It was Holbein who, visiting a brother artist and finding a picture on the easel, painted a fly upon it. When the artist returned he tried to brush the fly off, then set about looking for the one who had deceived him.
His portrait painting was so superb that he received many commissions.
Meantime, Sir Thomas More had fallen into disfavour with the King and was to lose his head, but it is written that the artist's portraits "betray nothing of this tragedy." He was as ready to climb to fame by the favour of his generous patron's enemies as he had been to accept the offices of Sir Thomas More. He painted the portraits of several of the wives of Henry VIII., and it may be said that there was a good deal of that monarch's temperament to be found in Holbein himself. Take him all in all, Hans was as detestable as a man as he was excellent as a painter.
In his adopted home in Lucerne, Holbein had painted frescoes, both on the inside and the outside of a citizen's house, and this house stood until 1824, when it was torn down to make way for street improvements, but several artists hastily copied the frescoes so that they are not entirely lost.
Before he left Germany for England, Holbein had been commissioned to decorate the town hall in Basel, and a certain amount of money was voted for the work, but after he had finished three walls, he decided that the money was only enough to pay him for what he had already done. The councillors agreed with him, but as money was a little "close" in Basel at that time, they felt unable to give him more, and so voted to "let the back wall alone, till further notice."
He painted one Madonna whom he surrounded with the entire family of Burgomaster Meyer, including even the burgomaster's first wife, who was dead. This work is called the "Meyer Madonna."
It is said that after Holbein's return to Basel he, with others, was persecuted for his "religious principles," but if this were true, his persecutors went to considerable pains for nothing, because Holbein was never known to have any sort of principles, religious or otherwise. He was neither a Protestant, nor a Catholic but a painter, a man without convictions and without thought. He did not care for family, country, friends, politics, religion, nor for anything else, so far as any one knows.
When he was asked why he had not partaken of the Sacrament, he answered that he wanted to understand the matter better before he did so. Thus he escaped punishment, and when matters were explained to him, he did whatever seemed safest and most convenient under the circumstances.
On his return to England, he settled among the colony of German and Netherland merchants, who were in the habit of meeting at a place called "The Steelyard," as their home and warehouses were grouped in that locality, with a guild hall and a wineshop they alone patronised.
While associated with his compatriots Holbein made portraits of many of them, and these are magnificent works of art. He painted them separately or in groups; in their offices and in their guild hall, as the case might be. The men whom he thus painted were: Gorg Gisze, Hans of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many others. He designed the arch which the guild erected upon the occasion of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane Seymour.