The Basel sketch (No. 345)[[657]] (Pl. [74]), upon which the various pictures still in existence are based, affords the most faithful record we possess of the great work itself, now lost, or buried under the handiwork of some inferior painter. It represents a large apartment with a group of ten persons, with two smaller figures seen through an open door in a room at the back. Sir Thomas More is seated in the centre of the group, dressed in long robes, his hands concealed in a muff. In attire, attitude, and expression the sketch agrees very closely with the portrait of More in the possession of Mr. Edward Huth. On his right hand, to the spectator’s left, is seated his old father, Sir John More, a judge of the King’s Bench (anno 76), looking straight out of the picture. By Sir John’s right side stands Margaret Gigs (anno 22), a relative of the family, afterwards married to Dr. John Clement. She has a book in her left hand, to which she points with her right, as though emphasizing a passage she is reading to the old man, towards whom she stoops. In front of her, and still further to the spectator’s left, the outside member of the group, stands Elizabeth Dancey (anno 21), More’s second daughter, with a book under her arm, drawing on her glove.
On the opposite side, on the spectator’s right, in the foreground, is a group of three, which includes More’s second wife, Alice Middleton (anno 54), on the extreme right, kneeling on a prie-dieu, with a chained monkey by her side jumping up against her dress; Margaret Roper (anno 22), More’s eldest and favourite daughter, seated on the ground on a low stool in front of her stepmother, an open book held in her lap, gazing in front of her, as though lost in thought over the volume she has been reading; and Cecilia Heron (anno 20), the youngest girl, seated behind, and partly concealed by her sister, with a book and rosary in her hand, and her head turned as though speaking to Lady More. In the centre, behind Sir Thomas, stand, on the right, his only son, John More (anno 19), looking down, absorbed in a book, and on the left, Anne Cresacre, his betrothed, a girl in her fifteenth year. The group is completed by the bluff figure of Henry Patenson, More’s jester, who stands to the right of More’s son, with arms akimbo in the favourite fashion of Henry VIII. Over his shoulder, through a doorway, with a kind of porch of open woodwork which projects into the apartment, are seen the heads of the two small figures mentioned above. The room in which the group is placed is probably the dining-hall. On the left there is a sideboard reaching to the ceiling, with a flower-vase, tankards, and silver plate. On the sill of a window on the opposite side of the room there are a jug, a candlestick, and some books. The wall at the back in the centre is covered with a curtain, in front of which a clock with weights is hanging, and a violin near it.
Vol. I., Plate 74.
STUDY FOR THE MORE FAMILY GROUP
Drawing in Indian ink, with corrections and inscriptions in brown
Basel Gallery
THE NOSTELL PRIORY PICTURE
The whole arrangement is of a somewhat formal and stately character, and both in the attitudes and occupations of the figures indicates a house of learning; even in the foreground books are scattered all over the floor. This masterly sketch, small as it is, is full of character. Each figure has marked individuality, and Holbein, with a few slight touches of his pencil, has in every case given a most truthful likeness, as may be proved by comparison with the larger studies of seven of the heads now in the Windsor Collection. From this brilliant study it is quite possible to gain a very adequate idea of how splendid the finished picture must have been, if, indeed, Holbein ever completed it. Whether the Basel drawing was merely Holbein’s first arrangement of the grouping, hastily done, or a drawing made at More’s request from the outlined design on the canvas for the purpose of sending it to Erasmus, is uncertain; but, in any case, the portraiture of all the heads, which are only sketched in a few lines, is complete and striking, and every touch stamps it as the work of one who was a master before he had reached his thirtieth year.
There are various copies of this great family picture in England, mostly of late origin and showing numerous differences. The only one which has any real claim to be considered the original work is the large canvas belonging to Lord St. Oswald at Nostell Priory, near Wakefield, which has been for many years in the possession of the Winn family (Pl. [75]).[[658]] Most writers have identified it with the picture mentioned by Carel van Mander, whose book was first published in 1604, as seen by him in London in the possession of Andries de Loo, who had collected a number of Holbein’s works. “This lover of art,” he says, “had a large canvas, painted in water-colours, on which was depicted, as large as life, from head to foot, the learned and famous Thomas Morus, with his wife, sons, and daughters, all magnificently arrayed, a piece worthy to be seen and highly extolled.” On De Loo’s death, he continues, it was purchased by one of More’s grandsons, who was also named More. According to the family history, however, the buyer was the son of Margaret Roper, of Well Hall, Eltham, near Blackheath, where it still remained in 1731, when it was carefully described by the Rev. J. Lewis. It eventually passed by marriage to Sir Rowland Winn, of Nostell Priory, the ancestor of the present owner. Van Mander, it will be noted, says that this picture was in water-colours, or tempera, on canvas, which, if true, seems to indicate that it was not the work now at Nostell Priory, though repeated repairing and varnishing may have rendered the method of its painting uncertain to decide. Van Mander’s account of Holbein’s career is by no means free from inaccuracies, but the evidence seems to point to the fact that his history of the picture is substantially correct.[[659]]
There are considerable but, with two exceptions, not very important differences between the Nostell Priory picture and the Basel sketch. The latter is seen at once to be a first study for the grouping of the former, to which the artist adhered closely in almost all points. In the first place, it is interesting to note that the only two alterations suggested on the sketch itself, in Holbein’s own handwriting—“Dise soll sitzen” (she is to be sitting), placed against Lady More, and “Klafikordi vnd ander Sithespill vf dem bank” (harpsichords and other instruments on a shelf), to the left on the wall at the back, close by the cupboard or sideboard, where only a violin is hanging in the sketch—have both been carried out in the completed picture, though in the end the painter put the instruments on the sideboard in place of the silver plate, instead of on a shelf.
The two chief points in which the finished picture deviates from the sketch are the change in the positions of Elizabeth Dancey and Margaret Gigs, and the introduction of More’s “famulus,” John Heresius or Harris, who stands in the doorway at the back, with a roll of parchment in his hands, while beyond him, in the farther room, is a man standing at a large bay-window, holding a book which he is reading. The positions of Elizabeth Dancey and Margaret Gigs have been reversed. The former now stands next to Sir John, while the latter has taken her place on the extreme left, and, instead of stooping, stands upright, looking in front of her, but with her right hand still pointing to the open book in her left. Her head-dress is less elaborate than in the Basel sketch, and follows closely the plain white hood she is shown as wearing in the beautiful study at Windsor, erroneously inscribed “Mother Jak.” Two dogs are also introduced—a “cur-dog” at the feet of Sir John, and a “Bologna shock” at the feet of Sir Thomas, to quote from Mr. Lewis.[[660]] The various accessories in the room have also been to some extent changed, both on the sideboard and on the window-sill on the right. The titles of the books are given in most cases. Thus Margaret Roper holds open Seneca’s Œdipus at the chorus in Act iv., Elizabeth Dancey has Seneca’s Epistles under her arm, while Boetius de Consolatione Philosophiæ is on the sideboard.