CHAPTER XIV
. A NEWLY-DISCOVERED 353 PORTRAIT OF AN UNKNOWN ENGLISH LADY
FOOTNOTES FOR ALL CHAPTERS 359
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ILLUSTRATIONS
HANS HOLBEIN: SELF-PORTRAIT _Frontispiece_
Reproduced in colour.
_Public Picture Collection, Basel._
1. THE BAPTISM OF ST. PAUL 11
Left-hand panel of the “Basilica of St. Paul” altar-piece. By HANS HOLBEIN THE ELDER.
_Museum, Augsburg._
2. THE ST. SEBASTIAN ALTAR-PIECE 15
Central panel. By HANS HOLBEIN THE ELDER.
_Alte Pinakothek, Munich._
3. (1) ST. BARBARA. (2) ST. ELIZABETH 16
Inner sides of the wings of the “St. Sebastian” altar-piece. By HANS HOLBEIN THE ELDER.
_Alte Pinakothek, Munich._
4. THE FOUNTAIN OF LIFE 17
By HANS HOLBEIN THE ELDER.
_National Museum of Ancient Art, Lisbon._ Reproduced by kind permission of the Director, Senhor José de Figueiredo.
5. STUDY FOR THE PORTRAIT OF A LADY OF 21 AUGSBURG
Silver-point drawing. By HANS HOLBEIN THE ELDER.
_British Museum._
6. AMBROSIUS AND HANS HOLBEIN 25
Silver-point drawing. By HANS HOLBEIN THE ELDER (1511).
_Royal Print Room, Berlin._
7. VIRGIN AND CHILD (1514) 33
_Public Picture Collection, Basel._
8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF 37 ST. JOHN
_Public Picture Collection, Basel._
9. THE LAST SUPPER 40
_Public Picture Collection, Basel._
10. THE SCOURGING OF CHRIST 41
_Public Picture Collection, Basel._
11. HOLBEIN’S EARLIEST TITLE-PAGE 45
First used in 1515.
_From a copy of More’s “Utopia” in the British Museum._
12. MARGINAL DRAWINGS IN A COPY OF THE 48 “PRAISE OF FOLLY”
(1) FOLLY LEAVING THE PULPIT.
(2) PENELOPE AT HER LOOM.
(3) THE POPE.
(4) THE CARDINAL.
(5) THE BISHOP.
(6) NUNS KNEELING BEFORE AN ALTAR-PIECE.
_Public Picture Collection, Basel._
13. MARGINAL DRAWINGS IN A COPY OF THE 49 “PRAISE OF FOLLY”
(1) THE BASKET OF EGGS.
(2) NICOLAS DE LYRA.
(3) KING SOLOMON.
(4) YOUNG NOBLEMAN.
(5) FOLLY AND HIS PUPPET.
(6) ERASMUS AT HIS DESK.
(7) “A FAT AND SPLENDID PIG FROM THE HERD OF EPICURUS.”
_Public Picture Collection, Basel._
14. THE TWO SIDES OF A SCHOOLMASTER’S 51 SIGN-BOARD (1516)
_Public Picture Collection, Basel._
15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS 52 WIFE, DOROTHEA KANNENGIESSER (1516)
_Public Picture Collection, Basel._
16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF 55 DOROTHEA KANNENGIESSER
Drawings in black and coloured chalks. Studies for the double portrait of 1516.
_Public Picture Collection, Basel._
17. ADAM AND EVE (1517) 56
_Public Picture Collection, Basel._
18. PORTRAITS OF TWO BOYS 60
By AMBROSIUS HOLBEIN.
_Public Picture Collection, Basel._
19. STUDY OF A YOUNG GIRL NAMED “ANNE” 61 (1518)
Silver-point and red chalk drawing. By AMBROSIUS HOLBEIN.
_Public Picture Collection, Basel._
20. THE FOUNDING OF BASEL 61
Design for painted glass. By AMBROSIUS HOLBEIN.
_Public Picture Collection, Basel._
21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61
By AMBROSIUS HOLBEIN.
_Royal Hermitage Gallery, St. Petersburg._
22. ILLUSTRATION TO SIR THOMAS MORE’S 62 “UTOPIA”
By AMBROSIUS HOLBEIN.
_From a woodcut in the British Museum._
23. DESIGNS FOR THE WALL-PAINTINGS OF THE 68 HERTENSTEIN HOUSE, LUCERNE
(1) LEÆNA AND THE JUDGES.
(2) ARCHITECTURAL DECORATION OF THE GROUND FLOOR.
_Public Picture Collection, Basel._
24. PORTRAIT OF BENEDIKT VON HERTENSTEIN 72 (1517)
_Metropolitan Museum, New York._
25. THE LAST SUPPER 75
Central panel of a Triptych.
_Public Picture Collection, Basel._
26. THE ARCHANGEL MICHAEL AS WEIGHER OF 79 SOULS
Drawing.
_Public Picture Collection, Basel._
27. MINERS AT WORK 80
Drawing in Indian ink, pen, and bistre.
_British Museum._
28. BONIFACIUS AMERBACH (1519) 85
Reproduced in colour.
_Public Picture Collection, Basel._
29. (1) ADORATION OF THE SHEPHERDS. (2) 88 ADORATION OF THE KINGS
Inner sides of the wings of the Oberried altar-piece.
_University Chapel, Freiburg Minster._
30. THE PASSION OF CHRIST 91
Outer sides of the wings of an altar-piece.
_Public Picture Collection, Basel._
31. (1) CHRIST BEARING THE CROSS. (2) THE 94 CRUCIFIXION
Details of the outer sides of the wings of the “Passion” Altar-piece.
_Public Picture Collection, Basel._
32. “NOLI ME TANGERE” 95
Christ appearing to Mary Magdalen. Reproduced by gracious permission of H.M. the King.
_Hampton Court Palace._
33. (1) CHRIST, THE MAN OF SORROWS. (2) 98 MARY, MATER DOLOROSA
Diptych, painted in brown monochrome, with blue sky.
_Public Picture Collection, Basel._
34. THE HOLY FAMILY 99
Washed drawing on a red ground.
_Public Picture Collection, Basel._
35. THE DEAD CHRIST IN THE TOMB (1521) 101
Predella of an altar-piece.
_Public Picture Collection, Basel._
36. THE VIRGIN AND CHILD, WITH ST. URSUS AND 103 A HOLY BISHOP (1522)
_Solothurn Gallery._
37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY 106 HOLBEIN’S WIFE
Reproduced in colour.
_Royal Picture Gallery, Mauritshuis, The Hague._
38. HEAD OF A YOUNG WOMAN, PROBABLY 108 HOLBEIN’S WIFE
Study for the Solothurn “Madonna.” Silver-point drawing, touched with red.
_Louvre, Paris._
39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL 113 CATHEDRAL
Pen and wash drawing.
_Public Picture Collection, Basel._
40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH 121 THE FIGURE OF A SEATED EMPEROR. (2) THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS
The latter a fragment of the wall-painting in the Basel Town Hall.
_Public Picture Collection, Basel._
41. SAPOR AND VALERIAN 131
Design for one of the wall-paintings in the Basel Town Hall. Pen and water-colour drawing.
_Public Picture Collection, Basel._
42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL 139 SON
Designs for painted glass.
_Public Picture Collection, Basel._
43. DESIGN FOR A PAINTED WINDOW WITH THE 144 COAT OF ARMS OF THE VON HEWEN FAMILY (1520)
_Public Picture Collection, Basel._
44. ST. ELIZABETH, WITH KNEELING KNIGHT AND 148 BEGGAR
Design for painted glass.
_Public Picture Collection, Basel._
45. THE VIRGIN AND CHILD, WITH A KNEELING 149 DONOR
Design for painted glass.
_Public Picture Collection, Basel._
46. (1) CHRIST BEFORE CAIAPHAS. (2) THE 151 SCOURGING OF CHRIST
The “Passion” series of designs for painted glass.
_Public Picture Collection, Basel._
47. (1) THE MOCKING OF CHRIST. (2) CHRIST 152 CROWNED WITH THORNS
The “Passion” series of designs for painted glass.
_Public Picture Collection, Basel._
48. (1) PILATE WASHING HIS HANDS. (2) ECCE 153 HOMO
The “Passion” series of designs for painted glass.
_Public Picture Collection, Basel._
49. (1) CHRIST BEARING THE CROSS. (2) THE 154 STRIPPING OF CHRIST’S GARMENTS
The “Passion” series of designs for painted glass.
_Public Picture Collection, Basel._
50. (1) CHRIST NAILED TO THE CROSS. (2) THE 155 CRUCIFIXION
The “Passion” series of designs for painted glass.
_Public Picture Collection, Basel._
51. (1) COSTUME STUDY. (2) COSTUME STUDY 157
Two drawings from a set of designs of ladies’ costumes.
_Public Picture Collection, Basel._
52. “THE EDELDAME” 157
Drawing from a set of designs of ladies’ costumes.
_Public Picture Collection, Basel._
53. A FIGHT BETWEEN LANDSKNECHTE 160
Drawing in Indian ink.
_Public Picture Collection, Basel._
54. ERASMUS (1523) 169
Reproduced by kind permission of the Earl of Radnor.
_Longford Castle, Salisbury._
55. STUDY FOR THE HANDS OF ERASMUS 171
Drawing in silver-point and red and black chalk.
_Louvre, Paris._
56. ERASMUS (1523) 172
Reproduced in colour.
_Louvre, Paris._
57. THE DUCHESS OF BERRY 176
Drawing in black and coloured chalks. Reproduced in colour.
_Public Picture Collection, Basel._
58. (1) ERASMUS 180
Roundel.
_Public Picture Collection, Basel._
(2) PHILIP MELANCHTHON 180
Roundel.
_Provinzial Museum, Hanover._
59. ERASMUS 181
_From a woodcut in the British Museum._
60. MUCIUS SCÆVOLA AND LARS PORSENA 191
Woodcut first used in 1516.
_From a copy of More’s “Epigrams” in the British Museum._
61. “THE TABLE OF CEBES” 193
Woodcut first used in 1521.
_From a copy of Perotto’s “Cornucopiæ” in the British Museum._
62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195
Woodcut first used in 1522.
_From a copy in the British Museum._
63. THE FOUR EVANGELISTS 195
Woodcuts and Initial Letters used on the first page of each gospel in the 1523 edition of Luther’s “New Testament.”
_From a copy in the British Museum._
64. THE “CLEOPATRA” TITLE-PAGE 198
Woodcut first used in 1523.
_From a copy of Erasmus’ “Christiani Matrimonii Institutio” in the British Museum._
65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE 198 OF INDULGENCES
Woodcuts.
_From proofs in the British Museum._
66. THE DANCE OF DEATH WOODCUTS 217
(1) THE EMPEROR.
(2) THE KING.
(3) THE CARDINAL.
(4) THE EMPRESS.
(5) THE ADVOCATE.
(6) THE COUNSELLOR.
(7) THE PREACHER.
(8) THE PRIEST.
_From proofs in the British Museum._
67. THE DANCE OF DEATH WOODCUTS 220
(1) THE OLD MAN.
(2) THE COUNTESS.
(3) THE NOBLE LADY.
(4) THE DUCHESS.
(5) THE PLOUGHMAN.
(6) THE YOUNG CHILD.
(7) THE LAST JUDGMENT.
(8) THE ARMS OF DEATH.
_From proofs in the British Museum._
68. THE DANCE OF DEATH ALPHABET 224
_From a proof in the Royal Print Cabinet, Dresden._
69. THE OLD TESTAMENT WOODCUTS 230
(1) JACOB BLESSING EPHRAIM AND MANASSEH.
(2) RUTH AND BOAZ.
(3) JUDITH WITH THE HEAD OF HOLOFERNES.
(4) AMOS PREACHING.
_From proofs in the British Museum._
70. THE OLD TESTAMENT WOODCUTS 230
(1) MOSES RECEIVING THE TABLES OF THE LAW.
(2) THE RETURN FROM THE BABYLONIAN CAPTIVITY.
_From proofs in the British Museum._
(3) THE ANGEL SHOWING ST. JOHN THE NEW JERUSALEM (Revelation xxi.). Woodcut from Adam Petri’s “New Testament,” 1523.
_From a copy in the British Museum._
71. THE MEYER MADONNA 233
_Darmstadt._
72. (1) JAKOB MEYER. (2) DOROTHEA 236 KANNENGIESSER
Studies for the Meyer Madonna. Drawings in black and coloured chalks.
_Public Picture Collection, Basel._
73. (1) MAGDALENA OFFENBURG AS VENUS (1526). 246 (2) MAGDALENA OFFENBURG AS LAÏS (1526)
_Public Picture Collection, Basel._
74. STUDY FOR THE MORE FAMILY GROUP 293
Drawing in Indian ink, with corrections and inscriptions in brown.
_Public Picture Collection, Basel._
75. THE MORE FAMILY GROUP 295
Reproduced by kind permission of Lord St. Oswald.
_Nostell Priory, Wakefield._
76. THE MORE FAMILY GROUP 301
The version formerly at Burford Priory, now in the possession of Messrs. Parkenthorpe, London. Reproduced by kind permission of Sir Hugh P. Lane.
77. CECILIA HERON, DAUGHTER OF SIR THOMAS 303 MORE
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
_Windsor Castle._
78. SIR THOMAS MORE 303
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
_Windsor Castle._
79. PORTRAIT OF AN ENGLISH LADY 309
Drawing in black and red chalk and Indian ink.
_Salting Bequest, British Museum._
80. SIR HENRY GULDEFORD (1527) 317
Reproduced in colour, by gracious permission of H.M. the King.
_Windsor Castle._
81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
_Windsor Castle._
(2) PORTRAIT OF AN UNKNOWN ENGLISH LADY, 321 POSSIBLY LADY GULDEFORD
Drawing in black and coloured chalks.
_Public Picture Collection, Basel._
82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN 321 ENGLISH LADY
Drawings in black and coloured chalks.
_Public Picture Collection, Basel._
83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY 322 (1527)
Reproduced in colour.
_Louvre, Paris._
84. THOMAS AND JOHN GODSALVE (1528) 325
_Royal Picture Gallery, Dresden._
85. SIR JOHN GODSALVE 326
Drawing in black and coloured chalks and water-colour. Reproduced by gracious permission of H.M. the King.
_Windsor Castle._
86. NIKLAUS KRATZER (1528) 327
Reproduced in colour.
_Louvre, Paris._
87. SIR BRYAN TUKE 331
_Alte Pinakothek, Munich._
88. SIR HENRY WYAT 335
Reproduced in colour.
_Louvre, Paris._
89. SIR THOMAS ELYOT 336
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
_Windsor Castle._
90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343
Reproduced in colour.
_Public Picture Collection, Basel._
91. PORTRAIT OF A YOUNG WOMAN 346
Unfinished study in oils.
_Public Picture Collection, Basel._
92. KING REHOBOAM REBUKING THE ELDERS (1530) 348
Three fragments of the wall-painting formerly in the Basel Town Hall.
_Public Picture Collection, Basel._
93. KING REHOBOAM REBUKING THE ELDERS 348
Study for the wall-painting formerly in the Basel Town Hall.
_Public Picture Collection, Basel._
94. SAMUEL AND SAUL 350
Pen drawing in brown touched with water-colour. Study for the wall-painting formerly in the Basel Town Hall.
_Public Picture Collection, Basel._
95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354
Formerly in the possession of the Bodenham family, Rotherwas Hall, Hereford. Reproduced by kind permission of Mr. Ayerst H. Buttery.
_Mr. Ayerst H. Buttery, London._
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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._
Woltmann, for _Holbein und seine Zeit_ (A. Woltmann).
Wornum, for _Some Account of the Life and Works of Hans Holbein_ (R. N. Wornum).
In order to obviate the constant use of a somewhat long official title, the Public Picture Collection, Basel, is generally referred to in this book as the Basel Gallery.
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Hans Holbein the Younger
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