Hans Holbein the Younger, Volume 1 (of 2)

by Arthur B. Chamberlain

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 AUGSBURG	[21]
	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 ST. JOHN	[37]
	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 “PRAISE OF FOLLY”	[48]
	(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 “PRAISE OF FOLLY”	[49]
	(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 SIGN-BOARD (1516)	[51]
	Public Picture Collection, Basel.
15.	DOUBLE PORTRAIT OF JAKOB MEYER AND HIS WIFE, DOROTHEA KANNENGIESSER (1516)	[52]
	Public Picture Collection, Basel.
16.	(1) HEAD OF JAKOB MEYER. (2) HEAD OF DOROTHEA KANNENGIESSER	[55]
	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” (1518)	[61]
	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 “UTOPIA”	[62]
	By Ambrosius Holbein.
	From a woodcut in the British Museum.
23.	DESIGNS FOR THE WALL-PAINTINGS OF THE HERTENSTEIN HOUSE, LUCERNE	[68]
	(1) Leæna and the Judges.
	(2) Architectural Decoration of the Ground Floor.
	Public Picture Collection, Basel.
24.	PORTRAIT OF BENEDIKT VON HERTENSTEIN (1517)	[72]
	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 SOULS	[79]
	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) ADORATION OF THE KINGS	[88]
	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 CRUCIFIXION	[94]
	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) MARY, MATER DOLOROSA	[98]
	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 A HOLY BISHOP (1522)	[103]
	Solothurn Gallery.
37.	PORTRAIT OF A YOUNG WOMAN, POSSIBLY HOLBEIN’S WIFE	[106]
	Reproduced in colour.
	Royal Picture Gallery, Mauritshuis, The Hague.
38.	HEAD OF A YOUNG WOMAN, PROBABLY HOLBEIN’S WIFE	[108]
	Study for the Solothurn “Madonna.” Silver-point drawing, touched with red.
	Louvre, Paris.
39.	DESIGN FOR THE ORGAN-CASE DOORS, BASEL CATHEDRAL	[113]
	Pen and wash drawing.
	Public Picture Collection, Basel.
40.	(1) STUDY FOR A PAINTED HOUSE FRONT WITH THE FIGURE OF A SEATED EMPEROR. (2) THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS	[121]
	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 SON	[139]
	Designs for painted glass.
	Public Picture Collection, Basel.
43.	DESIGN FOR A PAINTED WINDOW WITH THE COAT OF ARMS OF THE VON HEWEN FAMILY (1520)	[144]
	Public Picture Collection, Basel.
44.	ST. ELIZABETH, WITH KNEELING KNIGHT AND BEGGAR	[148]
	Design for painted glass.
	Public Picture Collection, Basel.
45.	THE VIRGIN AND CHILD, WITH A KNEELING DONOR	[149]
	Design for painted glass.
	Public Picture Collection, Basel.
46.	(1) CHRIST BEFORE CAIAPHAS. (2) THE SCOURGING OF CHRIST	[151]
	The “Passion” series of designs for painted glass.
	Public Picture Collection, Basel.
47.	(1) THE MOCKING OF CHRIST. (2) CHRIST CROWNED WITH THORNS	[152]
	The “Passion” series of designs for painted glass.
	Public Picture Collection, Basel.
48.	(1) PILATE WASHING HIS HANDS. (2) ECCE HOMO	[153]
	The “Passion” series of designs for painted glass.
	Public Picture Collection, Basel.
49.	(1) CHRIST BEARING THE CROSS. (2) THE STRIPPING OF CHRIST’S GARMENTS	[154]
	The “Passion” series of designs for painted glass.
	Public Picture Collection, Basel.
50.	(1) CHRIST NAILED TO THE CROSS. (2) THE CRUCIFIXION	[155]
	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 OF INDULGENCES	[198]
	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 KANNENGIESSER	[236]
	Studies for the Meyer Madonna. Drawings in black and coloured chalks.
	Public Picture Collection, Basel.
73.	(1) MAGDALENA OFFENBURG AS VENUS (1526). (2) MAGDALENA OFFENBURG AS LAÏS (1526)	[246]
	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 MORE	[303]
	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, POSSIBLY LADY GULDEFORD	[321]
	Drawing in black and coloured chalks.
	Public Picture Collection, Basel.
82.	(1) UNKNOWN ENGLISHMAN. (2) UNKNOWN ENGLISH LADY	[321]
	Drawings in black and coloured chalks.
	Public Picture Collection, Basel.
83.	WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY (1527)	[322]
	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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