HANS HOLBEIN I BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Mtnvu ^^ Sage 1891 A..JJ./.M ^4y^: arV18129 Hans Holbein; 'comell University Library 3 1924 031 219 854 The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031219854 ILLUSTRATED BIOGRAPHIES OF THE GREAT Q^RTlSTS- HANS HOLBEIN OF AUGSBURG. ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS. The follmvin^ vobimes, each illustrated with from 14 to 20 Engraving!, are nin{, ready, price 3^, 6d. Those marked with an asterisk are 2.S. 6d. SIR JOSHUA REYNOLDS. By F. S. Pulling, M.A. WILLIAM HOGARTH. By Austin Dobson. GAINSBOROUGH and CONSTABLE. By G. Brock-Arnold, M.A. LAWRENCE AND ROMNEY.* By Lord Ronald Gower, F.S.A. TURNER. By Cosmo Monkhouse SIR DAVID WILICIE. By J. W. Mollett, B.A. SIR EDWIN LANDSEER. By F. G. Stephens. GIOTTO. By Harry Quilter, M.A. FRA ANGELICO and BOTTICELLI. By C. M. Phillimore. FRA BARTOLOMMEO and ANDREA DEL SARTO. By Leader Scorr. MANTEGNA and FRANCIA. By Julia Cartwright. GHIBERTI and DONATELLO.* By Leader Scott. LUCA DELLA ROBBIA and CEI.LINI.* By Leader Scott. LEONARDO DA VINCI. By Dr. J. Taul Richter. MICHELANGELO BUONARROTL By Charles CLfi.MENT. RAPHAEL. By N. D'Anvers. TITIAN. By R. F. Heath, M.A. TINTORETTO, By W. R. Osler. CORREGGIO.* By M. Compton Heaton. VELAZQUEZ. By E. Stowe, M.A, MURILLO.* By Ellen E. Minor. ALBRECHT DURER. By R. F. Heath, M.A. THE LITTLE MASTERS OF GERMANY. By W. B. ScoTT HANS HOLBEIN. By Joseph Cundall. OVEKBECK. By J. Beavington Atkinson. REMBRANDT. By J. W. Mollett, B.A. RUBENS. By C. W. Rett, M.A. VAN DYCK and HALS. By P. K. Head, B.A. FIGURE PAINTERS of HOLLAND. By Lord Ron,vld Gower, F.S.A. CLAUDE LORRAIN. By Owen J. Dullea. WATTEAU. By J. W. Mollett, B.A. VERNET and DELAROCHE. By J. RuuTZ Rees. MEISSONIER.* By J. W. Mollett, B.A. HANS HOLBEIN. From the portrait in the Uffizi Gallery at Florence. " The whole world without Art would be one great wilderness." '^©^ft^ HANS HOLBEIN FnoM " Holbein und seine Zeit," by Dr. Alfred Woltmann. BY JOSEPH CUNDALL Author of " The Life and Genius of Rembrandt." LONDON SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, Ltd, Si. gunrfan's llonst Fetter Lane, Fleet Street, E.C iS92 s {Ail rights reserved.) Richard Clay dr= Sons, Limited, Lovdon ^ Btmgay. ^ ^^ ^^^ ^ffi ^ ^^ n f^K- J/^^Wi&i i^'rt^^^rt^s v^f^^^^^ ^ ^^^ ^I^^^&» iu ^a ^® /M i J ^s ^ ^ « ^5a Ssis^.v^ ^^^^? "-Si. »§- z^^^ yJ THE PEASANTS' UAKCE. PREFACE. ENGLISH artists have never fully acknowledged the debt they owe to the memory of Hans Holbein. It was he who first raised the art of painting to perfection in this country, and it may be questioned if, in many of the finest requirements of portraiture, his work has ever been excelled. The bold touches of the well-known Windsor portraits show unmistakeably the vigour of a master's hand. They are drawn by one who had no doubt of his power, and are marvellous examples of swift dexterity. As a colourist Holbein claims admission into the first rank of painters. Those who have seen his finest portraits — most of which were painted Ixj England, but are now scattered among the galleries of Europe — acknowledge Ms wonderful gift of placing before our eyes the yery man he wishes to present. Mr. Buskin praises some of his portraits with the greatest enthusiasm, and every art-critic who has carefully examined Holbein's pictures has been charmed with the excellence of his workmanship vi PREFACE. His altar-piece at Darmstadt — better known to the world by the excellent copy at Dresden — was painted before he was thirty years of age, yet it ranks nexb to the work of Raphael : and there can be little doubt that had the grand picture of " The Family of Sir Thomas More " been pre- served to this time, we should have possessed a group of portraits, which, both in composition and painting, would have been of surpassing interest and of the greatest merit. As an ornamentist none has excelled him. His drawing, in the Bodleian Library, of Queen Jane Seymour's cup is pre-eminent in its art ; and the designs for jewellery and decorations of every kind in the British Museum and at Basel are more to be admired than the works of any of his celebrated countrymen. The genius of Holbein must undoubtedly have had great influence over English art of the sixteenth century. Previous to his time portrait painting was scarcely known : decoration in various ways was the principal work of the artists of the Court — and in this probably Holbein helped — but no well-authenticated portrait of merit by any known painter before him has yet been found. From the fountain-head of Hans Holbein there has run one unbroken stream — to which foreign artists have often contributed — which has steadily flowed on until it has increased to the present wide expanse of British art. The painters of England ought certainly to erect a statue to his memory. With the exception of a few additions which have been PRKKACE. vi) suggested to me by the study of many years, I am indebted for all the main facts in the present little treatise to the well-known work, " Holbein und seine Zeit," by Dr. Wolt- mann, who has made an exhaustive study of his subject. His book fills 760 large pages of closely-printed matter, and it has been no easy task to extract the most salient informa- tion from such an immense amount of learning. Without the assistance of my friend Mrs. Ruulz Rees, who kindly translated much of the German work for me, I could not have undertaken the labour. We know little of the life of Holbein apart from his works, but we may rest assured that Dr. Woltmann has left no stone unturned in his endeavours to secure every possible source of knowledge. J. C. Hurbiton Hill, My, 1879. THE FOX-CHASE. CONTENTS. CHAPTER I. PAGE The influence of tho Reformation on Art — Augsburg in 1490 — The Holbein Family — Ambrosius and Hans Holbein — Their visit to Basel — Employed by Froben the printer — The Zurich table — Erasmus — The " Praise of Folly " — Burgomaster Meyer —1497 to 1516 I CHAPTER U. Wall-painting at Lucerne — Portrait of Amerbach — Wall-painting m Basel— The old Town-hall— The Dance of Death— Bible Cuts — Title-pages — Altar-pieces — 1517 to 1521 ... 14 CHAPTER HI. The Solothurn and the Meyer Madonna— Portraits of Melancthon and Erasmus — Letter of Erasmus to Sir Thomas More — Dis- turbances at Basel — Contemplated Journey to England — 1522 to 1526 33 CHAPTER IV. Holbein's first Visit to London — Sir Thomas Move's house and family — Portraits of More, Archbishop Warham, and Bishop Fisher— Other portraits — 1527 to 1528 46 CONTENTS. CHAPTER V. PAGE The family of Sir Thomas More — Holbein's visit to Basel — His wife and children— Decorates the Town-hall — Eetm-ns to Eng- land—Merchants of the Steel-yard — Marriage of Henry VIII. to Anne Boleyn — Portraits of the English nobility — 1528 to 1533 . 54 CHAPTER VI. Death of Sir Thomas More — Death of Anne Boleyn— Marriage of Henry VIII. to Jane Seymour — The Windsor Drawings — Death of Jane Seymour — The Duchess of Milan — Holbein's Salary— 1534 to 1537 80 CHAPTER VIL Visit to Basel — Death of Sigismund Holbein — Return to England — Portraits of the Prince Edward — Anne of Cleves — Duke of Norfolk — Lady Catherine Howard — Lady Catherine Parr — The Barber- Suigeons' Company — Death of Holbein— His last Will -J 538 to 1543 93 Appendix — Notes . 105 List of Holbein's Paintings and Drawings. . . .107 Chronology of Hans Holbein . . , . . . . IJ 3 Index . , 11!) LIST OP ILLUSTEATIOISrS. {Two cats. TTans Holbein. From the painting in the Uffizi Gal, Frontispiece, Kunz von der Eosen. The Annunciation to the Virgin Saint Barbara — Saint Elizabeth " The Praise of Folly," Illustrations to, Pilate washing his hands . The Peasants' Dance Two Soldiers. {Design for glass-painting. Dance of Death. {Fight cuts.) . Study of Costume .... Old Testament Pictures. {Four cults.) The Meyer Madonna. ( Tioo pages. ) . Hans Holbein. From the drawing at Bas, German Ship of the 16th Century The Fox-chase .... Archbishop Warham The Family of Sir Thomas More Henry VIII Port rait of an Engl ishman Henry VIII. and his Father Hubert Morett, the Goldsmith . Anne of Gloves ... Duko of Norfolk .... •el 4 5 5 9 12 U 18 20 24 28 35 40 45 46 51 56 64 70 80 100 BIBLIOGRAPHY. List of the most important modem works on IIolbeik. HOLBEIN UND SEINE ZEIT. Des Kiinstlei-'s Familie, Leben uml Scliaffen. Von Alfred Woltmann. Second Edition in two volumes. Witli illustrations. lie'pzig, 18''4-6. English Translation of tlio Fivjt Editioii, by F. E. Bunnett. With sixty illubtratio.is. London, )H;2. SOME ACCOUNT OF THE LIFE AND WORKS OF HANS HOLBEIN, PAINTER OF AUGSBURG. By Ralph Nicliolscn Wormim, Keeper and Secretary, National Gallery. London, 1867. HANS HOLBEIN DER JUNGERE. Von J. S. Wesseley. In " Kunst und Kiinstler," von Dr. Robert Dohme. Leipzig, 1876. JEAN HOLBEIN (dit le Jeune). Par Charles Blanc. In " Histoire de.s Peinlres de toutesles Ecoles." Paris, 1860. HANS HOLBEIN. Par Paul Mantz. Dessins et Gravures sous la direction do Edouard Lifevre. Folio. Paris, 1879. ERGANZUNGEN UND NACHWEISUNGEN ZUM HOLZ- SCHNITTWERK HANS HOLBEINS DES JUNGEREN. Von Prof. Salomon Vogelin in Zurich. lu •' Repertorium fiir Kunst- wissenschaft. " Stuttgart, 1879. DIE GRAPHISCHEN KUNSTE. Eedigirt von Dr. Oskar Berg- gruen. Wien 1879. (In which will be found an etching of "The Zurich Table.") HANS HOLBEIN. CHAPTER I. The influence of tlie Reformation on Art — Augsburg in 1490.— The Holbein Family — Ambrosius and Hans Holbein — Their visit to Basel — Employed by Proben the printer — The Zurich table — Erasmus — The " Praise of Folly " — Burgomaster Meyer. 14.97 TO 1516. THE close of the fifteenth century marked the transition from the darkness oLthe Middle Ages to the more enlightened days of the Reformation. The growing influences of the time, seconded by the in- vention of printing', can be traced in the writings, the handicrafts, and especially in the arts of the century. Architecture, chief exponent of the beliefs of the people, changed its character ; sculpture became more refined, and as in the palmy days of Athens, more decorative ; and painting made rapid strides. The emancipation from ecclesiastical thraldom, which was the necessary result of the continued agitation of the period, exercised an enormous B 2 HA.NS HOLBEIN. influence upon the artists of every school, who, by a natural transition, returned to the study of the early and almost forgotten Masters. Hence began the culture of Art -which we call Renais- sance. The goldsmiths assumed a rank they had never before held: and the art of engraving, which attained at the same time a pre-eminence and importance altogether new, became a powerful instrument in the diffusion of knowledge. The onward movement, commencing in Italy, spread with an increasing force over the continent of Europe ; and in Germany, but more especially in Snabia, its influence was very widely felt. One of the foremost pioneers of the new school was the celebrated Martin Schongauer, a , painter so esteemed by his compatriots as to be constantly called the " Glory of Painters." Belonging to the old Flemish school, his pictures exhibit all the newly-awakened realistic ideas of the Netherlands, and are at the same time marked by the ideality of German art. His influence upon his successors cannot be exaggerated, and to him and an equally celebrated painter of the same epoch, Hans Burgkmair of Augsburg,' may undoubtedly be ascribed much of the wonderful per- fection of the renowned Hans Holbein the younger, whose fame excelled that of any of his countrymen. Of all the Suabian cities, Augsburg at this time took the lead, and undfer the enlightened""rule of the Emperor Maximilian made the most rapid strides in intellectual advancement. Situated upon one of the highest spurs of the Bavarian mountains, her position in a military point of view was important ; and being on the high road to the 'Schongauer died in 1488 ; Burgkmair in 1531. HIS GENEALOGY. 6 Alps and Italy, she enjoyed close and constant communica- tion with the cultured Italians. Here, quite at the close of the fifteenth century, probably in 1497, Hans Holbein the younger was bom.^ We can trace his genealogy back for two generations. Prom the tax registers of Augsburg we learn that one Michael Holbein, a leather-seller, first settled in that city in 1451. He must have been a man of some little snb- stance, as we find he possessed plots of land in various parts of the town, and that his name and also his wife's occur in several of the public records of the period. He had two sons — Hans, who may have been born about 1460, and Sigismund, who was probably a few years younger. Both became paintox's. Sigismund left his native town and settled in Berne.^ Hans, we know from the city registers, resided at Augsburg at intervals for many years. It was at one time said that he married a daughter of Burgkmair, but this has been ascertained to be an error. We learn that he was made a citizen of TJlm in 1499, and two years later that he visited Frankfort. Many of the paintings of Hans Holbein the elder can be traced. He excelled in portraiture, and, after the fashion of his time, often introduced likenesses into his pictures. In one of these, the ' Life of St. Paul,' he has given figures of himself and his two sons, Ambrosius and Hans. Upon the head of the younger his hand rests lightly, as though in recognition of the budding talent of the boy. We can recognize in the child's round bright face, pretty open eyes and expression, the traits which we find in a later sketch by the father of the younger Hans ' Appendix, Note I. ° Sigismund Holbein died in 1540. IIAXS H01.BI2IN. and his brother. Of the boyhood and youth of Hans and his brother Ambrosias nothing absolutely certain is known, but much may be inferred. KUNZ VON DER KOSEN. From a drawing by Holbein the elder, in the Berlin Gallery. A few sketches in silver point, now in the Berlin Museum, were at one time attributed to Hans the younger, but later authority has decided that they were the production of the elder Hans. They give evidence of the existence in the father of the same kind of genius as that which renders his son's name immortal. Many other sketches and paintings have been attri- buted to the son which the recently discovered date of his birth renders it impossible for ns to claim for him. THE ANNUNCIATION. From the Saint Sebastian altar-piece by Hans Holbein the elder, at Munich. ALTAR-PIECE OF ST. SEBASTIAN. 5 Foremost amongst ttese is the altar-piece of St. Sebastian in Munich, which is now acknowledged to be the crowning work of the elder Holbein. The wings of this altar-piece are especially well designed. On one is a picture of the 'Annunciation;' on the other are graceful figures of 'St. Barbara' and 'St. Elizabeth. ' These are decorated with renaissance ornament, which his son Hans afterwards so frequently introduced. That the youths Ambrosius and his brother Hans early knew the meaning of hard work and had practical experience of privation is probable, as from certain evidence we find that their father was constantly summoned for the payment of insignificant sums. Thus it stands upon record that on the 10th of May, 1515, he was sued by a creditor for the moderate sum of one florin, and again in the following year a demand was entered against him for only thirty- two kreutzers. After the year 1516 he is named in tlie tax register as living at a short distance from Augsburg ; and one year later his own brother, Sigismund, appears against him in court with a claim for some thirty- four florins, which he states were advanced to enable Hans Holbein to convey his painting materials to Eygznen, that is, to Isenheim in Alsace. Once more, in the year 1521, the unfortunate painter is sued for forty-one kreutzers. In 1524 his name appears for the last time in the Augsburg tax register, and in the same year he is entered in the Eandwerlce hitch der Maler as among the dead. From these varied sources it is clear that Ambrosius and Hans could have received little material assistance from their father. It is more than probable that he made free use of their labour in his studio, and it may well be c&n- 6 HANS HOLBEIN. ceived that some of the paintings now attributed to him were indebted in some measure to the talents of his gifted son. All that we positively know is that both brothers were in Basel in the year 1515. At that period we find records of paintings executed by Hans, and in the following year an account of the productions of Ambrosius. Pro- bably they paid their first visit to Basel during the year which they spent in travel in accordance with the fashion of the time. The quiet burgher town of Basel was at this time a market for all talent. The home of many of the most illustrious writers and thinkers of the day, Basel offered an asylum to those whose advanced opinions made them unwelcome in Germany or elsewhere. Its University, already famous, drew to its walls all who sought after knowledge, and a chronicler of the day, exulting in the advancement of the inhabitants, remarks that in the whole town there was not to be found a house which did not -contain a learned or a celebrated man. The advancement in the arts of copper- plate engraving, etching, and wood-engraving opened new sources of gain to the artist, A constant demand for illus- trations, and for title-pages, or for initial letters of books, offered more plentiful and productive occupation than any to be found in Suabia. We find Hans Holbein speedily em- ployed, although his earliest known production was only a schoolmaster's signboard ; rough and rude in workman- ship, it yet gave evidence of the master mind. Two portraits in the Basel Gallery are also attributed to him at this time : the one, a woman's head with childish lineaments ; the other, a man's, with clear, sharp features and lively expression. It is probable, however, that his first stay in Basel, although it had a vital influence upon his SAINT BARBARA. SAINT ELIZABETH. From the Saint Sebastian altar-piece by Hans Holbein the elder, at Munich. TUIC ZUKICH TABLE. 7 fortunes, was of short duration, for while we find but slight mention of him between the years 1515 and 1520, his brother Ambrosius is already mentioned as a citizen in 1517, which conveys the idea that he was alone, and that his brother was travelling. This is confirmed by the number of paintings in other towns which can be traced to Hans Holbein, more espe- cially hy one on a large table in Zurich which still bears the signature of " Hans Ho." • There is no doubt that this was executed in 1515, because at the right-hand corner of the table can still be seen the coats of arms of the Ber and Brunner families. It was painted for Hans Ber, who married a certain Barbara Brunner on the 24th of June, 1515, and who fell in the battle of Marignano on the 14th of September in the same year. Sandrart, who gives a good description of this table, considers it to be entirely the work of Hans Holbein the younger. In it " St. Nobody" is depicted with a most desolate countenance. In the midst of ruins, broken porcelain, glass, and torn books, he sits on a tub, his mouth padlocked. The whole representation is extremely graphic. An open letter, on which Hans Holbein is written, lies so naturally on the table, that many people have attempted to take it up. Writing materials and spectacles are painted in the same natural manner. The production is divided into two parts, one forming the centre portion of the table, and the other the border, upon which can still be deciphered the remnants of an old German verse, celebrating the " No- body " who is always responsible for household breakages. Striking as the painting is as a whole, it is no less happy in its details ; for example, a lady with a falcon on a wonder- ' Apjjendix, Note II. 8 HANS HOI-BEIN. fully foreshortened horse. The whole work is full of merry conceits and allusions to the wit of the day. A much better example of the same style of art is to he found in the pen-and-ink illustrations of Erasmus's " Praise of Folly," which brought Hans into communication with the greatest thinker of the century. Erasmus, renowned throughout Europe for his learning, first visited Basel in 1513. His acquaintance with Probeu, who published his " Adagia " and his translation of the New Testament, led him there in the first instance. His arrival was anxiously looked for by Froben, and a charming anecdote is related of their first meeting. Erasmus introduced himnelf to the famous printer as his own messenger, but in his excitement in discussing his published works, he failed to carry out his assumed character. Froben recognized him, joyfully welcomed him, and refused to allow him to return to his inn. In his subsequent visits to Basel, Erasmus uniformly made use of Froben's house, untQ he rented one for himself in 1521. But from his first arrival in Basel his interest in that city and its inhabitants continued unabated. Whether we consider the fact that Holbein illustrated his " Praise of Folly " as au evidence that they were ac- quainted, or whether we suppose that Erasmus gave the order for the sketches in the first instance through Froben or some other friend, it is equally certain that the young painter brought a keen appreciation of the wit of the writer to the execution of his task. Moreover, his illustrations show an acquaintance with both Latin and Greek, which argues well for his mental attainments. For instance, when the expression mutuum muli scabunt occurs, Holbein interprets it upon the margin by two asses rubbing against each other. And where THE "PRAISE OF FOLLY." 9 mythological expressions are used, he invariably explains them rightly. Allusion being made to Vulcan and to Penelope's web, the characters appear delineated by him in suitable attitude and costume. When the clamour of the priests, ceasing only when a morsel is thrown to them, is satirically spoken of, and ' the commentator relates how J^lnena quieted Cerberus by a sop, the painter, following out the idea, depicts JEneas in knight's costume with a switch in his hand, holding out a sausage to a three- THE END OF FOLLY'S SERMO.N. headed hell-hound. Throughout the volume such evi- dence of Holbein's ability to construe classical allusions is constantly shown. The illustrations of this famous satire were as deservedly popular as the work itself. Erasmus wrote nothing else in the same strSiin, but he was never more successful. The book went through twenty-seven editions during its author's lifetime, and Holbein undoubtedly deserves an equal share of its popularity. Throughout its pages his genial hearty 10 HANS HOLBEIN. humour asserted itself — in one case, unfortunately, to the detriment of his reputation. The name of Erasmus having occurred in the text, the artist introduced a sketch of him on the margin, making him appear much younger than he was at the time. The author jestingly retaliated by turning the page and writing the name " Holbein " beside a passage from Horace: "A fat pig from the flock of Epicurus." The illus- tration represented a ■wild fellow sitting at a well-spread board dtinking ! This joke has been interpreted to mean that Hans was given to drink. That he was full of humour and intense appreciation of life, his works sufficiently testify ; but it is equally certain that had his conduct been in any way disgraceful he could never have retained the friendship and esteem of such men as Erasmus, Amerbach and Froben. To the early period of his first visit to Basel, 1516, belong the portraits of the burgomaster Jacob Meyer, called Meyer of HasMi, and his second wife. If we are delighted with the life and humour of his pen-and-ink sketches, we find still deeper evidence of his genius in these pictures. We detect in them the advancement we traced in the later works of the father, and they especially recall the two heads in the St. Sebastian altar-piece. FOLLY GAMELIKG. BURGOMASTEK METER. 11 Burgomaster Meyer was a gre\t man in the city. The qualities that distinguished him are saflSciently proved by the position he held during such troubled times. The first of the commonalty elected to this responsible office, he was often re-elected and, during his term of office some five years later, both bishops and knights were shorn of many of their privileges. His countenance, as preserved to us by Holbein's pencil, portrays the energy and deter- mination which characterized him. The expression of the mouth, with its lightly closed lips, is extremely full of life and meaning. The gold coin in his hand has historical significance, for it is one of the new issue by the Emperor Maximilian, and boars the stamp of 1516. The monogram and date introduced into the architecture in the back- ground give the same year. The frame enclosing this portrait contains the companion likeness of his young wife. Burgomaster Meyer married, in the first instance, a sister of the very Hans Ber for whom Hans Holbein painted the fable in Ziirich, and who no doubt introduced the artist to the burgomaster. The second wife, Dorothea Kanne- giesser, is painted as still very young. Her pleasing features are noteworthy for the modesty of expression which gives them so much charm. The exquisite skill of the artist is shown in the elaboration of every detail in the rich embroidery of her attire. Deep black and red play a prominent part in the painting, yet are in perfect harmony with the warm but somewhat brown flesh-tints and the light blue atmosphere, which, with the architectural frame- work, forms the background. The earlier sketches in silver pencil of both these portraits may be seen in the Basel collection. In that of the burgomaster, his curly hair is wonderfully drawn. Both sketches have notes oa It2 HiUSrS HOLBEIN. the margin as to colour of tlie hair and eyes,' by which means Holbein spared his sitters many tedious hours. To this year, 1516, belongs the portrait of Hans Herbster, a painter of whose productions little is known. Striking in appearance, he is represented in a dark painter's coat and red cap, with long hair and full beard. A frame with its renaissance carving and columns, with sportive genii clambering up them, surrounds the portrait, and gives, beside the name, the information that he was Opoeini pater, — father of the celebrated printer Oporinus. This picture is now in the possession of the Earl of Northbrook. Under the date 1517 we find another work attributed to Holbein. It is evidently a very early one, and represents half-length pictures of Adam and Eve — Adam withaflowing beard, and Eve with features greatly resembling the head of a saint. To the same year wo must also assign five re- presentations of the ' Passion,' very coarsely painted upon linen. The two best of them are attributed to Hans, and there is some reason to suppose that the others were tlie work of Ambrosius. They bear a close resemblance to his known productions, more particularly on account of the dark colour of the background. It is possible that they were the joint work of the brothers, hastily executed for some religious ceremony. Copies of seven of these drawings are in the British Museum, executed with a pen and washed with Indian ink. Little is authentically known of the works of Ambrosius, with the exception of his later drawings for illustrations. A small tablet in the Basel Museum is assigned to him. It is the representation of the Saviour as the Man of Sorrows ' Similar notes occur on the Windsor drawing-s. PILATE WASHING HIS HANDS. From Ihe drawings of " The Passion" in the Basel Museum. Ills BROTHER AMBROSIL'S. 13 after Diirer's Passion-fcene, but it is not successful. The treatment of the subject is weak, the colouring neither so warm nor so natural as in his brother's works, but his child-angels are admirable. Two portraits of little boys in yellow frocks are also ascribed to him. The painting is thin, light, and tender, free from the harsh outlines of some of his earlier works. There exist also a very primi- tive representation of a fair young lady in a grey dress, with the initials H.V. on her locket, and a portrait of Jorg Schweiger, the goldsmith, which many ascribe to Ambro- sius. In the Darmstadt Gallery we find a pictui-e of a fair young man in a scarlet cloak and hat, with a blue back- ground, which is marked "H. 1515 H." Probably, the first H should have been an A, as the painting bears no resem- blance to anything either of Hans Holbein or of his father. Ambrosius must also claim the merit of a picture in the Hermitage at St. Petersburg, although it is catalogued as being a work by Hans Holbein, " not equal in execution to his others." We have few traces of any later paintings by Ambrosius, but in several books published by Proben and Andreas Cratander at this time we find his initials on elaborate designs engraved on wood for the title-pages of books by Erasmus and others. Tlfe latest of these is dated 1519. Ambro.sius figures in the Basel law-courts as a witness in 1516, and in 1517 he was made free of the Painters' Guild ; but as we hear no more of him nor of his works after the year 1519 we may conjecture that he probably died young. THE PEASANTS DANCE. CHAPTER II. Wall-painting at Lucprno — Portrait of Amerbach — Wall-painting in Basel— The old Town hall— The Dance of Death— Bible Cuts— Title- pages — Altar-pieces. 1517 TO 1521. WE have evidence that in 1517 Hans Holbein was living in Lucerne. In the register of the Guild of St. Luke it is stated that he made a donation of one florin to that socictj ; and in the town records he ap- pears as fined for taking part in a quarrel on the 10th of December of that year. About this time Hans veas employed by the mayor of Lucerne, Herr Herstenstein, to decorate his house with wall-paintings within and without. In this undertaking Hans found full scope for his genius, and although, unfor- tunately, the house was destroyed at the beginning of the present century to make way for modern structures, we can obtain some idea of the execution of his task from copies which still exist. Wall-painting was not greatly esteemed in Germany and Switzerland at this time ; there was none of the elaboration we meet with in Italian interiors of that period, or in those of a later date. The work was little valued ai.d very bndly paid ; but we find WAI.L-PAIISTING AT LUCERNE. 15 Hans setting all establisheil rules at defiance, and decorat- ing this irregular old house in a way peculiar to his genius. Very interesting is his choice of subjects, which we may divide into the religious and the secular. The former are devoted to the decoration of the room set apart for a cbapel. In one beautiful conception we have the fourteen saints (said to have appeared to a shepherd in 1445), kneeling in adoration before the Infant Christ. In another, the family of the donor, husband, wife, and three boys, kneel before seven saints. A third represents a religious procession. By the large open fireplace, Holbein depicted the well-known ' Fountain of Health.' From all sides eager groups approach the large round basin, with its centre column crowned with the arms of the Herstenstein family. Men, women, and children, old and young, hasten to secure the water. The most remarkable figure in the group is that of an old woman, carried in a basket upon her husband's back and holding in her arms a dog, who is also to share the reviving draught. An original sketch of one of the fa9ade paintings is in the Basel Museum. It represents Lesena before her judges, when, rather than speak, she bites off her tongue. A later recollection of Lucerne is found in the Basel Gallery, in the background of a ' Madonna ' which presents a distant view of the town with its celebrated bridge. It has often been questioned whether Hans Holbein ever visited Italy. Van Mander's assertion that he did not, can hardly be accepted as proof. We have evidence in the Basel town records that he more than once obtained permission to visit France, the Netherlands, and England for the sale of his works. There is at least a probability that he may have gone as far as Lombardy and Northern 16 HANS HOLBEIN. Italy, Whilst we attribute some of his evident knowledge of the Italian school of paintinej to the fact that Burck- maer — whose intimacy with the Holbein family we have noticed — had in his employment an Italian artist, this would hardly account for the resemblance some of Hol- bein's productions bear to the works of Andrea Mantegna. In the same way his acquaintance with the Milanese school would appear likely from his evident acquaintance with the works of Lionardo da Vinci. A ' Last Supper,' painted on wood at Basel, seems to corroborate this opinion. Some inference as to a journey to Italy may be found in the frequent introduction of fig-trees and fig-leaves in his later works, but on the other hand we find surprisingly little of Italian life or landscape. Soon after his return to Basel Holbein painted the portrait of Bonifacius Amerbaoh, one of his most perfect works, and in many respects equal to his later pictures in England. Bonifacius was a son of the publisher, Hans Amerbach, and a friend of Erasmus, who finally made him his heir. He must have been well worthy of this friend- ship, for his moral and intellectual qualities were of the highest order. The noble features, somewhat prominent nose, finely-formed mouth, and bearded chin are given in Holbein's happiest manner. The eyes, partially concealed by the overshadowing brow, beam with intellect and life. A panel at the side of the portrait gives the date 1619, and in- dicates the time when Amerbach left Freiburg on account of the plague, and settled in Basel. Amerbach's name is still more inseparably connected with the renowned painter on account of the collection in Basel called after him. This collection contains no less than 104 original drawings by Holbein, besides the illustrations of the " Praise of Folly." WAU. PAINTINGS. 17 Once settled in Basel as a citizen, every year bears witness to Holbein's activity. He is employed in wall-painting, in designing for glass, in drawing for engravers and in the illustration of books. It is difi&cult to picture Basel as it then appeared, decorated as it was externally by his hand. Some of his wall-paintings remained for a long time: a house at the corner of the Eisengasse was, until the middle of the last century, an excellent specimen of his skill in this particular branch of art. Fortunately we possess etchings and drawings of the greater portion of his designs, which enable us to judge in some measurt of the efiect produced. When we consider the immense labour bestowed upon this one house, the sum of forty florins, which was all he received for it, seems ridiculously small, even allowing for the greater value of money afc that time. In the decoration of the front of this building he introduced an architectural design, and the eye was deceived into supposing that the house itself was hand- somely built. The celebrated ' Peasants' Dance ' adorned the facade : the dancing figures of men, women, and chil- dren keep time to the musicians, who are leaning against a table bearing jugs and glasses. They are drawn with such spirit that their enjoyment seems perfectly real and infectious. Above the second storey large pillars and antique figarcs of old mythological personages filled in the space, whilst a splendid balustrade appeared to support the third storey and was covered with gaUy-dressed figures. Below, on the ground floor, Holbein painted a stable, and by a curious perspective arrangement showed the interior, with a noble steed led by a groom. A column beside the horse was crowned with a figure of Hebe. A water- colour sketch of the ' Peasants' Dance ' is extant in the c 18 Hans HOLBEIN. Basel collectioD, and there is an undoubted original draw- ing, touclied up with. Indian ink, of the same subject in the same Museum. Nowhere has he found a better sub- ject for his pencil than in the spirited and life-like figures of the dancers. More important, probably, and certainly more lucrative, was a commission to decorate the old Town Hall. This order he received during the mayoralty of Burgomaster Meyer, and, no doubt, through his influence. Unfor- tunately the greater part of Holbein's work was destroyed by damp and other casualties, but copies still in existence enable us to arrive at a fair estimate of the production. The hall had no architectural beauty, but Holbein by well designed pillars and niches gave it a grand effect. Large historical paintings presented a series of actions, apparently carried on at a distance. Amongst the figures were many of the citizens of the day ; and the niches were occupied by figures bearing scrolls, on which were written texts or maxims. Amongst them, ' Justice' with the scales, 'Wisdom' with a double face, and 'Moderation' clad in light garments with bare neck and shoulders, and occupied in pouring wine from a large goblet into a small glass, are conspicuous. We read also of large inscriptions, but no trace of them remains ; most likely pictures accom- panied them. The council appears to have been satisfied with the painter's work, for we find that the latest pay- ment was made in advance, before the back-wall, as it was called, was even commenced. No doubt the disturbances in Pasel and the surrounding country were the reason of the discontinuance of the work, but in spite of these dis- orders, we have increasing testimony to the activity of Holbein's unflagging industry. TWO SOLDIERS WITH SHIELD. A design by Holbein for glass painting, in the Berlin Museum. THE 'peasants' dance.' 19 His designs for glass paintings were quite original in their treatment: several of them are to be seen in the Basel gallery. Studies from history, coats of arms, fanciful delineations, battle scenes, fruit, flowers, and leaves abound. Noteworthy amongst the larger pieces are the full-length representations of two of the mercenary soldiers of the time, with elaborate surroundings and ornamentations in the renaissance style. Ten sheets give costumes of women, showing with wonderful accuracy the mode of the day. Every detail, from the feathered hat to the graceful folds of the dress, held, according to the fashion, in the right hand, is faithfully delineated. The ' Peasants' Dance ' appears again as a book illustra- tion. It has been used as a border in many publications, as well as the 'Children's Dance.' The immense num- ber of woodcuts known to be by Hans Holbein, makes it quite impossible to name them all. Much discussion has anisen among scientific authorities as to whether Holbein engraved as well as designed his woodcuts ; but a thorough investigation of the subject shows clearly that the drawing and the engraving were by entirely different men. No doubt all the more eminent artists knew how to engrave, bat they certainly did not, as a usual thing, use the graver. Some of the questions upon this point arose from the confusion of the signatures, and the prevalence of the Christian name Hans added to this confusion. There no longer exists any doubt that the engraver or cutter of Holbein's best designs was Hans Liitzelburger, who must have thoroughly under- stood the engraver's arij, or he never could have treated the details and intricacies of his work so well as he did. A little book of woodcuts, entitled the ' Dance of Death,' or more accurately ' Pictures of Death,' is our best authority 20 TIIi: 'DAKCE OF DEATH. IHK KTNG. Xan. QUEEN. THE PHYSTCHN. THE ASTROLOGER. THE 'DANCE OF DEATH.' 21 THE KNIGHT. THE DUCHESS. THE PEDLAR. THE cnn.n. 22 HANS HOLBEIN. for the excellence of Hans Liitzelbarger's interpretation of the artist's meaning. These woodcuts aie the most famous of all Holbein's designs, and have an immense reputation. Sandrart relates that Rubens, on his journey to Utrecht, mentioned them to his companions, and advised a youth to study them well, adding, that he himself had made copies of them in his early days. The subject of this renowned series of woodcuts is a very old one. From time imme- morial Death had been a favourite theme of representation, but the origin of the so-called ' Dance of Death ' is said to be French. It was used to decorate the mortuary of a cemetery in Paris. Holbein, however, treated the subject in a way peculiar to himself; not only illustrating that "in the midst of life we are in death," but also that in every action of our life the thought of death may enter. The series begins with scenes from the commencement of the world. In the third picture Death, playing a lute, escorts Adam and Eve from Eden. In another, as Adam, by the sweat of his brow, earns his bread. Death assists him in digging up a tree. Now and then we are reminded that the artist has studied old pictures on the subject, but in spite of this, his originality proclaims itself. Almost every class is represented in this wonderful series. The king at a well-spread board is served by Death, who fills his bowl. Behind the cardinal's chair Death ^s taking off his hat whilst a petitioner hands him a document with five seals. The queen walking with her ladies is seized by Death dressed as a woman. In a land- scape with flocks of sheep, illumined by the western sun. Death terrifies an aged bishop. Here we see Death runnin" away with the abbot's mitre and crozier ; there he visits the physician and the astrologer. In the church a hypocritical THE 'DANCE OF DliATU.' 23 preacher holds the people in awe, but behind him is a preacher more dread still. Of all in office only one escapes the artist's satire — a parish priest, who administers to a sick member of his flock. Death with bell and lanthorn shows the dying man the way. The miser with his money- bags, the merchant with his bales, are alike surprised by Death ; the knight's armour is defenceless ; the pedlar with his basket cannot escape; the waggoner's wine-cart is overturned. All are represented in turn : the duchess in her bed ; the poor woman in her hovel ; the fool who flies in vain; the child who is taken ruthlessly from its mother. Several other subjects were introduced in later issues. In one of these a bride and bridegroom are hurried away by Death. In an edition of 1545 are several addi- tional woodcuts of children at play, and that of 1562 again contains new groups. All are original and all carry out minute details, though we are oocasiort^lly reminded in them of the want of anatomical knowledge, a failing com- mon to the artists of the period. In every edition the series closes with two special cuts. One contains the Last Judgment, in which Christ, sitting on a rainbow, with His feet resting on the world, appears in judgment on the risen figures of saints, who with up- stretched hands are praising God. All appear reconciled, and a peaceful feeling is apparent. Christ alone, in this composition, is partially covered with a mantle, the saints and other figures are without attire. The concluding cut is a curiously arranged shield, bearing the arms of Death. A Death's head, the hour-glass which forms the crest of the helmet, and two dead handsholdingstones, occupy the centre. The figure of a man is on one side, of a woman on the other: these are supposed to represent Holbein and his wife. 24 HANS EOI-BEIN. In connection witt tltese renowned woodcnts, we rar.st refer to the almost equally famous 'Alphabet of Death.' Many of the miniature sketches which it comprises arc taken from the larger woodcuts ; many again are original. In all we trace Holbein's keen sympathy with the moTe- ment of the Reformation. The rich and powerful are in- variably depicted as struggling against the "last enemy." The ecclesiastical dignitaries are keenly satirized, whilst the poor, the feeble, and the neglected are tenderly treated. In many of the letters of this alphabet, Holbein introduces two skeletons, symbolic of the double death of body and soul. We may, perhaps, imagine some sympathy between the treatment of the subject in Holbein's pictures of Death and the circumstances of the time. The Peasants' War in 1614 occasioned immense misery, and succeeding epidemics gave rise to much gloomy feeling. Three more alphabets, perhaps not so well known as that of Death, but still very clever in execution, are also ascribed to Holbein. They are the ' Peasants' Alphabet,' the ' Sport of Infants,' and an ornamental alphabet, consisting of twenty-three letters only. His illustrations for books are well known ; one of his first Basel undertakings was a title-page, which is marked with his abbreviated name, Hans Hole. It appeared as early as 1516, possibly a year sooner, in works printed by Johann Froben. It represents a niche in the renaissance style ; the title is printed on a curtain which falls in front of it. The drawing is exceedingly bold and good, but the cutting is inferior Another title-page has a representation after the style of an altar, in which a train of sea-gods and numbers of little children are depicted. Of the date 151 -5 BOOK ILLUSTKATIONS. 25 is another bearing the initials H. H., having for its snbject an incident in ancient history; and another, more elaborate still, gives the " table of Cebes." This is particularly full of human life and humour, and is decorated with the artist's moTJograra. In the year 1518 Froben published More's "Utopia," and for that work Hans and his brother Ambro&ius designed title-pages, illustrating by their treatment their perfect understanding of the contents of the volume. A large woodcut brings the island of Utopia itself before the reader, in strict accordance with the description given by the author. In addition to these, many learned books, mathematical and astronomical, were illustrated by the brothers. A grand design forms the opening page of the "Town Laws of Freiburg," with numerous mai'ginal drawings. His ' Peasants ' and ' Children's Dances ' occur again and again. Many of the printers' devices also owe their origin to him. Amongst them that of Valentin Curio, which con- tains the " tablet of Parrhasius." Holbein often makes a play upon the name, as in the device of Christopher Proschover of Zurich, for whom he designed a charming little panel, containing a willow-tree over which frogs [frosch) are climbing, and for Palma Bebel a renaissance shield with a palm-tree. All are beautifully executed with ornamontod accessories. In the year 1621 the Reformation began to make a otir in Basel, and the following year saw the first issue in that town of Luther's German translation of the New Testa- ment, which had already appeared in Germany. For this edition in folio Holbein designed a magnificent page, in which St. Peter and St. Paul are standing opposite each other: the former, holding a huge key, is absorbed in the 26 KANS HOLBEIN. book in his hand, the latter holds a swnrd as well as a book. In the corners are the symbols of the Evangelists, above are the Basel arms, and below, the publisher's device containing the date 1523. In .«pite of a Brief from the Pope forbidding the issue of Luther's books, a second edition appeared, and this also had a title-page bj Holbein. Throughout the volume are illustrations in the text, some of them very beautiful, as well as many large and small initial letters. We find Hans illustrating for no less than five printers at Basel' — Johann Froben, Andreas Cratander, Valentin Curio, Palma Bebel, and Adam Petri, — as well as for Christoph Proschover of Zurich, for all of whom he de- signed title-pages between 1515 and 1528. The earliest German copy of the New Testament had scarcely appeared before Adam Petri reprinted it in Basel. For this Holbein designed the initial letters, and many of the woodcuts are evidently by his hand, but the title-page was the work of Urs Graf. A beautiful title-page for Bugenhagen's " Interpretation of the Psalms " is Holbein's, and so is one to a work by Miconius published in Ziirich, in 1528. Again, we find a drawing of the ' Feeding of the five thousand;' and a decorative title-page engraved on metal in 1528 bears his initials. Two large woodcuts, which appear to have been published alone, are his ; one, 'The Saviour bearing His Gross,' appears a solitary figure without any of the usual accossories. Our Loi-d, be- neath the terrible weight of the Cross, has fallen upon His knees ; supported by His right hand, He tries to rise ; His ' In "Die Bu"lier-ornamentik der Kenaissanee," by A. F. Butscb, recently published, there are twenty-four plates of title-pages and oniiv ments by Hans Holbein and his brother Ambrosius* WOOD ENGRAVINGS. 27 left liand grasps the cross-beam of His burden ; the crown of thorns pierces His brow. The deepest suffering is here portrayed : the mouth, open as if to cry aloud, yet refraining to utter a sound ; the beseeching eyes, and the attitude of the almost quivering figure, all denote the anguish of the Lord. A woodcut giving the ' Resurrection of Christ,' com- prised of eight distinct sheets, is to be met with at Gotha, and is catalogued as Holbein's work ; but probably only a , small design was really drawn by him. A series of woodcuts from the Old Testament history must have been first designed about this time, although the first printed edition did not come out till 1538. There is no doubt that they appeared with the first movement of the Reformation. They began with the extremely rare ' Fall of Man,' afterwards published in the Latin Bible at Lyons, but which is missing in most of the first issues of the woodcuts. Many of these cuts were undoubtedly engraved by Liitzel- burger, and, after his death, by less able hands. Holbein appears to have been particularly at home in the subjects of the Old Testament, and treated them with great vigour and reality. His figures are all real men and women, somewhat too broad perhaps in person, but dramatically conceived. He contents himself with depicting the natural, and does not introduce any supernatural accessories. His woodcuts appealed to the spirit of the age, and were eagerly seized upon ; so much so, that we find orders in council prohibiting the publication of any works not previously examined by the magistrates. Two compositions especially attracted their notice ; they were in the very spirit of Luther ; the one depicted the ' Sale of Indulgences,' the other, 'Christ as the True Light.' In the latter, the 28 OH) TESTAMENT PICTURES. THE HAPPINESS OV THE GODLY. — I'salm i. I. LiBSTKUCTlON OF TUii ASSYRIAN HOST.— 2 Chrmi. xxxii. 21, OLD TESTAMKKT PICTURES. 29 JUABS ARiiriCE.— 2 Harnuel xiv. 4. ESIIIEK CROWNED QUEEN. — EsthcT U. l7. 30 HANS HOLBEIN. peasants and the unlearned are represented following the Saviour, while the churchmen and learned turn their backs upon Him scornfully. We find the same influence in a woodcut in the Erlangen collection, which represents the Pope in the midst of a stately procession, whilst the Saviour approaches him on a donkey, followed by His Apostles. A date given on the Pope's letter shows tliis to be a production of 1524. One of Holbein's most realistic paintings is a picture of tlie dead Christ. It is labelled as being intended for the Saviour, otherwise the want of the devotional element in its treatment would have suggested it as intended simply for one who had died a violent death. The absence of colour, and the livid hue of the outstretched corpse upon the green stone cofiS.n lend a terror to the picture which is start- lingljT efifective.i On this one occasion Holbein allowed himself full latitude in depicting the horrors of death. Wo find much of the same feeling but less vivid in two com- panion paintings for panels, of the ' Man of Sorrows,' and the Virgin, who is represented as the ' Mother of Sorrows.' The Saviour is represented seated, His brow encircled with a crown of thorns ; His mother kneels with outstretched hands. Both are printed in subdued yellow tints, with white lights in a blue atmosphere, and are very fine in effect. We notice the same absence of colour in the paintings on the organ-doors in Basel cathedral, which, escaping the icono- clastic storm, remained in their places until a new organ was lately introduced; they were then removed to the Public Art Collection, where they may now be seen at the entrance of the Museum. In these paintings, the patron Saints of the ' This lias lately been engraved in " Hans Holtrein," by Paul Mantz. ALTA.11-PIECES. 31 cathedral occupy the opposite corners of the right wing ; the Virgin, holding in her arms the clinging Child, stands to the right ; to the left, the Emperor Maximilian, in his royal mantle, gazes intently on the crucifix, while in the distance behind him appears his consort Kunigund; be- tween them we see the building's of the choir. The corre- sponding wing gives us St. Pautalns, first Bishop of Basel, with the crozier ; groups of angels, singing and making music, fill Tip the space between Lim and the Madonna. Every part of the painting is full of figures of angels, some are blowing trumpets, others sing round a scroll of music ; the very air seems full of harmony. Different ornamental designs decorate the opposite pictures — leaves, scrolls, and architectural ornaments. In Freiburg Cathedral are two altar panels by Holbein, which show a marvellous effect of light. They represent respectively the 'Holy Birth,' and the 'Adoration of the Magi.' Holbein conceives the subject in the spirit of the apocryphal gospel, which lolls how at the birth the whole cave was filled with glorious light, and he manages the effect so wonderfully, that the glory emanating from the child touches with beautiful sheen the bending head of the Virgin. Below these panels are representations of the donor's family. On the one side stands the father supported by his sons, on the other the mother with her daughters. On the one panel we find the arms of the Oberriedt family, on the other those of the Zscheckapiirlins, and this enables us to trace the origin of the pictures. Councillor Oberriedt was a native of Basel ; he is mentioned in connection with Holbein in 1521, when a sum of money owing to the painter was made over to the councillor, probably in payment of a debt. 32 HANS HOLBEIN. In all likelihood, these panels were in the first instance intended for some Basel church, and were sent for safe keeping to Freiburg during the distnroances between Church and State. In the Kunsthalle at Carlsruhe there are two pictures conceived in much the same spirit r one represents St. Ur- sula with the arrow, the other St. George with the dragon. The former is dated 1S22. These also were evidently intended for altar-panels, but are very unequal in execu- tion. Whilst the face and bust of St. Ursula are in Hol- bein's happiest manner, the lower part of the figure and that of St. George are so inferior as to suggest a less skil- ful hand. Probably designed, and in part painted, by the master himself, they were executed under his direction, but without very careful supervision. CHAPTER III. The Solothurn and the Meyer Madonna — Portraits of Melancthon and Erasmus — Letter of Erasmus to Sir Thomas More — Disturbances at Basel — Contemplated Journey to England. 1522 TO 1526. OF all Holbein's sacred pictares, none are more justly celebrated than tbe two called tbe ' Solothurn Madonna' and the 'Meyer Madonna.' The former has only lately tecome known ; it was probably painted for the Cathedral of Solothurn, and afterwards removed to the little village church of Grenchen. This picture is highly finished, but it suffered slightly in its restoration in 1867. In the centre, the Madonna, with an expression of heavenly love and peace, holds the Holy Infant in her lap ; the Child is charmingly painted, the outward turn of the hand and the wrinkle in the chubby little foot are true to nature. The Madonna is represented with her neck bare, in a light red dress ; over it she wears a very amply- fulded mantle of ultramarine blue. The carpet on the steps at her feet has a green ground crossed with red and white lines ; her mantle sweeps the steps, and partially covers the arms that are woven into the pattern of the carpet. On her left hand is St. Ursus, patron Saint of Solothurn, and on her Tight, Martin, Bishop of Tours. It has been suggested with great plausibility that Holbein 34 HANS HOLBEIN. found his model for both, the Madonna and the Child in his own family. We have no exact account of his marriage, but in the will of his uncle Siglsmund Holbein, mention is made of Hans' wife Elspeth, and a later notice of her speaks of her son Franz Schmid. It seems clear, therefore, that Holbein married a widow, and more than probable that the infant here depicted was his first child. We are confirmed in this idea by reference to some sketches in silver pencil in the Weigel collection of a mother and child, which give the same features, and bear the same date, 1622, as tihe Solothurn painting. And again, a later painting by Holbein of his wife and children, dated 1529, gives the same features in profile, although the child of course is much older. Although this picture of Holbein's wife is far from pre- possessing, we must remember that it was taken in a time of trouble, and that she had probably greatly changed since her marriage. There is in the Louvre a little pencil sketch, touched up with Indian ink and red chalk, unmistakably by Holbein, which depicts his wife as a young and pleasing woman. This drawing represents her with great exact- ness, but without the idealized expression of the paint- ing. We find precisely the same rather feebly opened eyes, heavy eyelids, large nose, and well-cut mouth, with the same strongly developed chin. The hair in the sketch hangs down in two long braids, and the shoulders and neck are broad and uncovered. A necklace, the same as that given to St. Ursula at Carlsruhe, is round the neck, whilst embroidered on her dress, is the constantly recurring device ALS IN EfiN. She appears as a strong, healthy, pleasing girl of the people, with a smile, which, if not very intelligent, is bright and pleasant. Strongly as Holbein's genius has 'THE MEYER MADONNA.' 35 idealized lier in the ' Solothurn Madonna,' the individuality is still easily perceived. And she is seen, though not quite so plainly, in his world-renowned master-piece at Darmstadt. The ' Meyer Madonna ' has given rise to more discussion than any known work. There are two versions of it, each claiming to be the original, and until the Dresden Exhibition of 1871 allowed the two paintings to be examined side by side, art critics found it quite impos- sible to arrive at any conclusion. Once, however, brought face to face, not only with the two pictures but with such a number of Holbein's works as enabled a thorough com- parison to be made, no doubt remained in any mind capable of judging that the great master's handiwork was to be found in the Darmstadt picture, and that the Dresden Madonna was the work of a painter of a later period. It is impossible to go over every inch of ground which the various art authorities fought out amongst themselves ; we must be content with the result arrived at. It was shown by careful comparison of details, that the Darmstadt Madonna only was the positive creation and production of Hans Holbein. With this then alone we have to do, merely noticing, in passing, that the painter of the Dresden ' Sleyer Madonna,' unknown as he still remains, was second only in genius to the great master himself. According to the fashion we so constantly find in the paintings of that period, the donor of this famous picture is represented in it, not however in the usual subordinate position, but most, conspicuously kneeling with all his family in adoration of the Holy Mother and Child. There is no limit to the suggestions which this creation of Holbein's genius has occasioned. At one time it was supposed that the child in Mary's arms was a sick mem- 36 HANS HOLBEIN. ber of the family, and that the little naked boy, beside the son of the Burgomaster, was intended for the Infant Christ. Another authority thought, that while the child in the Virgin's arms represented the sufferer, the boy who is standing was the same after recovery. It is needless to state that there never was sufficient ground for any of these hypotheses. Holbein was the last man in the world to introduce an obscure meaning into his pictures, and the earliest records of this particular altar-piece iuvariably mention it as 'Maria with the Holy Child,' or 'Maria with the Infant Christ.' In this picture, as in the 'Solothurn Madonna,' the Virgin occupies the central position, somewhat raised above the kneeling figures. She holds the infant in a caressing manner, its little head nestling in her neck, and looks down on the worshipping family with beaming tenderness and love. On her right the Burgomaster Meyer of Hasen, already familiar to us from Holbein's early portrait, kneels in rapt adoration, with his clasped hands upon the shoulder of his son, beside whom stands the naked boy who has given rise to so much imaginative speculation. On the opposite side we have three female figures ; the one nearest to the Virgin Mother, with her head wrapped in linen, is supposed to represent the Burgomaster's deceased wife, whilst the figure below her is sufficiently like the young wife we have already mentioned, to be recognized as Dorothea Kanneglesser. By her side we find the daughter with her rosary. The marvellous conception of this picture is seen above all in the ordinary accessories of the scene- The Virgin is shown in familiar proximity to the family, almost as one of them ; her elevation alone shows that she extends to them, as it were, the mantle of grace. PORIRAIT OF MELANCTHON. 37 Resting on the shoulder of the kneeling Burgomaster, the mantle also shields the adoring women.' The treatment of the subject and all the accessories are entirely original ; we see in them no trace of the earlier masters, unless, perhaps, the foliage of the fig-tree may suggest some little acquaintance with Italian art. Two pictures in the Basel Museum, which betray foreign influence, are undoubtedly the work of Hans Holbein. They are two distinct representations of the same beautiful young woman : in the one, Oupid with his arrows pro claims her the Goddess of Love ; in the other she is in- scribed, after a celebrated courtesan, Lais Corinthiaca. Some hidden meaning has been suggested for the strangely satirical significance of this superscription, but nothing certain is known of the original, although, as the pictures are catalogued by Amerbach as " two tablets upon which an Ofienburgin is delineated," it is supposed that she belonged to the Offenburg family. In them we trace more decidedly than in most of Holbein's works the in- fluence of the Lombard school. But marvellous as Holbein's paintings were, it is suffi- ciently evident that it was his skill as a portrait painter which rendered him most famous in his day. The dis- turbances at Basel, the. troubles and uncertainties of the Council, perhaps, had something to do with the com- paratively small number of paintings from his easel which dealt with miscellaneous subjects ; but it is quite clear that he was widely employed in painting portraits. In the Welfen Museum in Hanover is a small circular ' There are slight differences in the details of the Darmstadt and the Dresden pictiuxs. 38 HANS HOLBEIN. portrait of Melanctton ; it is certainly the best likeness we possess of the Reformer ; the contour of the head is particu- larly fine. It was formerly in a case, on. the border of which were graceful renaissance ornaments and figures of satyrs. An inscription on the frame, bearing testimony to Holbein's skill, is probably the tribute ofiered to the artist by Melancthon himself. We have seen how thoroughly Holbein appreciated and understood the humour of Erasmus in his illustrations of the ' Praise of Folly,' and further evidence of his acquain- tance with the scholar exists in his many portraits of that great man. The earliest of them is that now in the pos- session of the Earl of Radnor, at Longford Castle, which was once supposed to be by Quentin Matsys. On examina- tion, it is clear that the portrait which Erasmus described in a letter which he wrote to Sir Thomas More, as having been painted by Matsys, was in no particular like the one now mentioned. The picture at Longford Castle is thoroughly in Holbein's style, and is a counterpart, in many respects, of Holbein's drawings at Paris. The portrait of Erasmus belonging to Lord Radnor is therefore clearly to be attributed to Holbein. The great commentator, whose hair is already grey, wears a fur coat and a doctor's hat. The face is taken at three-quarters and turns to the left ; the baxskground is in the renaissance style, with a green curtain half concealing a shelf with books, admitting us, as it were, into the privacy of the student. The hands, treated with Holbein's peculiar de- licacy, rest on a book which is ioscribed "HPAKAEIOI nONOI ERASMF," "the Herculean labours of Erasmus." A second portrait of the same date (1523) is in the Louvre. It is painted in warmer colours than the last J»OilTRAIT.S OF ERASMUS. 39 named, and represents Erasmus in profile, the silvery hair peeping beneath his scholar's cap ; again the back- ground is a green curtain, this time covered with a pat- tern. The inscription on the Louvre picture is no longer discernible, but on a portrait of the same period at Basel, we can distinctly read the words Erasmus is writing. His delicately formed hands rest upon the manuscript upon his desk, and with the right he points with the pen to the words " In Erangelum Marci paraphrasis per D. Erasmum Rotorodamium aucto (rem) Cunctis mortalibus ins (itum est)," forming the beginning of his paraphrase of St. Mark, which appeared in 1523. Many copies of these familiar pictures are ascribed to Holbein, which are certainly not his work, though doubtless he produced more than one repetition himself, and many others may have proceeded from his studio. A small circular portrait of the great scholar in the Basel collection is excellent, but as he appears somewhat older, it was probably executed at a later period. Erasmus, in a letter to Plrkheimer, mentions that he sent two pictures of himself to London : one, intended for Warham, Archbishop of Canterbury, whom Erasmus was in the habit of calling his Maecenas, and to whom he was indebted for many kindnesses, is identified with the picture now at Longford Castle, but it is im- possible to tell what became of the other. Perhaps Sir Thomas More received one, but in writing to Erasmus, al- though he extols the painter highly, he does not thank the sender of the picture mentioned in his letter as if it were a gift to himself. Erasmus also notices a portrait, sent 40 HANS HOLBEIN. by Mm to France, under charge of the painter himself, which was most likely intended for his great friend Amer- Hans Holbeis. From the drawing by himself at Basel. baoh, then staying at Avignon, but we have no certain re- cord of this fact. Before we close our notice of the paintings and sketches HIS OWN PORTRAIT. 41 belonging to the time of Holbein's lengtbened stay in Basel, we must not forget to mention the portrait of him- self, to which we are indebted for our ideas of him in his early m.anhood. This is a slight sketch, now in the Basel Museum. It is called in the Amerbach catalogue " A por- trait of Holbein in dry colours." There is a similarity in the features to the early picture of his boyhood, in the Basilica of St. Paul, and in the sketch of him at the age of fourteen. Clean shaven, his face looks that of a man of twenty-four or twenty-five. His nut-brown hair is smooth and short, partially covered with his painter's hat, which slightly shades the forehead. The expression of his coun- tenance is intellectual in the highest degree, the eyes bright and full, the brow fine, broad, and open in expression ; whilst a certain curve of the lips gives a slightly ironical appearance to the lower part of the face. The ease of the figure is wonderfully represented. As we have already intimated, Holbein's fame as a por- trait painter had spread far and wide. We find frequent mention of it in the letters which constantly passed between Erasmus and Sir Thomas More; and a German authority states, that long before Holbein finally started upon his journey to London, the Earl of Arundel, when on a visit to Basel as Ambassador, had urged him to try his fortunes in England. This may have been the case, but it seems more credible that he was induced to take this step at the recom- mendation of Erasmus. The great writer was very well known and much esteemed in England: he was a favourite with King Henry VIII., and was in constant conununica- tion with him. Erasmus, whose early life had been sad and careworn, was indebted to England for many happy years, and although we have no direct evidence of the fact, we 42 HANS HOLBEIN. may surely judge that his encouragement and advice had their due weight in inducing the painter to seek better fortunes for himself. We have shown how freely Erasmus corresponded with Sir Thomas More; and in a letter dated 1524, intimat- ing to him his intention of sending two portraits to Eng- land, Erasmus speaks of the painter's proposed journey thither, and recommends him to the care of his friend. The original letter is lost, but we gather this from Sir Thomas More's reply, which is extant. It is dated the 18th of December, 1525, and in it, before closing, he says, " Thy painter, dearest Erasmus, is a wonderful artist, but I fear he will not find England so fruitful as he hopes." For some reason, however, with which we are uot acquainted, the. painter's journey was not undertaken until som.ewhat later. Iselin, in his records, states that Holbein set out upon his journey in the autum.n of 1526. Besides the in- ducement of the gifted Erasmus's recommendation, we can easily imagine that there was m.uch in the position of affairs in Basel to tempt him to leave it. We have already alluded to the troublous times, and before leaving that town with Holbein we may well glance slightly at the events of the period. In 1526 the Reformation had already made progress : an edict had been issued allowing nuns to marry ; public disputations were permitted, and the offices of the Church were conducted in the German language. In spite of the continued opposition of the nobles, privilege after privi- lege was wrested from them and from the patrons of the Church, whilst freedom of religious opinion gained the upper hand. When speaking of the paintings for the Town- hall, we recorded their discontinuance on account of the THE TOWN-HALI. AT BASEL. 43 disturbances : these increased in number and violence ; all business was interrupted, and but little opportunity was afforded for the encouragement of the fine arts. The only- entry made by the Council in Holbein's favour during the later years of his stay in the city is sad enough. It is a notice of the payment to him of a small sum of money, equiva- lent to about four shillings, for a coat-of-arms, painted for a neighbouring village. "Whilst in Italy painters were treated and paid as princes, in Germany and Switzerland, owing to the distractions of the time, they could barely earn their bread. But the unfortunate population of Basel had to endure miseries other than those of internal dissension. In 1526, I from spring to autumn, the plague raged with unceasing violence. The people, as usual, attributed it to the anger of God, and their superstitious fears were increased when, in September, a fearful hailstorm occurred, during which the lightning struck a powder magazine ; the explosion shook the city, destroying many houses, and more than forty persons were killed or wounded. The distress of the painters is painfully shown in an appeal made by their guild to the Council, that they might retain the monopoly of devising the false beards required for the Carnivals, stating that so many painters had already been obliged to take to other businesses, that the city would soon be un- able to boast of any artists at all. Thus everything worked together in bringing about that journey of Hans Holbein to England, which we may regard as a great eveut in the history of English art ; for undoubtedly to the great German painter we owe the pro- gress made in succeeding years. We have no accurate data of the exact time at which Holbein landed on our coast, but we know he was in England in 1527 ; and a letter from 44 HANS HOLBEIN. Erasmus, dated August 29th, 1526, commends the traveller to his friend Aegidius in Antwerp. Thus we may make sure that his journey took place at the end of the summer, or beginning of the early autumn of that year. Erasmus showed his friendly feeling for Holbein by requesting Aegidius to introduce him, if not personally at least by letter, to his famous contemporary Quen