Hans Holbein The Younger - free ebook by Arthur B. (Arthur Bensley) Chamberlain

HANS HOLBEIN THE YOUNGER

HANS HOLBEIN Self-Portrait Drawing in Indian ink and coloured chalks, washed with water-colour Basel Gallery...

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HANS HOLBEIN THE YOUNGER

Vol . II. Frontispiece KING HENRY VIII Earl Spencer’s Collection, Althorp...

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CHAPTER XVI THE MERCHANTS OF THE STEELYARD

The German Steelyard in London, and Holbein’s connection with its members—Portraits of Georg Gisze—Hans of Antwerp—The Wedighs—Derich Born—Derich Tybis—Cyriacus Fallen—Derich Berck—“The Triumph of Riches”—“The Triumph of Poverty”—Triumphal arch designed by Holbein for the Steelyard on the occasion of Queen Anne Boleyn’s coronation. THERE is no record to show in what part of London Holbein took up his residence upon his return to England. Possibly he may have settled in the house in the parish of

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PREFACE

IN this book the writer has endeavoured to give as complete an account as possible of the life and career of the younger Holbein, together with a description of every known picture painted by him, and of the more important of his drawings and designs. The earlier books devoted to the subject—such as Wornum’s Life and Works , 1867, and Dr. Woltmann’s two volumes—although they must always remain of the utmost help to the student, are now in some respects out of date. The second edition of the latt

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CHAPTER XVII “THE TWO AMBASSADORS,” 1533

Holbein receives the offer of a yearly pension from the Basel Town Council—“The Two Ambassadors”—The identity of the sitters—History and description of the picture—Other portraits of Dinteville and the members of his family—Félix Chrétien—Mr. Dickes’ theory that the picture represents the Princes Palatine Otto Henry and Philipp—The “Portrait of a Musician” at Bulstrode Park. THROUGHOUT the earlier years of Holbein’s second sojourn in England, though he was busily occupied on work for the German

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NOTE

The following abbreviations are used in the footnotes to this book:— C. L. P. , for Calendars of Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII. Davies, for Hans Holbein the Younger (Gerald S. Davies). Ganz, Holbein , for Holbein d. J., des Meisters Gemälde in 252 Abbildungen (Klassiker der Kunst). Ganz, Hdz. Schwz. Mstr. , for Handzeichnungen Schweizerischer Meister , ed. Dr. Paul Ganz. Ganz, Hdz. von H. H. dem Jüng. , for Handzeichnungen von Hans Holbein dem Jüngeren. Wol

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CHAPTER XVIII PORTRAITS OF 1533-1536

Portraits of Robert Cheseman—Thomas Cromwell—Lord Abergavenny—Charles de Solier, Sieur de Morette—The Earl of Arundel’s collection of pictures—Roundels of a man and his wife at Vienna—Portraits of members of the Poyntz family—Nicolas Bourbon—His verses in praise of Holbein—Design for the title-page of Coverdale’s Bible—Other woodcut designs produced in England—Hall’s Chronicle—Portraits of Sir Thomas Wyat—Margaret Wyat, Lady Lee—Sir Richard Southwell—Sir Thomas le Strange—Lady Vaux—Sir Nicholas

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CHAPTER I HANS HOLBEIN THE ELDER AND HIS FAMILY

The Holbein family in Switzerland and South Germany—Michel Holbein, the leather-dresser—Hans Holbein the Elder, citizen of Augsburg—His brother Sigmund, and his two sons, 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 St. Catherine in Augsburg—Work for the Church of St. Moritz—Monetary difficulties—The St. Sebastian altar-piece—the “Fountain of Life” at Lisbon—His

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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 arts. NO absolutely conclusive proof has yet been discovered of the exact date of the birth of Hans Holbein the Younger. For years the question was complicated by more than one forgery of dates and

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CHAPTER XIX “SERVANT OF THE KING’S MAJESTY”

Holbein’s entry into Henry VIII’s service—Painting of “Adam and Eve”—Portraits of Henry VIII—The Whitehall fresco—Van Leemput’s copies of it—The life-size cartoon of Henry VII and Henry VIII—Drawing at Munich—Portraits of the King at Belvoir Castle, Petworth, St. Bartholomew’s Hospital, Chatsworth, Warwick Castle, Hampton Court, Windsor, Rome, and elsewhere—The portrait at Althorp—Portraits and miniatures of Jane Seymour. THE exact date of Holbein’s entry into the royal service is unknown. Three

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CHAPTER XX THE DUCHESS OF MILAN

Search for a queen to succeed Jane Seymour—Negotiations in France and Brussels—The Duchess of Milan—Hutton’s description of her—Her portrait by some unknown Netherland painter—Philip Hoby sent over with Holbein to obtain her portrait—Cromwell’s instructions to them—Hutton’s letter describing their visit—The small oil painting at Windsor—Description of the picture in the National Gallery—Continuation and final failure of the marriage negotiations—History of the picture—Purchased for the English n

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CHAPTER III FIRST YEARS IN SWITZERLAND

Departure of Hans and Ambrosius from Basel—The “Virgin and Child” of 1514—The painted Table at Zürich—Their arrival in Basel—Heads of the Virgin and St. John—The “Cross-Bearing” at Karlsruhe—The five scenes from “Christ’s Passion” at Basel—Work for the Basel printers—Holbein’s first title-page—The marginal drawings to Erasmus’ “Praise of Folly”—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 h

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CHAPTER XXI THE VISIT TO “HIGH BURGONY”[287]

Negotiations for a French wife for the King—Marie of Lorraine, Duchess of Longueville, afterwards Queen of Scotland—Visit of Peter Mewtas to France to obtain her portrait—Pierre Quesnel—Louise of Guise—Holbein receives a royal licence to export beer—Hoby and Holbein sent to Havre to take portraits of Louise of Guise and some other lady—Renée of Guise—Expedition of Hoby and Holbein to Joinville and Nancy to obtain portraits of Renée and her cousin, Anne of Lorraine—Cromwell’s instructions—Letter

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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 pictures, designs, 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—“The Last Supper” at Basel, 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 “Archangel Michael” and of “Mine

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CHAPTER V CITIZEN OF BASEL

Holbein’s return to Basel—Enters the Painters’ Guild “zum Himmel”—Becomes a burgher—His marriage—Portrait of Bonifacius Amerbach—The Amerbach Collection—Church pictures—The “Nativity” and “Adoration of the Kings” at Freiburg—Hans Oberried—The altar-piece of the “Passion of Christ” at Basel—Italian influences in his work—The “Noli Me Tangere” at Hampton Court—“Christ as the Man of Sorrows” and “Mary as Mater Dolorosa”—Designs for sacred pictures or wall-paintings—The “Dead Christ in the Tomb”—The

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CHAPTER XXII BASEL REVISITED

Holbein’s return to Basel—Fêted by his fellow-citizens—His prosperous condition—Proposes to repaint his wall-decorations—Offer of a pension of fifty gulden from the Basel Town Council, with permission to remain in England two years longer—Death and will of Sigmund Holbein—Holbein returns to England, probably by way of Paris, in order to apprentice his son Philip to Jacob David, goldsmith—Back in London before Christmas 1538—Receives a special reward for his journey to “High Burgony”—Portraits of

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CHAPTER VI THE HOUSE OF THE DANCE AND THE WALL-PAINTINGS IN THE BASEL TOWN HALL

Holbein as a mural decorator—The “Haus zum Tanz”—The “Dance of Peasants” frieze—Original studies and old copies—Decoration of the inner walls of the new Basel Town Council Chamber—“Charondas of Catanea”—“Zaleucus of Locris”—“Curius Dentatus”—“Sapor and Valerian”—The single figures placed between the large compositions—Cessation of the work before its completion. AT this period of his life Holbein’s work was by no means confined to the painting of portraits and church pictures. His activity was c

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CHAPTER XXIII ANNE OF CLEVES: 1539

Henry VIII’s fresh matrimonial negotiations with Protestant Germany—Christopher Mont sent to the Court of the Duke of Saxony with reference to a political alliance and the King’s marriage—Anne of Cleves and her sister—Portraits of them by Lucas Cranach—Difficulties in obtaining portraits of the ladies—Richard Beard and Holbein go over to Düren for that purpose—The written descriptions of Anne—The legend woven round Holbein’s portrait of her—Henry’s disappointment on Anne’s arrival in England—Des

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CHAPTER VII DESIGNS FOR PAINTED GLASS AND OTHER STUDIES

Holbein’s work as a designer for the glass-painters—Eight panels of saints—The “Prodigal Son”—The “Two Unicorns”—Designs with landsknechte at Berne, Basel, Berlin, and Paris—Heraldic drawings for Erasmus and others—Designs showing the influence of North German art—“Virgin and St. John”—The “Annunciation”—“St. Elizabeth”—“Virgin and Child with kneeling donor”—The great “Passion” series—Studies of costumes of Basel ladies—“St. Adrian”—Studies from the nude—“A Fight”—Animals. IN addition to his com

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CHAPTER XXIV THE LAST YEARS: 1540-1543

Holbein’s work at Whitehall—His residence in the parish of St. Andrew Undershaft—In high favour at court—Payments of his salary—Possible visit to Basel—Portraits and miniatures of Catherine Howard—Portraits of the Duke of Norfolk—The Earl of Surrey—Unknown men at Berlin and Vienna—Unknown Englishman at the Hague—Earl of Southampton—Unknown man, aged 54, at Berlin—Unknown English lady at Vienna—Simon George—Dr. John Chamber—Sir William and Lady Butts—Unknown Englishman at Basel—Young English lady

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CHAPTER XXV HOLBEIN AS A MINIATURE PAINTER

Early references to Holbein as a miniature painter—Receives instruction from Lucas Hornebolt—Rareness of genuine miniatures by him—Sir Thomas More—Lord Abergavenny—Lady Audley—Henry and Charles Brandon—Drawing in the British Museum of a lady and children on a bench—Miniature of Mrs. Robert Pemberton—Unknown youth in the Queen of Holland’s Collection—Miniature paintings of Holbein himself—Thomas Cromwell—Anne of Cleves—Jane Seymour—Edward VI—Livina Teerlinc—Miniatures of the Holbein school—Miniat

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CHAPTER VIII PORTRAITS OF ERASMUS AND HIS CIRCLE

Portraits of Erasmus and Ægidius by Quentin Metsys—Copy of the “Erasmus” at Hampton Court and the original in Rome—Portraits of Erasmus by Holbein sent to London—The Longford Castle “Erasmus” and copies of it—The Louvre portrait, 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—Hol

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CHAPTER X THE “DANCE OF DEATH” AND OLD TESTAMENT WOODCUTS

The “Dance of Death” in literature and art—Early examples in Basel—Date of Holbein’s “Dance of Death” woodcuts—Early proofs—Date of publication—Description of the first edition—Reasons for delay in publication—Description of the separate woodcuts—Holbein’s “Alphabet of Death”—His illustrations to the Old Testament. HOLBEIN’S fame as a designer of woodcuts, which had spread throughout Europe before the close of the sixteenth century, was due almost entirely to his celebrated “Dance of Death” pict

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CHAPTER XXVI THE WINDSOR DRAWINGS AND OTHER STUDIES

The history of the book of drawings by Holbein in the royal collection at Windsor Castle—Early references to it—Sir John Cheke—The book’s various changes of ownership—Charles I exchanges it with the Earl of Pembroke for a Raphael—Afterwards in the Arundel Collection—Discovery of the drawings in Kensington Palace by Queen Charlotte—John Chamberlaine’s publication of them from engravings by Bartolozzi—Methods of their execution—Their present condition—Description of the more important of them—And

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CHAPTER XXVII DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS

Holbein as a practical designer for craftsmen in the different branches of art workmanship—Architectural designs—The “Holbein Gate” at Whitehall—The Porch at Wilton—Drawing of a royal chimney-piece in the British Museum—Ceilings in St. James’s Palace and the Matted Gallery, Whitehall—Sculptured capitals in the More Chapel, Chelsea Church—Glass window in Shelton Church, Norfolk—Number of his designs for jewellers, goldsmiths, and armourers—The Jane Seymour Cup—Other designs for cups in the Basel

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CHAPTER XI THE MEYER MADONNA AND THE DEPARTURE FOR ENGLAND

Commission from Jakob Meyer for the “Meyer Madonna”—Description of the picture at Darmstadt—Preliminary studies for the heads—The copy at Dresden—History of the two pictures—Magdalena Offenburg and the “Lais Corinthiaca” and “Venus”—Lack of work in Basel owing to the disturbed state of the city—Holbein’s departure for England. THE year 1526 was by no means a favourable one for the members of the Basel guild of painters, although, in all probability, it was in this very year that Holbein received

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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—Gerard, Lucas, 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 Treviso. BEFORE describ

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CHAPTER XXVIII THE BARBER-SURGEONS PICTURE AND THE PAINTER’S DEATH

Holbein’s last important work, the Barber-Surgeons picture, left unfinished by him—Description of it—Copy of it made for James I—Pepys’ attempt to purchase the original—Holbein’s death from the plague in the autumn of 1543—Discovery of his will—His executor, John of Antwerp, and his witnesses, Anthony Snecher, Olryck Obinger, and Harry Maynert—Old mistake in the date of his death—History of Holbein’s family—Englishmen named Holbein—His imitators—Painters who were working in England at the time o

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CHAPTER XXIX CONCLUSION

Holbein’s many-sided art—The destruction of all his larger decorative works—The fertility of his invention and his power of dramatic composition—The influence of the Italian Renaissance upon his art, both in his mural and historical paintings and in his designs for jewellery and the decorative arts—His sacred paintings—His genius in portraiture and his perfection as a draughtsman—A comparison between the art of Dürer and Holbein. HOLBEIN’S art was many-sided, but, through the cruel caprice of Fa

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CHAPTER XIII THE FIRST VISIT TO ENGLAND: 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 Priory, East Hendred, Burford Priory, 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 Mr. Pierpont Morgan’s Collection—Portrait of Lady More—Margaret Roper—Drawing of unknown lady in the Salting Collection—Portrait at Shere said to represent

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(A) Early Drawing by Holbein in the Maximilians Museum, Augsburg. (Vol. i. p. 43)

The drawing of “Calvary” in the Maximilians Museum, Augsburg (Woltmann, 3), is probably the earliest one by Holbein of which we have any knowledge. It is a silver-point drawing, touched with the brush in brown, white being used for the high lights and red for the representation of Christ’s wounds. It is a carefully wrought, youthful piece of work, at the same time showing considerable feeling in its rendering of the sacred subject. The Cross rises on the left, turned away from the spectator, so

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CHAPTER XIV THE FIRST VISIT TO ENGLAND: OTHER PORTRAITS AND DECORATIVE WORK

Holbein’s work for the temporary Banqueting House at Greenwich—The “Plat of Tirwan”—Portraits of Sir Henry and Lady Guldeford—William Warham, Archbishop of Canterbury—John Fisher, Bishop of Rochester—Thomas and John Godsalve—Niklaus Kratzer, the astronomer—Undated portraits—Sir Bryan Tuke—Reskimer—Sir Henry Wyat—Sir Thomas and Lady Eliot—Drawing of an unknown man at Chatsworth. POSSIBLY one of the causes which prevented the immediate completion of the large picture of the More family in the spri

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(B) Designs for Painted Glass of the Lucerne Period. (Vol. i. p. 79)

The design for painted glass with the arms of Hans Fleckenstein, of Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is the earliest in date of the series of designs for this purpose in which Holbein made such fine decorative use of the landsknechte with their picturesque costumes as supporters of the shield bearing the coat of arms of the patron for whom the glass was ordered. In the Fleckenstein design the warrior on the left is bearded, and wears a hat with very large feathers, and

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CHAPTER XV THE RETURN TO BASEL (1528-1532)

Return to Basel and purchase of a house—Iconoclastic outbreaks in that city—Destruction of sacred paintings and sculptures—Lack of work, 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—“Rehoboam rebuking the Elders”—“Meeting of Samuel and Saul”—Portrait of Erasmus painted in Freiburg—Book illustrations—Repainting the faces of the clock on the Rhine Gate—Holbein’s return

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(C) Early Drawings for wall-paintings. (Vol. i. p. 101)

In addition to the studies for wall-paintings made by Holbein shortly after his return from Lucerne to Basel, described in vol. i. pp. 98-101, there is another in the Ducal Gallery, Brunswick (Woltmann, 127), representing the Virgin Mary, as Queen of Heaven, with the Infant Christ in her arms, which is signed and dated “1520, H. H.” Her long hair falls in curls over her shoulders, and a plain circular halo is placed behind her crown. She is looking down upon the Child, whom she holds with both h

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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 art, and when the panel so discovered is one in practically faultless condition and of exceptional attraction, its importance as an addition to the list of the painter’s works cannot be easily exaggerated. It is pleasant, therefore, to have to record the fact that such a portrait was brought to light for the first time during the present year (1913). The portrait in question for

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(D) Glass Designs with the Coats of Arms of the Von Andlau and Von Hewen Families. (Vol. i. p. 145)

A third design for painted glass, representing the martyrdom of the Holy Richardis, wife of the Emperor Carl the Big, is of about the same date, and very probably belongs to the same series, as the two designs bearing the coats of arms of the Von Andlau and Von Hewen families, the second of which is dated 1520. St. Richardis, wrongfully accused of unfaithfulness, proved her innocence by submitting herself to the ordeal by fire. She was the patron saint of the convent of Andlau in Alsace, which,

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(E) The Faesch Museum. (Vol. i. pp. 88, 166-8, 180, and 239-41)

Among the miscellaneous contents of the Faesch Museum, formed by Dr. Remigius Faesch, or Fäsch, the most important are the few works by and after Holbein. Most of these came to him by inheritance from his grandfather, the earlier Remigius Faesch, burgomaster of Basel, who married Rosa Irmi, the granddaughter of Jakob Meyer zum Hasen, and so became possessed, not only of the double portrait of Meyer and his wife, Dorothea Kannengiesser, painted in 1516, and the two fine silver-point studies for t

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(F) Hans Holbein and Dr. Johann Fabri. (Vol. i. p. 175)

It is very probable that Holbein’s absences from Basel in search of work during his second sojourn in that city (1519-1526) were more frequent than has been generally supposed. It is not to be expected that many records of such journeys should remain, and for this reason the recent discovery, by Dr. Hans Koegler, of such an absence during 1523 is of exceptional interest. His article, describing this discovery, entitled “Hans Holbein d. J. und Dr. Johann Fabri,” was published by him in Repertoriu

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(G) The Trade-mark of Reinhold Wolfe. (Vol. i. p. 202)

The charming device of boys throwing sticks at an apple tree, which Holbein made for the publisher Reinhold Wolfe, seems to have been familiar to most English schoolboys in the sixteenth and seventeenth centuries, as it was to be found in a Latin Grammar much in use. There is an amusing reference to it in Henry Peacham’s Compleat Gentleman (reprint of the 1634 edition, Clarendon Press, 1906, pp. 126-7). He says: “Painting is a quality I love (I confesse) and admire in others, because ever natura

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(H) Nicolas Bellin of Modena. (Vol. i. pp. 282-4)

(i.) Extract from a Letter from Sir John Wallop, ambassador to France, to Henry VIII, respecting the extradition of “Blanche Rose” from France, and of Nicolas Bellin from England, dated Mantes, 27 September 1540. ( State Papers , vol. viii. pt. v. cont., No. dcxxviii., p. 439.) “... Which the Cardynall of Tornon confessed to be true, saying, ‘his ( i.e. Blanche Rose) mother was Englissh, and duelled in Orleance, and in the Cardynalles tyme of Yorke being brought uppe in England’; and with stayed

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(I) The More Family Group. (Vol. i. pp. 291-302)

There is a very interesting manuscript book, dated 1859, in the possession of Lord St. Oswald, which contains a descriptive catalogue of the pictures at Nostell Priory, together with “Some brief Notices of the sundry pictures of the Family of Sir Thomas More, Knt., Lord High Chancellor of England, Temp. Henry VIII,” from which, through the courtesy of the owner, the writer is enabled to give some extracts. It was written by Lord St. Oswald’s grandfather, Mr. Charles Winn, whose chief purpose see

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(J) Holbein’s Return to England in 1532. (Vol. i. p. 352)

A letter from Erasmus to Bonifacius Amerbach, preserved among the Basel manuscripts, appears to have reference to Holbein’s second journey to England, and at the same time to show that the relationships between the philosopher and the painter were not, at that period at least, entirely amicable ones. This letter, already referred to in Appendix ( F ), was first published by Dr. C. Chr. Bernoulli in the Basel Nachrichten , No. 296, 1902, and is dated Freiburg, 10th April 1535, but the year-date,

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(K) Lord Arundel and Rembrandt as Collectors of Holbein’s Pictures. (Vol. ii. p. 66)

Several important pictures by Holbein appear to have been in the Netherlands during the seventeenth century, and the Earl of Arundel, through his friends and agents, made serious efforts to add them to his collection, though in some instances the price asked was too high for him. In this search for examples of Holbein’s art he received considerable assistance from Sir Dudley Carleton, English minister at the Hague, to whom the Earl wrote, on 17th September 1619: “I hear likewise, by many ways ho

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(L) Holbein’s Visit to Joinville and Nancy in 1538. (Vol. ii. p. 148-149)

Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter Marie, Queen of Scotland, respecting the visit of Hoby and Holbein to Joinville, dated 1st September (1538). Balcarres MSS. , Advocates’ Library , Edinburgh , vol. ii., No. 20. “A la royne descosse. “Madame Rouvray a este ycy quelque tans pour meyder a pourvoir aus affaire de vous et de vostre filz ou fesons le myeux que povons Depuis que vous ay escrit par vostre argentier franceis ny a ryens change fors la mort du bailly de

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(M) Holbein’s Studio in Whitehall. (Vol. ii. p. 185)

It was probably in Holbein’s painting-room in Whitehall that the incident occurred which set going the story told by Van Mander—a story for which, no doubt, there was some foundation in truth—of Holbein’s violence towards a nobleman who insisted upon forcing his way into the studio when the artist was engaged upon the portrait of a lady, and who was, in consequence, thrown downstairs by the infuriated painter. This story Walpole tells as follows: The writers of his life relate a story, which Ver

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AMERICA

Portrait of Sir William Butts, 1542-3. Portrait of Lady Butts, 1542-3. Until recently in the possession of the Pole-Carew family. W. 204, 205. See Vol. ii. p. 209 - 210 . Portrait of Benedikt von Hertenstein, 1517. See vol. i. pp. 72-4, Pl. 24. Not in Woltmann. Portrait of Erasmus. Recently purchased by the late Mr. J. Pierpont Morgan from the Howard of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann. Portrait of a Lady, probably Margaret Wyat, Lady Lee. Until recently in the collection

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AUSTRIA-HUNGARY

Portrait of Lady Elizabeth Vaux. Badly damaged, but possibly an original. See Vol. ii. p. 86 - 87 . W. 243. Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533. See Vol. ii. p. 20 - 21 ; Pl. 4, vol. ii. W. 251. Portraits of an Official of the Court of Henry VIII, and his Wife, 1534. Two small roundels. See Vol. ii. p. 70 - 71 . W. 256, 257. Portrait of Queen Jane Seymour, 1536. Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii. pp. 111-2; Pl. 20, vol. ii. W. 25

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BELGIUM

Portrait of a Young Man holding a Carnation, 1533. See Vol. ii. p. 57 . W. 261....

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BRITISH ISLES

The Two Ambassadors: Jean de Dinteville and George de Selve, 1533. See vol. ii. chap. xvii.; Pl. 9, vol. ii. W. 215. Portrait of the Duchess of Milan, 1538. See vol. ii. chap. xx.; Pl. 21, vol. ii. W. 2. Portrait of John Reskimer of Cornwall. See vol. i. pp. 333-4. W. 162. Christ appearing to Mary Magdalen (“Noli Me Tangere”). See vol. i. pp. 95-8, Pl. 32. Not in Woltmann. Portrait of Johann Froben, printer of Basel. Probably only a good old copy. See Vol. ii. p. 183 - 184 . Not in Woltmann. Por

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FRANCE

Portrait of Erasmus, 1523. See vol. i. pp. 172-3; Pl. 56. W. 224. Portrait of William Warham, Archbishop of Canterbury, 1527. See vol. i. p. 322; Pl. 83. W. 225. Portrait of Niklaus Kratzer, the Astronomer, 1528. See vol. i. pp. 327-30; Pl. 86. W. 226. Portrait of Sir Henry Wyat, 1527-28. See vol. i. pp. 335-6; Pl. 88. W. 227. Portrait of Anne of Cleves, 1539. See Vol. ii. p. 181 - 182 ; Pl. 24, vol. ii. W. 228. Portrait of Sir Richard Southwell, 1536. Attributed to Holbein, but probably only a

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GERMANY

Portrait of Georg Gisze, member of the London Steelyard, 1532. See Vol. ii. p. 4 - 8 ; Pl. i. vol. ii. W. 115. Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London Steelyard, 1533. See Vol. ii. p. 16 - 17 ; Pl. 3, vol. ii. W. 116. Portrait of an Unknown Man, aged 37, 1541. Possibly a Member of the Dutch family of Vos van Steenwyck. See vol. ii. p. 202. W. 117. Portrait of an Unknown Man, aged 54. Formerly in the Collection of Sir J. E. Millais, Bt. See Vol. ii. p. 205 - 206 ;

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HOLLAND

Portrait of a Young Lady, said to be Holbein’s Wife. See vol. i. pp. 106-8; Pl. 37. W. 161. Portrait of Robert Cheseman, 1533. See Vol. ii. p. 54 - 57 ; Pl. 11, vol. ii. W. 159. Portrait of an Unknown Man with a Falcon, aged 28, 1542. See Vol. ii. p. 203 ; Pl. 28, vol. ii. W. 160. Portrait of Queen Jane Seymour. Good old copy of the picture at Vienna. See Vol. ii. p. 113 . Not in Woltmann. Portrait of a Boy. Miniature. See Vol. ii. p. 229 - 230 ; Pl. 31, vol. ii. Not in Woltmann....

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ITALY

Portrait of Sir Richard Southwell, 1536. See Vol. ii. p. 84 - 85 ; Pl. 16, vol. ii. W. 149. Self-portrait of Hans Holbein, 1543. See Vol. ii. p. 213 . W. 150. Portrait of Erasmus, 1530. Probably only a good old copy. See vol. i. p. 179. W. 240. Portrait of Henry VIII, about 1539. See Vol. ii. p. 102 - 103 ; Pl. 19, vol. ii. Not in Woltmann....

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SPAIN

Portrait of an Old Man. Attributed to Holbein by some writers. Not by him according to Dr. Ganz. See vol. i. pp. 334-5. W. 217....

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SWITZERLAND

Madonna and Child, 1514. See vol. i. pp. 33-5; Pl. 7. Not in Woltmann. Head of the Virgin. Head of St. John. See vol. i. pp. 37-8; Pl. 8. W. 7, 8. The Lord’s Supper. Christ on the Mount of Olives. Christ taken Prisoner. The Scourging. Pilate Washing his Hands. The above five paintings, on canvas, formed part of a larger “Passion” series, probably for some Basel church, and are among the earliest works upon which Holbein was engaged after he settled in that city. See vol. i. pp. 39-42; Pls. 9 and

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A SHORT BIBLIOGRAPHY

The following list includes only a few of the more modern and more important of the many contributions to the literature dealing with the life and art of Hans Holbein the Younger. A very complete bibliography of the artist will be found in Schweiz. Künstlerlexikon , vol. ii., Frauenfeld, 1906, to which the student is referred. Additional references will be found in the text and footnotes of this book. Amiet , Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus Conrad , 1879. Baldry, A.

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