V.

LAST PERIOD; LONDON (1531-43)

** Portrait of Jörg Gyze. [Plate 27.] Oils. Berlin Gallery.

Portrait of an unknown man. Oils. Schönborn Gallery, Vienna.

Johann or Hans of Antwerp. Oils. Windsor Castle. (Holbein's friend and executor.)

Derich Tybis of Duisburg. Oils. Imperial Gallery, Vienna.

Derich Born. Oils. Munich Gallery, and Windsor Castle.

Derich Berck. Oils. Petworth.

Unknown Man. Oils. Prado Gallery, Madrid.

The Triumph of Riches. Drawing. The Louvre. (Copies of this and the pendant design, The Triumph of Poverty, in the British Museum and in the Collection of Lady Eastlake.)

The Queen of Sheba before Solomon. Washed Drawing, heightened with gold and colours. Windsor Castle.

Robert Cheseman, with falcon. Oils. Hague Gallery.

* "The Ambassadors." [Plate 28.] Oils. National Gallery. (A double portrait, life size. Formerly supposed to be Sir Thomas Wyatt and a scholar; now officially held to be Jean de Dinteville, Bailli de Troyes, and George de Selve, Bishop of Lavaur. As stated in the text, the present writer differs from any identification of either figure yet published, but is not prepared to put forward her own views for the present.)

Nicholas Bourbon de Vandoeuvre, scholar and poet. Chalk Drawing. Windsor Castle. (An intimate friend of Holbein, Kratzer, and their circle. Recently identified as the man in the scholar's gown, in "The Ambassadors," and so given by Mr. Lionel Cust, in the _Dictionary of National Biography_, in his article upon Holbein.)

**The Morett Portrait. [Plate 29.] Oils. Dresden Gallery. (Long believed to be a triumph of Leonardo da Vinci's art, and the portrait of Ludovico Sforza, "Il Moro." At one time held to be Henry Brandon, Duke of Suffolk. Afterwards "established" and catalogued as Hubert Morett, goldsmith to King Henry VIII. Following M. Larpent's suggestion, however, it is now supposed to be the portrait of Charles Solier, Sieur de Morette. But as to this the last word may yet remain to be said. The drawing which the majority of authorities hold to be the study for this painting now hangs near it.)

Thomas Cromwell. Oils. Tittenhanger.

** Miniature portrait of Henry Brandon, son of the Duke of Suffolk. Windsor Castle.

Title-page used in Coverdale's Bible. Woodcut.

Q. Jane Seymour. [Plate 30.] Oils. Imperial Gallery, Vienna.

** Portrait of Erasmus, full length, in scholar's robes, with his hand on the head of the god Terminus. Woodcut. Frontispiece to Hieronymus Froben's edition of Erasmus's Works, published in 1540. (Commonly known as "Erasmus in a surround," or niche.)

Fragment of the Cartoon [Plate 31] used for the four royal portraits in the wall-painting at Whitehall. The fragment shows only the figures of King Henry VIII. and his father. Hardwick Hall. (Remigius van Leemput's copy of the wall-painting shows that the position of the King's head was changed, in the completed work, to the full-face view so familiar in the oil-painting at Windsor Castle. The latter is one of the many copies of Holbein's original portrait of Henry VIII. which long passed muster as genuine _Holbeins_.)

** Portrait study of the face of King Henry VIII. [Plate 32.] Chalk Drawing. Royal Print Cabinet, Munich. (Probably the Life-study for the Whitehall painting. If nothing else remained, this mask alone would incontestably rank Holbein among the Masters of all time. To the writer's thinking, at any rate, it stands among the very few works of art which it would be difficult to match, and impossible to surpass in its own colossal qualities.)

** Design for "the Jane Seymour Cup." [Plate 33.] Bodleian Library.

** Christina of Denmark, Duchess of Milan. [Plate 34.] Oils. National Gallery; lent from Arundel Castle.

Edward VI., when infant Prince of Wales. Oils. Hanover Gallery, and Lord Yarborough's Collection.

Anne of Cleves. [Plate 35.] Oils on Vellum. The Louvre.

Thomas Howard, third Duke of Norfolk. [Plate 36.] Oils. Windsor Castle, and Arundel Castle.

Catherine Howard. [Plate 37.] Chalk Drawing. Windsor Castle. (The Miniature at Windsor Castle, formerly said to be Holbein's portrait of Catherine Parr, is now said to be Catherine Howard. If so, it is somewhat difficult to reconcile it with the drawing, which latter seems much more in keeping with the descriptions of her traits.)

Title-page used in Cranmer's Bible. Woodcut. (This is the title-page from which Cromwell's Arms are erased in the second edition.)

Sir Nicholas Carew. Oils. Dalkeith Palace. Chalk Drawing. Basel Museum.

Simon George of Cornwall. Oils. Städel Institut, Frankfurt.

Miniature portrait of Charles Brandon, son of the Duke of Suffolk. Windsor Castle.

Lady; unknown. Oils. Imperial Gallery, Vienna. Also a fine portrait of an unknown man. Oils. Same Gallery.

Sir Richard Southwell. Oils. Uffizi Gallery, Florence. Chalk Drawing. Windsor Castle.

John Reskymeer. Oils. Hampton Court Gallery.

Nicholas Poyntz. Oils. De la Rosière Collection, Paris. Chalk Drawing. Windsor Castle.

Sir John Russell. Oils. Woburn Abbey. Chalk Drawing. Windsor Castle.

Three portraits; men unknown. Oils. Berlin Gallery.

Designs for jewelry, ornamental panels, clocks, chimney-piece, etc., etc. Washed Drawings. British Museum, Basel Museum, etc.

Many fine portraits of which no versions in oils are known. Chalk Drawings. Windsor Castle. Among these one of Edward VI. as boy Prince of Wales, the Duchess of Suffolk, Sir Thomas Wyatt, etc., etc.

Dr. John Chamber, or Chambers. Oils. Imperial Gallery, Vienna.

Also many other oil-portraits, more or less genuine, in various Collections.

REFERENCES

The Literature of Holbein's Life, much more of his Works, is far too extensive to admit of a Bibliography in a volume of this sort. But the following List will be found to contain (or themselves refer the reader to) all that is of essential importance to even the most complete study of this Master.

Carel van Mander, _Het Schilder-Boeck_, etc., 1604. The above translated into French, and admirably edited by M. Henri Hyman. 2 tom., 1884.

Alfred Woltmann, _Holbein und seine Zeit. Zweite umgearbeitete Auflage_, 1874. 2 Bde. There is an English translation of the First Edition of 1871, by F. E. Bunnètt; but unfortunately its views on many vital points are reversed by Woltmann himself in his latest edition.

R. N. Wornum, _Some Account of the Life and Works of Hans Holbein_, 1867. Corrected in many respects by the author in a monograph on "The Meier Madonna," 1891.

Paul Mantz, _Hans Holbein_. Paris, 1879.

H. Knackfuss, _Holbein_. Leipzig, 1899. English translation of the above by Mr. Campbell Dodgson.

Eduard His, _Die Basler Archive über Hans Holbein den Jungern_. In Zahn's _Jahrbücher für Kunstwissenschaft_, 1870.

Francis Douce, _The Dance of Death_, 1833.

J. R. Smith, _Holbein's Dance of Death_, 1849. (Especially fine reproductions.)

H. N. Humphreys, _Holbein's Dance of Death_, 1868.

G. Th. Fechner, _Über die Deutungsfrage der Holbein'schen Madonna._ _Die älteste historische Quelle über die Holbein'sche Madonna_. Both in _Archiv für die zeichnenden Künste_, 1866, I., 4. These give all the known facts of the history of the Meyer Madonnas of Darmstadt and Dresden.

S. Larpent, _Sur le portrait de Morett_. Christiania, 1881.

Mary F. S. Hervey, _Holbein's "Ambassadors,"_ 1900. This volume also embodies, and gives the references to, the original identifications of Professor Sidney Colvin, and the suggested identifications of Mr. C. L. Eastlake; as well as to the contribution concerning the hymn-book by Mr. Barclay Squire.

W. F. Dickes, _Holbein's "Ambassadors" Unriddled_, 1903.

F. A. Zetter-Collin, _Die Zetter'sche Madonna von Solothurn. Ihre Geschichte aus Originalquellen_, etc. In _Festschrift des Kunst-Vereins der Stadt Solothurn_, 1902.

Artur Seeman, _Der Brunnen des Lebens, von H. Holbein_. In _Zeitschrift für bildende Kunst_. Mai, 1903. With a superb illustration in colour.

INDEX

"Adoration," painting, 71 "Ambassadors, The," painting, 145-9, 193 Amerbach, Basilius, 66 Bonifacius, 25, 46-50, 99, 125 Johann, 48, 61 Anne, of Cleves, Queen, 171-4 Antwerp, Johann or Hans of, 183 Arundel, Henry Fitzalan, Earl of, 184 Thomas Howard, Earl of, 151 William Fitzalan, Earl of, 115 Augsburg, 10, 11, 16

Bär, Hans, 24, 25 Magdalena, first wife of Meyer zum Hasen, 31 Barber-Surgeons, Guild of, 180 Basel, description of, 58-64 decoration of the Rathhaus by Holbein, 83-5, 132, 135, 170 decoration of the Lällenkönig by Holbein, 135 offers of an annuity to Holbein, 145, 168, 169, 176, 177 Basel, banquet to Holbein, 168 Beatus Rhenanus, 68 Berne, 12 Bible, translations before the Reformation, 23, 24 Boleyn, Anne, Queen, 150, 151 Bourbon, Nicholas, 156, 157, 193 Bourges, 99 Burgkmair, Hans, 11 Butts, Sir William, 180

Cellini, Benvenuto, 169-70 Chamber, John, 180 Cheseman, Robert, 150 "Christ in the Grave," painting, 78-80 Christ in Holbein's Art, 77-83 Christina, Duchess of Milan, 144, 164-7 Colet, John, Dean of St. Paul's, 22, 137 Cromwell, Thomas, Earl of Essex, 152

"Dance of Death," 100-103 Darmstadt, "Meyer-Madonna" at, 108-13 David, Gerard, 53 David, Jerome, 169 Diesbach, Nicholas von, 89, 90 Dinteville, Jean de, 149 Dresden, "Meyer-Madonna" at, 108-13 Dürer, Albrecht, 22

Edward VI., King, 163, 170 Elizabeth of York, Queen, 161 Erasmus, Desiderius, 17-21, 125, 137, 158 Portraits of, 98, 99, 159 Eyck, H. and J. van, 15, 185

Fäsch, Remigius, 111 Fisher, John, Bishop of Rochester, 118 "Fountain of Life," painting, 53, 54 Froben, Hieronymus, 158 Froben, Johann, 15, 34, 35, 63, 64, 68, 98

Gardiner, Stephen, Bishop of Winchester, 175 Gerster, Hans, 89, 90 Glass-painting, designs for, 54, 55 "Goddess of Love," painting, 104 Gold-work, designs for, 163 Graf, Urs, 65, 66 Guildford, Sir Henry, 119-21 Lady, 121 Gyze, Georg, 142-43

Hayes, Cornelius, 170 Henry VII., King, portrait, 161 Henry VIII., King, portrait, 160-63, 195 New Year present to Holbein, 170 Henry, Prince of Wales, 151 Hertenstein, Jacob von, 43 Holbein, Ambrose, 10, 12, 13, 17 Bruno, 12 Elsbeth, 58, 94-7, 104, 105, 107, 126-9, 177-82 Hans, the Elder, 9, 10, 12, 13, 16, 91 the Younger, birth (1497), 16 at Basel (1515-17), 24 at Lucerne (1517-18), 41, 42 a citizen of Basel (1519-26), 58-113 marriage, 58 wife and children, 104-7, 124, 129-31, 169, 170, 182 first visit to England (1526-8), 115-25 last years in Basel (1528-31), 125-36 purchase of Basel House (1528), 125, 126 final return to London (1531), 136 mention of, by Nicholas Bourbon, 157 official income, 167 will and death, 180-83 place of interment, 184 illegitimate children, 183 as a designer and engraver, 35-7 greatness of, 184-7 religious ideals and sympathies, 21-4, 77-83 Jacob, 128-30 Katharina, 128-31 Künegoldt, wife of Andreas Syff, 129-31 Michael, 11 Philip, son of Hans the Younger, 86, 94, 129, 169, 170 Philip, grandson of Hans the Younger, 130 Sigmund, 12, 177 Howard, Catherine, Queen, 175 Thomas, Duke of Norfolk, 175 Hutten, Ulrich von, 71 Hyss, Cornelius, 157

"Jane Seymour Cup," 163

Kratzer, Nicholas, 121, 122, 157

Laïs Corinthiaca, painting, 105, 106 Landsknechte, drawings, 57, 58 "Last Supper," paintings, 50-52 Leemput, Remi von, 160 Leonardo da Vinci, 40, 50 Lisbon, painting, the "Fountain of Life" at, 53, 54 Lucerne, 41, 42 Lützelburger, Hans, 36, 98 Lystrius, Gerard, 68

Mantegna, Andrea, 40, 41, 50 "Mary Magdalen at the Sepulchre," painting, 80-83 Merian, family of, at Frankfurt, 131 Meyer, Anna, 110, 111 Dorothea, née Kannegiesser, 31-4, 109 Jacob zum Hasen, 31-4, 75, 89, 107 Jacob zum Hirten, 132, 133 Magdalena, née Bär, 31 "Meyer-Madonna" (Darmstadt and Dresden), 108-13 Milan, 40 Monasticism and Art, 5-8 More, Sir Thomas, 112, 114-17, 137 Morett, Hubert, or Morette, Charles de Solier, portrait, 144, 154, 194

"Nativity," paintings, 71-4

Oberriedt, Hans, 72, 75 Oporinus, Joannes, 67, 68

Paracelsus, 67 Parr, Catherine, 176, 179 Passion, eight-panelled altar-piece, 75-77 drawings, 77, 78 Plague (in 1543), 182

Saint Andrew Undershaft, London, 178, 183, 184 Saint Catharine Cree, London, 184 Schmidt, Franz, 177, 182 Schoolmaster's Sign-board, paintings, 25, 26 Selve, Georges de, Bishop of Lavaur, 149 Seymour, Jane, Queen, 157, 158, 161, 163, 164 "Sheba, Queen of, visiting Solomon," drawing, 155 Solier, Charles de, Seigneur de Morette, 154 Solothurn Madonna, painting and its history, 86-97 Steelyard, the, London, 138-42 Stokesley, John, Bishop of London, 119 Sultz, Dorothea von, née Offenburg, 104-6

Title-pages, woodcuts, 65, 98, 115, 159 "Triumph of Riches and of Poverty," drawings, 150 Tuke, Sir Bryan, 122, 123

Ulm, 11 Utopia, woodcut title-page, 115

"Virgin and Child," drawings, 55 paintings by Holbein, 86-97, 108-13

Warham, William, Archbishop of Canterbury, 118, 119, 137 Wilhelm Meister, School of, 8 Windsor, portrait, drawings at, 117

Zetter, "Madonna" at Solothurn, 86-97

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TRANSCRIBER'S NOTE

Contemporary spellings have generally been retained even when inconsistent. A small number of obvious typographical errors have been corrected and some names regularised; missing punctuation has been silently added. Advertising material has been moved to the end.

The following additional changes have been made:

to away with him to _do_ away with him

and in Pope Leo's hands for a and _would remain_ in Pope Leo's year yet for a year yet

Die zetter'schen Madonna Die _Zetter'sche_ Madonna vow Solothurn _von_ Solothurn

that I imagine it to have that I imagine to have

Mecænas Mæcenas

at Basel (1515-77) at Basel (1515-_17_)