portrait really represents ,margaret ,roper's stepmother1 as a comparison with the head of ,lady ,more in the ,basel sketch conclusively proves4 ,there is a strong likeness between the two1 and the position of the figure1 with the head slightly bent down1 and an open book held in both hands on her lap1 is the same in both4 ,it is a half-length figure1 seated to the left1 with a dark dress trimmed with fur and red under-sleeves1 black angular head-dress with black fall1 and a white cap underneath4 ,she wears a triple gold chain round her neck1 with crucifix attached1 and a medallion brooch with three pendant pearls4 ,the background is a dark blue-green4 ,the brushwork is weak and hesitating1 but it is possibly a much-damaged and repainted original panel by ,holbein1 though practically nothing of the master's own handiwork is now visible4 ,if not a badly-damaged original1 it must be a nearly contemporary copy from a lost picture by him1 rather than one taken from the figure in the ,nostell ,priory version4 ,curiously enough1 the use of the name 8,anne0 in conjunction with ,roper--,lady ,more's name was 8,alice0--is also to be found on the back of a miniature after ,holbein in the ,royal ,collection1 which at one time1 before the inscription was uncovered1 was said to represent ,queen ,katherine of ,aragon4 ,it is inscribed in two lines--8,anna ,roper ,thom ,mori ,filia4 ,w4 ,hollar pinxit post ,holbeinium1 #afeb40 ,here the 8,anne0 is evidently a mistake for 8,margaret0 or 8,mar410 perhaps made by ,hollar himself when copying the original2 or1 possibly1 the original may have been a portrait of ,lady ,more1 a companion miniature to the one already described of ,sir ,thomas1 to which an erroneous title had become attached before ,hollar was employed to copy it4#fid ,the portrait of ,margaret ,roper at ,knole1 which for many years has been generally known as ,queen ,katherine of ,aragon1 was exhibited by ,lord ,sackville at the ,burlington ,fine ,arts ,club in #aiji 7,no4 #dd74fie ,the same portrait was lent1 as 8,queen ,katherine10 to the ,national ,portrait ,exhibition in #ahff 7,no4 #gh71 by the ,countess ,delawarr4 ,it is probably a nearly contemporary copy of a lost original by ,holbein1 and corresponds closely1 excepting for slight differences in the hands1 with the figure in the ,basel sketch4 ,it is a three-quarters length1 on panel1 #be in4 by #ai in41 the figure turned three-quarters to the left1 with diamond-shaped hood embroidered with gold1 a square-cut black and white dress1 edged with jewels1 over a transparent chemisette1 and cloth of gold sleeves4 ,a string of black beads and a fine gold chain are round her neck1 and a cinquefoil jewel at her breast4 ,she holds a book open with both hands1 on a table in front of her4 ,the inscription1 8,queen ,cathrine10 is in an eighteenth-century hand4 ,sidenote3 ,,drawing ,,of ,,an ,,english ,,lady ,there is a brilliant drawing of an ,english lady by ,holbein in the collection bequeathed by ,mr4 ,george ,salting to the nation 7,pl4 #gi71 which was included in the same exhibition at the ,burlington ,fine ,arts ,club 7,no4 #gb71 a study in black and red chalks1 heightened with white1 and reinforced with ,indian ink1 upon pale pink-tinted paper4#fif ,the sheet has been cut round the outline by some vandal1 but the drawing itself is entirely free from the retouching which disfigures certain of the ,windsor heads4 ,the high lights on the cheek1 nose1 and eyes are put in with white1 and red chalk is used sparingly on the lips and elsewhere4 ,the band of hair which shows beneath the coif is washed with yellowish brown4 ,it has been suggested by more than one critic that it is a portrait of ,margaret ,roper1 but as ,mr4 ,campbell ,dodgson1 who contributed a note upon it for the ,vasari ,society1 points out1 so far as the evidence of the ,basel drawing goes1 the identification appears possible1 but not convincing4 ,it is not one of the preliminary studies for the picture itself1 which were done on white paper1 and if it represents ,margaret ,roper1 she must have sat again to ,holbein after his return to ,england in #aecb4 ,according to the same authority1 it is probably the 8,portrait of a ,lady10 lot #dh in the ,jonathan ,richardson sale1 #agdf1 in which case it was bought by ,knapton1 whose drawings were sold in #ahjd4 ,later on it was in the collections of the ,marquis of ,stafford and ,lord ,ronald ,sutherland ,gower4 ,it is certainly one of the very finest ,holbein drawings in existence4 8,no portrait-study of a woman10 says ,sir ,claude ,phillips1 8even in the great ,windsor series1 equals this in the spiritual beauty which illumines and transforms--or rather interprets--a presentment of quiet and unforced realism4 ,but rarely the great portraitist allows himself thus to lay bare for the beholder the inner workings of the soul2 as a rule he contents himself with a supreme truth which is not infrequently as difficult to unravel as ,nature herself40#fig ,finally1 there is a picture belonging to the ,bray family of ,shere1 which1 from an old inscription on the frame1 is said to be a portrait of ,margaret1 whose daughter was one of the four wives of ,sir ,edward ,bray4#fih ,the likeness to the ,basel sketch1 however1 is not very evident1 and the picture has no pretence to be by ,holbein4 ,the sitter wears a close-fitting white cap with long ends falling on her breast1 and holds a rosary attached to a large circular ornament which forms part of her girdle4 ,the background is a landscape1 with a view of the bend of a wide river running between high cliffs4#fii ,,vol4 ,i41 ,,plate #gi4 ,illustration3 ,,portrait ,,of ,,an ,,english ,,lady ,drawing in black and red chalk1 and ,indian ink ,,salting ,,bequest1 ,,british ,,museum ---------------------------------------- -------------------------------- ,,chapter ,,xiv ,,the ,,first ,,visit ,,to ,,england3 ,,other ,,portraits ,,and ,,decorative ,,work ,holbein's work for the temporary ,banqueting ,house at ,greenwich--,the 8,plat of ,tirwan0--,portraits of ,sir ,henry and ,lady ,guldeford--,william ,warham1 ,archbishop of ,canterbury--,john ,fisher1 ,bishop of ,rochester--,thomas and ,john ,godsalve--,niklaus ,kratzer1 the astronomer--,undated portraits--,sir ,bryan ,tuke--,reskimer--,sir ,henry ,wyat--,sir ,thomas and ,lady ,eliot--,drawing of an unknown man at ,chatsworth4 ,,possibly one of the causes which prevented the immediate completion of the large picture of the ,more family in the spring of #aebg was the commission ,holbein received at this time for decorative work of an important nature1 for which he obtained payment from the royal purse4 ,early in #aebg negotiations were in progress between ,henry ,,viii and ,francis ,i for an alliance1 which was to be strengthened in the future by the marriage of the ,princess ,mary1 then eleven years of age1 and heir-presumptive to the ,english throne1 with either ,francis himself or one of his sons4 ,the ratification of this alliance was celebrated at ,greenwich on ,sunday1 the #eth of ,may #aebg1 by a series of festivities with which ,henry entertained the ,french ambassadors4 ,a mass1 at which the ,king and ambassadors swore to observe the league1 was followed by a tournament1 and1 in the evening1 a grand banquet1 in a magnificent building1 specially erected for the occasion1 in the decoration of which there is every reason to believe that ,holbein took a leading part4 ,hall1 in his ,triumphant ,reigne of ,kyng ,henry the ,,viii1 published in #aedh1 gives a long description of this banqueting house1 and its contents1 from which a short extract may be quoted here3-- 8,the ,kyng against that night had caused a banket house to bee made on the one syde of the tylt yarde at ,grenewyche of an hundreth foote of length and ,,xxx foote bredth1 the roofe was purple cloth full of roses and ,pomgarnettes1 the wyndowes were al clere stories with currious monneles strangely wrought1 the ,jawe peces and crestes were karved with ,vinettes and trails of savage worke1 and richely gilted with gold and ,byse1 thys woorke corbolying bare the candelstyckes of antyke woorke whiche bare little torchettes of white waxe1 these candelstickes were polished lyke ,aumbre3 at the one syde was a haute place for herawldes and minstrelles40 ,then1 after bestowing his admiration on the cupboards of gold and silver plate1 he continues his description of the building3 8,at the nether ende were twoo broade arches upon thre ,antike pillers all of gold burnished swaged and graven full of ,gargills and ,serpentes1 supportying the edifices the ,arches were vawted with ,armorie1 al of ,bice and golde1 and above the ,arches were made many sondri ,antikes and divises40 8,when supper was done10 he adds later1 8the kyng1 the quene and the ambassadors 444 rose and went out of the banket chambre bi the forsaied ,arches1 and when they were betwene the uttermoste dore and the ,arches the kyng caused them to turne backe and loke on that syde of the ,arches1 and there they sawe how ,tyrwin was beseged1 and the very maner of every mans camp1 very connyingly wrought1 whiche woorke more pleased them then the remembrying of the thyng in dede4 ,from thens they passed by a long galerie richely hanged into a chambre faire and large40 ,in this chamber1 after a ,latin oration and other set recitations1 some hours were spent in masking and dancing1 after which a return was made to the banquet-house for a second supper4 8,and after that all was doen the kyng and all other went to rest1 for the night was spent1 and the day even at the breakyng4444 ,these two houses 444 the kyng commaunded should stand still1 for thre or foure daies1 that al honest persones might see and beholde the houses and riches1 and thether came a great nombre of people1 to see and behold the riches and costely devices40 ,sidenote3 ,,the ,,banqueting ,,house ,this temporary building was apparently the most elaborate of its kind erected in ,england during the reign of ,henry ,,viii1 and it may be taken for certain that ,holbein had much to do with it1 both as regards work from his own brush1 and also in the supervision of a number of other painters and decorators employed upon it4 ,the accounts of the expenses incurred in its building are still preserved in the ,record ,office1 and abstracts from them are published in the ,calendars of ,letters and ,papers1 ,foreign and ,domestic1 of the ,reign of ,henry ,,viii4 ,more detailed abstracts are given by ,mr4 ,f4 ,m4 ,nichols1 ,f4,s4,a41 who went through the original documents most carefully1 in a paper read before the ,society of ,antiquaries1 on ,march #ca1 #ahih4gjj ,throughout these detailed accounts of the wages paid by ,richard ,gibson1 there is constant mention of one 8,master ,hans10 and however common such a ,christian name may have been in ,germany1 there is no record of any other foreign artist in ,england at this period named ,hans but ,holbein1 who elsewhere is more than once referred to as ,master ,hans4 ,sir ,henry ,guldeford1 comptroller of the ,king's household1 an intimate friend of ,more1 and a correspondent of ,erasmus1 had official charge of the erection of this banquet-house1 and his portrait was painted by ,holbein in the same year1 and possibly at about the same time1 for ,guldeford is represented as wearing his chain as a ,knight of the ,garter1 which honour was bestowed upon him on ,april #bd1 #aebg4 ,he must thus have had full knowledge of ,holbein's capabilities1 and would naturally turn to him for assistance on this occasion1 when everything had to be done in a hurry1 and as many painters as possible pressed into the service4 ,then again1 ,sir ,henry ,wyat1 treasurer of the ,chamber1 whom ,holbein also painted during his first visit to ,england1 was associated with ,guldeford in the building of this 8banketing-house10 so that the painter would have a second friend at court4 ,it seems practically certain1 therefore1 that ,holbein was the 8,master ,hans0 of the accounts4 ,work was begun on the #aeth ,january1 #aebg1 and about a dozen painters were employed for the next three weeks1 at wages ranging from #f;d4 to #ab;d4 a day4 ,only one of them1 ,robert ,wrytheoke1 received a shilling a day4 ,he was a maker of moulds and casts1 and supplied the plaster figures and ornamental pillars4 ,on ,friday1 the #hth ,february1 the following entry appears for the first time3-- 8,master ,nycolas at the kyngs plessyer4 8,master ,hans the day iiii4s40#gja ,this entry is repeated1 with only four days' interval1 until ,saturday the #crd of ,march4 ,according to ,mr4 ,nichols1 the same distinction between the terms of the two painters' employment is kept up throughout all the entries1 the meaning of which appears to be that while ,holbein's payment was fixed by agreement at #ds4 a day1 the remuneration of ,master ,nycolas was left to be subsequently settled at the discretion of his employers4 ,in the course of the work ,holbein came in contact with many of the chief ,english painters and a number of the foreign artists in ,henry's service1 and it is interesting to note1 as some indication of the estimation in which he was already held by certain of the court officials1 that he was more highly paid than any of his associates4 ,among those who assisted in the work were ,john ,browne1 the ,king's serjeant-painter1 who supplied much of the material2 8,vincent ,vulp and ,ellys ,carmyan1 ,italian painters10 who received #bjs4 a week2 ,john ,demyans 7,giovanni da ,maiano7 and the 8,italian painters and gilders1 ,nicholas ,florentine1 at #bs41 and ,domyngo 7,domenico71 at #af;d4 day and night40 ,this ,nicholas of ,florence was probably the same man as the ,master ,nycolas mentioned above as associated with ,holbein4 ,among the casters of lead employed were two other ,italians1 ,archangell and ,raphael1 while ,john ,rastall supplied 8divers necessaries bought for the trimming of the ,father of ,heaven1 lions1 dragons1 and greyhounds holding candlesticks40 ,a number of other names are included1 chiefly ,english mercers1 embroiderers1 saddlers1 plumbers1 hosiers1 and other tradesmen4 ,detailed accounts of the materials used are given1 and frequent entries occur of colours 8spent by ,master ,hans and his company on the roof0--8,mr4 ,hans and the painters on the four cloths0--8,black collars for ,mr4 ,hans1 #cs4 #d;d40--and so on4 ,these extracts seem to show that ,holbein was employed to direct all the painters and gilders engaged1 and no doubt the decorations were largely of his design4 ,it has been impossible1 so far1 to identify ,master ,nycolas1 then in the ,king's service1 who worked with him4 ,he cannot have been ,nicolas ,bellin1 who was occupied at ,fontainebleau at this period1 and did not visit ,england until some ten years later4 ,the only other ,italian named ,nicolas mentioned in the ,state ,papers was ,nicolas ,lasora1 who1 in #aecb1 was employed on the decoration of ,westminster ,palace4#gjb ,sidenote3 8,,the ,,plat ,,of ,,tirwan0 ,holbein and ,nycolas were thus occupied at ,greenwich for nineteen days1 with the interval of one ,sunday's rest1 having been kept at work during two other ,sundays1 when the ordinary workmen were taking holiday4 ,holbein's daily attendance at the ,banqueting ,house appears to have ceased on ,sunday1 the #crd of ,march1 though this was by no means the end of his connection with the decoration of the building4 ,for the next month he was busily engaged either in ,london or at ,chelsea in painting a large composition for the decoration of the back of the triumphal arch--the picture spoken of in such high terms by ,hall1 showing 8how ,tyrwin was beseged40 ,this picture was so far advanced by the #aath ,march that it and a number of other painted canvases were placed temporarily in position for the inspection of the ,king4 ,holbein had completed his particular share in the work by the #dth of ,april1 when the picture was fetched from ,london by ,lewis ,demoron1 who received #af;d41 8for his bote-hire to ,london for fetching of the plat of ,tirwan40 ,the complete decoration of the building was not finished till the #eth ,may1 on the eve of the festivities1 and no doubt ,holbein resumed his supervision1 though it is not mentioned in the accounts4 ,for his large painting1 which occupied him for about three weeks1 he received the payment of #d1 #ajs41 which is equal to about #fj or #gj of modern money4 ,the entry in the accounts runs as follows3 8,paid to ,master ,hans for the payneting of the plat of ,tirwan which standeth on the baksyde of the grete arche1 in grete iiijl4 xs40--the words 8in grete0 meaning that he received a sum down for the work1 instead of a daily wage4 ,mr4 ,f4 ,m4 ,nichols first called attention to this work of ,holbein's in ,the ,hall of ,lawford ,hall1 published in #ahia1 and in the same year ,mr4 ,alfred ,beaver1 in his ,memorials of ,old ,chelsea1 referred to some of the details in ,dr4 ,brewer's abstracts4 ,mr4 ,beaver was of opinion that the old picture of the 8,battle of ,spurs0 at ,hampton ,court1 in earlier days attributed to ,holbein1 was the very 8plat of ,tirwan0 in question4 ,this1 however1 is not correct4 8,the ,battle of ,spurs0 was certainly not painted by ,holbein1 but by some much inferior artist4 ,it has been attributed to ,vincent ,volpe and other of the minor foreign artists then in ,england1 and probably was painted in commemoration of the victory shortly after the battle itself1 which took place in #aeac4 ,it is on wood1 and measures #d ft4 #d in4 high by #h ft4 #f in4 wide1 whereas ,holbein's picture was on canvas1 and was evidently much larger1 for we learn from ,richard ,gibson's accounts that it took twenty-four ells of fine canvas 8for the lyning of the baksyde of the grete ,arche wheruppon ,tirwin is staynyd10 at a cost of #ae shillings4 8,it thus appears10 says ,mr4 ,nichols1 8that about #ij feet of fine canvas 7which we may suppose to have been a yard or not much less in width7 was required to cover the back of the arch1 and the main decoration of this widespread surface of some #bj or #cj square yards appears to have been the picture in question40 ,the two pictures differed materially in subject4 ,it is to be gathered from ,hall's account that ,holbein's painting represented the actual siege of ,terouenne1 whereas the ,hampton ,court panel shows the pursuit of the ,french cavalry and their surrender to the ,english1 though the town of ,terouenne1 with its fortifications and houses1 is shown plainly in the middle distance4 ,in any case the subject1 the defeat of the ,french by the ,english1 seems to have been a singularly inappropriate one for the particular occasion for which it was painted1 the ratification of a solemn treaty between ,england and ,france1 and there was little delicacy in ,henry's humour in pointing it out to his guests6 ,even ,hall intimates that they were more pleased with the painting of it than with the remembrance of the incident4 ,the subject may have been suggested by ,guldeford1 who was ,henry's standard-bearer at ,terouenne1 and knighted after ,tournay4 ,the picture itself has disappeared1 like so many of ,holbein's large decorative works2 not even a study for it has been so far discovered4 ,it is somewhat extraordinary1 considering ,henry's evident appreciation of this 8plat10 and the interest he took in the general decoration of the ,banqueting ,house1 that ,holbein was not at once taken into the royal service4 ,his work at ,greenwich must have afforded ample proof of his powers as an artist1 and the ,king was only too anxious to offer inducements to the best foreign painters to settle in ,england4 ,it has been suggested that this lack of recognition was due to jealousy on the part of certain other painters then employed about the ,court1 but this does not appear a very plausible explanation1 for ,henry was by no means a man to be influenced in this way4 ,this lack of royal patronage is all the more extraordinary when it is remembered that at the time ,holbein was at work as a portrait-painter for several of ,henry's favourite servants1 and that in all probability the portrait of ,more1 if not others1 had been seen by the ,king1 who is said to have been fond of paying unexpected visits to the future ,lord ,chancellor at ,chelsea4 ,whatever the reason1 however1 the fact remains that ,holbein's name does not appear in the royal accounts until much later1 nor is there any portrait of the ,king by him of this date1 or of ,queen ,katherine1 or any other evidence to show that he held any official position at ,court during his first residence in ,england4 ,sidenote3 ,,portrait ,,of ,,sir ,,henry ,,guldeford ,there are only three portraits by ,holbein which bear the date #aebg--those of ,sir ,thomas ,more1 ,sir ,henry ,guldeford1 and ,archbishop ,warham2 and only two of the date #aebh--,niklaus ,kratzer1 the ,king's ,german astronomer1 and the double portrait of ,thomas ,godsalve of ,norwich1 and his son ,john1 though several others1 undated1 may be ascribed to this period with some certainty4 ,the portrait of ,guldeford 7,pl4 #hj71gjc in the royal collection at ,windsor ,castle1 was probably begun shortly after ,holbein's work at ,greenwich was finished1 and was painted to commemorate the sitter's advancement as a ,knight of the ,garter on ,april #bd1 a few days before the festivities took place1 as he is wearing the chain of the order across his shoulders4 ,he is shown at half-length1 the body turned slightly to the spectator's right1 the light coming in from the left4 ,he is clean shaven1 with bushy hair covering his ears1 and wears a doublet of patterned cloth of gold1 cut square1 above a white shirt4 ,over it is a dark gown with a wide collar of brown fur and short sleeves1 leaving the gold sleeves of his doublet uncovered4 ,the thumb of his left hand is thrust into his girdle1 and in his right hand he holds the white staff of his office as ,comptroller of the ,household4 ,on the brim of his flat black cap is a circular medallion the design on which cannot now be deciphered4 ,in the ,print ,room of the ,british ,museum1 however1 there is an etching of this hat-badge1 or 8singular ornament on an escutcheon10 as a note upon the print terms it1 which apparently was made when the picture was at ,kensington ,palace early in the eighteenth century1 from which it appears that it represented a clock1 a pair of compasses1 and other instruments4 ,guldeford wears a thin double gold chain round his neck1 the lower part of which is hidden by his doublet1 and over his shoulders the ,collar of the ,order of the ,garter with the pendant ,george4 ,the background is dark green1 with a dark green curtain on the spectator's right1 hanging by rings on an iron rod1 which extends right across the upper part of the picture1 and on the left a sprig of vine-tree foliage4 ,in the upper left-hand corner is painted a white label1 on which is inscribed in cursive letters3 8,,anno ,d4 ,,mcccccxxvii4 ,,etatis ,,su ,,xl ,,ix40 ,the age painted on the cartel is somewhat perplexing1 as it indicates that the sitter was forty-nine in #aebg1 whereas during the proceedings relating to the divorce of ,queen ,katherine1#gjd ,guldeford himself declared that his age in #aebi1 two years later1 was only forty4 ,mr4 ,law suggests as a solution that at some time or other1 in some process of restoration1 the figures have been tampered with1 and the fact that the ,,xl is separated from the ,,ix by a blank space of about a figure in width1 adds some probability to his suggestion1 while the face seems scarcely to be that of a man as old as forty-nine4#gje ,the masterly original drawing for this portrait1 in the ,windsor ,collection1#gjf is inscribed 8,harry ,guldeford ,knight10 and this1 according to the same writer1 may be the sole authority for the name bestowed on the picture1 the untrustworthiness of some of these inscriptions being well known4 ,hollar's engraving of the portrait1 however1 which was made in #afdg1 is inscribed with the name of ,guldeford2 and the fact that there is a companion engraving of his wife1 entitled 8the ,lady ,guldeforde10 and inscribed 8,holbein pinxit1 ,w4 ,hollar fecit1 ex collectione ,arundeliana ,ao #afdg1 tatis #bh1 ,ao #aebg10 confirms the claims of this picture to be an authentic portrait of ,sir ,henry ,guldeford4 ,both portraits were in the ,arundel ,collection1 and are entered in the #afee inventory as 8,ritratto del ,cavaglier ,guildford0 and 8,ritratto della moglie sua40 ,they came to the ,earl with other works by ,holbein from the ,lumley ,collection4 ,in addition to these portraits1 ,lord ,arundel also possessed a miniature or small oil painting of ,guldeford--8,ritratto del ,cavaglier ,guiltfort in piccolo40 ,it is possible that this small portrait is the one which ,hollar copied1 as his engravings of ,guldeford and his wife are both roundels4 ,,vol4 ,i41 ,,plate #hj4 ,illustration3 ,,sir ,,henry ,,guldeford #aebg ,,windsor ,,castle ,sidenote3 ,,portrait ,,of ,,sir ,,henry ,,guldeford ,there is a miniature at ,windsor1 a portrait obviously of the same man1 in which the face is younger1 and the collar of the ,garter is absent1 which apparently was painted some years before ,holbein came to ,england1 and may be the one formerly in the ,arundel ,collection4#gjg ,a small copy of the ,windsor picture1 inscribed 8,ser4 ,harry ,gylldford10 was lent to the ,tudor ,exhibition1 #ahij 7,no4 #adf71 by the ,hon4 ,h4 ,tyrwhitt ,wilson4#gjh ,guldeford was the only son of ,sir ,richard ,guldeford1 ,k4,g41 by his second wife1 ,joan1 sister of ,sir ,nicholas ,vaux1 afterwards ,lord ,vaux of ,harrowden4 ,he was a great favourite of the ,king's1 and his companion in all his sports and pastimes4 ,he received many honours from the royal hands1 and became successively ,squire of the ,body1 ,king's ,standard-,bearer1 ,knight ,banneret1 ,master of the ,revels1 ,comptroller of the ,household1 and ,master of the ,horse4 ,he remained in high favour with ,henry1 in spite of the enmity of ,anne ,boleyn1 caused by his opposition to the divorce except after a papal sentence4 ,he died in #aecc1 shortly after ,holbein's second arrival in ,england4 ,this portrait1 which is one of the finest of ,holbein's works now in the ,royal ,collection1 is a dignified and lifelike representation1 full of character1 while the details of the rich and elaborate dress1 and the sumptuous collar of the ,garter1 are painted with exquisite truth and care4 ,the face has a peculiar yellow tint1 concerning which ,woltmann remarks3 8,it has been taken for granted that the head has been painted over2 but such is not the case--on the contrary1 it is in a remarkably good state of preservation4 ,the colour must have been a peculiarity of the person portrayed4 ,this may be inferred from its being indicated in a like manner in the drawing at ,windsor ,castle40#gji ,little is known of the history of the panel4 ,in #aeij it1 or a replica of it1 was in the possession of ,lord ,lumley at ,lumley ,castle1 together with the companion panel of ,lady ,guldeford1 and it is described in the inventory as 8,of ,sir ,henry ,guilfourd1 ,coumptroller to ,k'4 ,h'4 #h1 drawne by ,haunce ,holbyn40 ,it reappears1 as noted above1 in the seventeenth century in the ,earl of ,arundel's ,collection1 while in the eighteenth more than one reference to it in contemporary literature shows that it was then in ,kensington ,palace4#gaj ,it was engraved in a small circle in ,anstis' ,order of the ,garter1 #agbd1 in which his age is given as forty2 by ,vertue in #agbf for ,knight's ,life of ,erasmus1 and again in #agia by ,schiavonetti1 after a drawing by ,s4 ,harding1 and described as 8from an original picture by ,holbein in the possession of ,sir ,william ,burrell0--that is1 from the copy1 possibly an almost contemporary one1#gaa which was destroyed in the ,knepp ,castle fire in ,january #aijd1 together with one of ,lady ,guldeford1 and other replicas of well-known ,holbein portraits4 ,,vol4 ,i41 ,,plate #ha4 ,illustration3 ,,john ,,fisher ,bishop of ,rochester ,drawing in black and coloured chalks ,,windsor ,,castle ,illustration3 ,,unknown ,,english ,,lady ,drawing in black and coloured chalks ,,basel ,,gallery ,,vol4 ,i41 ,,plate #hb4 ,illustration3 ,,unknown ,,englishman ,bishop of ,rochester ,drawing in black and coloured chalks ,,basil ,,gallery ,illustration3 ,,unknown ,,english ,,lady ,drawing in black and coloured chalks ,,basel ,,gallery ,the portrait of ,lady ,guldeford1#gab lent by ,mr4 ,frewen to the ,national ,portrait ,exhibition at ,south ,kensington in #ahfh1 and to the ,royal ,academy ,winter ,exhibition1 #ahhj 7,no4 #aga71 was at ,lumley ,castle in #aeij1 and is entered in the inventory as 8,of the ,la4 ,guilfourd1 wife to ,sir ,harry ,guilfourd1 ,coumptroller1 drawne by ,haunce ,holbyn02 and at a later period was in the ,duke of ,buckingham's ,collection at ,stowe4 ,this once fine portrait has been much rubbed1 repaired1 and over-varnished1 but according to ,sir ,george ,scharf and the late ,mr4 ,f4 ,g4 ,stephens1 its genuineness as a work of ,holbein is unquestionable4 ,this is proved1 says the latter1#gac 8by the vigorous expression of the penetrating eyes of the lady1 the still evident luminosity of the flesh1 the imperiousness of the delicately cut nostrils1 the exquisite execution of the details1 and the energy imparted to the much injured hands4 ,the fine painting of the sleeve of gold illustrates the practice of ,holbein and his school in employing leaf gold to impart lustre to the fabric4444 ,the best proof of the genuineness of #8,lady ,guildford' is the exquisite execution of the branch of vine in the background1 a feature which appears in several of ,holbein's paintings4444 ,the ,guildford portraits are both distinguished by the energy of the motives they exhibit1 the precision1 mastery1 and complete softness of the modelling2 this is the unfailing test of the genuineness of work ascribed to ,holbein4444 ,another test is supplied by the flossy silk-like character of the hair and beards of the sitters whenever the works have1 as in the #8,reskimer1' escaped restoration40 ,this portrait is now in the collection of ,mr4 ,w4 ,c4 ,vanderbilt1 ,new ,york2 and there is a good early miniature copy of it in the possession of ,mrs4 ,joseph1#gad which in earlier days was said to represent ,katherine of ,aragon4 ,that it is a portrait of ,lady ,guldeford1 however1 is proved by ,hollar's engraving1#gae with which it is in close agreement4 ,there is a fine drawing of an ,english lady1 in black and coloured chalks1 in the ,basel ,collection 7,pl4 #ha 7#b771gaf which appears to be a study for this portrait1 though1 if so1 ,holbein made several slight alterations when he came to paint the picture4 ,it shows the six gold bands or chains which are looped across the lady's breast and carried over the shoulders1 and the head-dress is the same4 ,there is a second study of a lady of ,henry ,,viii's ,court at ,basel 7,pl4 #hb 7#b771gag also in black and coloured chalks1 which has considerable facial likeness to ,lady ,guldeford1 though there are slight differences in the ornamentation of the angular head-dress and bodice4 ,two links of a heavy chain are drawn in detail on the breast4 ,in the same collection there is a portrait drawing of this lady's husband 7,pl4 #hb 7#a771gah which in turn bears a considerable resemblance to the ,windsor head of ,guldeford1 while the dress1 cap1 and bushy hair over the ears are the same4 ,it is possible that these two drawings represent ,sir ,henry and his wife4 ,sidenote3 ,,portrait ,,of ,,william ,,warham ,one of the finest of the earlier drawings in the ,windsor ,collection is the magnificent head of ,william ,warham1 ,archbishop of ,canterbury1#gai which1 though badly rubbed and damaged1 remains a wonderful example of the truth and vividness of ,holbein's portraiture4 ,it is on unprimed paper1 #ag in4 high by #ab in4 wide4 ,it was natural that the painter should turn to ,warham for employment1 not only through his close friendship with ,sir ,thomas ,more1 but as the friend also and generous patron of ,erasmus2 and1 no doubt1 the artist carried with him from ,basel a letter of recommendation from the latter1 who also some little time before had sent his own portrait by ,holbein as a gift to the ,archbishop4 ,warham was seventy years old when ,holbein painted him1 and had long since retired from all active political life1 having relinquished his post as ,lord ,chancellor to ,wolsey in #aeae4 ,he still1 however1 retained his high ecclesiastical office1 in spite of more than one indignity put upon him by the ,cardinal4 ,he was a leading representative of the older age then passing away1 and his last days were far from happy ones4 ,there are two versions of ,holbein's portrait of him1 almost identical1 and both based upon the ,windsor drawing1 one in ,lambeth ,palace#gbj and the other in the ,louvre 7,pl4 #hc74gba ,he is represented at half-length1 seated1 turned towards the left1 his hands resting on a cushion covered with gold brocade4 ,he is dressed in his episcopal robes1 with a deep fur collar1 and a black1 closely-fitting cap4 ,on the spectator's right1 on the table1 is an open service book1 and farther back on a shelf1 behind the sitter's left shoulder1 are other books and his jewelled mitre2 and to the left a magnificent crucifix of gold and jewels4 ,the background consists of a curtain1 which is yellowish brown in the ,lambeth picture1 and green in the ,louvre version4 ,the latter is the more brilliant and harmonious in colouring1 and painted in a thicker impasto1 the ,lambeth example being greyer in tone and more dryly executed1 and1 perhaps1 more carefully modelled4 ,both have suffered somewhat from the passage of time1 more particularly in the face1 but both are evidently from ,holbein's own hand1 and are masterly studies of character1 representing the wrinkled old man1 saddened by adversities1 and by the modern movements which he had not strength to stem1 but always kindly and generous to all scholars and others who needed his help1 and a sincere lover of learning4 ,both pictures have a cartel in the top right-hand corner with the inscription 8,anno ,dm4 ,m,dxxvij4 ,etatis sue ,,lxx410 and round the base of the crucifix the words 8,,avxilivm ,,mevm ,a ,,deo0 7,my help is from ,god74 ,in the execution of the numerous details of the ornaments1 the jewels decorating the mitre1 the patterns of the embroideries1 the lettering1 and particularly in the figure of ,christ on the crucifix1 the mastery of ,holbein's brush is everywhere in evidence4 ,they are drawn with the utmost delicacy and truth1 and while adding to the sumptuousness of the picture in no way detract the attention from the nobility and dignity of the portrait itself4 ,,vol4 ,i41 ,,plate #hc4 ,illustration3 ,,william ,,warham1 ,,archbishop ,,of ,,canterbury #aebg ,,louvre1 ,,paris ,sidenote3 ,,portraits ,,of ,,warham ,,and ,,fisher ,the ,lambeth version is said to have been presented to ,warham by ,sir ,thomas ,more or by ,holbein himself1 though there is no reason to suppose that it was not paid for in the usual way by the sitter4 8,it was lost during the civil wars1 but was recovered again1 as was supposed1 by ,sir ,william ,dugdale1 who restored it to ,lambeth in the time of ,archbishop ,sancroft40#gbb ,walpole states that 8,archbishop ,parker entailed this1 and another of ,erasmus1 on his successors2 they were stolen in the civil war1 but ,juxon repurchased the former40#gbc ,the 8,erasmus10 which did not return to its original resting-place1 was1 no doubt1 the one by ,holbein sent over by the sitter as a present to ,warham4 ,the same writer says that the 8,warham0 was at one time in ,de ,loo's collection1 and was afterwards in the possession of ,sir ,walter ,cope1 who had several works by ,holbein1 which passed by marriage to the ,earl of ,holland4 ,the history of the ,louvre portrait is not known1 but it belonged at one time to the ,newton family1 and later on to ,louis ,,xiv4 ,it is possible that it was painted for ,erasmus1 and that it is the version which belonged to the ,earl of ,arundel1 which is entered in the #afee inventory as 8,warramus ,vescovo de ,canterbury40 ,the ,louvre picture1 which is the larger of the two1 is considered by some critics to be the original painting1 the ,lambeth version being a replica from ,holbein's brush2 others hold that the latter is the original and the better work of the two1 but the point is not easy of solution unless the two pictures could be exhibited side by side4 ,there are two other versions of the portrait at ,lambeth ,palace1 but both are inferior copies4 ,a panel of far higher qualities was lent by ,viscount ,dillon to the ,tudor ,exhibition1 #ahij 7,no4 #ajg71gbd and to the ,oxford ,exhibition1 #aijd 7,no4 #ba74gbe ,this picture1 which is an almost exact replica of the ,louvre and ,lambeth examples1 has considerable claims to be considered an original work which has suffered1 more particularly in the face and hands1 from repainting4 ,it has a beautifully rich golden tone1 and certain of the details1 more particularly the little gilded figure of ,christ on the crucifix1 are drawn with too great a mastery to be from the hand of any copyist4 ,the writing on the cartellino in the background is also fine and full of character1 very unlike the work of an imitator4 ,some lack of strength in the handling and characterisation of face and hands may1 however1 point to a good1 contemporary worker4 ,evelyn1 in his ,diary1 #affd1 mentions this portrait at ,ditchley as a head of a ,pope4 ,another high ecclesiastic1 and friend of ,erasmus and ,more1 ,john ,fisher1 ,bishop of ,rochester1 was painted by ,holbein during his first visit to ,england1 probably at about the same time as ,warham4 ,unfortunately the picture itself is missing1 but three preliminary drawings for it are in existence1 one at ,windsor 7,pl4 #ha 7#a771 a second in the ,british ,museum1 and the third until recently in the possession of ,mr4 ,j4 ,p4 ,heseltine4 ,the first1#gbf in black and coloured chalks1 is1 perhaps1 the finest1 the somewhat hard1 ascetic character of the face being rendered with extraordinary expression with a few bold and forceful touches4 ,the lines of the body and dress are merely indicated in outline4 ,he is wearing the close-fitting black doctor's cap1 and the face1 almost in full1 is turned slightly to the spectator's left4 ,at the bottom of the study is the inscription1 8,il ,epyscopo de resester fo tagliato il ,capo l'ano #aece0 7,the ,bishop of ,rochester beheaded in #aece71 which seems to indicate that the drawing was once in the possession of some ,italian4 ,the drawing in the ,british ,museum#gbg is more carefully finished1 and was probably made from the ,windsor sketch4 ,it was once in the ,richardson ,collection1 and was bequeathed to the ,museum by the ,rev4 ,c4 ,m4 ,cracherode4 ,it has no inscription4 ,the powerful drawing which formed part of the ,heseltine collection1 dispersed in #aiab1 is on a reddish ground4 ,in this drawing ,holbein has accomplished1 with the simplest means1 one of his finest and most subtle studies of character4 ,the pale face1 and thin1 determined lips1 with a faint1 scornful smile upon them1 and the brightness of the eyes1 still undimmed in spite of his age1 fully express the character of one who was ever ready to do battle for his opinions1 and to die rather than betray his convictions4 ,mingled with this obstinacy the painter has expressed that kindliness towards all who came in contact with him1 which ,erasmus extolled so highly1 and that personal purity of life which1 together with his profound learning1 formed one of his most striking characteristics4 ,froude says of him3 8,fisher was the only one of the prelates for whom it is possible to feel esteem4 ,he was weak1 superstitious1 pedantic1 and even cruel towards the ,protestants4 ,but he was a sincere man1 living in honest fear of evil1 so far as he understood what evil was1 and he could rise above the menaces of temporal suffering under which his brethren of the episcopal bench sank so rapidly into humility and subjection40#gbh ,as stated above1 the portrait which ,holbein must evidently have painted from this preliminary study has disappeared4 ,the picture in ,st4 ,john's ,college1 ,cambridge1 which was lent to the ,tudor ,exhibition in #ahij 7,no4 #ach71 was ascribed to ,holbein in the catalogue1 but is not by him1 though it may be a copy of the lost original4 ,he is shown with a staff in one hand and a glove in the other1 and it is inscribed 8,ao tatis #gd10 which1 as ,fisher was born in #adef1 would date the panel #aebh4 ,dallaway1 in his annotations to ,walpole1 notes another version at ,didlington1 ,norfolk4#gbi ,there was a second portrait of ,fisher in the ,tudor ,exhibition 7,no4 #fa71 lent by the ,hon4 ,h4 ,tyrwhitt ,wilson1 a half-length1 holding a prayer book in both hands4 ,sidenote3 ,,portrait ,,of ,,the ,,godsalves ,only two paintings by ,holbein are known with the date #aebh--the double portrait in the ,dresden ,gallery and the 8,kratzer0 in the ,louvre4 ,the former1#gcj a small square panel 7,pl4 #hd71 represents ,thomas ,godsalve1 of ,norwich1 and his son ,john1 afterwards knighted4 ,the figures1 considerably less than life-size1 are shown to the waist1 seated at a table1 turned slightly to the spectator's right4 ,the father1 a ruddy-faced old man1 dressed in the usual black cap and dark overcoat or robe with a heavy fur collar1 holds a quill pen1 with both hands resting on a sheet of paper in front of him1 on which he has just written3 8,thomas ,godsalve de ,norwico ,etatis sue anno quadragesimo septo40 ,the son1 dressed in a similar costume1 is seated on the spectator's left1 a little behind his father4 ,he wears no cap upon his dark hair1 which1 like the older man's1 is long1 hiding the ears1 and cut straight across the forehead4 ,in his left hand1 partly concealed in the folds of his cloak1 he holds a paper4 ,both men are clean shaven1 and wear white shirts1 that of the son being decorated round the neck with black ,spanish work4 ,an inkpot is on the table1 and in the left upper corner1 above ,sir ,john's head1 a cartellino is affixed to the plain background bearing the date--8,anno ,dm4 ,m4 ,d4 xxviij40 ,the picture is a fine example of ,holbein's work at this period1 and is in an excellent state of preservation4#gca ,there is no drawing of ,thomas ,godsalve among the ,windsor studies1 but of the son there is an exceptionally fine one 7,pl4 #he74gcb ,it is carried out in body-colours1 and is much further advanced than the other drawings in the collection1 and1 though somewhat rubbed1 is a most masterly example of ,holbein's veracity of portraiture4 ,it cannot be regarded1 however1 with certainty1 as a preliminary study for the ,dresden picture for two reasons4 ,in the first place1 the sitter appears to be several years older than in that picture1 and although the figure is seated and the position of the body is much the same1 the poise of the head is different1 and the face is turned more directly towards the spectator1 while the hands1 holding a sheet of paper1 rest on a table or rail in front of him2 and in the second place1 it is practically a finished drawing1 and is perhaps an example of ,holbein's occasional practice of preparing his portraits on paper or parchment1 which he afterwards fastened to the panel before giving them the final touches4 ,he wears a coat of violet open in front and showing the white shirt1 and over it a black gown trimmed with yellow sable1 and a black cap with a circular badge1 of which the design is not indicated4 ,the hair and eyebrows are finished with a hair pencil4 ,the background is a plain one of azure blue4 ,he has a thin face1 a large and sharp nose1 and blue eyes1 with a scanty growth of beard on his shaven chin4 ,he gazes at the spectator with a serious1 thoughtful expression2 in which ,woltmann saw something puritanical1 no doubt because ,godsalve1 as he notes1 presented the ,king with a ,new ,testament as a ,new ,year's gift in #aeci4gcc ,in the following year he gave a perfumed box4 ,blomefield#gcd mentions this drawing as being in his time in the ,closet at ,kensington ,palace4 ,there is a miniature of ,godsalve in the ,bodleian ,library4 ,,vol4 ,i41 ,,plate #hd4 ,illustration3 ,,thomas ,,and ,,john ,,godsalve #aebh ,,royal ,,picture ,,gallery1 ,,dresden ,,vol4 ,i41 ,,plate #he4 ,illustration3 ,,sir ,,john ,,godsalve ,drawing in black and coloured chalks and water-colour4 ,reproduced by gracious permission of ,h4,m4 the ,king4 ,windsor ,castle ,the father1 ,thomas ,godsalve1 who died in #aedb1 was registrar of the consistory court at ,norwich1 and the owner of landed property in ,norfolk4 ,he was an intimate friend of ,thomas ,cromwell4 ,in a letter to the latter1 dated ,norwich1 ,november #f1 #aeca1 after thanking ,cromwell for kindnesses shown to his son1 he says3 8,i send you half a dozen swans of my wife's feeding02#gce and a year or two later he sends 8six swans and a maund with pears of my own grafting40#gcf ,the son1 ,john ,godsalve1 who died in #aeef1 became ,clerk of the ,signet to ,henry ,,viii1 and was present at the siege of ,boulogne4 ,he was knighted at the coronation of ,edward ,,vi1 and a year or two later was made ,comptroller of the ,mint4 ,various letters from him are included in the ,calendars of ,state ,papers4 ,in one of them 7#aecc71 addressed to ,eustace1 clerk of the works at ,hampton ,court1 he appears in the character of a 8snapper-up of unconsidered trifles40 8,send me10 he writes1 8as many golden balls as you can conveniently procure1 and such fanes 7vanes87 and other things at your pleasure4 ,help the bearer into the spicery to have an antique which ,i left there2 of which he has the key4 ,send me also the head under the stair1 and whatsoever other things your gentle heart can lovingly depart from40#gcg ,john ,godsalve had some connection with the ,steelyard1 a number of whose merchants were painted by ,holbein1 for in ,november #aecb1 he and one ,william ,blakenhall received a grant in survivorship of the office of common meter of all cloths of gold and silver tissue1 8tynsett10 satin1 damask1 and other cloths and canvas of aliens and others called 8foreyns10 alias 8le ,stilliarde10 in the city of ,london1 with the usual fees1 c4#gch ,he also obtained a small share of the plunder from the monasteries1 and1 in ,july #aecd1 an annuity of #h 8to him and his heirs for ever out of the issues of the manor of ,stokesly1 in ,rydham1 ,norfolk1 in the ,king's hands by the attainder of ,thomas1 cardinal of ,york40#gci ,in #aece he received the offices of ,constable and ,keeper of the ,castle and ,gaol of ,norwich1 succeeding ,sir ,henry ,wyat and ,sir ,thomas ,boleyn in the posts4#gdj ,the portrait of ,niklaus ,kratzer1#gda of ,munich1 ,henry's ,german astronomer1 in the ,louvre 7,pl4 #hf71 is a half-length figure placed behind a table1 which is covered with the instruments of his profession4 ,he wears the usual flat black cap1 and a black coat or doublet open at the neck1 showing a glimpse of a red under-garment and white shirt1 and over all the prevailing dark overcoat or gown with fur collar4 ,in his right hand he holds a pair of compasses or dividers1 and in his left a decagonal sundial1 like the one shown in the 8,ambassadors0 picture4 ,behind him on the right various mathematical and astronomical instruments are hanging on the wall1 and others1 including a cylindrical sundial and an astrolabe1 are placed on a shelf on the left4 ,among the numerous objects on the table are scales and rulers1 scissors1 and his seal1 together with a sheet of paper with a ,latin inscription giving his name1 his age1 forty-one1 and the date #aebh4 ,part of this inscription is confused and injured1 and ,holbein's ,latin was not of the best4 ,the ,louvre catalogue gives the reading as3 8,imago ad vivam effigiem expressa ,nicolai ,kratzeri monacenssis q4 7qui7 bauarg4 7bavarus7 erat quadragessim 444 ann tpre 7tempore7 ilio gplebat 7complebat7 #aebh40 ,the illegible word after 8quadragessim0 is given as 8primo0 in the replica mentioned below4 ,the light falls from the right on his face1 which1 though rather heavy in features1 is an interesting one1 with an indication of humour about the eyes and mouth1 which is in accord with a contemporary description of him in one of the letters of ,nicolas ,bourbon1 the poet1 another of ,holbein's friends4 ,the numerous instruments and accessories are depicted with all the truth and loving care in which ,holbein delighted4 ,carel van ,mander1 who saw the picture in ,london when in the possession of ,andries de ,loo1 and speaks of it as 8een feer goedt ,conterfeytsel en meesterlijck ghedan10 calls particular attention to the beauty with which the instruments are delineated4 ,kratzer was the hero of the story told by the same writer4 ,when asked by ,king ,henry why he spoke ,english so badly1 he replied1 8,pardon1 your ,majesty1 but how can a man learn ,english in thirty years80 ,little is known about the history of the picture1 which has suffered somewhat severely from the passage of time4 ,as noted1 it was once in the possession of ,de ,loo1 together with the ,warham1 the ,thomas ,cromwell1 one of the versions of ,erasmus1 and the ,more family group4#gdb ,according to ,wornum1#gdc it was formerly at ,holland ,house2#gdd and ,walpole states1 erroneously1 that there is a drawing for it among the ,windsor heads4#gde ,a replica or good contemporary copy was lent by ,viscount ,galway to the ,tudor ,exhibition1 #ahij 7,no4 #abi71 in which the inscription and date tally with the ,louvre example4 ,a miniature of ,kratzer1 in the late ,mr4 ,j4 ,pierpont ,morgan's collection1 is described in ,chapter ,,xxv4 ,,vol4 ,i41 ,,plate #hf4 ,illustration3 ,,niklaus ,,kratzer #aebh ,,louvre1 ,,paris ,kratzer1 born in ,munich1 was educated at ,cologne and ,wittemberg4 ,he came to ,england as a young man1 and in #aeag was admitted a fellow of ,fox's new ,college of ,corpus ,christi1 ,oxford4 ,later on ,wolsey gave him the post of lecturer on astronomy and mathematics at ,oxford1 and ,henry ,,viii appointed him his astronomer1 with a salary of #bj per annum4 ,while at ,oxford he designed two sun-dials1 one in ,corpus ,christi garden1 and the other on a pillar in ,st4 ,mary's ,church1 the latter remaining in position until #agdd4 ,he died about #aeej1 and many of his works fell into the hands of the notorious ,dr4 ,lee4 ,albrecht ,drer1 during his visit to the ,netherlands in #aebj1 made a drawing of ,kratzer1 as well as one of ,erasmus4 ,he notes in his diary3 8,in ,antwerp ,i took the portrait of ,master ,nicolas1 an astronomer1 who resides with the ,king in ,england2 he was very useful to me2 he is a ,german1 a native of ,munich40 ,sidenote3 ,,niklaus ,,kratzer ,,and ,,holbein ,kratzer and ,holbein appear to have become close acquaintances1 as was only natural with two men of the same nationality in a foreign country4 ,one of the few contemporary letters in which the painter is mentioned by name is one from ,kratzer to ,thomas ,cromwell1 referred to more particularly in a later chapter1#gdf in which the astronomer announces that he has sent the ,lord ,privy ,seal by ,holbein's hands a book just received from ,germany4 ,like the ,steelyard merchants1 ,kratzer was in the habit of serving the ,king as a forwarder and translator of letters and papers from abroad1 and was sent on occasional journeys to the ,continent on royal service4 ,on one of these occasions1 in ,october #aebj1 ,tunstall1 who was in the ,netherlands for political purposes1 wrote to ,henry ,,viii saying that in ,antwerp he had met 8,nicholas ,craczer1 an ,almayn1 deviser of the ,king's horologes1 who said the ,king had given him leave to be absent for a time40 ,tunstall asked him to stay till he had ascertained if the ,king would allow him to remain until the coronation and the assembly of the ,electors were over4 8,being born in ,high ,almayn1 and having acquaintance of many of the princes1 he might be able to find out the mind of the ,electors touching the affairs of the ,empire40#gdg ,like ,holbein and some of the other foreigners in ,england1 ,kratzer was not averse from an occasional commercial speculation4 ,thus1 in ,october #aebg1 he received licence to import from ,bordeaux and other parts of ,france and ,brittany #cjj tons of ,toulouse woad and ,gascon wine4#gdh ,his name1 spelt in a variety of fashions1 frequently appears in the royal accounts1 but as a rule only in connection with the payment of his quarter's salary4 ,on ,april #bi1 #aeca1 however1 there is an entry3 8,to ,nicholas the ,astronomer for mending of a clock1 #fs40#gdi ,some of the mathematical and astronomical instruments in the 8,ambassadors0 picture may possibly have been of ,kratzer's making4 ,several undated portraits may be ascribed to this period with some certainty2 and some others with perhaps less confidence4 ,as a general rule1 though it is not without exceptions1 ,holbein's portraits of his first ,english period may be distinguished from those of his second by the fashion in which the sitters wear their hair4 ,in #aebf-h the prevailing custom in ,england was to wear it cropped straight across the forehead1 while it was allowed to hang down lower than the ears all round the rest of the head1 the face being clean shaven4 ,a very distinct change of fashion took place in the spring of #aece1 when ,henry ,,viii began to grow a beard1 and ordered his own household to cut their hair4 ,stow1 in his ,annales1#gej says3 8,the #hth of ,may the ,king commanded all about his court to poll their heads1 and to give them example1 he caused his own head to bee polled1 and from thenceforth his beard to bee notted and no more shaven40 ,this marked change in the dressing of the hair was1 of course1 not followed by everyone1 but it became so general that it is of great assistance in helping to give approximate dates to a number of pictures and drawings4 ,of the two1 the cut of the hair is a better indication of date than the beard or moustache1 which were worn more at pleasure4 ,occasionally long hair is found in conjunction with the beard1 and in other cases some men remained faithful to the earlier fashion4 ,thus ,sir ,richard ,southwell 7#aecf7 and the ,duke of ,norfolk 7#aedj7 are examples of long hair and a shaven face after #aece4 ,some of the ,german merchants resident in ,london conformed to the ,english fashion1 but certain of them will be found with beards before #aece1 while others again1 painted several years later1 are clean shaven4 ,it must not be forgotten1 however1 that ,holbein had returned to ,england nearly three years before the ,king's edict of #aece1 so that certain portraits which have been usually ascribed to his first ,english period on account of the cut of the sitter's hair1 may very possibly have been painted five or six years later4 ,sidenote3 ,,portrait ,,of ,,sir ,,bryan ,,tuke ,the portrait of ,sir ,bryan ,tuke1 of which several versions exist1 the best known being the one in the ,munich ,gallery 7,pl4 #hg71gea is ascribed by some writers to ,holbein's later ,english period1 though the shaven face and the way in which the hair is worn indicate the earlier date of the first ,london visit4 ,this test is not1 of course1 infallible1 but it seems probable1 nevertheless1 that ,tuke was painted in #aebg or #aebh4 ,the date of his birth is not known1 but he received his first public appointment1 as king's bailiff at ,sandwich1 in #aejh1 and became ,clerk to the ,signet in the following year4 ,on more than one of the replicas of the portrait his age is given as fifty-seven4 ,tuke was a scholar1 and one of the ,more circle1 secretary to ,cardinal ,wolsey1 and ,french secretary to ,henry ,,viii1 and as ,treasurer of the ,household was responsible for the payments to ,holbein for his share in the work of the ,greenwich ,banqueting ,house1 and1 later on1 of his salary4 ,he was also ,clerk of the ,parliament and ,master of the ,posts4 ,he is represented in the ,munich version at half-length1 three-quarters to the left1 with clean-shaven face and long hair1 wearing a black cap with ear-pieces1 a gown of black silk1 lined with brown fur1 and a fur collar1 over a black doublet also fur-lined and fastened with a gold button1 and sleeves of fine chequered black and gold stuff4 ,a gold jewelled cross1 on which the pierced hands and feet of ,christ are represented in enamel1 is suspended round his neck by a gold chain4 ,with the forefinger of his left hand1 which holds his gloves1 he indicates a paper in front of him1 inscribed 8,,nvnqvid ,,non ,,pavcitas ,,diervm ,,meorvm ,,finietvr ,,brevi10 and1 in smaller letters1 8,,job cap4 #aj40 ,an hour-glass rests on the table behind the paper1 in front of his right hand4 ,in the background the figure of ,death is seen against a green curtain1 holding his scythe in his left hand and with the first finger of the right pointing to the hour-glass4 ,it is signed 8,,io4 ,,holpain0 in the old ,augsburg orthography4 ,from overcleaning and other causes the hands and face have lost much of the delicacy of their modelling1 and the flesh tints remain unpleasantly red1 and the face has a hardness and sharpness which1 no doubt1 it did not originally possess4 ,mr4 ,wornum1 who1 however1 only saw the picture when it was hung too high for proper examination1 considered it to be 8painted in the taste and manner of ,von ,melem40 8,this picture10 he says1 8is not a bad one1 but the signature is suspicious1 as that of our painter2 and the style does not proclaim it to be the work of ,holbein40#geb ,woltmann1 on the other hand1 says that it 8declares itself as strikingly as possible to be the work of ,holbein1 and it is one of the two genuine paintings among the eight portraits ascribed to him in the ,pinakothek10 and adds that though so greatly damaged1 8yet still from its truth and lifelike feeling1 as well as from its masterly execution1 it is an excellent portrait40 ,the picture1 however1 is now regarded merely as a good workshop replica of the original painting1 and is so described in the latest edition of the ,munich catalogue4 ,it appears to have been in the ,wittelsbach ,collection in #aeig1 and in the description of it in the inventory of that date1 the figure of ,death is not mentioned1 and was probably added later4#gec ,,vol4 ,i41 ,,plate #hg4 ,illustration3 ,,sir ,,bryan ,,tuke ,,alte ,,pinakothek1 ,,munich ,the best version of this picture is the one which at one time was in the possession of the ,methuen family at ,corsham ,court1 ,wilts1 and afterwards belonged to ,mr4 ,r4 ,sanderson1 at whose sale at ,christie's in #ahdh it was purchased for the ,marquis of ,westminster4#ged ,it was bequeathed by the ,marchioness of ,westminster to her daughter1 ,lady ,theodora ,guest1 and now belongs to the latter's daughter1 ,miss ,guest1 of ,inwood4 ,it was in the ,national ,portrait ,exhibition1 #ahfh 7,no4 #fbe71 in the ,royal ,academy ,winter ,exhibition1 #ahhj 7,no4 #ahh71 and in the ,burlington ,fine ,arts ,club ,exhibition1 #aiji 7,no4 #dc71 lent by ,miss ,guest4#gee ,this version is almost identical with the one in ,munich1 but the skeleton and hour-glass are missing1 and on the green-brown background is inscribed 8,,brianvs ,,tvke1 ,,miles4 ,,an,o ,,etatis ,,sv ,,lvii10 with his motto1 8,droit et ,avant10 below4 ,it is in all ways a finer work than the ,munich example1 and undoubtedly by ,holbein1 and1 in all probability1 the original upon which all the others were based4 ,at least three other versions exist1 all without the skeleton4 ,one of them1 on canvas1 was in the possession of ,mr4 ,william ,m4 ,tuke1 of ,saffron ,walden1 in #ahfi1 who purchased it in ,yorkshire in #ahde1 it having been formerly in the collection of a ,mr4 ,winstanley4 ,another is1 or was1 in the possession of ,mr4 ,john ,leslie ,toke of ,godington ,park1 ,kent1 which is said to have been in expression and features more of the type of ,sir ,thomas ,more2 while a third belonged1 in #ahgj1 to ,mr4 ,j4 ,r4 ,haig4#gef ,one or other of these versions was owned in the seventeenth century by ,lord ,lisle1 son of the ,earl of ,leicester1 as noted by ,evelyn in his ,diary under the date #bgth ,august #afgh4 ,sidenote3 ,,portrait ,,of ,,reskimer ,the portrait of the ,cornishman1 ,reskimer1#geg at ,hampton ,court1 has been ascribed by most critics to ,holbein's first ,english period1 and so is included in this chapter1 although the exceptionally long beard1 which reaches almost to his waist1 and the hair1 which1 though not polled1 is short enough to show the ears1 would indicate a date after #aece4 ,it has suffered somewhat in the course of time1 but in its technique it resembles ,holbein's work at the beginning of his second ,english period1 and so was probably painted at about that time4 ,there is a fine drawing for it in the ,windsor ,collection1#geh which is inscribed1 8,reskemeer a ,cornish ,gent410 in which the hair and beard are carefully wrought4 ,this study appears to be among the earlier drawings in the collection4 8,the portrait10 says ,mr4 ,law1 8represents a youngish man1 not more than twenty-eight1 we should say1 seen in a nearly complete profile1 turned to the left1 the light coming in from the right4 ,he is dressed in a plain1 dark-coloured coat or mantle2 with the small white collar of his shirt showing1 the two strings of which hang down untied4 ,his two hands1 which are drawn and painted with all ,holbein's strength and precision1 are both seen1 the knuckles of the left being turned frontwards to the spectator1 and the palm of the right upwards1 with the fingers just touching the end of his beard4 ,he wears a flat black cap slantwise over the right side of his head4 ,his hair is red1 as is also his long peaked beard4 ,the background is a bluish green1 with a sprig of vine40 ,some such branch of vine or fig frequently appears in the backgrounds of ,holbein's earlier portraits4 ,it is on wood1 or1 possibly1 according to ,mr4 ,wornum1#gei on paper or parchment attached to oak1 #a ft4 #f in4 high by #a ft4 #a in4 wide4 ,the brand of ,charles ,i--8,c4,r40 crowned--is on the back of the panel4 ,nothing of its history is known1 except that it was in ,charles ,i's collection1 and is described in his catalogue1 page #h1 as follows3 8,a side-faced gentleman out of ,cornwall1 in his black cap1 painted with a long peaked beard1 holding both his hands before him2 some parts of a landskip4 ,being less than life1 upon a defaced cracked board1 painted upon the wrong light4 ,done by ,holbein1 given to the ,king by the deceased ,sir ,rob4 ,killigrew1 ,vice-,chamberlain to the ,queen's ,majesty40 ,mr4 ,law suggests1 no doubt correctly1 that it was said to be 8a gentleman out of ,cornwall0 in the catalogue on the authority of the inscription on the ,windsor drawing4 ,the name is spelt in many ways in the records--,reskemeer1 ,reskimear1 ,rekymar1 ,reshemer1 ,reskemyr1 ,reskimer1 and so on4 ,the portrait is usually considered to represent ,john ,reskimer1 of ,marthyn or ,murthyn1 though there is no authority for this except the fact that a ,john ,reskimer was living at about this time4 ,among the various references to men of this family in the ,state ,papers1 ,reskimers of more than one ,christian name appear4 ,a ,mr4 ,reskemar is mentioned in #aebg as belonging to ,wolsey's household1 and in #aecb the name of ,john ,reskymer1 son and heir of ,john ,reskymer1 occurs in connection with a grant of land in ,cornwall4#gfj ,the ,john ,reskemeer or ,reskimer whose portrait this is said to be was the son of ,william ,reskemeer1 fourteenth in descent from the first of that name who settled in ,cornwall1 and ,elizabeth1 daughter of ,sir ,john ,arundel of ,telverne4 ,by his wife ,catherine1 daughter of ,john ,trethurff1 he had several children1 his son ,william succeeding him2#gfa though1 according to a pencil note in the copy in the ,british ,museum of ,john ,chamberlaine's 8,imitations of ,holbein's ,drawings10 he married ,jane1 one of the daughters of ,robert1 natural son of ,henry1 ,lord ,holland1 the last ,duke of ,exeter4 ,he was ,high ,sheriff of ,cornwall in #aeeg1 and his seat1 ,marthyn1 was one of the eight parks in that county in #afjb4 ,there is a fine portrait in the ,prado1 ,madrid1 representing an elderly ,englishman of extremely plain features and with an exceptionally large nose1#gfb which ,woltmann1 who first drew attention to it1 regarded as a genuine work of ,holbein's first ,english period4 ,his clean-shaven face with its many heavy wrinkles is of a very ruddy brown colour4 ,his small black cap has long ear-pieces1 and he wears the customary dark cloak or overcoat1 with a collar of black embroidered or watered silk1 open at the top1 and looped together with a cord1 showing the white shirt below1 cut straight without a collar of any kind4 ,it is a half-length1 almost full face1 the head and eyes turned slightly to the left4 ,he holds a rolled-up paper in his left hand4 ,it bears the stamp of truth in every line of the rugged countenance4 ,modern criticism1 however1 refuses to accept it as a work from ,holbein's brush4 ,dr4 ,bode and other ,german writers consider it to be by the ,master of the 8,death of ,mary40 ,sidenote3 ,,portrait ,,of ,,sir ,,henry ,,wyat ,a small portrait of undoubted genuineness1 although badly over-painted1 and belonging to the first ,english period1 is the likeness of ,sir ,henry ,wyat in the ,louvre 7,pl4 #hh71gfc which for many years was known as a portrait of ,sir ,thomas ,more4 ,according to ,mr4 ,lionel ,cust1#gfd this panel is in all probability the same as the portrait of 8,cavaglier ,wyat10 painted in #aebg1 by ,holbein1 which was in the possession of ,thomas ,howard1 ,earl of ,arundel1 and among those pictures which1 after his widow's death at ,amsterdam in #afed1 were disposed of by her son1 ,viscount ,stafford1 to ,m4 ,jabach of ,cologne1 from whom they were purchased by ,colbert for the collection of ,louis ,,xiv1 and so came into the ,louvre4 ,several copies of it exist4 ,there is an excellent replica in the ,national ,gallery of ,ireland#gfe 7,no4 #cgj71 which was acquired at the sale of the ,magniac ,collection in #ahib2 while a copy of it belongs to ,constance1 ,countess of ,romney1 with which goes a picture of ,wyat's famous cat1 which picture1 according to ,sir ,martin ,conway1#gff may likewise represent an original by ,holbein4 ,a somewhat later1 probably seventeenth-century1 picture belonging to ,lady ,romney1 is made up out of a combination of the two--master and cat--with a background of prison wall and window4 ,in the ,louvre picture ,sir ,henry is represented at half-length1 slightly turned to the right1 wearing a black skull-cap over his long hair1 and the customary overcoat with deep fur collar1 and green under-sleeves2 from his shoulders hangs a large heavy gold chain1 to which a gold cross is attached1 which he grasps with his right hand1 and holds a folded paper in his left4 ,he is clean-shaven1 and has a large rounded nose4 ,the wrinkled face1 the small tremulous mouth1 and the tired eyes with the sadness of their expression1 produce a very lifelike effect of old age4 ,the chain is put on with real gold1 in a way which ,holbein practised from time to time in ,england4 ,although it has suffered severely1 it seems to be an undoubted example of the first ,english period4 ,it is about #ae in4 high by #ab in4 wide4 ,woltmann saw a copy of it in ,london in the ,robinson ,collection1 probably the one now in ,dublin1 and he speaks both of it and of the one belonging to ,lady ,romney as of high artistic merit4#gfg ,sir ,henry ,wyat1 of ,allington ,castle1 ,kent1 who had served ,henry ,,vii1 was appointed as a member of the ,privy ,council by ,henry ,,viii on his accession to the throne4 ,he died in #aecg4 ,holbein probably became acquainted with him when at work on the ,greenwich ,banqueting ,house4 ,,vol4 ,i41 ,,plate #hh4 ,illustration3 ,,sir ,,henry ,,wyat ,,louvre1 ,,paris ,,vol4 ,i41 ,,plate #hi4 ,illustration3 ,,sir ,,thomas ,,elyot ,drawing in black and coloured chalks ,,windsor ,,castle ,sidenote3 ,,his ,,earlier ,,english ,,portraits ,in addition to these undated portraits1 there are several studies for paintings now lost which it is the custom1 both from the style of drawing and the fashion of hair and dress1 to attribute to this earlier period4 ,the truly magnificent head of an unknown man at ,chatsworth1 and the almost equally fine drawing of ,sir ,thomas ,elyot 7,pl4 #hi71gfh author of the 8,boke called the ,governour10 and friend of ,more1 and that of his wife1 ,lady ,elyot1#gfi among the ,windsor heads1 have thus been ascribed to #aebg-h2 but in these three cases the draughtsmanship is so extraordinarily true and delicate1 and at the same time so strong and so full of character in every touch1 that one is inclined to place them some six or seven years later as work of the first years of ,holbein's second ,english period4 ,the ,chatsworth drawing#ggj is outlined in black with the point of the brush on flesh-coloured paper1 with a spot of red here and there4 8,it would be useless to dilate upon the qualities of this masterpiece10 says ,mr4 ,s4 ,arthur ,strong1 8in which ,holbein seems to touch the highest point attainable by human faculty within the chosen limits4 ,by the side of such work as this1 ,leonardo da ,vinci himself would appear conventional1 almost effeminate40#gga ,this praise is by no means excessive1 as the drawing is wonderful in its truth1 its combination of delicacy and strength1 and its beauty4 ,there is a second head of an unknown man by ,holbein at ,chatsworth1#ggb of a later date1 and in no ways as fine as the earlier one4 ,it is in black chalk with a wash of red1 and it has been dashed in with rapid1 vigorous strokes1 though with little of the subtlety of the first4 ,with the exception of several doubtful examples1 such as the ,dr4 ,john ,stokesley1 ,bishop of ,london1#ggc in ,windsor ,castle1 which1 though a work of high quality1 has characteristic features in the painting which preclude its attribution to ,holbein1 the above-mentioned pictures constitute the tale of the painter's achievement in ,england during his first visit1 which lasted only some twenty months or so4 ,during that time1 however1 he not only spent a couple of months or more over the decoration of the ,greenwich ,banqueting ,house1 and made numerous studies for the big ,more ,family ,group1 and carried that picture itself some way towards completion1 but also painted portraits of ,sir ,thomas and ,lady ,more1 ,archbishop ,warham1 ,sir ,henry and ,lady ,guldeford1 ,thomas and ,john ,godsalve1 ,niklaus ,kratzer1 ,sir ,henry ,wyat1 and ,sir ,bryan ,tuke1 so that his output was a considerable one4 ,in addition to these1 there is the portrait of ,reskimer1 and possibly others of ,margaret ,roper1 ,sir ,thomas and ,lady ,elyot1 and ,sir ,nicholas ,carew1#ggd while it is almost certain that he also painted one of ,bishop ,fisher1 although the drawing for it is now the only record which remains4 ,this list1 which includes fourteen or more portraits1 shows that ,holbein1 in spite of lack of official recognition from the ,king1 received sufficient patronage from the ,more circle and the ,court to keep him very busily and remuneratively occupied4 ---------------------------------------- -------------------------------- ,,chapter ,,xv ,,the ,,return ,,to ,,basel 7#aebh-aecb7 ,return to ,basel and purchase of a house--,iconoclastic outbreaks in that city--,destruction of sacred paintings and sculptures--,lack of work1 and death or absence of old patrons--,portrait of his wife and children--,his relationships with his wife--,completion of the wall-paintings in the ,council ,chamber of the ,town ,hall--8,rehoboam rebuking the ,elders0--8,meeting of ,samuel and ,saul0--,portrait of ,erasmus painted in ,freiburg--,book illustrations--,repainting the faces of the clock on the ,rhine ,gate--,holbein's return to ,england4 ,,until the discovery in #ahgj1 by ,dr4 douard ,his-,heusler1#gge that ,holbein purchased a house in ,basel in ,august #aebh1 it was generally supposed that the painter remained in ,england until the spring or summer of #aebi4 ,in ,september of the latter year ,erasmus wrote letters to ,sir ,thomas ,more and ,margaret ,roper thanking them very heartily for the drawing of the family picture which ,holbein had brought to him4 ,this was the study now in the ,basel ,gallery4 ,erasmus was then living in ,freiburg1 and it was supposed that the painter halted there on his way home on purpose to deliver this sketch and letters which he was bearing from ,chelsea4 ,this supposition has now to be abandoned4 ,sidenote3 ,,holbein',s ,,purchase ,,of ,,two ,,houses ,there is no doubt that ,holbein had received a two years' leave of absence from the ,basel ,town ,council1 and that his only reason for leaving ,england1 where he was busily and lucratively occupied1 was the fact that he was bound by the laws of his adopted city to return within the stipulated period1 or otherwise to run the risk of forfeiting his rights of citizenship1 and incurring other punishment1 in addition to possible trouble with his own particular guild4 ,by an order of the ,council dated #aeba1 no one subject to the jurisdiction of ,basel was allowed to take service with1 or receive pension money from1 any foreign prince or community2 and this law may have been one of the reasons why ,holbein did not enter into ,henry ,,viii's service at this time1 as it would be necessary before doing so to obtain the ,council's special permission1 as he did later on in his career4 ,holbein's purchase of a house in ,basel was made on ,august #bi1 #aebh1 exactly two years after the date of ,erasmus' letter to gidius1 given to the painter on the eve of his departure for ,england4 ,the record of the sale is to be found in the 8,fertigungsbuch10 and from the entry it appears that both ,holbein and his wife were present in person at the completion of the transaction4 ,it was bought from the clothweaver ,eucharius ,rieher1 and the price was #cjj gulden or florins1 which shows that ,holbein had brought home money in his purse1 though only one-third of the purchase price was paid1 and the remainder secured by a mortgage4 ,it was a two-storeyed house1 overlooking the ,rhine1 in the ,st4 ,johann ,vorstadt1 next door to ,froben's bookstore1 and its site is now occupied by ,no4 #bb4 ,within living memory it was still standing1 outwardly very little changed since the days in which ,holbein and his family lived in it2 as also the smaller cottage next door1 which the painter purchased some years later1 on the #bhth ,march #aeca1 for #gj gulden1 from the fisherman ,uly von ,rynach1 on part of the site of which a factory has since been erected4 ,sidenote3 ,,erasmus ,,and ,,more ,,family ,,group ,here ,holbein settled down to work again1 but1 if one may judge from the few examples of his brush which can be ascribed to this period1 he must have found ,basel a far less profitable field for his labours than ,england4 ,during his absence ,switzerland had fallen on evil days4 ,at about the date of his return the religious differences had reached their climax1 and in ,basel violent outbreaks of hostilities were taking place4 ,at ,easter1 #aebh1 the ,council had been obliged to give way to the extent of allowing divine worship according to the ,reformed ritual in some of the churches1 and permitting the removal of all sacred pictures from their walls4 ,the ,council1 indeed1 did their best to prevent sedition4 ,their recommendation that 8no man should call another papist or lutheran1 heretic1 adherent of the new faith or the old1 but each should be left unharassed and unscorned in his own belief10 fell on unheeding ears4#ggf ,such prudent advice was ill-suited to the passions which had been aroused4 ,in the following year all the ,catholic members of the ,council were forcibly removed by a mob of armed citizens1 and this action was followed by a number of excesses4 ,on ,shrove ,tuesday1 #aebi1 a furious outburst of iconoclasm occurred4 ,the ,cathedral was attacked by a crowd of some hundreds of reformers1 who broke open the doors1 and pulled down and dashed to pieces all the pictures and altars4 ,the ,council issued orders and edicts which were powerless to stay the fanaticism of the rioters1 who visited in turn the other churches and monasteries in the city1 destroying everything that was not hastily hidden from them4 ,on the following day1 ,ash ,wednesday1 the destruction continued4 ,four hundred men1 headed by the public executioner1 paid a second visit to the ,cathedral1 broke up everything that still remained1 and of the fragments made five large bonfires4 ,pictures and wooden images were burnt1 wall-paintings were whitewashed over2 and however beautiful such works of art might be1 their merits were insufficient to save them4 ,the reformers' hearts were hot against what they considered the gross idolatry of their opponents1 and nothing was spared from the fire upon which they could lay their furious hands4 ,here and there a picture or relic was saved1 among them at least one work of ,holbein's1 the early 8,last ,supper10 already described1 though it appears to have been badly damaged at the time1 and restored later on4#ggg ,no doubt more than one of his pictures perished1 together with others by such ,basel painters as ,urs ,graf1 ,niklaus ,manuel ,deutsch1 and ,hans ,herbster4 ,his beautiful shutters for the ,cathedral organ happily escaped2 it may be that they were hung too high to be easily reached1 and were thus protected from the first outbreak1 and afterwards1 when the edict was issued forbidding all sacred pictures in the churches1 they would be allowed to remain on the walls under the order which permitted the use of all paintings of a character to which no adoration could be shown4#ggh ,erasmus1 in a letter to ,pirkheimer1 gives a graphic description of what took place on these two days of fanatical destruction4 8,there was no one10 he says1 8who did not fear for himself1 when these dregs of the people covered the whole market-place with arms and cannons4 ,such a mockery was made of the images of the saints1 and even of the ,crucifixion1 that one would have thought that some miracle must have happened4 ,nothing was left of the sculptures1 either in the churches or in the cloisters1 in the portals or in the monasteries4 ,whatever painted pictures remained were daubed over with whitewash1 whatever was inflammable was thrown upon the pile1 whatever was not was broken to pieces4 ,neither pecuniary nor artistic value could save anything40 ,this tumultuous state of affairs proved too much for ,erasmus1 who had a detestation of all forms of violence1 and only wished for peaceful surroundings in which to pursue his work4 ,more than one of his noble patrons1 from whom he received pensions1 objected to his continued residence in a city in which the ,protestant party were dominant4 ,he had1 too1 some fear for his own life2 for though he was an adherent of neither side1 his opinions were not popular with the reformers4 ,so he now turned his back upon the city which he had made his permanent home since #aeba1 and in which1 old and sickly as he was1 he had hoped to end his days1 and removed to the neighbouring city of ,freiburg1 where the ,catholic party were in the ascendancy4 ,thither ,bonifacius ,amerbach accompanied him1 and remained with him for some time4 ,as ,holbein found ,erasmus still in ,basel when he returned there in ,august #aebh1 he must have presented ,sir ,thomas ,more's gift to him on his arrival4 ,there could be no reason for delay unless he had in some way mislaid the sketch4 ,nor is it likely that ,erasmus would have waited for thirteen months before writing to ,more to thank him2 if he had done so1 he would at least have made some apology for his remissness4 ,yet in his published works his letter of thanks is dated ,freiburg1 #eth ,september #aebi1 so that the matter is not easy of explanation1 unless this again is another mistake in dating on the part of the editor of the letters4 ,if the correct date of the letters to ,more and his daughter is #aebh1 not #aebi1 then ,erasmus wasted little time before writing to ,more to thank him for the drawing4 ,it seems certain that the scholar1 highly delighted with the picture of his friends1 and the letters from them which accompanied it1 would not let many days go past without acknowledging them4 ,in his letter to ,sir ,thomas he says3 8,oh that it were once more granted me in life to see such dear friends face to face whom ,i contemplate with the utmost joy imaginable in the picture1 which ,holbein 7,olpeius7 has brought me60#ggi ,on the next day1 ,september #fth1 he wrote to ,margaret ,roper3 8,i can scarcely express in words1 ,margaret ,roper1 thou ornament of thine ,england1 what hearty delight ,i experienced when the painter ,holbein 7,olpeinus7 presented to my view your whole family in such a successful delineation1 that ,i could scarcely have seen you better had ,i been myself near you4 ,constantly do ,i desire that once more1 before my goal is reached1 it may be granted me to see this dear family circle1 to whom ,i owe the best part of my outward prosperity1 and of my fame1 whatever they may be1 and would owe them rather than to any other mortal4 ,a fair portion of this wish has now been fulfilled by the gifted hand of the painter4 ,i recognise all1 yet none more than thee1 and from the beautiful vestment of thy form ,i feel as if ,i could see thy still more beautiful mind beaming forth4444 ,greet thy mother1 the honoured ,mistress ,alice1 many times from me2 as ,i could not embrace her myself1 ,i have kissed her picture from my heart40#ghj ,in the first letter ,erasmus writes ,holbein's name as ,olpeius1 confusing him for the moment with an old 8famulus0 of his own1 ,severinus ,olpeius4 ,in the second letter1 in which he calls him ,olpeinus1 he gets nearer to the correct name4 ,in her answer to this last letter1 dated ,november #dth1 ,margaret says3 8,quod pictoris tibi adventus tant voluptati fuit1 illo nomine1 quod utriusque mei parentis nostrumque omnium effigiem depictam detulerit1 ingentibus cum gratiis libenter agnoscimus40#gha ,holbein must soon have discovered that his prospects of remunerative employment were far from promising1 when compared with the field he had so recently abandoned4 ,fortunately he had some little money in his pockets when he returned1 and perhaps for some months1 before the religious dissensions came to so acute a head1 he may have found profitable work4 ,but the outburst in the spring of #aebi put an abrupt end to all painting of sacred pictures or work of any kind for the churches4 ,the #ahth clause 78upon pictures07 in an order passed by the ,reformation party in that year stated3 8,we have no pictures in our churches1 either in the city or country1 because they formerly gave much incitement to idolatry1 therefore ,god has so decidedly forbidden them1 and has cursed all who make images4 ,hence1 in future1 by ,god's help1 we will set up no pictures1 but will seriously reflect how we can provide comfort for the poor needy ones who are the true and living images of ,god40#ghb ,for a painter who had to make a living for a wife and family such conditions were serious enough1 for they cut off one of his chief sources of employment4 ,judging from the numerous studies in the ,basel ,gallery1 ,holbein1 before his first visit to ,england1 must have been frequently engaged on pictures1 wall-paintings1 and designs for windows for churches1 all of which1 with few exceptions1 such as the ,meyer ,madonna and one or two others1 perished before the fury of the mob4 ,it was natural that he should look forward to a continuance of work of this nature1 and however strongly1 in his heart1 he may have believed in the ,reformation itself1 he must have been in little accord with it in its treatment of art4 ,nor was it a time when the leading citizens of ,basel had leisure or desire for so peaceful an occupation as sitting for their portraits4 ,the times were far too strenuous4 ,several of his earlier friends1 and patrons1 too1 were no longer there to help him4 ,froben had died two years before he got back1 and ,erasmus was about to wipe the dust of ,basel from his feet1 while ,amerbach was a temporary absentee4 ,his old friend1 ,jakob ,meyer 8zum ,hasen10 was still a prominent figure among the ,catholic minority1 and1 therefore1 had little influence to place at his service4 ,under such adverse conditions it is1 perhaps1 not wonderful that only one panel painting of the second ,basel period can be pointed to with any certainty--the portrait-group of his wife and two elder children4 ,this1 and the remaining wall-paintings in the ,council ,chamber of the ,town ,hall1 are the only works of importance of which we have any record4 ,sidenote3 ,,portrait ,,of ,,his ,,wife ,,and ,,children ,the portrait of his wife and his two elder children1 ,philip and ,katherine1 in the ,basel ,gallery 7,no4 #cbe7 7,pl4 #ij71ghc was1 no doubt1 one of the first things he undertook after his arrival4 ,in any case1 it was painted in #aebh or #aebi4 ,it is in oils on four pieces of paper fastened together1 and at some subsequent time has been cut out round the figures and mounted on a panel1 thus spoiling the delicacy of the outlines4 ,the figures are life-size1 and the wife1 who is seated1 facing the spectator1 is shown at almost three-quarters length4 ,she wears a dark green bodice without ornament1 cut very low and straight across the breast1 and a dark-brown over-garment trimmed with a thin band of fur4 ,her light brown hair is covered by a transparent veil which comes low over her forehead1 and a small brown cap on the back of her head4 ,on her left knee she supports a red-haired baby1 about eighteen months old1 born during ,holbein's absence1 dressed in a cap and an undyed woollen garment1 while her right hand rests on the shoulder of a boy of about six or seven1 with long fair hair1 wearing a dark blue-green dress above which the white collar of his shirt is visible4 ,the lad1 who is shown in profile1 is looking upwards to the right1 and presses against his mother's knee4 ,his head and shoulders only are shown4 ,the picture is dated1 but in the cutting out process it underwent prior to its fastening upon the wood panel1 which was done before #aehf1 as is to be gathered from the ,amerbach inventory1 the last figure has been shorn away1 and only 8#aeb0 remains4 ,it is almost certain that this date was #aebh or #aebi1 probably the former1 for ,holbein1 once more united with his wife and family1 would be likely to give expression to his pleasure by painting their portraits4 ,in the greater energy of its conception and the vigour of its treatment it more closely resembles the portraits painted in ,england than his earlier ,basel work4 ,,vol4 ,i41 ,,plate #ij4 ,illustration3 ,,holbein',s ,,wife ,,and ,,children #aebh-i ,,basel ,,gallery ,sidenote3 ,,portrait ,,of ,,his ,,wife ,,and ,,children ,there are other versions of this picture in existence1 among them a good late sixteenth-century copy in the ,lille ,museum1#ghd which has a blue background4 ,like the ,basel example1 it is on paper pasted upon wood1 but it has not been cut out round the outlines1 while on a piece of paper added to the top of the panel there is an inscription in gold1 which runs-- 8,die ,liebe zu ,gott heist ,charitas1 ,wer ,liebe hatt der tragtt kein hass10 thus turning it into a representation of ,charity4 ,a second#ghe example1 though a work of no particular skill1 is of interest because it gives what was probably the background of the original work before it was cut down1 one of those architectural compositions with pilasters and an ornamental frieze which ,holbein so frequently used as a setting for his earlier portraits1 part of which forms a high-backed seat in which the wife is placed4 ,this copy1 which belongs to ,herr ,e4 ,trmpy1 of ,glarus1 shows some small differences1 in the boy's hair1 the folds of the draperies1 c41 but it has suffered so much that it is difficult to pass judgment upon it4 ,it must have been painted before the original work was cut down towards the end of the sixteenth century4 ,that the picture represents the painter's wife and children is certain1 for it was in the possession of ,amerbach1 whose son entered it in his inventory as 8,holbeins fraw vnd zwei kinder von im ,h4 ,holbein conterfehet vf papir mit olfarben1 vf holtz gezogen40 ,this picture is painted with greater breadth and freedom than was his custom4 ,the delicacy of handling which marked almost all that he did has given place to a more rapid but none the less truthful execution4 ,the baby is by no means a beautiful child1 and the mother's plainness of countenance is almost repulsive at the first glance4 ,her expression is one of deep dejection1 her face careworn and unhappy1 and her eyes are rimmed with red1 suggesting ill-health or sorrow4 ,the grouping is unconventional1 and it may be that the artist began to paint them just as he happened to see them1 without any elaborate posing or attempt to make a picture of them4 ,the wonderful truth with which he has realised them1 however1 the fine rich colour1 and the luminous painting of the flesh tones1 combine to make it one of his greatest works1 in the study and appreciation of which the want of physical beauty in the principal sitter and the severe plainness of the costumes are overlooked and forgotten4 ,though only six years later than the ,solothurn ,madonna and the portrait at the ,hague1 ,elsbeth ,holbein has already lost all appearance of youth1 and the cares of life have left heavy traces behind them4 ,her features are now not merely homely1 but heavy and uninteresting1 while her figure is solid1 ample1 and ungraceful4 ,yet it is still possible to recognise the likeness1 no doubt somewhat idealised in the earlier work1 but here set down with remorseless truth4 ,the cause of this loss of youth and good looks1 due1 according to some modern critics1 to ,holbein's neglect and his infatuation for ,magdalena ,offenburg1 has been touched upon in an earlier chapter4 ,m4 de ,wyzewa1 who is one of those who hold this theory1 regards this ,basel family group as one of the few pictures in which ,holbein completely reveals his artistic soul4 8,i doubt10 he says1#ghf 8if there exists in the world another painting comparable to this for subtle and dolorous beauty of expression40 ,in its revelation of truth it is an act of accusation against the painter himself1 such as is not to be found in any written account of him by his contemporaries1 who1 it is suggested1 influenced by his importance as an artist and by his connection with big and influential people1 did not think it wise to speak the truth about him4 ,it was ,magdalena who was the chief cause of this domestic misery1 we are told4 ,she was 8l'odieuse rivale qui l'a dpouille de sa beaut et de son bonheur1 et de toute sa fortune par-dessus le march1 qui a rduit l'exquise jeune femme du portrait de la ,haye devenir le fantme navrant du portrait de ,ble2 voil peut-tre le grief qui aura pes le plus cruellement sur le cur ulcr d',elisabeth ,holbein6 ,et qui sait si ce remords-l ne s'est point dress au premier plan dans l'me du peintre lui-mme1 lorsqu'en #aebi celui-ci a prouv le besoin de nous crier sa confession de mari et de pre1 en mme temps qu'il allait nous rvler la puissante1 l'mouvante grandeur de son gnie d'artiste80 ,the boy in the picture1 who appears to be six or seven years old1 may well have been the model for the ,infant ,christ in the ,solothurn ,madonna4 ,the group has been painted with a speed and spontaneity which is not usual in ,holbein's portraits1 with their minute finish and careful elaboration of details4 ,this unwonted vigour of handling1 however1 gives to it a freedom and a largeness which make it unique among the varied manifestations of his genius4 ,it has many of the qualities of a brilliant sketch1 in which both likeness and character have been set down with direct and masterly power4 ,,vol4 ,i41 ,,plate #ia4 ,illustration3 ,,portrait ,,of ,a ,,young ,,woman ,unfinished study in oils ,,basel ,,gallery ,a very remarkable portrait study of a young woman in the ,basel ,gallery 7,no4 #cbf7 7,pl4 #ia71ghg which comes from the ,faesch ,cabinet1 bears a close resemblance to the ,family ,group1 and is ascribed by ,dr4 ,ganz to the same year1 #aebh1 to which it undoubtedly belongs4 ,the subject1 evidently a woman of ,holbein's own class1 is extremely plain1 with heavy features1 and dark eyes and hair4 ,she is represented to the waist1 turned slightly to the spectator's left1 her long hands1 with numerous rings1 crossed in front of her4 ,it is drawn with the pencil1 and coloured with oil colours thinly laid on and mixed with white upon a red-toned ground4 ,the background is a plain1 deep blue4 ,it is unfinished1 the turban-like cap1 and the outer bodice of the dress having the colour only slightly indicated4 ,it is of the utmost interest1 as it affords evidence of ,holbein's methods of working at this period1 methods which he employed in painting his wife and children1 also done in oils on paper2 and it is1 in addition1 a wonderfully powerful study in portraiture1 lifelike1 vigorous1 and subtle4 ,sidenote3 ,,resumes ,,work ,,in ,,council ,,chamber ,little is known of ,holbein's work in ,basel during this period4 ,no other portrait from his brush has been so far discovered2 but1 happily for him1 in the summer of #aecj the ,town ,council found some employment for him worthy of his great talents1 work which occupied him for the remainder of the year4 ,they resolved to finish the internal decoration of their ,council ,chamber1 which ,holbein had left incomplete some years earlier1 and he was naturally selected as the painter most fitted to do it4 ,for this work he received in all #gb florins1 in four separate payments between ,july #f and ,november #ah1 #aecj1 a sufficiently modest sum for five months' work1 which included at least two large wall-paintings2 but1 nevertheless1 better pay than he had gained for his earlier frescoes in the same room1 for the original arrangement was that he should decorate the whole chamber for the sum of #abj gulden1 and for that sum he had covered all but the 8back wall0 with large pictures4 ,the new subjects1 which may have been selected in #aeba1 when the work was first begun1 were 8,rehoboam rebuking the ,elders of ,israel10 and 8,the ,meeting of ,samuel and ,saul40 ,a third subject1 8,hezekiah ordering the ,idols to be broken in pieces10 was probably only one of the single figures which were placed between the larger compositions4 ,unlike the earlier wall-paintings1 of which the subjects were taken from classical antiquity1 the ones upon which ,holbein was now occupied were drawn from the ,old ,testament1 and were selected for the purpose of setting forth the evil effects of bad government and the punishment which follows the obstinacy of rulers who oppose their will to the will of ,god4 ,the 8,hezekiah0#ghh was chosen1 no doubt1 as an apt illustration of the wisdom of obeying the commands of ,god in the sweeping away of all false idols and images1 as exemplified in the iconoclastic outbreaks in ,basel itself in the previous year1 the painting of which ,holbein must have undertaken with mixed feelings4 ,,vol4 ,i41 ,,plate #ib4 ,illustration ,illustration3 8,,king ,,rehoboam ,,rebuking ,,the ,,elders0 ,three fragments of the wall-painting formerly in the ,basel ,town ,hall #aecj ,,basel ,,gallery ,,vol4 ,i41 ,,plate #ic4 ,illustration3 ,,rehoboam ,,rebuking ,,the ,,elders ,,of ,,israel ,study for the wall-painting in the ,basel ,town ,hall1 #aecj ,,basel ,,gallery ,two fine preliminary designs for the 8,rehoboam0 and the 8,samuel and ,saul0 form part of the ,amerbach ,collection1 drawings which may have been made as early as #aeba4 ,among the few fragments of the original wall-paintings preserved in the ,basel ,gallery1 there are two showing the head and the raised hand with pointing little finger of ,rehoboam 7,no4 #cbh7 7,pl4 #ib 7#c771ghi the head being drawn in profile1 whereas in the study it is full face1 indicating a change in the design when carried out on the wall4 ,in the centre of the composition1 as shown in the drawing 7,pl4 #ic71gij ,king ,rehoboam1 seated upon a lofty throne beneath a rich canopy backed by a curtain decorated with a fleur-de-lys device1 bends forward1 his left hand stretched before him in vehement action1 with little finger extended towards the group of ,israelitish elders standing below him1 some of whom turn away in despair4 ,with his right hand he points to a scourge held by an attendant on the left4 ,the moment depicted is when he cries out in a rage3 8,my little finger shall be thicker than my father's loins2 my father hath chastised you with whips1 but ,i will chastise you with scorpions40 ,behind the throne1 within the rails enclosing a large vaulted chamber in the ,renaissance style1 are a number of figures1 on the one side the older councillors who had served his father1 ,solomon1 whose advice he neglected1 and on the other the younger courtiers whose bad counsel he followed4 ,on the right of the composition is a glimpse of a hilly landscape1 with the ,crowning of ,jeroboam by the revolted tribes in the middle distance4 ,the drawing is washed in ,indian ink1 with touches of colour in the sky1 in the circular openings at the back of the hall1 in the landscape1 the faces of the figures1 and the rails and the floor4 ,the story is told very simply and clearly1 but with considerable dramatic force1 such as would make an instant appeal to those for whom the lesson it contained was intended4 ,the figures are rather short and stumpy1 a fault to be noticed in many of ,holbein's earlier designs for books1 wall-paintings1 and painted glass2 but the composition is a dignified one1 and the large painting based upon it must have been a noble work4 ,as stated above1 the fragments of the original painting which have been preserved show that ,holbein deviated from the sketch in essential points4 ,the head of ,rehoboam1 which is a masterpiece of strong expression1 is seen in sharp profile4 ,there are also in the same ,gallery two fragments containing groups of heads of the ,israelite ,messengers 7,no4 #cbi7 7,pl4 #ib 7#a and #b774gia ,traces of gold are still visible on these remains of the original work1 showing that ,holbein made use of gilding in wall-paintings as well as in portraits4 ,sidenote3 8,,the ,,meeting ,,of ,,samuel ,,and ,,saul0 ,the wall-painting of 8,samuel and ,saul0 was the largest of all the decorations in the ,council ,chamber1 and that it was painted side by side with the 8,rehoboam0 on the only wall in the room unbroken by door or window is evident from the fact that in the sketches the same dividing column appears in both4 ,it was probably about #g or #h feet high by #af or #ag feet long1 and if the same proportion was preserved in both designs1 the 8,rehoboam0 must have been about #ac feet long4 ,the moment chosen for representation is the return of ,saul from his conquest of the ,amalekites1 and his meeting with the ,prophet ,samuel4 ,instead of obeying the command of ,god1 and destroying men1 women1 children1 and flocks1 he has spared them1 and carried them and much spoil away with him4 ,samuel has come forth in anger1 and ,saul1 perceiving him1 has dismounted1 and advances to meet him bent in reverence4 ,the prophet heaps reproaches upon him4 8,hath the ,lord as great delight in burnt offerings and sacrifices as in obeying the voice of the ,lord8 ,because thou hast rejected the word of the ,lord1 ,he hath also rejected thee from being king40 ,the right half of the composition is crowded with foot-soldiers and horsemen1 wearing ,roman helmets1 among whom the conquered ,king ,agag is borne captive4 ,in the distance are seen the captured herds and flocks1 and the burning villages on the hillsides4 ,the composition is a finely-balanced one1 and the noble1 menacing figure of the ,prophet is well contrasted with the cringing figure of the ,king1 conscious1 now that the flush of victory is passing1 that he has failed to fulfil the sacred commands4 ,the army behind him is most effectively grouped1 and the soldiers' lances1 seen darkly against the sky1 produce much the same effect of grandeur and of numbers as in ,velazquez's great picture4 ,in the left upper corner is a long white tablet--no doubt in the finished painting it was shown hanging from the painted framework surrounding the picture--on which the ,latin text1 quoted by ,tonjola1 was inscribed4 ,the sketch 7,no4 #cdg7 7,pl4 #id7gib has been slightly washed with colour1 blue in the sky1 the stream in the middle distance1 the trees1 and the hills1 and brown over the landscape1 which combines with the blue to produce green in the trees and hillsides1 while the flames from the burning villages are bright red4 ,the figures are drawn in brown and shaded with a wash of cool grey4 ,it is not possible from this1 however1 to gain much idea of the actual colouring of the wall-painting1 but1 from the darting flames and the volumes of heavy smoke rolling across the sky and blotting out a part of the landscape1 it is possible that the general effect attempted was one of strong contrasts of chiaroscuro1 such as are to be seen in the ,basel ,passion picture4 ,still1 the sketch1 small as it is1 affords ample evidence of the greatness of ,holbein's power of design in large compositions crowded with figures1 and emphasizes the seriousness of the loss suffered through the destruction of the whole of his wall-paintings and larger decorative works4 ,,vol4 ,i41 ,,plate #id4 ,illustration3 ,,samuel ,,and ,,saul ,study for the wall-painting in the ,basel ,town ,hall ,pen drawing in brown touched with water-colour ,,basel ,,gallery ,beyond the ,town ,hall frescoes1 little remains to show in what manner he was employed during the remainder of his stay in ,basel4 ,there is a fine design for a dagger-sheath1 richly decorated with ,renaissance ornament1 in the ,basel ,gallery1 dated #aebi 7,pl4 #de 7#a71 ,vol4 ii472#gic but this is the only work of the kind that can be given definitely to this period1 though possibly some of the other designs for dagger-sheaths and bands of ornament in the ,basel ,gallery1 described in a later chapter1#gid were made during these years4 ,he also produced a number of designs for woodcuts1 among them a series of illustrations for the ,cosmography and several astronomical works by ,sebastian ,mnster of ,munich1 published by ,heinrich ,petri4 ,mnster was in ,basel in the autumn of #aebi1 and it is possible1 so ,dr4 ,ganz suggests1#gie that his fellow-townsman1 ,niklaus ,kratzer1 whose portrait ,holbein had so recently painted1 drew his attention to the artist's skill in the delineation of scientific and mathematical instruments1 such as ,mnster required for the illustration of his books4 ,in this way1 no doubt1 the author and the artist came into personal contact4 ,holbein drew for him a number of fine designs1 such as figures representing the signs of the ,zodiac1 drawings of sun-dials1 and a variety of mathematical and astronomical instruments1 and a great astronomical table1 first published in #aecd1 but starting from the year #aecj1 with ornamental accessories and representations of the four seasons1 a work of great beauty4#gif ,he also painted a new portrait of ,erasmus1 most probably in ,freiburg1 for the portrait at ,parma1 which is one of the best of various almost contemporary copies1 is dated #aecj4 ,the small circular picture in the ,basel ,gallery is very possibly the original study painted directly from the sitter4 ,these portraits and the roundel of ,melanchthon in the ,provinzial ,museum at ,hanover1 which is probably of the same period1 have been described in a previous chapter4#gig ,sidenote3 ,,repainting ,,of ,,rhine ,,gate ,,clock ,there is only one other record to show that he received any further employment from the civic authorities after the completion of the ,town ,hall paintings4 ,on ,october #g1 #aeca1 he was paid 8#ag pfund #aj schilling10 or fourteen gulden1 for repainting the two clocks on the ,rhine ,gate 78von beden ,uren am ,rinthor zemalen074#gih ,this commission was for renovating the two faces of the old clock1 which was decorated with the grotesque figure of the 8,lallenknig10 with distorted countenance stretching out his tongue towards ,little ,basel4 ,this undertaking seems very paltry after the big decorative works upon which he had been occupied twelve months earlier1 but was apparently all that the authorities had to give4 ,it is an exaggeration1 however1 to speak of it1 as some writers do1 as contemptible work for an artist of his standing4 ,mrs4 ,fortescue says of it3 8,as soon as ,holbein got his pay for this disgraceful commission--a pay he was now much too hard pressed to refuse--he quietly slipped away from ,basel without taking the ,council into his confidence40#gii ,to ,holbein1 who by no means regarded himself as a portrait-painter only1 but to whom all decorative work1 however large or however small1 was equally an occasion for giving of the best that was in him1 the ornamentation of a clock face would in no ways appear to be work in any way disgraceful or beneath him2 nor is there the slightest evidence to show that he ran away from ,basel like a thief in the night4 ,throughout his life1 indeed1 his methods were orderly1 and such as became a citizen and guildsman of his adopted town4 ,he must1 nevertheless1 have suffered many anxieties1 for times were unpropitious in ,basel1 and offered few opportunities for the remunerative practice of the fine arts4 ,both in #aebi and #aecj great scarcity prevailed4 ,the religious excitement1 too1 grew in strength1 and the ,protestant persecutions became as severe as the papal ones which had preceded them4 ,holbein himself fell under suspicion4 ,on ,june #ah1 #aecj1 just when he was beginning to work on the ,town ,hall frescoes1 he was called upon1 together with a number of other citizens1 to justify himself for not having taken part in the ,communion instituted in the ,basel churches after the abolition of the ,catholic ritual in #aebi4 ,he gave as an answer that he demanded1 before approaching the ,lord's ,table1 that the signification of the holy mystery should be better explained to him4 ,it appears that the information given to him was sufficient to satisfy his conscience1 as he did not persist in his refusal4 ,his friend1 ,bonifacius ,amerbach1 was more obdurate1 and so had the ban passed upon him4 ,in #aeca open war broke out between the different cantons1 through stress of religious differences4 ,this was possibly the last straw in ,holbein's case4 ,work growing daily more difficult to obtain1 his thoughts would naturally turn to the happier fields for his genius which ,england afforded1 and he determined to return there4 ,the exact date of his departure is unknown1 but it must have been towards the end of #aeca or in the early spring of #aecb2 perhaps the latter date is the more probable of the two1 as the journey1 in the way in which he would be forced to make it1 would be an unpleasant1 if not a difficult1 one in winter4#hjj ---------------------------------------- -------------------------------- ,,postscript ,,to ,,chapter ,,xiv ,a ,,newly ,,discovered ,,portrait ,,of ,,an ,,unknown ,,english ,,lady ,,the discovery of a new portrait by ,holbein must always be a matter of the highest interest to students of the master's art1 and when the panel so discovered is one in practically faultless condition and of exceptional attraction1 its importance as an addition to the list of the painter's works cannot be easily exaggerated4 ,it is pleasant1 therefore1 to have to record the fact that such a portrait was brought to light for the first time during the present year 7#aiac74 ,the portrait in question formed part of a collection of pictures and engravings removed from ,rotherwas ,house1 near ,hereford1 the seat of the ,bodenham family1 early in the year1 the greater number of which were sold by auction in ,london last ,february4 ,the ,holbein picture1 however1 was first heard of at a sale at ,messrs4 ,puttick and ,simpson's rooms in ,leicester ,square on ,april #hth4 ,it was in a very dirty state1 and its beauty was almost entirely obscured by a thick coat of dark varnish1 with which it had been covered some two centuries or more ago4 ,it had also two slight abrasions above and below the right eye4 ,across the left sleeve was painted in white1 in late eighteenth-century lettering1 the inscription 8,margaret ,tudor1 ,queen of ,scotland40 ,this attribution1 however1 was changed by the compilers of the sale catalogue to 8,mary1 ,queen of ,scots10 and it was described as by an unknown artist of the early ,english ,school4 ,the bidding for this picture started at #aj1 and it was finally acquired for #cdj guineas by ,mr4 ,ayerst ,h4 ,buttery4 ,upon careful cleaning the false inscription at once came away1 and after the removal of the varnish the picture was found to be1 as already stated1 in a practically faultless condition--except for the two small abrasions--and in the original state in which it was left by the artist1 thanks1 no doubt1 to the varnishing process it had undergone4 ,it is unsigned1 and has no inscription giving the name and age of the sitter1 but in spite of this it is difficult to doubt its authorship4 ,holbein was the only painter then in ,england who possessed so fine a technique4 ,it has been carefully examined by several leading authorities on the painter1 among them ,dr4 ,friedlnder1 of the ,kaiser ,friedrich ,museum1 ,berlin1 and all are agreed that it is a splendid example of ,holbein4 ,a detailed description of it1 with several suggestions toward the solution of the identity of the sitter1 was first published by ,mr4 ,maurice ,w4 ,brockwell1 in the ,morning ,post of ,june #bh1 #aiac4 ,,vol4 ,i41 ,,plate #ie4 ,illustration3 ,,portrait ,,of ,,an ,,unknown ,,english ,,lady 7,formerly in the possession of the ,bodenham family1 ,rotherwas ,hall1 ,hereford7 ,reproduced by kind permission of ,mr4 ,ayerst ,h4 ,buttery ,it is on panel1 #ca inches high by #bc inches wide 7,pl4 #ie74 ,the lady is shown full face1 and almost three-quarters length1 holding with both hands a very small open prayer-book or breviary1 which is attached to a ribbon round her waist by a plain chain4 ,the dress is of deep maroon satin1 with the upper part of the bodice of black velvet4 ,the latter is open at the throat1 the points of the collar being turned back1 showing the white lining4 ,this style of collar occurs very rarely in ,holbein's pictures1 and is to be seen in only two others of his finished portraits of ladies--those of ,catherine ,howard and ,lady ,butts4 ,in these two1 however1 the 8revers0 are quite plain1 whereas in ,mr4 ,buttery's picture they are richly embroidered in black with a floral design1 suggesting carnations1 conventionally treated1 while round the edge runs a narrow border with a row of conventionalised flowers of a somewhat similar pattern1 which occurs again on the white ruffs at her wrists4 ,her long and thin arms are encased in tightly fitting sleeves1 terminating in the then fashionable 8hanging0 or 8over0 sleeves1 partly of black velvet1 which are exceptionally full and heavy1 with slashings filled in with white silk embroidered in black with a design suggesting acorns arranged in groups of four4 ,the skirt1 or petticoat1 of which little can be seen1 shows an elaborate floral pattern4 ,the lady wears no rings1 but has a plain gold chain wound twice round her neck4 ,the collar of the bodice is fastened together by a small brooch or pin set with a dark 8table0 stone1 from which is suspended a circular medallion or pendant of gold and enamel1 with the figure of a lady in a red dress1 seated in a high-backed chair1 and playing a lute or viol4 ,above this figure is a scroll with the legend1 8,praise the ,lord for evermore40 ,the whole is enclosed within a border of scroll-work1 with a grotesque head in white enamel on either side1 green leaves at the bottom and a red rose at the top4 ,the head-dress is of the curved shape introduced from ,paris1 and not the more customary angular ,english hood4 ,it has two bands of elaborately wrought goldsmith's work1 and is filled in with cerise-red satin1 which makes a very beautiful colour contrast with the plain blue-green background1 against which the head is so effectively placed4 ,the arrangement of the fair hair1 such of it as can be seen1 is both unusual and attractive1 being parted in the centre1 while on either side bands1 of slightly lighter colour than the rest1 are brought forward over the ears1 which are completely hidden4 ,individual golden hairs are indicated against the dark background1 and both hair and head-dress have been rendered with all ,holbein's minute and loving care and dexterity of draughtsmanship4 ,the face is a most expressive one4 ,both the mouth and the grey1 contemplative eyes are full of character1 suggested in the most subtle manner and with unerring brushwork4 ,the modelling of the flesh is of extraordinary delicacy4 ,the lady1 whoever she may be1 though not perhaps strictly beautiful has considerable pretensions to good looks1 and her whole personality1 indeed1 is one of great charm4 ,the colour-scheme1 too1 is one of exceptional attraction4 ,the contrast between the sombre-coloured garments with glinting lights upon them1 and the pale and pearl-like face1 standing out against the blue-green of the background1 is most harmonious1 and the band of red in the head-dress adds to and sets off the delicate blondness of her features4 ,another point to be noted is the skill with which the slight ripples in the plainly-cut bodice and upper sleeves have been indicated1 as well as the little inequalities and furrows in the satin of the head-dress1 where the material has slightly puckered at the edge by which it is fastened to the ornamental bands4 ,the portrait1 indeed1 is one of the most beautiful and attractive ever produced by the painter4 ,little or nothing is known of the history of this picture1 and at present the identity of the sitter has not been established4 ,the ancient family of ,bodenham was settled at ,rotherwas long before ,henry ,,viii came to the throne4 ,it was the recent death of ,mr4 ,charles ,bodenham1 the last direct descendant of this family1 which brought about the sale of the estate together with the family mansion and the whole of its contents4 8,the entire property10 says ,mr4 ,brockwell1 8seems to have been first purchased by a firm at a south coast watering-place1 who being in no special way attracted by the sthetic and financial value of the contents of the house1 without much ado proceeded to pass them on to a well-known trading firm in ,hereford4 ,fifty-three pictures and thirty-five engravings were disposed of at the end of ,february last by auction in ,london4 ,before that time1 it is understood1 a picture0--the picture now in question--8had been1 for sentimental reasons1 offered for #ae to distant connections of the ,bodenham family1 an offer that was not accepted1 and it was ultimately put up for sale at ,messrs4 ,puttick and ,simpson's40 ,the ,tudor panelling of the house was sold for a great sum of money to an ,american collector4 ,thomas ,bodenham was one of the leading gentlemen of ,herefordshire during ,henry ,,viii's reign4 ,his name occurs frequently on lists of sheriffs1 magistrates1 gaol deliveries1 and the like1 in his own county1 but otherwise there is no mention of him in the ,calendars of ,letters and ,papers1 and he does not appear to have been attached to the ,court4 ,it is not1 therefore1 very probable that the portrait represents his wife or daughter1 though this would provide the most natural solution of the sitter's identity4 ,most critics who have seen the picture are decidedly of the opinion that it was produced during ,holbein's first visit to ,england1 in #aebf-h1 an opinion based largely on the painting of the hands1 undoubtedly the least satisfactory part of the panel4 ,they are hard and stiff in the modelling1 and have none of the expressiveness which is so marked a characteristic of ,holbein's painting of hands during the last ten or twelve years of his life4 ,in some other respects the picture shows qualities which would seem to place it some years later in the painter's career1 towards the beginning of his second and longer residence in this country4 ,one feature which may possibly indicate a later date than #aebg is the dress1 and more particularly the ,french hood4 ,it is true that instances are known of the wearing of this head-dress in ,england as early as #aebg1 but at that time its use seems to have been confined to a few ladies of the highest aristocracy about the ,court4 ,the angular hood with its long black fall was then the almost universal headgear1 and remained so for some years longer4 ,the fashion of the latter1 and the method of wearing it1 can be well seen in ,holbein's costume study of a lady in the ,british ,museum4 7,no4 #aa in ,mr4 ,binyon's ,catalogue4 ,not in ,woltmann4 ,reproduced by ,ganz in ,die ,handzeichnungen von ,hans ,holbeins des ,jngeren1 x4 #d47 ,this drawing consists of two whole-length studies on one sheet4 ,in one of them the lady stands turned three-quarters to the left1 her hands in front of her1 holding a rosary2 in the other she is seen more from the back1 the left hand raised and pointing4 ,it is in ,indian ink and brush outline1 partly washed with ,indian ink1 and the flesh tints in red4 ,it is signed twice1 8,h4 ,h40 and 8,h4 ,h4 ,b10 but these signatures are false4 ,an excellent idea of the costume of the period and of the method by which the fall was attached to the hood can be gained from this effective drawing1 which was formerly in the ,malcolm and ,lawrence collections4 ,the lady of the picture appears to be about twenty-two or twenty-three years of age1 and it is1 of course1 quite impossible that she can be ,margaret ,tudor1 whose features are well known1 and who was nearly forty in #aebg1 while ,mary1 ,queen of ,scots1 born in #aedb1 is still more impossible4 ,the 8,french ,queen10 ,mary ,tudor1 the ,king's second sister1 was born in #adih1 and so was twenty-nine in #aebg2 but here again several authentic portraits of her exist1 and these bear little or no resemblance to ,mr4 ,buttery's lady4 ,it must be remembered1 too1 that all evidence points to the fact that ,holbein had no connection with the ,court during his first visit to ,england4 ,it is very probable that the luting figure on the medallion is intended to represent ,st4 ,cecilia1 and that the sitter1 as ,mr4 ,brockwell points out1 was named after her4 ,this suggested to him that it might be a portrait of ,sir ,thomas ,more's second daughter1 ,cecilia ,heron1 who was twenty years of age in #aebg when the ,more ,family ,group was painted2 but this theory had to be abandoned1 for there is little or no likeness between the lady of the picture and the head of ,cecilia in the ,windsor collection4 ,it is probable that medallions with a figure of ,st4 ,cecilia were by no means uncommon at that time4 ,two of them are mentioned in lists of jewels belonging to the ,crown at the period in question4 ,these lists will be found in the ,calendars of ,letters and ,papers4 ,among the entries in the first list1 dated #aebh 7,c4 ,l4 ,p41 vol4 iv4 pt4 ii4 #eaad7 are the following3--8,a brooch with a gentlewoman luting1 with a scripture above it10 and 8a gentlewoman1 holding a leyer in her hand1 silver-gilt 7delivered to ,mr4 ,wyat740 ,in the second list1 dated #aecj 7,c4 ,l4 ,p41 vol4 iv4 pt4 iii4 #fghi71 which appears to be a copy of the first1 the same entries occur with slight differences3--8,a brooch with a gentlewoman luting1 and a scripture about it10 and 8,images4 ,a gentlewoman1 holding a layer in her hands1 silver-gilt 7,mr4 ,wyat740 ,there are not1 however1 sufficient grounds for suggesting that the lady in question is wearing one of these particular royal jewels1 and that1 therefore1 she was closely connected with the ,king1 or even a member of ,sir ,thomas ,wyat's family1 though the richness and elaborateness of the dress and the exceptionally fine embroidery seem to indicate a personage of high quality4 ,it is to be hoped that further researches will solve the mystery of this fair unknown4 ,in the meanwhile1 the portrait provides a very notable and welcome addition to the tale of the master's work1 and one not easily surpassed by any other among his portraits of ladies4 ,thanks to the great kindness of ,mr4 ,buttery the picture is reproduced here4 ,,end ,,of ,,vol4 ,i4 ---------------------------------------- -------------------------------- ,,footnotes ----- ,footnote #a3 ,anton ,werner1 ,der ,sammler1 ,no4 #adc1 #aijg4 ,footnote #b3 ,anton ,werner1 ,der ,sammler1 ,no4 #adc1 #aijg4 ,footnote #c3 ,entries in the ,augsburg ,brgerbuch and ,steuerbcher4 ,footnote #d3 ,see ,glaser1 ,hans ,holbein der ltere1 p4 #aga4 ,footnote #e3 ,katalog der ffentlichen ,kunstsammlung in ,basel1 #aijh1 p4 #ff4 ,footnote #f3 ,woltmann1 ,a4 ,h41 #bj4 ,footnote #g3 ,woltmann1 ,a4 ,h41 #be4 ,footnote #h3 ,woltmann1 ,holbein und seine ,zeit1 i4 #fg4 ,footnote #i3 ,see ,willy ,hes1 ,ambrosius ,holbein1 p4 #adi4 ,footnote #aj3 ,woltmann1 #a-d4 ,the first and third reproduced by ,curt ,glaser1 ,hans ,holbein der ltere1 ,pl4 ii4 ,footnote #aa3 ,the 8,death of ,mary0 in the ,basel ,gallery1 formerly part of the ,afra altar-piece in the chapel of the ,kaisheimer-,hofes in ,augsburg1 bears an almost illegible date1 which the ,basel catalogue gives as #adij1 but is more probably #adie4 ,see ,curt ,glaser1 ,hans ,holbein der ltere1 p4 #bc1 and ,pl4 iii4 ,footnote #ab3 ,woltmann1 #e4 ,reproduced by ,glaser1 ,pl4 v42 ,davies 7central part71 p4 #d4 ,footnote #ac3 ,or ,rehlingen4 ,footnote #ad3 ,woltmann1 #f4 ,see ,glaser1 p4 #cf4 ,footnote #ae3 ,woltmann1 i4 #di4 ,first cited by ,hassler in ,verhandlungen des ,vereins fr ,kunst und ,altertum in ,ulm und ,oberschwaben1 ix4 and x41 #ahee1 p4 #gi4 ,footnote #af3 ,woltmann1 #bjg-baj4 ,reproduced by ,glaser1 ,pl4 xii4 ,footnote #ag3 ,three of them reproduced by ,glaser1 ,pls4 x4 and xi4 ,footnote #ah3 ,woltmann1 #bch-bec4 ,ten of the panels reproduced by ,glaser1 ,pls4 xiv4-xix4 ,footnote #ai3 ,woltmann1 #g4 ,reproduced by ,glaser1 ,pl4 xxii4 ,footnote #bj3 ,woltmann1 #h4 ,reproduced by ,glaser1 ,pl4 xxvi42 ,davies 7left-hand panel only71 p4 #ab4 ,footnote #ba3 ,glaser1 #bcj4 ,woltmann1 #bgg4 ,reproduced by ,glaser1 ,pl4 i4 ,footnote #bb3 ,glaser1 #bah and #aec4 ,woltmann1 #afj and #agj4 ,the first reproduced by ,w4 ,hes 7,ambrosius ,holbein71 ,pl4 i4 7#b71 and by ,woltmann and ,frisch in ,hans ,holbein des 4 ,silberstiftzeich4 im ,berlin1 ,pl4 #fd2 the second by ,glaser1 ,pl4 xxxvii42 ,davies1 p4 #a2 ,woltmann1 vol4 i41 frontispiece2 and elsewhere4 ,footnote #bc3 ,glaser1 #bcc4 ,reproduced by ,davies1 p4 #ad4 ,footnote #bd3 ,davies1 p4 #af4 ,footnote #be3 ,for details of these payments1 taken from the account books ,st4 ,moritz1 see ,woltmann1 ii4 p4 #cj4 ,footnote #bf3 ,woltmann1 i4 pp4 #if-ig1 ii4 #ca4 7,extracts from the ,augsburger ,gerichtsbcher47 ,footnote #bg3 ,the altar-piece of #aeab for the ,convent of ,st4 ,catherine is referred to in the next chapter4 ,see pp4 #bc-e4 ,footnote #bh3 ,woltmann1 #bed-beh4 ,central panel and inner sides of shutters reproduced by ,glaser1 ,pls4 xxx41 xxxi42 the latter reproduced by ,davies1 p4 #bb2 outer sides of shutters by ,woltmann1 vol4 i4 pp4 #hh1 #hi4 ,footnote #bi3 ,woltmann1 i4 #ie4 ,footnote #cj3 ,woltmann1 vol4 ii4 p4 #acb1 not numbered2 reproduced by ,glaser1 ,pls4 xxxii41 xxxiii42 ,a4 ,seeman1 in ,zeitschr4 f4 bild4 ,kunst1 xiv4 p4 #aig1 #aijc 7in colour72 ,arundel ,club1 #aijg1 ,pl4 #d4 ,footnote #ca3 ,see note at end of this chapter4 ,footnote #cb3 ,raczynski1 ,les ,arts en ,portugal1 #ahdf1 p4 #bie4 ,footnote #cc3 ,glaser1 p4 #ajj2 ,reber1 in ,kunstchronik1 xiv4 p4 #dic1 #aijc4 ,footnote #cd3 ,glaser1 p4 #aje4 ,footnote #ce3 ,w41 #da1 #abg-ca1 #bgi4 ,g41 #ajd-aj4 ,footnote #cf3 ,w41 #aca-b1 #bbf1 #bgi-hj4 ,g41 #aji-ad4 ,footnote #cg3 ,w41 #aji4 ,g41 #acc4 ,footnote #ch3 ,w41 #aaj4 ,g41 #acd4 ,footnote #ci3 ,w41 #aag-ah1 #bbd4 ,g41 #acg-i4 ,footnote #dj3 ,w41 #aai4 ,g41 #adj4 ,footnote #da3 ,w41 #abj4 ,g41 #ada4 ,footnote #db3 ,w41 #aba4 ,g41 #adb4 ,footnote #dc3 ,w41 #abb4 ,g41 #adc4 ,footnote #dd3 ,w41 #adi4 ,g41 #agb4 ,footnote #de3 ,w41 #adh4 ,g41 #afi4 ,footnote #df3 ,w41 #adc4 ,g41 #afd4 ,footnote #dg3 ,w41 #ada-b4 ,g41 #afe-f4 ,footnote #dh3 ,w41 #aaa-ab4 ,g41 #ace-f4 ,footnote #di3 ,w41 #aec-d4 ,g41 #aef-g4 ,footnote #ej3 ,w41 #bca4 ,g41 #aed4 ,footnote #ea3 ,w41 #cd4 ,g41 #agj4 ,footnote #eb3 ,w41 #ade-f4 ,g41 #afg-h4 ,footnote #ec3 ,w41 #aee-g4 ,g41 #bji-aa4 ,footnote #ed3 ,w41 #aei4 ,g41 #bac4 ,footnote #ee3 ,w41 #acc-d4 ,g41 #aae-ag4 ,footnote #ef3 ,w41 #abd-e1 #bbe4 ,g41 #ajj-b4 ,footnote #eg3 ,w41 #abf4 ,g41 #ajc4 ,footnote #eh3 ,w41 #ajh4 ,g41 #aea-b4 ,reproduced by ,glaser1 ,pl4 xxxvi4 ,footnote #ei3 ,woltmann1 #bhd4 ,footnote #fj3 ,glaser1 p4 #acc4 ,footnote #fa3 ,burlington ,magazine1 ,october #aijh1 pp4 #cg-dc4 ,footnote #fb3 ,berlin1 #beeh4 ,glaser1 #baf4 ,woltmann1 #aeh4 ,footnote #fc3 ,the portrait and both drawings reproduced by ,mr4 ,dodgson in his article2 and the portrait in the ,illustrated ,catalogue of the ,burlington ,fine ,arts ,club ,exhibition1 #aijf1 ,pl4 xxxi4 ,footnote #fd3 ,in ,may of the present year 7#aiac7 the 8,fountain of ,life0 picture was removed from the ,palacio das ,necessidades to the ,museu ,nacional de ,arte ,antiga in ,lisbon4 ,footnote #fe3 ,see page #bed4 ,footnote #ff3 ,published in #ahfh4 ,footnote #fg3 ,woltmann1 i4 p4 #aja4 ,footnote #fh3 ,woltmann1 #ad-ag4 ,footnote #fi3 ,reproduced by ,glaser1 ,pl4 xxix4 ,footnote #gj3 ,glaser1 p4 #he4 ,footnote #ga3 ,reproduced by ,davies1 p4 #af4 ,footnote #gb3 ,this band of ornament1 which is different in each panel1 recalls the very similar scroll-work by the younger ,hans used in the upper part of the organ shutters at one time in the cathedral church of ,basel4 ,footnote #gc3 8,,ivssv4 ,,vener4 ,,pientqve ,,matris ,,veroni 4 4 ,w 4 4 4 ,e4 ,h4 ,,holbain ,,in ,,avg4 ,t4 ,,sv ,,xvii40 ,wornum1 p4 #hh4 ,woltmann1 ii4 p4 #d4 ,footnote #gd3 ,kunstwerke und ,knstler in ,deutschland1 #ahde4 ,footnote #ge3 ,already mentioned1 see p4 #aa4 ,glaser1 #aec4 ,woltmann1 #ajg4 ,footnote #gf3 ,see page #e4 ,footnote #gg3 ,see ,hes1 p4 #ab1 and footnote giving ,woltmann's various surmises as to the date and figures inscribed on the drawing4 ,footnote #gh3 ,woltmann1 #afj4 ,glaser1 #bah4 ,reproduced by ,woltmann1 ,h4 ,h4 des 4 ,silberstiftzeichnungen1 c41 ,pl4 lxiv42 ,hes1 ,pl4 i4 ,footnote #gi3 ,woltmann1 #dc4 ,glaser1 #bjc4 ,reproduced by ,his in his publication of the elder ,holbein's drawings1 ,pl4 lxxiv42 ,hes1 ,pl4 iii4 ,footnote #hj3 ,woltmann1 #eh4 ,glaser1 #bfe4 ,reproduced by ,his1 ,pl4 lvii42 ,hes1 ,pl4 iv4 ,footnote #ha3 ,reproduced by ,glaser1 ,pl4 xiii42 ,hes1 ,pl4 v4 ,footnote #hb3 ,reproduced by ,glaser1 ,pl4 xvii4 ,footnote #hc3 ,see ,hes1 p4 #ae4 ,footnote #hd3 ,parthey1 ,no4 #adah4 ,footnote #he3 ,or possibly from such miniatures as those in the ,duke of ,buccleuch's collection4 ,see vol4 ii4 pp4 #bcj-a4 ,footnote #hf3 ,woltmann1 i4 #dgg4 ,dr4 ,paul ,ganz suggests that one of these portraits may have been the small roundel belonging to ,lord ,spencer1 traditionally known as a portrait of ,holbein1 but considered by him to represent the jeweller1 ,hans of ,antwerp4 ,see ,ganz1 ,holbein 7,klassiker der ,kunst71 p4 #bec4 ,this large miniature is described more fully in vol4 ii4 pp4 #ad-ae4 ,footnote #hg3 ,walpole1 ,anecdotes1 ed4 ,wornum1 #ahhh1 i4 p4 #ic4 ,footnote #hh3 ,see vol4 ii4 pp4 #bcj-a4 ,footnote #hi3 ,this small roundel is now considered to be a portrait of ,hans of ,antwerp4 ,see vol4 ii4 p4 #ad4 ,footnote #ij3 ,davies1 p4 #ad4 ,footnote #ia3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to i4 #aj4 ,footnote #ib3 ,his name does not appear in the ,augsburg rate-books after #aeji1 and after #aeab1 the date on one of his brother's portrait-studies of him1 no further trace of him is to be found in his native city4 ,footnote #ic3 ,reproduced by ,davies1 p4 #cc2 ,knackfuss1 fig4 #a2 ,ganz1 ,holbein1 p4 #c4 ,footnote #id3 ,woltmann1 #cei4 ,footnote #ie3 ,s4 ,vgelin1 8,ein wiedergefundenes ,meisterwerk ,holbeins10 in ,frankfurter ,zeitung1 #ahga 7,nos4 #bcf-g1 #bdd1 #bdh71 and ,der ,holbein-tisch auf der ,stadtbibliothek in ,zrich1 ,wien1 #ahgh4 ,reproduced as a whole and in detail1 together with a reconstruction1 by ,ganz in ,holbein 7,k4 der ,k47 pp4 #f-i4 ,footnote #if3 ,woltmann1 #g1 #h4 ,reproduced by ,knackfuss1 figs4 #b1 #c2 ,ganz1 ,holbein1 pp4 #ai1 #bj4 ,footnote #ig3 ,woltmann1 #afh4 ,reproduced by ,ganz1 ,holbein1 p4 #d2 and in outline by ,reinach1 ,rpertoire de ,peintures1 i4 p4 #dja 7as by ,h4 ,h4 the ,elder74 ,footnote #ih3 ,reproduced by ,reinach1 ,rpertoire1 i4 p4 #d4 ,footnote #ii3 ,reproduced by ,ganz1 ,holbein1 p4 #e4 ,wrongly described in ,reinach1 ,rpertoire1 as 8,the ,flagellation40 ,footnote #ajj3 ,dr4 ,willy ,hes considers this portrait to be by ,herbster himself4 ,see p4 #fj4 ,footnote #aja3 ,woltmann1 #bg4 ,reproduced by ,knackfuss1 fig4 #d2 ,ganz1 ,holbein1 p4 #ba4 ,footnote #ajb3 ,woltmann1 #bd4 ,reproduced by ,ganz1 ,holbein1 p4 #bb4 ,footnote #ajc3 ,woltmann1 #be4 ,reproduced by ,davies1 p4 #ch2 ,ganz1 ,holbein1 p4 #bc4 ,footnote #ajd3 ,woltmann1 #bf4 ,reproduced by ,davies1 p4 #dj2 ,ganz1 ,holbein1 p4 #be4 ,footnote #aje3 ,woltmann1 #bh4 ,reproduced by ,davies1 p4 #db2 ,knackfuss1 fig4 #e2 ,ganz1 ,holbein1 p4 #bd4 ,footnote #ajf3 ,davies1 p4 #dj4 ,footnote #ajg3 ,ganz1 ,holbein1 p4 #bcc4 ,footnote #ajh3 ,woltmann1 #ea4 ,reproduced by ,ganz1 ,handzeichnungen ,schweizerischer ,meister1 iii4 #h2 ,knackfuss1 fig4 #ff4 ,footnote #aji3 ,see ,appendix 7,a74 ,footnote #aaj3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #h4 ,footnote #aaa3 ,woltmann1 ,woodcuts1 #aic4 ,reproduced by ,knackfuss1 fig4 #fg4 ,footnote #aab3 ,woltmann1 #bcd4 ,reproduced by ,davies1 p4 #ahf2 ,a4 ,f4 ,butsch1 ,die ,bcher-,ornamentik der ,renaissance1 #ahgh1 ,pl4 #da2 ,wornum1 dedication page4 ,footnote #aac3 ,woltmann1 #aaa4 ,footnote #aad3 ,this inscription1 however1 is now regarded as a rather doubtful one1 and it is possible that the book was never permanently in the possession of ,erasmus4 ,see ,hes1 ,ambrosius ,holbein1 pp4 #hc-id1 where the history of the book and the various theories as to its ownership and the authorship of the drawings are very fully discussed4 ,footnote #aae3 ,see ,ganz1 ,hdz4 ,schweiz4 ,mstr41 note to i4 #eb4 ,footnote #aaf3 ,dr4 ,hes subjects the drawings to careful analysis1 and gives a complete list1 together with the suggested authorship of each of them1 in ,ambrosius ,holbein1 pp4 #ij-id and #afa-aff4 ,footnote #aag3 ,twelve of them reproduced by ,ganz1 ,hdz4 ,schweiz4 ,mstr41 i4 #eb2 the whole set by ,mantz1 but so badly engraved that they are of little service for purposes of comparison2 the whole of the drawings now attributed to ,ambrosius by ,hes1 ,pls4 xvi4-xx41 and p4 #aci4 ,footnote #aah3 ,dr4 ,hes points out the similarity of this figure to that of the schoolmistress in the 8,schoolmaster's ,signboard10 and considers that ,ambrosius had a share in the painting of the latter4 ,see ,ambrosius ,holbein1 p4 #ic4 ,footnote #aai3 ,by ,ambrosius ,holbein4 ,footnote #abj3 ,the name1 however1 was not written by ,erasmus1 but is a later addition4 ,footnote #aba3 ,woltmann1 under ,h4 ,h4 the ,elder1 #ahb4 ,reproduced by ,knackfuss1 fig4 #f2 ,ganz1 ,holbein 7,k4 der ,k471 p4 #bjc2 ,hes1 ,pl4 xxxiv4 ,footnote #abb3 ,dr4 ,hes regards this portrait as the work of ,herbster himself4 ,see ,ambrosius ,holbein1 p4 #ade4 ,footnote #abc3 ,woltmann1 under ,h4 ,h4 the ,elder1 #ajf1 but he afterwards attributed it to the younger ,hans4 ,reproduced by ,ganz1 ,handzeichnungen ,schweizerischer ,meister1 c41 ii4 #b2 ,hes1 ,pl4 xxiv4 ,footnote #abd3 ,woltmann1 #e1 #f4 ,reproduced by ,knackfuss1 figs4 #aj1 #aa2 ,ganz1 ,holbein 7,k4 der ,k471 pp4 #aj1 #aa4 ,footnote #abe3 ,woltmann1 #aa4 ,reproduced by ,davies1 pp4 #dd1 #df2 ,knackfuss1 figs4 #ad1 #ae2 ,ganz1 ,holbein1 pp4 #ab1 #ac4 ,footnote #abf3 ,on the back of the portrait of ,meyer1 ,holbein painted1 four years later1 the sitter's coat of arms1 surmounted by a scroll inscribed 8,i4,m4 #aebj40 7,reproduced by ,ganz1 ,holbein1 p4 #cj47 ,there is a good old copy of the wife's portrait in the collection of ,mr4 ,ralph ,brocklebank1 ,haughton ,hall1 ,tarporley1 which was previously in the ,william ,graham collection2 and a copy of both portraits in the ,basel ,gallery1 ,no4 #cej1 from the ,faesch collection4 ,footnote #abg3 ,according to ,stdtner1 these portraits show the influence of ,burgkmair4 ,footnote #abh3 ,woltmann1 #cc1 #cd4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #ah and iii4 #g1 and the 8,meyer0 in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #b2 the 8,dorothea0 by ,davies1 p4 #df2 both by ,knackfuss1 figs4 #ab1 #ac4 ,footnote #abi3 8--ogen schwarz--baret rot mosfarb--brauenn gelber dan das har--grusen wit brauenn40 ,footnote #acj3 ,woltmann1 #i4 ,reproduced by ,knackfuss1 fig4 #af2 ,ganz1 ,holbein 7,k4 der ,k47 p4 #ad4 ,footnote #aca3 ,ganz1 ,holbein 7,k4 der ,k471 p4 #bcc4 ,footnote #acb3 ,reproduced by ,law1 ,royal ,gallery of ,hampton ,court1 p4 #aed4 ,footnote #acc3 ,this theory is held by ,herr ,th4 von ,liebenau4 ,see his ,h4 ,h4 des ,jng4 ,fresken am ,hertensteinhause zu ,luzern1 c41 #ahhh4 ,footnote #acd3 ,woltmann1 #af4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #eb2 ,hes1 ,pl4 xxx4 ,footnote #ace3 ,e4 ,his1 8,die ,baseler ,archive ber ,h4 ,h410 in ,zahn's ,jahrbuch1 #ahgj1 p4 #aac4 ,woltmann1 i4 p4 #ace2 ,hes1 p4 #af4 ,footnote #acf3 ,woltmann1 #e4 ,reproduced by ,hes1 ,pl4 xxxvi4 ,footnote #acg3 ,woltmann1 ,woodcuts1 #ah-ba4 ,see ,hes1 p4 #bc1 who reproduces all four woodcuts1 ,pls4 xiv4-xv4 ,footnote #ach3 ,woltmann1 #b1 #c4 ,no4 #bid reproduced in the ,basel ,catalogue1 #aijh1 and both by ,hes1 ,pl4 xxxi41 xxxii4 ,footnote #aci3 ,woltmann1 #bd4 ,reproduced by ,hes1 ,pl4 xxix4 ,footnote #adj3 ,reproduced by ,hes1 ,pl4 xxviii4 ,footnote #ada3 ,woltmann1 #bc4 ,see ,hes1 pp4 #abd-f4 ,reproduced by him1 ,pl4 xxxiii4 ,footnote #adb3 ,woltmann1 #a4 ,reproduced by ,hes1 ,pl4 xxiii4 ,footnote #adc3 ,woltmann1 #d4 ,footnote #add3 ,woltmann1 under ,hans the ,younger1 #bjc4 ,reproduced by ,hes1 ,pl4 xxxvii42 ,ganz1 ,holbein1 p4 #bjd4 ,footnote #ade3 ,see ,hes1 pp4 #add-f4 ,footnote #adf3 ,woltmann1 #f4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #f2 ,hes1 ,pl4 xxvi4 ,footnote #adg3 ,woltmann1 #g4 ,reproduced by ,hes1 ,pl4 xxvii4 ,footnote #adh3 ,woltmann1 #h4 ,reproduced by ,ganz1 ,holbein1 p4 xvi42 ,hes1 ,pl4 xxv4 ,footnote #adi3 ,woltmann1 #aj4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #bb2 ,knackfuss1 fig4 #ci2 ,hes1 ,pl4 xxii4 ,footnote #aej3 ,woltmann1 #bb4 ,reproduced by ,hes1 ,pl4 xxxv4 ,footnote #aea3 ,this picture was included in the ,exposition de la ,toison d',or1 ,bruges1 #aijg1 ,no4 #acj4 ,footnote #aeb3 ,woltmann1 ,woodcuts1 #g4 ,reproduced by ,butsch1 ,die ,bcher-,ornamentik der ,renaissance1 ,pl4 #df2 ,hes1 ,pl4 x4 ,footnote #aec3 ,woltmann1 ,woodcuts1 #ag4 ,footnote #aed3 ,woltmann1 ,woodcuts1 #af4 ,footnote #aee3 ,see ,woltmann1 ii4 pp4 #bje-bad2 ,hes1 pp4 #bg-hj1 and ,pls4 vi4-xv42 also ,butsch4 ,footnote #aef3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #ci2 ,hes1 ,pl4 xxi4 ,footnote #aeg3 ,see ,hes1 p4 #adh4 ,reproduced by ,vasari ,society1 ,no4 #ag1 ,pt4 i41 #aije-f4 ,footnote #aeh3 ,woltmann1 #ajc4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #dj2 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #d2 and ,holbein1 p4 #aed4 ,footnote #aei3 ,woltmann1 #baf4 ,footnote #afj3 ,woltmann1 i4 p4 #adc4 ,reproduced by ,ganz1 ,holbein1 p4 #af4 ,footnote #afa3 ,woltmann1 #ec4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #c2 and in ,holbein1 p4 #aed2 the left-hand half by ,his1 ,dessins d',ornaments de ,hans ,holbein1 ,pl4 ii4 ,footnote #afb3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to ii4 #c4 ,footnote #afc3 ,for completer details1 see ,th4 von ,liebenau1 ,hans ,holbeins d4 ,j4 ,fresken am ,hertenstein ,hause in ,luzern1 #ahhh2 ,p4 ,ganz1 8,hans ,holbeins ,italienfahrt10 in ,sddeutsche ,monatshefte1 #aiji1 vol4 vi4 p #eif4 ,footnote #afd3 ,parthey1 #aedh4 ,woltmann1 ii4 p4 #aff1 who doubts that the original was by ,holbein4 ,footnote #afe3 ,eight of them reproduced by ,ganz1 together with a reconstruction of the faade by ,a4 ,landerer1 in ,holbein1 pp4 #aec-aeh4 ,footnote #aff3 ,reproduced in the ,bulletin of the ,metropolitan ,museum of ,new ,york1 vol4 i4 ,no4 #ab 7,nov4 #aijf72 ,burlington ,magazine1 ,oct4 #aijf1 p4 #ec2 ,ganz1 ,holbein1 p4 #ae4 ,footnote #afg3 ,woltmann1 #eh4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #da 7a74 ,footnote #afh3 ,see ,sddeutsche ,monatshefte1 #aiji1 p4 #eii4 ,footnote #afi3 ,see pp4 #adj-c1 #aej1 c4 ,footnote #agj3 ,woltmann1 #af4 ,reproduced by ,knackfuss1 fig4 #ai2 ,ganz1 ,holbein1 p4 #ee4 ,footnote #aga3 ,see p4 #dj4 ,footnote #agb3 ,according to ,dr4 ,ganz1 the architectural motives are derived from the loggia of the ,cathedral of ,como4 ,see ,holbein1 p4 #bcf4 ,footnote #agc3 ,see chapter vii4 ,footnote #agd3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 notes to ii4 #c1 #ea1 iii4 #i1 #ce2 ,holbein1 pp4 xvi4-xviii4 ,footnote #age3 ,woltmann1 #hc1 who calls the figure ,st4 ,pantalus4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ce4 ,footnote #agf3 ,for further proofs1 see ,appendix 7,b74 ,footnote #agg3 ,gauthiez1 ,holbein1 p4 #eb1 and the same writer's 8,holbein sur la route d',italie10 in ,gazette des ,beaux-,arts1 ,dec4 #ahig1 ,feb4 #ahih4 ,footnote #agh3 ,one is to be seen in the 8,fountain of ,youth0 decoration for the ,hertenstein house4 ,footnote #agi3 ,woltmann1 #bi4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #ec4 ,footnote #ahj3 ,woltmann1 #ajg4 ,reproduced by ,knackfuss1 fig4 #cd4 ,footnote #aha3 ,for two others1 see ,appendix 7,b74 ,footnote #ahb3 ,woltmann1 #ii4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #aj2 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #e2 ,knackfuss1 fig4 #bg4 ,footnote #ahc3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #aj4 ,footnote #ahd3 ,reproduced by ,his1 ,jahrbuch der ,kgl4 ,preussischen ,kunstsammlungen1 #ahid1 p4 #bjh4 ,footnote #ahe3 ,gauthiez1 p4 #ef4 ,footnote #ahf3 ,index ,operum ,holbenii1 appendix to ,mori ,encomium1 #afgf1 ,nos4 #dg-ea4 ,walpole1 ,anecdotes1 ed4 ,wornum1 p4 #gg4 ,footnote #ahg3 ,ganz1 ,holbein1 p4 #ahg1 and note upon it1 p4 #bdi1 from which this information is taken4 ,footnote #ahh3 ,reproduced in ,hdz4 ,schwz4 ,mstr41 iii4 #de1 with note by ,meyenburg4 ,footnote #ahi3 ,see ,ganz1 ,holbein1 p4 xviii4 ,footnote #aij3 ,woltmann1 i4 #ade4 ,footnote #aia3 ,reproduced by ,ganz1 ,holbein1 p4 xl4 ,footnote #aib3 ,woltmann1 i4 #ade4 ,footnote #aic3 ,woltmann1 i4 #ahc4 ,footnote #aid3 ,from ,pantaleon1 ,heldenbuch1 vol4 iii4 ,footnote #aie3 ,for an exhaustive account of the formation and history of the ,amerbach ,collection1 which contains transcripts from the earliest inventory1 prepared by ,basilius ,amerbach1 down to the one drawn up when the collection was taken over by the city1 see ,die ,entstehung des ,amerbach'schen ,kunstkabinets und die ,amerbach'schen ,inventare1 by ,dr4 ,ganz and ,dr4 ,emil ,major1 in the #eith annual report 7#aijg7 of the ,basel ,gallery4 ,footnote #aif3 ,woltmann1 #aj4 ,reproduced by ,davies1 p4 #fj2 ,knackfuss1 fig4 #bj2 ,ganz1 ,holbein1 p4 #bi4 ,footnote #aig3 ,wornum1 ,holbein1 p4 #aag4 ,footnote #aih3 ,see ,ganz1 ,holbein1 p4 xvi4 ,footnote #aii3 ,see ,ganz1 ,holbein1 p4 xix4 ,footnote #bjj3 ,see p4 #ach4 ,footnote #bja3 ,see ,appendix 7,e74 ,footnote #bjb3 ,ganz1 ,holbein1 pp4 #ahh-aia4 ,footnote #bjc3 ,woltmann1 #aee1 #aef4 ,reproduced by ,knackfuss1 figs4 #eh1 #ei2 ,ganz1 ,holbein1 pp4 #ef-ei4 ,footnote #bjd3 ,there is considerable likeness between this group of the ,infant ,christ and the boy angels surrounding him1 and the one in the beautiful 8,holy ,family0 by ,gaudenzio ,ferrari at ,dorchester ,house1 more particularly in the figure of the angel with small wings and close-fitting dress1 who1 in ,holbein's picture1 kneels in front of the ,child with his back to the spectator1 and in the other is shown in profile1 supporting him4 ,according to ,miss ,halsey 7,gaudenzio ,ferrari1 p4 #hf71 the ,dorchester ,house picture was 8probably painted about #aeba40 ,footnote #bje3 ,knackfuss1 p4 #hc4 ,footnote #bjf3 ,woltmann1 i4 #agh4 ,footnote #bjg3 ,woltmann1 i4 #agf4 ,wornum1 p4 #aab 7quoting from ,hegner1 ,hans ,holbein d4 ,j4 #ahbg1 and ,schreiber1 ,geschichte des ,mnsters zu ,freiburg1 c474 ,footnote #bjh3 ,woltmann1 #bj4 ,reproduced by ,knackfuss1 figs4 #ed1 #ee1 and #ef2 ,ganz1 ,holbein1 pp4 #df-ed2 ,mrs4 ,fortescue1 ,pl4 #i4 ,footnote #bji3 ,according to ,peter ,ochs1 it was painted for the ,council ,chamber of the ,basel ,town ,hall4 ,boissere 7#ahbi7 was of opinion that the damaged panel of 8,the ,last ,supper10 already described1 originally formed the central panel of this altar-piece4 ,footnote #baj3 ,sandrart1 ,teutsche ,akademie1 ii4 p4 #hb4 ,footnote #baa3 ,wornum1 pp4 #fh-ga4 ,footnote #bab3 ,that the restorer made changes1 more particularly in the colour1 can be seen from two old copies of the 8,betrayal0 and the 8,crucifixion0 subjects1 now in the depot of the ,basel ,gallery1 which indicate the picture's original state4 ,footnote #bac3 ,woltmann1 ,eng4 trans41 p4 #abh4 ,footnote #bad3 ,see ,ethel ,halsey1 ,gaudenzio ,ferrari1 pp4 #eh1 #fi1 c42 ,ganz1 ,holbein1 p4 xxii41 c4 ,the technique1 also1 closely resembles that of the ,milanese school1 differing considerably from ,holbein's earlier practice4 ,footnote #bae3 ,ganz1 ,holbein1 p4 #bce4 ,footnote #baf3 ,reproduced by ,ernest ,law1 ,holbein's ,pictures at ,windsor ,castle1 ,pl4 x42 ,davies1 p4 #ih2 ,knackfuss1 fig4 #eg2 ,ganz1 ,holbein1 p4 #hj4 ,footnote #bag3 ,knackfuss1 p4 #ha4 ,footnote #bah3 ,davies1 p4 #ih4 ,footnote #bai3 ,holbein's ,pictures at ,windsor ,castle1 p4 #cb4 ,footnote #bbj3 ,woltmann1 #ai4 ,reproduced by ,davies1 p4 #gf2 ,knackfuss1 figs4 #fj1 #fa2 ,ganz1 ,holbein1 p4 #de4 ,footnote #bba3 ,see ,ganz1 ,holbein1 p4 #bce4 ,footnote #bbb3 ,jahrbuch der preuss4 ,kunsts41 #aijg1 vol4 #bh4 ,footnote #bbc3 ,woltmann1 #fb4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #ea2 ,knackfuss1 fig4 #fe4 ,footnote #bbd3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to ii4 #ea4 ,a photograph of the sculptures on this doorway is reproduced by ,dr4 ,ganz in his ,holbein1 p4 xix4 ,footnote #bbe3 ,woltmann1 #eb4 ,reproduced by ,davies1 p4 #bbd2 ,knackfuss1 fig4 #fd4 ,footnote #bbf3 ,woltmann1 #agb4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #f4 ,footnote #bbg3 ,see also ,appendix 7,c74 ,footnote #bbh3 ,woltmann1 #ad4 ,reproduced by ,davies1 p4 vii42 ,knackfuss1 figs4 #de and #df2 ,ganz1 ,holbein1 pp4 #cb1 #cc4 ,footnote #bbi3 ,woltmann1 vol4 i4 p4 #agd4 ,footnote #bcj3 ,woltmann1 #bdg4 ,reproduced by ,davies1 p4 #hj2 ,knackfuss1 fig4 #dg2 ,ganz1 ,holbein1 p4 #cf4 ,footnote #bca3 ,or1 according to some writers1 ,st4 ,martin of ,tours4 ,footnote #bcb3 ,holbein1 p4 #bcd4 ,footnote #bcc3 ,see ,ethel ,halsey1 ,gaudenzio ,ferrari1 p4 #db1 and ,ganz1 ,holbein1 p4 #bcd4 ,footnote #bcd3 ,first deciphered by ,herr ,f4 ,a4 ,zetter-,collin4 ,the carpet itself recalls more than one very similar carpet in ,ferrari's pictures1 though the latter are much finer in design2 in a 8,madonna and ,child0 belonging to ,sig4 ,vittadini at ,arcorre1 for instance1 or the 8,christ before ,herod0 in the ,varallo frescoes4 ,footnote #bce3 ,see note to ,no4 #ia in ,basel ,catalogue1 #aijh4 ,footnote #bcf3 8,ein nackend kindlin sitzt vf einer schlangen kompt von ,holbeins gemeld durch ,h4 ,bocken vf holtz mit olfarben mehrteil nachgemolt40 ,footnote #bcg3 ,woltmann1 ,no4 #agc4 ,eng4 by ,j4 ,c4 ,loedel for ,weigel's ,hdz4 berhmter ,meister4 ,footnote #bch3 ,woltmann1 vol4 i4 p4 #ahc4 ,footnote #bci3 ,woltmann1 #afa4 ,reproduced by ,sir ,claude ,phillips1 ,the ,picture ,gallery of ,charles ,i1 ,portfolio monograph1 #ahif1 p4 #fc2 ,ganz1 ,holbein1 p4 #fj4 ,footnote #bdj3 ,see ,ganz1 ,holbein1 p4 #bcg4 ,footnote #bda3 ,t4 de ,wyzewa1 in a review of ,dr4 ,ganz' book1 8 propos d'un ,livre nouveau sur ,holbein le ,jeune10 in ,revue des ,deux ,mondes1 ,january #ae1 #aiab4 ,footnote #bdb3 ,woltmann1 #bcd4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ad2 ,mantz1 p4 #de4 ,footnote #bdc3 ,in a woodcut by ,lucas ,cranach1 representing ,sibylla of ,cleves1 the same motto is shown embroidered in pearls on her cap and collar4 ,see ,campbell ,dodgson1 ,catalogue of ,early ,german and ,flemish ,woodcuts1 c4 in the ,british ,museum1 ii41 p4 #cbj4 ,footnote #bdd3 ,davies1 p4 #hc4 ,footnote #bde3 ,mrs4 ,fortescue1 ,holbein1 p4 #if4 ,footnote #bdf3 ,amiet1 ,hans ,holbeins ,madonna von ,solothurn1 c41 #ahgi4 ,footnote #bdg3 ,see ,f4 ,a4 ,zetter-,collin1 8,die ,zetter'sche ,madonna von ,solothurn10 in ,festschrift des ,kunst-,vereins der ,stadt ,solothurn1 #aijb2 and ,zeitschrift fr die ,geschichte des ,oberrheins1 ,new ,series1 vol4 xi4 p4 #ddb4 ,footnote #bdh3 ,woltmann1 ,holzschnittwerk ,h4 ,h41 #bag and #bah4 ,reproduced by ,knackfuss1 fig4 #dj4 ,footnote #bdi3 ,see ,woltmann1 vol4 i4 p4 #aii4 ,footnote #bej3 ,woltmann1 #afi4 ,reproduced by ,knackfuss1 fig4 #dh2 ,ganz1 ,holbein1 p4 #ce2 ,woltmann 7woodcut by ,knaus71 vol4 i4 p4 #agi4 ,footnote #bea3 ,woltmann1 #agj4 ,reproduced by ,knackfuss1 fig4 #di2 ,ganz1 ,holbein1 p4 #cd4 ,footnote #beb3 ,see page #gi4 ,footnote #bec3 ,woltmann1 p4 #agi4 ,footnote #bed3 ,davies1 p4 #ii4 ,footnote #bee3 ,woltmann1 #d4 ,reproduced by ,ganz1 ,holbein1 pp4 #fa-fd4 ,footnote #bef3 ,quoted by ,woltmann1 vol4 i41 p4 #age4 ,footnote #beg3 ,reproduced by ,ganz1 ,holbein1 p4 xxvii4 ,footnote #beh3 ,see ,ganz1 ,holbein1 p4 #bcg4 ,footnote #bei3 ,woltmann1 #ih4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii41 #ai1 #bj2 ,davies1 p4 #gd2 ,knackfuss1 figs4 #fb1 #fc2 ,his1 ,desseins1 c41 viii41 ix4 ,footnote #bfj3 ,see pp4 #aeg-i4 ,footnote #bfa3 ,see ,ganz1 ,holbein1 pp4 #bdf-g4 ,footnote #bfb3 ,theodori ,zwingeri methodus apodemica1 #aegg1 p4 #aii--quoted by ,woltmann1 i4 #adi4 ,footnote #bfc3 ,woltmann1 #aah4 ,reproduced by ,davies1 p4 #ed2 ,his1 ,pl4 xxiv42 ,ganz1 ,holbein1 p4 #afj4 ,footnote #bfd3 ,woltmann1 #id4 ,reproduced by him 7woodcut71 i4 #aea4 ,footnote #bfe3 ,reproduced by ,ganz1 ,holbein1 p4 #afb4 ,footnote #bff3 ,reproduced by ,ganz1 ,holbein1 p4 #afa4 ,footnote #bfg3 ,reproduced by ,ganz1 ,holbein1 p4 #aei4 ,footnote #bfh3 ,woltmann1 #dh4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #aj2 ,knackfuss1 fig4 #da4 ,footnote #bfi3 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 p4 #bf4 ,footnote #bgj3 ,woltmann1 #ci4 ,reproduced by ,his1 ,pl4 xxii4 7i474 ,footnote #bga3 ,see pp4 #fh-i4 ,footnote #bgb3 ,woltmann1 #bce1 who regarded it as a genuine example of ,holbein's earlier ,basel period4 ,reproduced by ,his1 ,pls4 xviii4-xx4 ,footnote #bgc3 ,woltmann1 i4 #adh-i4 ,footnote #bgd3 ,woltmann1 i4 #aec-d4 ,footnote #bge3 ,see ,ganz1 ,holbein1 p4 #bdg4 ,footnote #bgf3 ,quoted by ,woltmann1 i4 #aeb4 ,footnote #bgg3 ,woltmann1 i4 #aei 7note71 and ,eng4 trans41 p4 #agc4 ,footnote #bgh3 ,basilea ,sepulta1 p4 #chb4 ,footnote #bgi3 ,geschichte der ,stadt und ,landschaft ,basel1 #aghf-ahbb1 vol4 v4 pp4 #cid-djj4 ,footnote #bhj3 ,reproduced by ,ganz1 ,holbein1 p4 #afe4 ,footnote #bha3 ,reproduced by ,ganz1 ,holbein1 p4 #afd4 ,footnote #bhb3 ,the head of ,charondas was introduced into a glass painting by ,h4 ,j4 ,plepp in #aeha4 ,see ,ganz1 ,holbein1 p4 #bdg4 ,a badly over-painted fragment with the head from the wall itself is preserved in the ,basel ,gallery4 ,footnote #bhc3 ,reproduced by ,ganz1 ,holbein1 p4 #afg4 ,footnote #bhd3 ,reproduced by ,ganz1 ,holbein1 p4 #aff4 ,footnote #bhe3 ,ganz1 ,holbein1 p4 #bdg4 ,footnote #bhf3 ,reproduced by ,ganz1 ,holbein1 p4 #afh4 ,footnote #bhg3 ,reproduced by ,ganz1 ,holbein1 p4 #ca4 ,footnote #bhh3 ,woltmann1 i4 p4 #aeg4 ,footnote #bhi3 ,woltmann1 #dg4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #ac1 and also in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 xi41 and ,holbein4 #afc4 ,footnote #bij3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to i4 #ac4 ,footnote #bia3 ,see ,ganz1 ,holbein1 p4 #bdg4 ,footnote #bib3 ,reproduced by ,ganz1 ,holbein1 p4 #aga4 ,footnote #bic3 ,reproduced by ,ganz1 ,holbein1 p4 #aga4 ,footnote #bid3 ,reproduced by ,ganz1 ,holbein1 p4 #afi4 ,footnote #bie3 ,reproduced by ,ganz1 ,holbein1 p4 #agj4 ,footnote #bif3 ,reproduced by ,ganz1 ,holbein1 p4 #agj4 ,footnote #big3 ,see pp4 #cdg-ej4 ,footnote #bih3 ,see ,woltmann1 i4 p4 #aeh 7note72 ,eng4 trans41 p4 #agb 7note74 ,footnote #bii3 8,vnnd dwyl die hindere wand noch nit gmacht vnnd gemolet ist1 vnnd er vermeint an dysem das gelt verdient habenn1 sol man dieselbig hindere want bis vff wytherenn bescheit lossenn an ston40--,der ,dreyer ,herren ,gedenkbchlein4 7,woltmann1 i4 #aei47 ,footnote #cjj3 ,see pp4 #gh-i1 and ,appendix 7,b74 ,footnote #cja3 ,woltmann1 #hb-hi4 ,footnote #cjb3 ,reproduced by ,knackfuss1 fig4 #bb2 ,his1 ,pl4 xvii4 ,footnote #cjc3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ce2 ,his1 ,pl4 xvi4 ,footnote #cjd3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #ce4 ,footnote #cje3 ,reproduced by ,knackfuss1 figs4 #bc1 #bd4 ,footnote #cjf3 ,reproduced by ,knackfuss1 fig4 #be4 ,footnote #cjg3 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #h4 ,footnote #cjh3 ,woltmann1 #aja4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #bd4 ,footnote #cji3 ,woltmann1 #ic4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #i2 ,his1 ,pl4 iii4 ,footnote #caj3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #i4 ,footnote #caa3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #di4 ,footnote #cab3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to ii4 #di4 ,footnote #cac3 ,see also ,appendix 7,b74 ,footnote #cad3 ,woltmann1 #ib4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #cf2 ,knackfuss1 fig4 #cg2 ,his1 ,pl4 i4 ,footnote #cae3 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #g4 ,footnote #caf3 ,woltmann1 #aai4 ,reproduced by ,knackfuss1 fig4 #cf 7in colours72 ,his1 ,pl4 xv4 ,footnote #cag3 ,woltmann1 #if4 ,reproduced by ,knackfuss1 fig4 #ce4 ,footnote #cah3 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #g4 ,footnote #cai3 ,appendix 7,b74 ,footnote #cbj3 ,woltmann1 #aba4 ,footnote #cba3 ,woltmann1 #di4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #bd4 ,footnote #cbb3 ,hdz4 ,schwz4 ,mstr41 note to iii4 #bd4 ,footnote #cbc3 ,see ,appendix 7,d74 ,footnote #cbd3 ,reproduced by ,ganz1 ,holbein1 p4 xxi4 ,footnote #cbe3 ,woltmann1 #aab4 ,reproduced by ,his1 ,pl4 v42 ,ganz1 ,holbein1 p4 #cj4 ,footnote #cbf3 ,woltmann1 #ajb4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ch2 ,his1 ,pl4 iv4 ,footnote #cbg3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #ch4 ,footnote #cbh3 ,british ,museum1 #ac1 ,binyon ,catg41 ii4 p4 #cbi4 ,woltmann1 #bji4 ,footnote #cbi3 ,woltmann1 #ie4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ec 7see note to the plate by ,meyenburg74 ,footnote #ccj3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ed1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ac4 ,see his notes to both plates4 ,footnote #cca3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #ed4 ,footnote #ccb3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #ed4 ,footnote #ccc3 ,woltmann1 #ij4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #ce2 ,his1 ,pl4 vii4 ,footnote #ccd3 ,woltmann1 #ia4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #db1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ae2 ,knackfuss1 fig4 #bf2 ,his1 ,pl4 vi4 ,footnote #cce3 ,woltmann1 #ff4 ,reproduced by ,knackfuss1 fig4 #bh2 ,mantz1 p4 #dd 7,no4 #a74 ,footnote #ccf3 ,woltmann1 #fg4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #bb2 ,davies1 p4 #gb2 ,knackfuss fig4 #bi2 ,mantz1 p4 #dd 7,no4 #b74 ,footnote #ccg3 ,woltmann1 #fh4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ci2 ,knackfuss1 fig4 #cj2 ,mantz1 p4 #dd 7,no4 #c74 ,footnote #cch3 ,see ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #ci4 ,footnote #cci3 ,woltmann1 #fi4 ,reproduced by ,his1 ,pl4 x42 ,mantz1 p4 #dd 7,no4 #d74 ,footnote #cdj3 ,woltmann1 #gj4 ,reproduced by ,knackfuss1 fig4 #ca2 ,his1 ,pl4 xi42 ,woltmann1 i4 p4 #agc2 ,mantz1 p4 #dd 7,no4 #e74 ,footnote #cda3 ,woltmann1 #ga4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ag2 ,his1 ,pl4 xii41 ,mantz1 p4 #dd 7,no4 #f74 ,footnote #cdb3 ,see ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 p4 #cf4 ,footnote #cdc3 ,woltmann1 #gb4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #ej2 ,knackfuss1 fig4 #cb2 ,his1 ,pl4 xiii42 ,mantz1 p4 #dd 7,no4 #g74 ,footnote #cdd3 ,woltmann1 #gc4 ,reproduced by ,mantz1 p4 #dd 7,no4 #h74 ,footnote #cde3 ,woltmann1 #gd4 ,reproduced by ,davies1 p4 #fh2 ,his1 ,pl4 xiv42 ,mantz1 p4 #dd 7,no4 #i74 ,footnote #cdf3 ,woltmann1 #ge4 ,reproduced by ,davies1 p4 #gj2 ,knackfuss1 fig4 #cc2 ,woltmann1 i4 p4 #agd2 ,mantz1 p4 #dd 7,no4 #aj74 ,footnote #cdg3 ,woltmann1 #agg-ahc2 ,british ,museum1 #a-g1 ,binyon ,catg41 ii4 pp4 #cbg-h4 ,see ,appendix 7,d74 ,footnote #cdh3 ,woltmann #gf-ha4 ,all six reproduced by ,mantz1 eng4 by ,edouard ,livre1 p4 #abh4 ,footnote #cdi3 ,woltmann1 #gf4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #aa1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #c2 ,knackfuss1 fig4 #db4 ,footnote #cej3 ,woltmann1 #hj4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #cg2 ,davies1 p4 #acf2 ,knackfuss1 fig4 #dd4 ,footnote #cea3 ,woltmann1 #gh4 ,also wearing a gauze cap4 ,footnote #ceb3 ,woltmann1 #gg4 ,reproduced by ,knackfuss1 fig4 #dc4 ,footnote #cec3 ,woltmann1 #gi4 ,footnote #ced3 ,see pp4 #bde-f4 ,footnote #cee3 ,ganz1 ,hdz4 ,schwz4 ,mstr41 note to iii4 #aa4 ,footnote #cef3 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #bf2 and see his note1 p4 #dd4 ,footnote #ceg3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ee1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ab4 ,footnote #ceh3 ,woltmann1 #ajd4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #cf1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #bh2 ,knackfuss1 fig4 #fh4 ,footnote #cei3 ,and the ,lachner glass design4 ,see ,appendix 7,b74 ,footnote #cfj3 ,woltmann1 #fc4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #aj2 ,knackfuss1 fig4 #fi4 ,footnote #cfa3 ,this drawing is only the central part of the design1 the left-hand half being in the ,albertina1 ,vienna 7,woltmann1 #bei74 ,for the drawing at ,frankfurt of the transport ship with landsknechte1 see ,vol4 ii4 p4 #bfd4 ,footnote #cfb3 ,woltmann1 #aje4 ,reproduced by ,knackfuss1 fig4 #ag4 ,footnote #cfc3 ,woltmann1 #ajf4 ,reproduced by ,knackfuss1 fig4 #ah4 ,footnote #cfd3 gidius was thirty-one when the portrait was painted1 and had been appointed town-clerk seven years previously4 ,footnote #cfe3 ,archologia1 xliv4 pp4 #dce et seq4 ,footnote #cff3 ,reproduced by ,sir ,claude ,phillips1 ,art ,journal1 #ahig1 p4 #aja2 ,arundel ,club1 #aije2 ,catalogue of the ,pictures in the ,earl of ,radnor's ,collection1 #aiji1 vol4 i4 ,no4 #hj2 ,a4 ,machiels1 ,gaz4 des ,beaux-,arts1 ,nov4 #aiaa1 heliotype4 ,footnote #cfg3 ,inscribed 8,viro ,literatissimo ,petro ,egidio ,amico ,charissimo ,antuerpi40 ,footnote #cfh3 ,eng4 by ,f4 ,leuwers1 #ahgc4 ,for a description and history of the two pictures1 see ,h4 ,barclay ,squire1 in ,lord ,radnor's ,catalogue1 note to ,no4 #hj1 vol4 i4 pp4 #dd1 #de4 ,footnote #cfi3 ,law1 ,royal ,gallery of ,hampton ,court1 #ahih1 p4 #bae4 ,footnote #cgj3 ,a poor reproduction of this portrait--which ,wornum 7p4 #adc7 regarded as a fine1 genuine work by ,holbein1 but in some of its details recalling ,metsys--accompanies ,m4 ,henri ,hymans' article 8,quentin ,metsys et son ,portrait d',erasme10 in the ,bulletin des ,commissions ,royales d',art et d',archologie1 #ahhb2 reproduced also by ,j4 ,r4 ,haarhaus1 8,bildnisse des ,erasmus10 ,zeits4 fr bild4 ,kunst1 ,nov4 #ahih4 ,footnote #cga3 ,see ,andr ,machiels1 8,les ,portraits d',erasme10 ,gazette des ,beaux-,arts1 ,november #aiaa1 pp4 #cdi-fa1 who reproduces the ,rome portrait2 also ,w4 ,barclay ,squire1 ,lord ,radnor's ,catalogue1 addit4 note to ,no4 #hj4 ,footnote #cgb3 ,one of these drawings is in the collection of ,m4 ,lon ,bonnat1 ,paris1 and is reproduced in the ,gaz4 des ,beaux-,arts1 #ahgi1 i4 p4 #bfi4 ,footnote #cgc3 ,reproduced by ,a4 ,machiels1 ,gaz4 des ,beaux-,arts1 ,nov4 #aiaa1 p4 #cee4 ,footnote #cgd3 ,see ,appendix 7,e74 ,footnote #cge3 ,according to ,walpole1 ,anecdotes1 ed4 ,wornum1 #ahhh1 i4 p4 #cdd1 the pictures were 8altered0 by ,von ,steenwyck for ,king ,charles4 ,footnote #cgf3 ,wornum1 p4 #adj4 ,footnote #cgg3 ,law1 ,holbein's ,pictures at ,windsor ,castle1 #aija1 p4 #bh4 ,footnote #cgh3 ,reproduced by ,ganz1 ,holbein1 p4 #bjg4 ,footnote #cgi3 ,see ,appendix 7,e74 ,footnote #chj3 ,see ,a4 ,horawitz1 ,zeitschrift fr bildende ,kunst1 viii4 p4 #abh4 ,quoted by ,woltmann1 i4 p4 #bhf4 ,footnote #cha3 ,f4 ,m4 ,nichols1 ,proceedings of the ,society of ,antiquaries1 second series1 xvii4 ,no4 ,i41 pp4 #acb-ade4 ,footnote #chb3 ,woltmann1 #bad4 ,reproduced by ,davies1 frontispiece2 ,sir ,claude ,phillips1 ,art ,journal1 #ahig1 p4 #ajb2 ,earl of ,radnor's ,catalogue1 ,no4 #ha2 ,ganz1 ,holbein1 p4 #cg2 ,machiels1 ,gaz4 des ,beaux-,arts1 ,nov4 #aiaa1 p4 #ceg4 ,exhibited ,royal ,academy ,winter ,exhib41 #ahgc1 ,no4 #agh4 ,footnote #chc3 ,in ,jahrbcher des ,vereins von ,alterthumsfreunden im ,rheinlande1 #ahfh1 p4 #bfi1 quoted by ,woltmann1 i4 p4 #bhh4 ,for other readings by ,grimm1 c41 see ,w4 ,barclay ,squire in ,lord ,radnor's ,catalogue1 note to #ha4 ,footnote #chd3 ,see ,sir ,claude ,phillips1 ,art ,journal1 #ahig1 p4 #ajc4 ,also ,waagen1 ,galleries and ,cabinets1 #aheg1 p4 #cef1 who says that it is 8alone worth a pilgrimage to ,longford ,castle40 ,footnote #che3 ,woltmann1 #bcb4 ,reproduced by ,davies1 p4 #aaj2 ,ganz1 ,holbein1 p4 xxiii4 ,footnote #chf3 ,woltmann1 #bca4 ,reproduced by ,davies1 p4 #aaj2 ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #af4 ,footnote #chg3 ,it is possibly the portrait noted by ,evelyn in his ,diary1 ,august #aj1 #afee--8;,i went to ,alburie to visit ,mr4 ,howard4444 ,he shew'd me many rare pictures1 particularly 444 ,erasmus as big as the life1 by ,holbein40 ,this could hardly refer to the small ,greystoke portrait4 ,footnote #chh3 ,reproduced by ,ganz1 ,holbein1 p4 #bjf4 ,mr4 ,barclay ,squire notes copies of ,mr4 ,gay's version in the ,bodleian ,library1 ,oxford1 presented by ,sir ,james ,thornhill in #agbh1 and one in ,archbishop ,tenison's ,school1 ,leicester ,square 7note to ,no4 #ha1 ,lord ,radnor's ,catalogue74 ,footnote #chi3 ,see ,colvin1 ,burlington ,magazine1 vol4 xvi4 ,nov4 #aiji1 p4 #ga4 ,footnote #cij3 ,woltmann1 #bbd4 ,reproduced by ,davies1 p4 #ajh2 ,knackfuss1 fig4 #eb2 ,sir ,c4 ,phillips1 8,picture ,gallery of ,charles ,i10 ,portfolio ,monograph1 #ahif1 p4 #bc2 ,ganz1 ,holbein1 p4 #ci4 ,footnote #cia3 ,the study for this hand1 in the ,louvre1 has aleady been mentioned 7see ,pl4 #ee74 ,footnote #cib3 ,reproduced by ,cust1 ,royal ,collection of ,paintings1 ,windsor ,castle1 ,pl4 #dg4 ,footnote #cic3 ,or perhaps the small roundel at ,basel mentioned below4 ,footnote #cid3 ,vol4 xxix41 #ahhd1 p4 #dbc4 ,footnote #cie3 ,woltmann1 #ab4 ,reproduced by ,woltmann1 vol4 i4 p4 #cae1 fig4 #eg2 ,ganz1 ,holbein1 p4 #ch4 ,footnote #cif3 ,woltmann1 ii4 p4 #ii4 ,footnote #cig3 ,woltmann1 i4 p4 #bij4 ,footnote #cih3 ,ganz1 ,holbein1 p4 xxvi4 ,footnote #cii3 ,see ,ganz1 ,holbein1 pp4 xxv4-vi4 ,footnote #djj3 ,see ,appendix 7,f74 ,footnote #dja3 ,he may have gone1 of course1 as ,ltzelburger's representative4 ,footnote #djb3 ,woltmann1 #dd and #de4 ,footnote #djc3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr4 iii4 #be2 ,knackfuss1 fig4 #ec4 ,footnote #djd3 ,see ,chapter xxi41 ,vol4 ii4 p4 #ach et seq4 ,footnote #dje3 ,see ,vol4 ii4 p4 #afb4 ,footnote #djf3 ,reproduced in the ,burlington ,magazine1 vol4 xvi41 ,november #aiji1 frontispiece2 ,ganz1 ,holbein1 p4 #ia4 ,footnote #djg3 ,burlington ,magazine1 vol4 xvi41 ,november #aiji1 pp4 #fg-ga4 ,footnote #djh3 ,only one of these has ,holbein's name attached to it in the ,arundel inventory of #afee4 ,the two are entered as 8,erasmo di ,holbein0 and 8,ritratto d',erasmo ,roterodamo40 ,see above1 p4 #aga1 note #d4 ,footnote #dji3 ,reproduced in ,burlington ,magazine1 vol4 xvi41 ,november #aiji4 ,footnote #daj3 ,woltmann1 #bdj4 ,reproduced by ,ganz1 ,holbein1 p4 #hf4 ,footnote #daa3 ,the much inferior version in the ,besanon ,museum 7reproduced by ,ganz1 ,holbein1 p4 #bae7 is an almost exact replica of the ,parma picture4 ,footnote #dab3 ,see ,m4 ,curtze1 ,beiblatt der ,zeitschrift fr bildende ,kunst1 #ahgd1 ix4 #ecg ff42 ,woltmann1 vol4 ii4 p4 #ae2 and ,colvin1 ,burlington ,magazine1 vol4 xvi4 p4 #fh4 ,footnote #dac3 ,woltmann1 #ac4 ,reproduced by ,davies1 p4 #aab2 ,knackfuss1 fig4 #aad2 ,ganz1 ,holbein1 p4 #ij4 ,footnote #dad3 ,woltmann1 #bc4 ,footnote #dae3 ,reproduced by ,ganz1 ,holbein1 p4 #bad2 the hands and body follow the ,longford picture1 while the head is like the ,parma version4 ,footnote #daf3 ,woltmann1 #bej4 ,reproduced by ,andr ,machiels1 ,gaz4 des ,beaux-,arts1 ,november #aiaa1 p4 #cei1 who regards it as an original work by ,holbein4 ,footnote #dag3 ,woltmann1 #aga4 ,footnote #dah3 ,woltmann1 #bjg4 ,reproduced by ,knackfuss1 fig4 #ea4 ,footnote #dai3 ,woltmann1 #bjf4 ,reproduced by ,woltmann1 i4 #ceg1 fig4 #fc2 ,knackfuss1 fig4 #aab2 ,machiels1 ,gaz4 des ,beaux-,arts1 ,november #aiaa1 p4 #ceh2 and elsewhere4 ,footnote #dbj3 ,reproduced by ,law1 ,holbein's ,pictures in ,windsor ,castle1 viii4 p4 #bg1 and in ,royal ,gallery of ,hampton ,court1 p4 #bbj2 ,sir ,c4 ,phillips1 8,the ,picture ,gallery of ,charles ,i10 ,portfolio ,monograph1 #ahif1 p4 #aaa2 ,davies1 p4 #bh2 ,ganz1 ,holbein1 p4 #bjg4 ,footnote #dba3 ,reproduced by ,ganz1 ,holbein1 p4 #bjh4 ,footnote #dbb3 ,law1 ,holbein's ,pictures1 c41 p4 #bh4 ,footnote #dbc3 ,woltmann1 i4 p4 #bhi4 ,footnote #dbd3 ,knackfuss1 p4 #gh4 ,footnote #dbe3 ,woltmann1 #afd4 ,reproduced by ,knackfuss1 fig4 #aac2 ,ganz1 ,holbein1 p4 #ib4 ,footnote #dbf3 ,reproduced by ,ganz1 ,holbein1 p4 #ib4 ,footnote #dbg3 ,on this point see ,koegler1 ,jahrbuch d4 ,pr4 ,k4-,s41 #aiaa1 and ,ganz1 ,holbein1 p4 #bci4 ,footnote #dbh3 ,woltmann1 ii4 p4 #cei4 ,footnote #dbi3 ,woltmann1 #dc4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ej 7in colours71 and ,holbein1 frontispiece2 ,davies1 p4 #ajj2 ,knackfuss1 fig4 #ba2 ,wornum1 frontispiece1 eng4 by ,c4 ,w4 ,sharpe4 ,footnote #dcj3 ,according to ,dr4 ,ganz1 ,holbein1 p4 #bcb1 this cutting-out was in all probability done in the eighteenth century1 when at the same time the hat and mantle were freshened with water-colours4 ,footnote #dca3 ,dr4 ,ganz points out 7,holbein1 p4 #bcb71 that it was not until after his journey into ,france1 in #aebc-d1 that he made use of coloured chalks in his drawings4 ,footnote #dcb3 ,another drawing of this period in the ,basel ,gallery1 the ,young ,man with the big hat1 is described in ,vol4 ii4 pp4 #bei-fj4 ,footnote #dcc3 ,including ,woltmann1 in the first edition of his book1 ,eng4 trans41 p4 #bje4 ,footnote #dcd3 ,the same initials occur on the title-page to ,hall's ,chronicle1 #aedh4 ,see ,vol4 ii4 p4 #gi4 ,footnote #dce3 ,woltmann1 ,eng4 trans41 p4 #bje4 ,footnote #dcf3 ,see ,campbell ,dodgson1 ,burlington ,magazine1 vol4 x41 ,feb4 #aijg1 pp4 #cai-bb2 also the same writer's ,catalogue of ,early ,german and ,flemish ,woodcuts in the ,british ,museum1 vol4 ii41 #aiaa1 p4 #bie1 c4 ,footnote #dcg3 ,see ,his1 8,hans ,ltzelburger10 c41 in ,gazette des ,beaux-,arts1 #b;e ,priode1 vol4 iv4 pp4 #dha-i 7,december #ahga74 ,footnote #dch3 ,mr4 ,frederic ,lees1 however1 mentions as clearly by ,holbein1 8a drawing for the celebrated ,dance of ,death series1 and the only one of the forty which now exists10 which is in the collection of ,m4 ,emile ,wauters in ,paris4--,the ,studio1 vol4 li4 ,no4 #bac1 p4 #bac 7,december #aiaj74 ,footnote #dci3 ,see pp4 #dd-e and ,pl4 #aa4 ,footnote #ddj3 ,woltmann1 #bbc4 ,reproduced by ,butsch1 ,die ,bcher-,ornamentik der ,renaissance1 ,pl4 #de2 and by ,mantz1 ,hans ,holbein1 p4 #bf4 ,footnote #dda3 ,calendars of ,letters and ,papers1 ,hen4 ,,viii1 vol4 ii4 pt4 i4 #bedj4 ,footnote #ddb3 ,woltmann1 ,a4 ,h41 #d4 ,reproduced by ,butsch1 ,pl4 #dc4 ,already used by ,froben in more than one book in the previous year 7#aeag74 ,footnote #ddc3 ,woltmann1 #bag1 #bah4 ,see p4 #aaa4 ,footnote #ddd3 ,woltmann1 #bbg4 ,reproduced by ,butsch1 ,pl4 #ed2 ,knackfuss1 fig4 #ej2 ,mantz1 p4 #dc4 ,footnote #dde3 ,woltmann1 #bae4 ,reproduced by ,butsch1 ,pl4 #eg4 ,footnote #ddf3 ,woltmann1 #baf4 ,footnote #ddg3 ,woltmann1 #ahd-g4 ,footnote #ddh3 ,woltmann1 #ahh-ia4 ,footnote #ddi3 ,woltmann1 #aib4 ,reproduced in ,holbein1 8,great ,engravers0 ,series 7,a4 ,m4 ,hind71 #aiab4 ,footnote #dej3 ,woltmann1 #bac4 ,footnote #dea3 ,woltmann1 #aej-gj4 ,footnote #deb3 ,see ,woltmann1 i4 #bah-bj4 ,footnote #dec3 ,woltmann1 #aga4 ,footnote #ded3 ,woltmann1 #bbf4 ,footnote #dee3 ,woltmann1 #bab4 ,footnote #def3 ,woltmann1 #aie1 #aif4 ,reproduced by ,woltmann1 i4 pp4 #bcg-ch4 ,footnote #deg3 ,woltmann1 #bca4 ,reproduced by ,butsch1 ,pl4 #fd2 ,woltmann1 i4 p4 #bjj4 ,footnote #deh3 ,woltmann1 #bcb4 ,reproduced by ,butsch1 ,pl4 #fd2 ,wornum1 p4 #ac1 c4 ,footnote #dei3 ,woltmann1 #bcc4 ,footnote #dfj3 ,woltmann1 #bec4 ,four of the letters reproduced by ,woltmann1 ,eng4 trans41 p4 #bah4 ,footnote #dfa3 ,woltmann1 #bed4 ,footnote #dfb3 ,woltmann1 #bee-i4 ,footnote #dfc3 ,woltmann1 #bea4 ,footnote #dfd3 ,woltmann1 #bff-h4 ,footnote #dfe3 ,woltmann1 #bch;a1 #bch;b4 ,footnote #dff3 ,woltmann1 #bci-da4 ,footnote #dfg3 ,woltmann1 #bdb1 #bdc4 ,footnote #dfh3 ,woltmann1 #bdd1 #bde4 ,footnote #dfi3 ,woltmann1 #bdf-h4 ,footnote #dgj3 ,woltmann1 #bdi4 ,a number of these marks reproduced by ,butsch1 ,pls4 #ej1 #ea4 ,footnote #dga3 ,see ,appendix 7,g74 ,footnote #dgb3 ,woltmann1 #bji4 ,footnote #dgc3 ,woltmann1 #bje4 ,footnote #dgd3 ,see ,vol4 ii4 pp4 #gf-i4 ,footnote #dge3 ,see ,woltmann1 i4 chap4 xi42 ,chatto1 ,treatise on ,wood ,engraving1 ed4 ,bohn1 chap4 vi42 ,douce1 ,dance of ,death1 #aheh1 pp4 #cj-cg4 ,footnote #dgf3 ,woltmann1 #ib-adi4 ,footnote #dgg3 ,see p4 #aij4 ,footnote #dgh3 ,chatto1 ,a ,treatise on ,wood ,engraving1 ed4 #ahfa1 pp4 #ccj-a4 ,footnote #dgi3 ,see ,woltmann1 i4 #bfi4 ,footnote #dhj3 ,see ,campbell ,dodgson1 ,catalogue of ,early ,german and ,flemish ,woodcuts1 c41 vol4 ii4 p4 #bjg4 ,the cut of 8,the ,duchess0 has the date #aedb1 and that of 8,the ,advocate0 the engraver's monogram1 ,,hve1 from which it appears that ,jost de ,negker did not cut the blocks himself1 but was only the publisher4 ,footnote #dha3 ,see introductory note by ,austin ,dobson to the edition published by ,george ,bell ,sons1 #ahih4 ,the whole set reproduced by ,mantz1 pp4 #hc-hg2 and by ,davies1 pp4 #aif-bjj1 from the proofs in the ,british ,museum2 and in ,heinemann's 8,great ,engravers0 ,series1 ,holbein1 ed4 ,a4 ,m4 ,hind1 #aiab1 which includes the cuts of the #aefb edition4 ,footnote #dhb3 ,chatto1 ,treatise1 c41 pp4 #cbd-e4 ,footnote #dhc3 ,chatto1 ,treatise1 c41 p4 #cfe2 ,woltmann1 i4 p4 #bdj2 ,wornum1 p4 #be4 ,footnote #dhd3 ,woltmann1 #beb4 ,the set reproduced by ,davies1 p4 #aid2 ,knackfuss1 fig4 #ga2 and elsewhere4 ,they are used as the initial letters in this book4 ,footnote #dhe3 ,woltmann1 #a-ia4 ,the whole series reproduced by ,mantz1 pp4 #ib-ajh2 and1 with the exception of seven1 by ,a4 ,m4 ,hind1 in ,holbein1 8,great ,engravers0 series1 #aiab2 thirteen by ,davies1 p4 #ahh4 ,footnote #dhf3 ,chatto1 ,treatise1 c41 p4 #cff4 ,footnote #dhg3 ,woltmann1 #ast ed41 ,eng4 trans41 p4 #bcc4 ,footnote #dhh3 ,a considerable number of the subjects appear to have been suggested to ,holbein by the small woodcuts in the ,malermi ,bible1 published in ,venice in #adij1 which1 in turn1 had been more or less adapted from the ,cologne ,bible of #adhj2 but the material so used by ,holbein was completely transformed by the magic of his pencil4 ,see ,a4 ,m4 ,hind1 ,holbein1 in 8,great ,engravers0 series1 p4 #aj4 ,footnote #dhi3 ,see pp4 #afj-a4 ,footnote #dij3 ,woltmann1 #bea4 ,footnote #dia3 ,woltmann1 i4 #caf4 ,footnote #dib3 ,woltmann1 #adc4 ,reproduced by ,knackfuss1 fig4 #hi2 ,ganz1 ,holbein1 p4 #fe2 and elsewhere4 ,footnote #dic3 ,dr4 ,ganz points out the resemblance between this picture and ,mantegna's 8,madonna of ,victory0 in the ,louvre4 ,in the latter the kneeling suppliants are also protected by the ,virgin's cloak1 and the movement of her hand1 outstretched in benediction over ,gonzaga's head1 is just the same as that of the ,infant ,christ in the ,meyer votive picture 7,holbein1 p4 xxviii474 ,footnote #did3 ,woltmann1 #dj-db4 ,footnote #die3 ,reproduced by ,davies1 p4 #ij2 ,knackfuss1 fig4 #hf4 ,footnote #dif3 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #ah 7in colour72 ,davies1 p4 #ib2 ,knackfuss1 fig4 #hg4 ,footnote #dig3 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #ef2 ,davies1 p4 #id2 ,knackfuss1 fig4 #hh4 ,footnote #dih3 ,reproduced by ,davies1 p4 #hh2 ,knackfuss1 fig4 #ij2 ,ganz1 ,holbein1 p4 #bji4 ,footnote #dii3 ,see ,wornum1 p4 #aff2 ,woltmann1 i4 pp4 #cjj-ad4 ,footnote #ejj3 ,december #ahga1 iv41 #bnd period1 pp4 #eaf-ai4 ,footnote #eja3 ,woltmann1 ii4 pp4 #di-ej4 ,see ,appendix 7,e74 ,footnote #ejb3 ,woltmann1 i4 p4 #bif4 ,footnote #ejc3 ,wornum1 p4 #aga4 ,footnote #ejd3 ,anzeiger fr ,schweiz4 ,altertumskunde1 ,n4 ,f4 xii4 #d4 ,sarburgh painted a portrait of ,remigius ,faesch4 ,see ,appendix 7,e74 ,footnote #eje3 ,sainsbury1 ,original unpublished ,papers1 illustrative of the ,life of ,p4 ,p4 ,rubens1 c41 #ahei1 ,appendix1 ,no4 liii4 p4 #bij4 ,quoted by ,wornum1 p4 #agj4 ,footnote #ejf3 ,woltmann1 i4 p4 #bih2 ii4 p4 #ef4 ,footnote #ejg3 ,the history of the ,dresden copy1 given below1 bears out this supposition4 ,footnote #ejh3 ,elsewhere he speaks of it as the sixth4 ,footnote #eji3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 i4 #ic4 ,footnote #eaj3 ,ruskin1 8,sir ,joshua and ,holbein10 ,cornhill ,magazine1 ,march #ahfj1 p4 #cbh2 reprinted in ,on the ,old ,road1 vol4 i4 pt4 i41 pp4 #bba-bcf4 ,footnote #eaa3 ,davies1 p4 #id-e4 ,footnote #eab3 ,see p4 #aeh4 ,footnote #eac3 ,she was1 however1 born in #aejh1 and so would be too young for the lady of these pictures4 ,footnote #ead3 ,woltmann1 #ag4 ,reproduced by ,knackfuss1 fig4 #ia2 ,ganz1 ,holbein1 p4 #dj4 ,footnote #eae3 ,woltmann1 #ah4 ,reproduced by ,davies1 p4 #ajb2 ,knackfuss1 fig4 #ib2 ,ganz1 ,holbein1 p4 #da4 ,footnote #eaf3 ,woltmann1 #ast ed41 ,eng4 trans41 p4 #bhi4 ,omitted in #bnd ed4 ,footnote #eag3 ,wornum1 p4 #afc4 ,footnote #eah3 ,mrs4 ,g4 ,fortescue1 ,holbein1 p4 #aje-f4 ,footnote #eai3 ,t4 de ,wyzewa1 8 propos d'un ,livre nouveau sur ,holbein le ,jeune10 ,revue des ,deux ,mondes1 #aeth ,jan4 #aiab4 ,footnote #ebj3 ,see pp4 #gi and #acg-h4 ,footnote #eba3 ,knackfuss1 p4 #aae4 ,footnote #ebb3 ,wornum1 pp4 #afb-d4 ,footnote #ebc3 ,davies1 pp4 #ajb-c4 ,footnote #ebd3 ,burlington ,magazine1 vol4 iv4 ,no4 xi4 7,feb4 #aijd7 p4 #ahg4 ,footnote #ebe3 ,see p4 #bcc4 ,footnote #ebf3 ,calendars of ,letters and ,papers1 c41 ,hen4 ,,viii1 iv4 ,pt4 i4 #aedg4 ,footnote #ebg3 ,see p4 #bb4 ,footnote #ebh3 ,woltmann1 #ast ed41 ,eng4 trans41 p4 #bib4 ,footnote #ebi3 ,erasmi ,opera1 iii4 #iea4 ,footnote #ecj3 ,calendars of ,letters and papers1 c41 ,hen4 ,,viii1 i4 preface1 p4 xxv4 ,footnote #eca3 ,c4 ,l4 ,p41 i4 #bjec4 ,footnote #ecb3 ,c4 ,l4 ,p41 i4 #egbj4 ,footnote #ecc3 ,c4 ,l4 ,p41 ii4 ,pt4 ii41 ,revels ,accounts1 p4 #adii4 ,footnote #ecd3 ,c4 ,l4 ,p41 i4 #died4 ,footnote #ece3 #ahth ,april #aebj4 ,c4 ,l4 ,p41 iii4 ,pt4 i4 #gej4 ,footnote #ecf3 #bast ,may #aebj4 ,c4 ,l4 ,p41 iii4 ,pt4 i4 #hbe4 ,footnote #ecg3 ,c4 ,l4 ,p41 iii4 ,pt4 ii41 ,revels ,accounts1 p4 #aeea4 ,footnote #ech3 ,memoir of ,henry ,fitz,roy1 ,duke of ,richmond and ,somerset1 ,camden ,society1 #ahee1 p4 #hg4 ,footnote #eci3 ,c4 ,l4 ,p41 iii4 ,pt4 ii4 #ceag4 ,footnote #edj3 ,c4 ,l4 ,p41 iv4 ,pt4 i4 #ife4 ,footnote #eda3 ,c4 ,l4 ,p41 iv4 ,pt4 ii4 #cefd4 ,footnote #edb3 ,j4 ,gough ,nichols1 ,archologia1 xxxix4 pp4 #bc-be 7#ahfb74 ,footnote #edc3 ,see ,archologia1 xxxix4 p4 #be4 ,footnote #edd3 ,walpole1 ,anecdotes of ,painting1 ed4 ,wornum1 #ahhh1 i4 #fd4 ,footnote #ede3 ,c4 ,l4 ,p41 v4 #aaci 7#cj74 ,footnote #edf3 ,c4 ,l4 ,p41 v41 ,privy ,purse ,expenses of ,hen4 ,,viii1 ,feb4 #aecb4 ,footnote #edg3 ,c4 ,l4 ,p41 v4 #ieb4 ,footnote #edh3 ,c4 ,l4 ,p41 x4 #iad4 ,footnote #edi3 ,c4 ,l4 ,p41 xiv4 ,pt4 ii4 #bch4 ,footnote #eej3 ,c4 ,l4 ,p41 xiv4 ,pt4 ii4 #ghb 7p4 #ccf74 ,footnote #eea3 ,c4 ,l4 ,p41 xvi4 #adhi 7f4 #ahh74 ,footnote #eeb3 ,j4 ,gough ,nichols1 ,archologia1 xxxix4 p4 #bg4 ,footnote #eec3 ,see p4 #bgf4 ,footnote #eed3 ,j4 ,gough ,nichols1 ,archologia1 xxxix4 p4 #cd4 ,footnote #eee3 ,walpole1 ,anecdotes of ,painting1 ed4 ,wornum1 #ahhh1 p4 #fb4 ,footnote #eef3 ,archologia1 xxxix4 p4 #cj4 ,footnote #eeg3 ,wornum1 p4 #bb4 ,footnote #eeh3 ,lionel ,cust1 ,introductory ,notes to the ,catalogue of the ,burlington ,fine ,arts ,club ,exhibition of ,early ,english ,portraiture1 #aiji1 pp4 #dg1 #dh4 ,footnote #eei3 ,see ,nichols1 ,archologia1 xxxix4 p4 #bi4 ,footnote #efj3 ,lionel ,cust1 ,introductory ,notes1 ,catg4 ,burl4 ,fine ,arts ,club ,exhib4 ,early ,english ,portraiture1 #aiji1 p4 #dh4 ,footnote #efa3 ,c4 ,l4 ,p41 vii4 #ibb 7#ad and #ae74 ,footnote #efb3 ,wornum1 p4 #cb4 ,footnote #efc3 ,c4 ,l4 ,p41 iv4 ,pt4 ii4 #cafi4 ,footnote #efd3 ,c4 ,l4 ,p41 iv4 ,pt4 i4 #baeb4 ,footnote #efe3 ,c4 ,l4 ,p41 iv4 ,pt4 ii4 #ddce1 #degb1 #degd-gg1 #dfeb4 ,footnote #eff3 ,c4 ,l4 ,p41 iv4 ,pt4 iii4 #eafc4 ,footnote #efg3 ,c4 ,l4 ,p41 iv4 ,pt4 ii4 #eaag4 ,footnote #efh3 ,c4 ,l4 ,p41 v4 #igh 7#ae74 ,footnote #efi3 ,loseley ,manuscripts4 ,footnote #egj3 ,c4 ,l4 ,p41 xiii4 ,pt4 ii4 #abhj1 f4 #ee b4 ,footnote #ega3 ,c4 ,l4 ,p41 i4 #efjd4 ,footnote #egb3 ,see ,vol4 ii4 pp4 #bch-i4 ,footnote #egc3 ,c4 ,l4 ,p41 xvi4 #cje 7#be74 ,footnote #egd3 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 ,no4 #bi4 ,footnote #ege3 ,lionel ,cust1 ,introductory ,notes1 ,burl4 ,fine ,arts ,club ,exhib4 ,catg41 #a1 #aiji1 pp4 #de1 #df4 ,footnote #egf3 ,see also ,scharf1 ,archologia1 xxxix4 pp4 #dg-i4 ,footnote #egg3 ,see ,burlington ,magazine1 vol4 xiv41 ,march #aiji1 pp4 #cff-h4 ,footnote #egh3 ,see ,cust1 ,catg4 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 p4 #fj4 ,footnote #egi3 ,c4 ,l4 ,p41 i4 #gge4 ,footnote #ehj3 ,see ,m4 ,digby ,wyatt1 8,on the ,foreign ,artists employed in ,england during the ,sixteenth ,century10 ,transactions of the ,royal ,institute of ,british ,architects1 #ahfh1 p4 #bbj4 ,footnote #eha3 ,cust1 ,catg4 ,burlington ,fine ,arts ,club ,exhibition1 #aiji1 p4 #fa4 ,footnote #ehb3 ,cust1 p4 #fa4 ,footnote #ehc3 ,c4 ,l4 ,p41 i4 #egbj4 ,footnote #ehd3 ,c4 ,l4 ,p41 i4 #died4 ,footnote #ehe3 ,c4 ,l4 ,p41 ii4 ,pt4 ii4 p4 #adfa4 ,footnote #ehf3 ,c4 ,l4 ,p41 ii4 ,pt4 ii4 p4 #adgb4 ,footnote #ehg3 ,c4 ,l4 ,p41 ii4 ,pt4 ii4 #chfb4 ,footnote #ehh3 ,c4 ,l4 ,p41 iii4 ,pt4 i4 #hbf4 ,see p4 #bei4 ,footnote #ehi3 ,c4 ,l4 ,p41 iv4 ,pt4 i4 #cff4 ,footnote #eij3 ,c4 ,l4 ,p41 iv4 ,pt4 ii4 #cajd4 ,footnote #eia3 ,c4 ,l4 ,p41 v41 ,privy ,purse ,expenses4 ,footnote #eib3 ,c4 ,l4 ,p41 v4 #fhf4 ,footnote #eic3 ,archologia1 xxxix4 p4 #bh4 ,footnote #eid3 ,c4 ,l4 ,p41 v41 ,treasurer of the ,chamber's ,accounts1 p4 #cje4 ,footnote #eie3 ,see above1 p4 #bgc4 ,footnote #eif3 ,transactions of the ,royal ,institute of ,british ,architects1 p4 #bbg4 ,footnote #eig3 ,lewis ,einstein1 ,the ,italian ,renaissance in ,england1 #aijb1 p4 #aif1 and ,cust1 ,catg4 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 p4 #fd4 ,footnote #eih3 ,c4 ,l4 ,p41 v41 #ieb 7p4 #ddf74 ,footnote #eii3 ,c4 ,l4 ,p41 v41 ,treasurer of the ,chamber's ,accounts1 p4 #cjg4 ,footnote #fjj3 ,mr4 ,cust gives his salary as #bj per annum1 but the entry in the accounts is always #ccs4 #d;d4 a quarter1 not a month1 though this1 of course1 may be an error of book-keeping4 ,footnote #fja3 ,see ,m4 ,digby ,wyatt1 ,transactions1 c41 p4 #bbe4 ,footnote #fjb3 ,transactions1 c41 p4 #bbe4 ,footnote #fjc3 ,c4 ,l4 ,p41 v41 ,treasurer of the ,chamber's ,accounts1 p4 #cai4 ,footnote #fjd3 ,c4 ,l4 ,p41 v41 ,privy ,purse ,expenses1 ,march #aeca4 8,to ,anthony ,pene and ,bartilmew ,tate1 paynters1 for ther lyveray at #bbs4 #f;d4 a pece1 #des40 ,footnote #fje3 ,vol4 c4 #f1 #ab4 ,quoted by ,wornum1 p4 #bjd1 note4 ,footnote #fjf3 ,hampton ,court ,accounts1 ,wornum1 p4 #bje1 note4 ,footnote #fjg3 ,c4 ,l4 ,p41 v41 ,privy ,purse ,expenses4 ,footnote #fjh3 ,c4 ,l4 ,p41 xiii4 ,pt4 i4 #acji 7#ce74 ,footnote #fji3 ,c4 ,l4 ,p41 xiv4 ,pt4 ii4 #ghb 7p4 #cce74 ,footnote #faj3 ,c4 ,l4 ,p41 xiii4 ,pt4 ii4 #ifg 7#df74 ,footnote #faa3 ,c4 ,l4 ,p41 xiii4 ,pt4 ii4 #abhj 7f4 #ec;b74 ,footnote #fab3 ,c4 ,l4 ,p41 xvi4 #adhi 7f4 #afe74 ,footnote #fac3 ,c4 ,l4 ,p41 xvi4 #ggi 7#ah74 ,footnote #fad3 ,c4 ,l4 ,p41 xvii4 #abea 7#ac74 ,footnote #fae3 ,loseley ,manuscripts1 edit4 ,kempe1 pp4 #ha1 #hd1 #hi4 ,footnote #faf3 ,archologia1 xii4 pp4 #cha1 #cia4 ,footnote #fag3 ,c4 ,l4 ,p41 iii4 ,pt4 ii4 #bdhf4 ,footnote #fah3 ,see ,j4 ,gough ,nichols1 ,archologia1 xxxix4 p4 #ch3 and ,cust1 ,catg4 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 p4 #fc4 ,footnote #fai3 ,see ,dimier1 ,french ,painting in the ,sixteenth ,century1 pp4 #aae1 #aaf4 ,footnote #fbj3 ,c4 ,l4 ,p41 xvi4 #acjh 7#d74 ,footnote #fba3 ,c4 ,l4 ,p41 iii4 ,pt4 i4 #acee4 ,footnote #fbb3 ,c4 ,l4 ,p41 v41 ,treasurer of the ,chamber's ,accounts1 p4 #cje4 ,footnote #fbc3 ,catg4 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 p4 #fe4 ,footnote #fbd3 ,see ,dimier1 ,french ,painting in the ,sixteenth ,century1 pp4 #fj1 #hf4 ,also the same writer's ,le ,primatice1 #aijj4 ,the name was sometimes spelt ,belin4 ,footnote #fbe3 p4 #ge4 ,footnote #fbf3 ,quoted in ,burlington ,gazette1 ,,ii4 i4 ,may #aijc1 p4 #ee4 ,footnote #fbg3 ,c4 ,l4 ,p41 xiii41 ,pt4 ii4 #abhj 7f4 #dg;b74 ,footnote #fbh3 ,c4 ,l4 ,p41 xiv4 ,pt4 ii4 #gha 7f4 #fh74 ,footnote #fbi3 ,c4 ,l4 ,p41 xvi4 #cg4 ,footnote #fcj3 ,c4 ,l4 ,p41 xvi4 #ei4 ,footnote #fca3 ,c4 ,l4 ,p41 xvi4 #fj4 ,footnote #fcb3 ,c4 ,l4 ,p41 xvi4 #hb4 ,footnote #fcc3 ,c4 ,l4 ,p41 xvi4 #aae4 ,footnote #fcd3 ,c4 ,l4 ,p41 xvi4 #afc1 #afh4 ,footnote #fce3 ,c4 ,l4 ,p41 xvi4 #ahb4 ,footnote #fcf3 ,c4 ,l4 ,p41 xvi4 #bgf4 ,see also ,appendix 7,h74 ,footnote #fcg3 ,see ,appendix 7,h74 ,footnote #fch3 ,c4 ,l4 ,p41 xvi4 #cjh 7f4 #aai;b74 ,footnote #fci3 ,c4 ,l4 ,p41 xvi4 #acjh 7#e74 ,footnote #fdj3 ,archologia1 xxxix4 p4 #cg4 ,footnote #fda3 ,loseley ,manuscripts1 8,revels at ,hampton1 #af ,july to #f ,sep41 #ch ,hen4 ,,viii40 ,footnote #fdb3 ,loseley ,manuscripts1 8,coronation of ,ed4 ,,vi40 ,footnote #fdc3 ,loseley ,manuscripts1 8,shrovetide ,revels1 #b ,ed4 ,,vi40 ,footnote #fdd3 ,quoted by ,nichols1 ,archologia1 xxxix4 p4 #cg4 ,footnote #fde3 ,archologia1 xxxix4 p4 #ee4 ,footnote #fdf3 ,cust1 ,cat4 ,burl4 ,f4,a4 ,club ,exhib41 #aiji1 p4 #fd2 ,national ,gallery ,catalogue4 ,footnote #fdg3 ,vasari1 as quoted by ,scharf1 ,archologia1 xxxix4 pp4 #ec1 #ed4 ,footnote #fdh3 ,see above1 p4 #bde4 ,footnote #fdi3 ,davies1 p4 #aae4 ,footnote #fej3 ,see page #bde4 ,davies1 p4 #id4 ,footnote #fea3 ,see below1 p4 #cae4 ,footnote #feb3 ,see p4 #afi4 ,footnote #fec3 ,c4 ,l4 ,p41 iv4 pt4 i4 #ahbf2 ,erasmi ,opera1 iii4 #iea4 ,footnote #fed3 ,proceedings of the ,society of ,antiquaries1 ,second ,series1 xvii4 ,no4 i4 pp4 #acb-ade4 ,footnote #fee3 ,proceedings1 ,second ,series1 xvi4 ,no4 iii4 pp4 #cba-cbg4 ,footnote #fef3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 i4 #ij4 ,the sixth picture to which he refers is the ,meyer ,madonna4 ,footnote #feg3 ,woltmann1 #ce4 ,reproduced by ,ganz1 ,holbein1 p4 #aib1 ,hdz4 ,schwz4 ,mstr41 i4 #ee1 and ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #bc2 ,davies1 p4 #aaf2 ,knackfuss1 fig4 #ic4 ,footnote #feh3 ,engraved by ,dean for ,the ,bijou1 #ahbi4 ,footnote #fei3 ,one of the versions of the picture was in the ,earl of ,arundel's collection1 and is entered in the #afee inventory as 8,tomaso ,moro con la sua famiglia40 ,in the same collection there was a portrait of ,more's son1 entered as 8,il figliolo de ,tomaso ,moro10 but without the name of the artist4 ,see ,appendix 7,i7 for the history of the ,nostell picture4 ,footnote #ffj3 ,roper's ,life and ,death of ,sir ,thomas ,more1 c41 ed4 ,rev4 ,j4 ,lewis1 #agca1 p4 #afi4 ,footnote #ffa3 ,the heads in the ,windsor ,collection4 ,footnote #ffb3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 p4 #ib4 ,footnote #ffc3 ,wornum1 p4 #bdd4 ,footnote #ffd3 ,woltmann1 #ast ed41 ,eng4 trans1 p4 #cbb4 ,for ,vertue's account1 see ,appendix 7,i74 ,footnote #ffe3 ,nos4 lviii4 and lix41 8,nostell ,priory1 ,wakefield10 ,athenum1 ,sept4 #ah1 #be1 #ahhj4 ,footnote #fff3 ,see pp4 #caa-af4 ,footnote #ffg3 ,woltmann1 i4 #cej1 note4 ,footnote #ffh3 ,wornum1 pp4 #bca-bdf4 ,footnote #ffi3 ,see ,appendix 7,i74 ,footnote #fgj3 ,wornum1 pp4 #bde-f4 ,footnote #fga3 ,reproduced by ,ganz1 ,holbein1 p4 #aic4 ,footnote #fgb3 ,according to ,mr4 ,w4 ,roberts1 ,memorials of ,christie's1 #ahig1 vol4 i4 p4 #ha1 the measurements of the picture1 as given in the sale catalogue of #ahjh1 are #aj ft4 by #ae ft4 ,footnote #fgc3 ,reproduced in the catalogue1 p4 #bad4 ,footnote #fgd3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 p4 #ib4 ,footnote #fge3 ,vol4 iii4 pt4 i4 p4 #dij4 ,footnote #fgf3 ,woltmann1 #bge2 ,wornum1 i4 #f2 ,sir ,r4 ,holmes1 i4 #d4 ,footnote #fgg3 ,woltmann1 #bgf2 ,wornum1 i4 #db2 ,sir ,r4 ,holmes1 i4 #g4 ,footnote #fgh3 ,wrongly inscribed 8,the ,lady ,barkley40 ,woltmann1 #bgh2 ,wornum1 ii4 #cd2 ,sir ,r4 ,holmes1 i4 #e4 ,footnote #fgi3 ,woltmann1 #bgi2 ,wornum1 ii4 #ab2 ,sir ,r4 ,holmes1 i4 #f4 ,footnote #fhj3 ,woltmann1 #bgg2 ,wornum1 ii4 #ce2 ,sir ,r4 ,holmes1 i4 #h4 ,footnote #fha3 ,wrongly inscribed 8,mother ,jak40 ,woltmann1 #bhj2 ,wornum1 ii4 #dj2 ,sir ,r4 ,holmes1 i4 #i4 ,footnote #fhb3 ,woltmann1 #bgc1 #bgd2 ,wornum1 i4 #c1 #d2 ,sir ,r4 ,holmes1 i4 #c and ii4 #ah4 ,footnote #fhc3 ,woltmann1 #bjg4 ,reproduced by ,davies1 p4 #aah2 ,catalogue of the ,tudor ,exhibition1 #ahij1 p4 #dd2 ,a4 ,f4 ,pollard1 ,henry ,,viii1 p4 #aad2 ,burlington ,fine ,arts ,club ,exhib4 ,catg41 ,pl4 xviii42 ,ganz1 ,holbein1 p4 #fi4 ,the portrait is now in ,america4 ,see ,appendix 7,i74 ,footnote #fhd3 ,catg4 ,burl4 ,fine ,arts ,club ,exhib41 #aiji1 p4 #ie4 ,the entry in the ,lumley inventory is--8,of ,sir ,thomas ,moore1 ,lo4 ,chancellor1 drawne by ,haunce ,holbyn40 ,footnote #fhe3 ,one of these copies was in #ahfg in the possession of ,mr4 ,charles ,j4 ,eyston1 of ,east ,hendred 7,wornum1 p4 #bdf71 and a second in the collection of the ,marquis of ,lothian4 ,there was a small circular portrait of ,more1 on wood1 #d in4 in diameter1 in ,charles ,i's collection 7,no4 #dh71 in a black cap1 furred gown1 and red sleeves4 ,evelyn notes in his ,diary1 under the date ,feb4 #aeth1 #afdi3--8,sir ,william ,ducy shew'd me some excellent things in miniature1 and in oyle of ,holbein's ,sir ,tho4 ,more's head40 ,among the numerous copies in existence is one by ,rubens in the ,prado1 ,madrid4 ,a portrait of ,more1 8invested with the collar of the ,garter1 by ,holbein2 upon a pedestal is inscribed the date1 ,,mdxxvii10 was included in the sale of the ,duke of ,bedford's pictures from ,woburn ,abbey1 on #cjth ,june #ahbg1 and fetched #gj guineas4 ,footnote #fhf3 ,see p4 #cce4 ,footnote #fhg3 ,mr4 ,w4 ,f4 ,dickes1 however1 reproduces it in his book1 ,holbein's 8,ambassadors0 ,unriddled1 p4 #hj1 as a portrait by ,holbein of the ,count ,palatine ,philipp6 ,engraved by ,vorsterman as a portrait of ,more by ,holbein4 ,reproduced by ,ganz1 ,holbein1 p4 #bbe4 ,footnote #fhh3 ,athenum1 ,june #ai1 #ahhf1 ,no4 #cjfj1 p4 #hbj4 ,footnote #fhi3 ,quoted by ,wornum1 p4 #bdh4 ,footnote #fij3 ,wornum1 pp4 #bdh1 #bdi4 ,footnote #fia3 ,il ,microcosmo della ,pittura1 #afeg1 ii4 #bfe4 ,footnote #fib3 ,history of ,portrait ,miniatures1 #aijd1 vol4 i4 p4 #h4 ,footnote #fic3 ,reproduced in ,dr4 ,williamson's book1 ,pl4 iii4 ,no4 #b1 and in colours in the dition de luxe of ,mr4 ,pierpont ,morgan's ,catalogue1 ,no4 #e2 and by ,ganz1 ,holbein1 p4 #bbg 7#a71 who includes it among the copies after ,holbein4 ,footnote #fid3 ,in the exhibition of miniatures held at ,south ,kensington in #ahfe there was one of 8,alicia1 wife of ,sir ,thomas ,more10 attributed to ,holbein1 lent by ,mr4 ,j4 ,heywood ,hawkins 7,no4 #aadf74 ,footnote #fie3 ,reproduced in the ,burl4 ,fine ,arts ,club ,exhib4 ,catg41 ,pl4 xiv2 ,ganz1 ,holbein1 p4 #aid4 ,footnote #fif3 ,reproduced by ,vasari ,society1 ,pt4 i4 ,no4 #ca2 ,burl4 ,fine ,arts ,club ,exhib4 ,catg41 ,pl4 xxix4 ,footnote #fig3 ,daily ,telegraph1 #bcrd ,march #aiaj4 ,footnote #fih3 ,reproduced in ,the ,ancestor1 vi41 ,june #aijc4 ,footnote #fii3 ,the drawing in the ,windsor ,collection inscribed 8,lady ,henegham0 bears considerable likeness to the ,margaret ,roper of the ,basel sketch1 and some writers hold that it represents her1 and that it is a study for the ,family ,group4 ,the position1 however1 in the ,windsor study is exactly reversed1 the sitter being shown in profile to the right1 so that it is not probable that it was a preliminary drawing for the big group4 ,though the resemblance is marked1 it is not so close as that between the 8,queen ,katherine0 portrait at ,knole and the ,basel sketch1 and the same criticism applies to the ornaments and dress1 which in the two last-named are identical1 whereas the 8,lady ,henegham0 drawing shows differences1 particularly in the jewellery4 ,see also vol4 ii4 p4 #beh4 ,the question of the authorship of the various versions of the ,more ,family ,group is dealt with more fully in ,appendix 7,i74 ,footnote #gjj3 ,proceedings of the ,society of ,antiquaries1 ,second ,series1 vol4 xvii4 ,no4 i4 pp4 #acb-ade1 from which the quotations from ,hall1 and other facts in this chapter1 have been taken4 ,footnote #gja3 ,for these and the following extracts1 see ,c4 ,l4 ,p41 iv4 pt4 ii4 #cjig-ih1 #cajd1 #cajg4 ,footnote #gjb3 ,c4 ,l4 ,p41 v4 #ieb4 ,see p4 #bfb4 ,the name suggests ,nicholas ,lysard or ,lyzarde1 serjeant-painter to ,queen ,elizabeth1 who was also in the service of ,henry and ,edward ,,vi4 ,he died in #aegj1 and has been usually regarded as an ,englishman4 ,see vol4 ii41 pp4 #cji-aj4 ,possibly1 however1 ,lasora was not an ,italian4 ,he may have been the 8,nic4 ,leysure1 a ,german10 mentioned in the royal accounts1 in ,september #aeci1 as receiving payment under a warrant for #bjj cr4 soleil for life4 ,footnote #gjc3 ,woltmann1 #bfd4 ,reproduced by ,law1 ,holbein's ,pictures at ,windsor ,castle1 ,pl4 i42 ,davies1 p4 #acj2 ,knackfuss1 fig4 #ajj2 ,ganz1 ,holbein1 p4 #gb4 ,footnote #gjd3 ,c4 ,l4 ,p41 iv4 pt4 iii4 #eggd4 ,footnote #gje3 ,law1 ,holbein's ,pictures1 c41 p4 #c4 ,footnote #gjf3 ,woltmann1 #bhb2 ,wornum1 i4 #a2 ,sir ,r4 ,holmes1 i4 #aa4 ,reproduced by ,davies1 p4 #baj4 ,a second fine drawing of ,guldeford1 on a reddish a different version from the one at ,windsor1 was in ,mr4 ,j4 ,p4 ,heseltine's collection of drawings1 dispersed in #aiab4 ,footnote #gjg3 ,mr4 ,lionel ,cust notes a roundel painting of ,guldeford in the collection of ,lord ,kinnaird at ,rossie ,priory 7,burl4 ,mag41 ,august #aiab1 p4 #beh74 ,footnote #gjh3 ,on panel1 #be in4 #bj in4 ,footnote #gji3 ,woltmann1 8,holbein at the ,national ,portrait ,gallery10 ,fortnightly ,review1 vol4 vi4 #ahff1 p4 #afj2 also ,life1 i4 #cdd4 ,footnote #gaj3 ,the ,english ,connoisseur1 #aggf1 vol4 i4 p4 #ade2 ,dodsley's ,london and its ,environs ,described1 vol4 iii4 p4 #bfh 7quoted by ,mr4 ,law1 p4 #d74 ,footnote #gaa3 ,see ,law1 p4 #d4 ,footnote #gab3 ,woltmann1 #bjf4 ,footnote #gac3 ,athenum1 #agth ,january #ahhj4 ,footnote #gad3 ,reproduced by ,ganz1 ,holbein1 p4 #bbg 7#b74 ,footnote #gae3 ,parthey1 #adaj4 ,reproduced by ,ganz1 ,holbein1 p4 #bfj4 ,footnote #gaf3 ,woltmann1 #cb4 ,reproduced by ,davies1 p4 #bbd2 ,knackfuss1 fig4 #aje2 ,mantz1 p4 #age4 ,footnote #gag3 ,woltmann1 #cg4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #aa4 ,footnote #gah3 ,woltmann1 #cf4 ,footnote #gai3 ,woltmann1 #bha2 ,wornum1 i4 #b2 ,sir ,r4 ,holmes1 i4 #ab4 ,reproduced by ,davies1 p4 #abf2 ,knackfuss1 fig4 #if4 ,footnote #gbj3 ,woltmann1 #bjh4 ,reproduced by ,ganz1 ,holbein1 p4 #gj4 ,footnote #gba3 ,woltmann1 #bbe4 ,reproduced by ,davies1 p4 #abf2 ,knackfuss1 fig4 #ig2 ,ganz1 ,holbein1 p4 #ga4 ,footnote #gbb3 ,wornum1 p4 #bah1 quoting from ,lysons and ,brayley4 ,footnote #gbc3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 #ahhh1 i4 #gi4 ,footnote #gbd3 ,reproduced in the illustrated edition of ,catalogue1 p4 #fd4 ,footnote #gbe3 ,reproduced in the illustrated edition of the ,oxford ,catalogue4 ,footnote #gbf3 ,woltmann1 #bhc2 ,wornum1 i4 #bd2 ,sir ,r4 ,holmes1 i4 #ac4 ,reproduced by ,davies1 p4 #abh2 ,knackfuss1 fig4 #ih4 ,footnote #gbg3 ,british ,museum1 #i2 ,woltmann1 #aih4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #bd4 ,footnote #gbh3 ,froude1 ,henry ,,viii1 i4 #cja4 ,footnote #gbi3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 i4 p4 #ha4 ,footnote #gcj3 ,woltmann1 #add4 ,reproduced by ,knackfuss1 fig4 #ajc2 ,ganz1 ,holbein1 p4 #gd4 ,footnote #gca3 ,it was at one time in the ,arundel ,collection1 and is entered in the #afee inventory as 8#b ,ritratti in un quadro col nome de ,thomas ,godsalve40 ,it was purchased for ,dresden in ,paris in #agdi4 ,footnote #gcb3 ,woltmann1 #bhf2 ,wornum1 i4 #ca2 ,sir ,r4 ,holmes1 i4 #cf4 ,reproduced by ,ganz1 ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #be2 ,davies1 p4 #bah4 ,footnote #gcc3 ,woltmann1 i4 #cde4 ,footnote #gcd3 ,norfolk1 vii4 #bad4 ,footnote #gce3 ,c4 ,l4 ,p41 v4 #ead4 ,footnote #gcf3 ,c4 ,l4 ,p41 vii4 #aahi 7#beth ,sept4 #aecd74 ,footnote #gcg3 ,c4 ,l4 ,p41 vi4 #egf4 ,footnote #gch3 ,c4 ,l4 ,p41 v4 #aeih 7#ab74 ,footnote #gci3 ,c4 ,l4 ,p41 vii4 #ajbf 7#b74 ,footnote #gdj3 ,c4 ,l4 ,p41 viii4 #hjb 7#bf74 ,footnote #gda3 ,woltmann1 #bbf4 ,reproduced by ,davies1 p4 #acb2 ,knackfuss1 fig4 #ajb2 ,ganz1 ,holbein1 p4 #gc4 ,footnote #gdb3 ,it appears to have been at one time in the ,arundel ,collection1 and is entered in the inventory of #afee as 8,ritratto d'un ,mathematico40 ,as all the other portraits just mentioned were also in the ,earl's possession1 it is natural to suppose that they were obtained by him directly from ,de ,loo4 ,footnote #gdc3 ,wornum1 p4 #bbb4 ,footnote #gdd3 ,according to ,walpole1 the ,kratzer which was at ,holland ,house 8till the death of the ,countess of ,warwick1 wife of ,mr4 ,addison10 was a second version2 perhaps the one now belonging to ,viscount ,galway4 ,this version1 according to the same authority1 appears to have been in the possession of ,sir ,walter ,cope before passing into the ,holland ,house collection4 ,footnote #gde3 ,walpole1 ,anecdotes1 c41 ed4 ,wornum1 i4 #gi4 ,footnote #gdf3 ,see chap1 xxi41 vol4 ii4 p4 #aeb4 ,footnote #gdg3 ,c4 ,l4 ,p41 iii4 pt4 i4 #ajah1 #ajai4 ,it was during this same visit to ,antwerp that ,drer drew ,kratzer's portrait4 ,footnote #gdh3 ,c4 ,l4 ,p41 iv4 pt4 ii4 #cedj 7#bh74 ,footnote #gdi3 ,c4 ,l4 ,p41 v41 ,privy ,purse ,expenses4 ,footnote #gej3 ,ed4 ,howes1 p4 #egj4 ,footnote #gea3 ,woltmann1 #bai4 ,reproduced by ,knackfuss1 fig4 #ajd2 ,ganz1 ,holbein1 p4 #baa4 ,footnote #geb3 ,wornum1 p4 #bie4 ,footnote #gec3 ,see ,ganz1 ,holbein1 note to #baa1 p4 #bea2 and ,k4 ,voll1 ,suddeutsche ,monatshefte1 #aije1 ii4 #h1 p4 #agg4 ,footnote #ged3 ,woltmann1 #bac4 ,wornum1 p4 #bid4 ,footnote #gee3 ,reproduced in the ,burl4 ,fine ,arts ,club ,exhib4 ,cat41 ,pl4 xiii42 ,ganz1 ,holbein1 p4 #gi4 ,footnote #gef3 ,see ,notes and ,queries1 #dth series1 v4 p4 #cac2 ,athenum1 ,nos4 #bahf1 #bahg 7,sept4 #ah1 #be1 #ahfi72 and ,dict4 of ,nat4 ,biog41 under 8,tuke40 ,footnote #geg3 ,hampton ,court1 #faj 7#cbe74 ,woltmann1 #afb4 ,reproduced by ,ernest ,law1 ,holbein's ,pictures1 c41 ,pl4 ix42 ,davies1 p4 #ahd2 ,cat4 ,tudor ,exhib41 #ahij1 ,no4 #gb1 p4 #cb2 ,ganz1 ,holbein1 p4 #aac4 ,footnote #geh3 ,woltmann1 #cjh2 ,wornum1 i4 #ag2 ,sir ,r4 ,holmes1 i4 #dh4 ,reproduced by ,knackfuss1 fig4 #adc4 ,footnote #gei3 ,wornum1 p4 #baf4 ,footnote #gfj3 ,c4 ,l4 ,p41 v4 #acfc4 ,footnote #gfa3 ,see ,law1 ,holbein's ,pictures1 c41 p4 #bi4 ,footnote #gfb3 ,woltmann1 #bag4 ,reproduced by ,knackfuss1 fig4 #aja2 ,ganz1 ,holbein1 p4 #bbd4 ,footnote #gfc3 ,woltmann1 #bbg4 ,reproduced in ,masterpieces of ,holbein 7,gowan's ,art ,books1 ,no4 #ac71 p4 #ai2 ,ganz1 ,holbein1 p4 #gh4 ,footnote #gfd3 ,burlington ,magazine1 ,december #aiji1 p4 #aei4 ,footnote #gfe3 ,on panel1 #ad in4 high by #ab in4 wide4 ,footnote #gff3 ,burlington ,magazine1 ,december #aiji1 p4 #aed4 ,footnote #gfg3 ,woltmann1 i4 #cda4 ,footnote #gfh3 ,woltmann1 #bhd2 ,wornum1 i4 #cd2 ,sir ,r4 ,holmes1 i4 #ch4 ,reproduced by ,davies1 p4 #baf4 ,footnote #gfi3 ,woltmann1 #bhe2 ,wornum1 ii4 #ai2 ,sir ,r4 ,holmes1 i4 #ci4 ,reproduced by ,davies1 p4 #baf4 ,footnote #ggj3 ,woltmann1 #adj4 ,reproduced by ,s4 ,arthur ,strong in ,drawings by the ,old ,masters at ,chatsworth1 #aijb1 ,pl4 liv42 ,burlington ,magazine1 vol4 i41 ,april #aijc1 p4 #bbd4 ,footnote #gga3 ,s4 ,arthur ,strong1 ,drawings1 c41 and in ,critical ,studies and ,fragments1 p4 #acc4 ,footnote #ggb3 ,woltmann1 #ada4 ,reproduced by ,strong in ,drawings1 c41 #aijb1 ,pl4 lv42 ,burlington ,magazine1 vol4 i41 ,may #aijc1 p4 #ced4 ,footnote #ggc3 ,reproduced by ,law1 ,holbein's ,pictures1 c41 ,pl4 iv42 ,knackfuss1 fig4 #ii4 ,footnote #ggd3 ,see ,vol4 ii4 pp4 #hg-i4 ,footnote #gge3 ,die ,basler ,archive ber ,h4 ,h4 dem ,jngern1 in ,zahn's ,jahrbcher fr ,kunstwissenschaft1 iii4 #abc1 #ahgj4 ,footnote #ggf3 ,woltmann1 i4 #ced4 ,footnote #ggg3 ,see pp4 #ge-f4 ,footnote #ggh3 ,woltmann1 i4 #cee4 ,footnote #ggi3 ,c4 ,l4 ,p41 iv4 pt4 iii4 #eibb4 ,eras4 ,ep41 p4 #abcj4 ,footnote #ghj3 ,c4 ,l4 ,p41 iv4 pt4 iii4 #eibd4 ,eras4 ,ep41 p4 #abcb4 ,footnote #gha3 ,c4 ,l4 ,p41 iv4 pt4 iii4 #fjdh4 ,eras4 ,ep41 p4 #agdc4 ,footnote #ghb3 ,woltmann1 i4 #cef4 ,footnote #ghc3 ,woltmann1 #ae4 ,reproduced by ,davies1 p4 #acd2 ,knackfuss1 fig4 #ajg2 ffentliche ,kunstsammlung in ,basel1 #egth annual report1 new series1 iii4 p4 #a1 #aijg2 ,ganz1 ,holbein1 p4 #hc4 ,footnote #ghd3 ,reproduced by ,ganz1 ,holbein1 p4 #bac1 who mentions other copies at ,aix-les-,bains1 ,constance1 in the ,albertina1 c4 ,at the time ,dr4 ,woltmann was writing his book it was in ,cologne1 in the possession of ,herr ,brasseur1 the picture-dealer4 ,footnote #ghe3 ,reproduced by ,ganz1 ,holbein1 p4 #bab4 ,footnote #ghf3 8,a propos d'un ,livre nouveau sur ,holbein le ,jeune10 in ,revue des ,deux ,mondes1 #aeth ,january #aiab4 ,footnote #ghg3 ,woltmann1 #df4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 i4 #bc 7in colour72 and in ,holbein1 p4 #hi4 ,possibly it represents a sister or near relation of ,elsbeth ,holbein4 ,footnote #ghh3 ,see ,woltmann1 i4 p4 #aei4 ,footnote #ghi3 ,woltmann1 #ba4 ,reproduced by ,ganz1 ,holbein1 p4 #hd4 ,footnote #gij3 ,woltmann1 #fe4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 ii4 #d 7in colour71 and in ,holbein1 p4 #agb2 ,knackfuss1 fig4 #aae4 ,footnote #gia3 ,woltmann1 #ba4 ,reproduced by ,ganz1 ,holbein1 p4 #he4 ,footnote #gib3 ,woltmann1 #fd4 ,reproduced by ,ganz1 ,hdz4 ,schwz4 ,mstr41 iii4 #bc1 and in ,hdz4 von ,h4 ,h4 dem ,jng41 ,pl4 #bg 7both in colours71 and in ,holbein1 p4 #agc2 ,knackfuss1 fig4 #aaf4 ,footnote #gic3 ,woltmann1 #ef4 ,see ,vol4 ii4 p4 #bgh4 ,footnote #gid3 ,see ,vol4 ii4 pp4 #bgg-h1 #bha4 ,footnote #gie3 ,ganz1 ,holbein1 p4 xxxiv4 ,footnote #gif3 ,koegler1 ,jahrbuch der preuss4 ,kunstsammlungen1 #aiaa4 ,footnote #gig3 ,see pp4 #agi-hj and #ahd-e4 ,footnote #gih3 ,woltmann1 i4 #cfb4 ,footnote #gii3 ,holbein1 p4 #acf4 ,footnote #hjj3 ,see ,appendix 7,j74 ---------------------------------------- -------------------------------- ,transcriber's ,notes3 ,appendices ,a through ,k referenced in this volume are in volume #b4 ,missing or obscured punctuation was silently corrected4 ,typographical errors were silently corrected4 ,inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book4 ,text that was in italics is enclosed by underscores 7italics74