At Windsor Castle is the magnificent collection of chalk drawings of heads, over eighty in number, which includes portraits of many of the most illustrious people of the day. These were preliminary studies for portraits, and are the finest record we possess of the celebrities of the Tudor period, invaluable both historically and artistically. In them Holbein is seen at his finest as a delineator of character.
In 1542 he began the large painting which was ordered to commemorate the granting of a charter by Henry VIII. to the newly-incorporated Company of Barber Surgeons, which still hangs in the Company’s Hall in London. He did not live to complete it. Some of the heads of the principal physicians he had finished, but the greater part of the picture, including the huge and ugly figure of the King, out of all proportion to the other persons represented, was put in by some other and far inferior hand. At least two of the doctors represented in this work were also painted by him separately, Dr. John Chambers (Vienna) and Sir William Butts, as well as the latter’s wife.
Holbein died in the following year, 1543, carried off by the plague, which then raged in London. The exact date of his death is not known, but he made a hasty will on October 7, and on November 29 administration was granted to his old friend Hans of Antwerp, the goldsmith. He was living at the time in the parish of St. Andrew Undershaft, where he was rated as a foreigner. He is supposed to have been buried in the Church of St. Katherine Cree, but no record of this has been discovered. His wife died in 1549. His eldest son Philip, “a good, well-behaved lad,” served his apprenticeship in Paris, and finally settled in Augsburg, founding that branch of the family upon which the Emperor Matthias conferred a patent of nobility as the Holbeins of Holbeinsberg. His second son James died as a goldsmith in London, while his daughters married respectable citizens of Basle.
THE ART OF HOLBEIN
HOLBEIN’S art was many-sided, although, during the latter half of his life, he was occupied chiefly with portraiture. This was not owing to the artist’s preference for this mode of expression, but to the fact that there was very little demand for any other form of painting in England. The painter of The Meyer Madonna was not the man to have abandoned the production of large religious compositions if there had been any adequate demand for them. His few works of this nature which remain place him in the front rank of sixteenth-century artists, and, if he had been born on the south side of the Alps, he would have painted sacred pictures as fine as those of any Italian cinquecentist; even Raphael would have found in him a worthy rival.
It is an immense loss to art that all his large decorative undertakings, and many of his most important pictures, have perished or have been lost, so that to-day we can only judge of them by a few preliminary studies, certain fragments of the originals which have been preserved in museums, and, in a few cases, some early and careful copies of a reduced size. The decorations with which he covered a number of houses in Lucerne and Basle have all disappeared. What the weather did not ruin the clumsy hand of the restorer and street-improver has destroyed. A number of his sacred pictures must have perished during the artist’s lifetime through the fury of iconoclastic mobs. Damp, dirt, and neglect were the cause of the gradual fading away of his wall-paintings in the interior of the Basle Town Hall. His two great allegorical works for the decoration of the dining-hall of the Steelyard—The Triumph of Riches and The Triumph of Poverty—have vanished, either destroyed in the Whitehall fire of 1698 or dispersed at the sale of Charles I.’s pictures. Some such fate seems also to have befallen the great portrait group of Sir Thomas More’s Family. The great wall-painting in the Privy Chamber in Whitehall was also destroyed by fire. Gone, too, is The Battle of Spurs, which, if Mr. Nicholls is right, was painted by our artist. Finally, death cut short the painting of the picture in the Barber Surgeons’ Hall. Such a list of lost or ruined masterpieces is, unhappily, not uncommon in the history of art, but Holbein has suffered more than most men; yet enough remains from his brush to allow us to place him among the greatest men of genius of his own or any succeeding age.
As already stated, he owed little to any other master than his father. It is impossible to say to what extent he assisted the elder painter in the series of sacred pictures now preserved in Augsburg and elsewhere in Germany, although certain critics hold that he took a large share in the production of The Martyrdom of St. Sebastian in Munich. This picture is the elder Holbein’s masterpiece, and in it, more than in any other of his works, he has thrown off the German mediævalism in which he was trained, and has emulated the newer style of the Renaissance, with its fine flowing lines and rounded forms and its exact imitation of Nature. It was to this German painter of repute that Holbein was indebted for almost all the artistic training he received. His painting was not affected to any extent by other artists except, indirectly, by the Italians of the North; but what was talent in the father became genius of the rarest quality in the son.
LARGE DECORATIVE WORKS AND WALL-PAINTINGS.
The practice of decorating both the exterior and the interior of houses with large wall-paintings, so universal throughout Italy in the sixteenth century, was by no means uncommon north of the Alps; but in Germany this class of work was badly paid, and the painter employed made use of much mechanical assistance, and did not lavish too much personal care upon it. No other Northern artist carried out work of this nature with such brilliancy and such success as Holbein. It is probable that the subjects of his wall-paintings were chosen for him by his patrons to suit their own tastes; but his fertility of imagination was so great that his renderings of the selected themes were stamped with his original genius. The designs were not carried out by him in a slipshod manner, without understanding, but were masterpieces of dramatic power and composition, and, no doubt, equally artistic in their colour schemes.
In his decorations for the house of Jacob von Hertenstein, in Lucerne, many of the subjects were taken from ancient times. The façade was covered with scenes from secular history, pageants, and combats of children, in a setting of florid Renaissance architecture, an important feature being a great triumphal procession of Cæsar, in its main lines copied from Mantegna. In the interior the walls of the chapel were covered with religious paintings, and the largest chamber was given up to hunting scenes with landscape backgrounds and a representation of The Fountain of Youth, with many humorous details.