XXII
HANS HOLBEIN, THE YOUNGER
(Pronounced Hahntz Hol'bine)
German School
1497-1543
Pupil of Holbein, the Elder
There were three generations of painters in the Holbein family, and the Hans of whom we speak was of the third. His grandfather was called "old Holbein," and when more painters of the same name and family came along it became necessary to distinguish them from each other thus: "old Holbein," the "elder Holbein," and "young Holbein." The first one was not much of an artist; still, in a locality where at best there was not much art he was good enough to be remembered.
"Young Holbein" was born in Augsburg, which is in Swabia, in southern Germany; "elder Holbein" and his father, Michael, "old Holbein," had moved there from Schonenfeld, a neighbouring village, about forty three years before little Hans was born, the old Michael bringing his family to the larger town where it was easier to make a living.
The "elder Holbein" was a really good artist and well thought of in Augsburg, and when little Hans's turn came he had no teacher but his father, unless indeed we were to call him also a pupil of his elder brother, Ambrosius. His uncle Sigismund, too, taught him something of art, for the whole Holbein family seem to have been artists. Young Holbein was never regularly apprenticed to any outsider.
Art was not then taught as it is now. The work of a beginner was often to paint for his master certain details which it was thought that he might handle properly, while the master occupied himself with what he thought to be some more important part of the picture. It is said that Hans often painted the draperies of his father's figures when his father was engaged upon the altar pieces so fashionable at the time. The Holbeins one and all must have been bad managers or improvident; at any rate, Hans did not turn out well as a man and we read that his father was always in debt and difficulty although he received much money for his work and was not handicapped, like Dürer's father, by a family of eighteen children.
The story of the Holbeins is quite unlike that of the Dürers, and not nearly so attractive.
Some time before Hans was twenty years of age, the entire family had packed up and gone to live in Lucerne, while Hans and his brother, Ambrosius, went travelling together, as most young Germans went at that time before they settled down to the serious work of life. The last we hear of Ambrosius he had joined the painters' guild in Basel, and probably he died not long afterward, or at any rate while he was still young. There was in Basel a certain Hans Bar, for whose wedding occasion Hans Holbein designed a table, on which he pictured an allegory of "St. Nobody." This was very likely such work as our cartoonists do to-day, but being the work of Holbein, it had great artistic value. Besides that, he painted a schoolmaster's sign to be hung outside the door.
As an illustrator, Holbein made the acquaintance of several authors about that time and started on the high road to fame. He was a man of very little conscience or fine feeling, and there could hardly be a greater contrast than that between the clean sweet life of Dürer and the brawling, unfeeling one that Hans Holbein led.