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diff --git a/43410-8.txt b/43410-8.txt deleted file mode 100644 index 1629dc6..0000000 --- a/43410-8.txt +++ /dev/null @@ -1,1339 +0,0 @@ -The Project Gutenberg EBook of Holbein, by Samuel Levy Bensusan - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Holbein - -Author: Samuel Levy Bensusan - -Editor: T. Leman Hare - -Release Date: August 7, 2013 [EBook #43410] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOLBEIN *** - - - - -Produced by sp1nd, David Garcia and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - MASTERPIECES IN COLOUR - EDITED BY T. LEMAN HARE - - - - - - -HOLBEIN - - -PLATE I.--GEORGE GISZE. Frontispiece - -(In the Royal Museum, Berlin) - - This picture of a leading merchant of the Steelyard was painted in - 1532, and constituted the artist's successful attempt to capture - the patronage of one of the wealthiest merchant communities in the - world. That the patronage was forthcoming quickly is suggested - by the picture of another merchant of the Steelyard dated the - same year, and now in the Windsor collection. - -[Illustration] - - - - -HOLBEIN - -BY S. L. BENSUSAN - -ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR - -[Illustration: IN SEMPITERNUM.] - - LONDON. T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - - -CONTENTS - - Page - - I. Introduction 11 - II. The Artist's Life 29 - III. Holbein in England 51 - - - - -LIST OF ILLUSTRATIONS - - Plate Page - - I. George Gisze Frontispiece - In the Royal Museum, Berlin - - - II. The Ambassadors 14 - In the National Gallery, London - - III. Portrait of a Man 24 - In the Imperial Gallery, Vienna - - IV. Jane Seymour 34 - In the Imperial Gallery, Vienna - - V. Anne of Cleves 40 - In the Louvre - - VI. Erasmus 50 - In the Louvre - - VII. Sir Richard Southwell 60 - In the Uffizi Gallery, Florence - - VIII. Sir Henry Wyatt 70 - In the Louvre - - - - -[Illustration] - - - - -I - -INTRODUCTION - - -Hans Holbein the younger is perhaps the most outstanding figure in the -history of German art. In the eyes of some he may yield place to his -great contemporary Albert Dürer, but it is impossible to deny that for -all his indisputable genius Dürer stood for a time that was passing, -and Holbein for one that was to come. The younger man touched art at -every point, nowhere without mastery; and whether we consider him as a -draughtsman, a decorator, a painter of frescoes, a portrait painter, an -architect, a modeller, a designer of jewellery, a book illustrator, or a -miniaturist, we find ourselves face to face with such an extraordinary -measure of achievement, that the claim to remembrance and admiration -could be sustained if his art gift had been single instead of universal. - - -PLATE II.--THE AMBASSADORS - -(In the National Gallery, London) - - This picture, painted by Holbein when he was at the zenith of his - powers, is well known to visitors to our National Gallery. The - figures have been identified by some authorities as Jean de - Dinteville and George de Selve, one was the French Ambassador - to King Henry's Court, the other a great scholar who also served - diplomacy. Both died young. The picture has roused controversy, - as certain writers are of opinion that the subjects are Henry - and Philip, Counts Palatine of the Rhine. - -[Illustration] - - -Some men are echoes of their own time. Circumstance has made them what -they are; their work, however greatly it may please their generation, -does nothing to probe the future, to indicate the direction that thought -or taste will follow, nor does it set an example for those who are to -come. Hans Holbein the younger is of the smaller and more distinguished -class that accepts tradition just so far as it is useful or indispensable, -and can face the problems of changing seasons and new thought with perfect -confidence and unerring instinct, finding no terror in change. His father -was an artist, and this fact would seem to have marked out his path -in life. But, considering the work he did, in its extent and quality, -we have every reason to believe that the artist was born to succeed, -and that had he been an engineer, a general, or a statesman, he would -have left the same indelible mark upon his generation, and would have -been remembered with gratitude and admiration by those who came after -him. For he was the strong man armed at all points, who chose to be an -artist, though many another path before him would have led to fame. - -It is not difficult, if one has a certain measure of talent, to impose -upon one's contemporaries. Criticism is seldom exhaustive or final -until time has taken its stand between man and his labours, adjusting -the earlier perspective that is seldom correct and never exact, but with -Holbein the case was different. His generation recognised a genius to -which we pay tribute after 350 years have passed away. - -"I could make six peers out of six ploughmen," said Henry VIII., who -was no mean judge; "but out of six peers I could not make one Holbein." - -We who come to pay our tribute of admiration so long after opinion, -good or bad, has ceased to concern the artist, are at no small -disadvantage. We can learn little or nothing about the personal details -of his life; the year of his birth and even the place are in dispute, -while between the various authorities who deal with the date of his death -there is a difference of no less than twelve years, although the balance -of evidence is greatly in favour of the earlier date and shorter life. -Moreover, a great part of the artist's output is lost. In these days, -when the work of old masters is being discovered so frequently, and -many a forgotten _chef d'oeuvre_ is being rescued from oblivion, -there is every reason to hope that the future has something valuable -in store for us. But we know that, as far as this country is concerned, -much of the labour of Holbein's hands has passed beyond recall. During -the Commonwealth many of the artist's pictures were sent to the -Continent, the great fire in the Whitehall destroyed some priceless -works, and the drawings that attract so many artists to Windsor have had -a very chequered career. As far as we can learn, they were collected -in the first place by King Edward VI., and were then sold in France, -where their owner sold them back to Charles I., who, in his turn, -disposed of them to the Earl of Pembroke, from whom they passed to -the Earl of Arundel, who disposed of them to King Charles II., who was -probably advised in the transaction by Sir Peter Lely. Then they were -taken to Kensington Palace, thrown into a drawer and forgotten until, -in the time of the Georges, Queen Caroline discovered some and King -George III. found the rest. When Queen Victoria ruled over us the Prince -Consort gave these masterpieces their present frames and places, and we -may presume that they will never be disturbed. It is not unreasonable -to suppose that the experience of this famous collection is typical -of that which has befallen many other works from the same hand. Our -interest in fine art is comparatively modern; only in the last hundred -years have the rank and file of cultured, wealthy, or leisured people -bethought them of the great treasures that lay neglected in the highways -and byways of big cities; and we must not forget that damp, neglect, -and indifference are troubles that have a very serious and unfavourable -effect upon works of art. The favour extended to a fine picture must be -enduring, nor will ten generations of careful attention atone for ten -years of bad housing and neglect. - -We owe a great deal to Holbein, because he was one of the few great -painters of the sixteenth century who pictured the commercial age that -others had held in contempt. He seems to have seen that Europe had -reached the parting of the ways, and that war was no longer to stand -as the greatest interest of national life. To realise how the temper -of the world has changed, we need do no more than remember that if the -sword is drawn in the twentieth century it is in the service of commerce. - -The Renaissance that worked so many wonders in Italy opened Holbein's -eyes and broadened his point of view, but after the first few years -he turned aside from the Italian influence and looked upon the life -around him with eyes that had been aided rather than blinded by the -bright light that shone over Milan, Florence, and Venice. He was a -realist with an exquisite sense of proportion, and a definite certainty -of intention and expression, that kept him from playing tricks with his -art. As great opportunities came to him, he took such complete advantage -of them that to-day we may turn to his work and read in it the history -of his own fascinating times. He has left us a gallery of the people who -ruled a considerable section of middle and western Europe in the first -half of the sixteenth century, when the near East was still untouched -by Christian civilisation, and few artists looked beyond the Adriatic -for sitters or for patronage. - -No small part of the Tudor period lives again under Holbein's hand. He -gives us the vivid and enduring impression of an age that had found -itself, and his subjects walk with fact, just as the creations of his -great contemporary Albert Dürer had walked with fancy. As he saw them so -he portrayed them, and history brings no charge of flattery against him -save in the case of Anne of Cleves, whose portrait he painted for King -Henry VIII. before that much married monarch had seen her. Here he is -said to have been guilty of flattery, but it was generally believed at -the time that Thomas Cromwell, who was his patron and had commissioned -the portrait, was responsible for it. The fact that King Henry himself -accepted this view, and that Cromwell suffered for it, suggests that -there must be no little foundation for the story, though the king -certainly understood the worth of a great artist too well to quarrel -with him. - - -PLATE III.--PORTRAIT OF A MAN - -(In the Imperial Gallery, Vienna) - - Research has not availed to identify this man, who sits at a table, - book in hand, though he has a commanding personality. Few artists - have left more portraits beyond the reach of identification - than has Holbein. Other remarkable but unnamed studies are to - be found in Basle and Darmstadt, at the Berlin Royal Museum, - at Windsor Castle, and elsewhere. - -[Illustration] - - -Apart from this work, we look to Holbein for a long roll of kings, -princes, churchmen, statesmen, doctors, lawyers, men of letters, -reformers, and social celebrities all in their habit as they lived, -and vested with the dignity that seems to have been an integral part of -the Tudor period. It would seem to have been a curiously practical and -business-like age, with rather less imagination than we associate with -Elizabethan times. In dealing with one and all of his varied sitters, -the painter seems to have preserved the essential characteristics, -and, if we must admit the Holbein touch, there is at least no Holbein -type. He started his work under the influence of the Renaissance, and -with an almost childish delight in decorative effects. As he progressed -he threw aside one by one the details that he had ceased to regard as -essential, until in the end he could express everything he saw in the -simplest possible manner, without any suggestion of superfluity or -redundancy, without concession to the merely superficial side of -picture-making that stood lesser men in good stead. The extraordinary -success of his portraiture is best understood when we learn that for -most of his work he did not trouble sitters after the modern fashion. -They sat to him for a sketch, and then he took the sketch away with -him and produced in due course the finished portrait. When we look at -the portraits in the great European galleries, at Windsor or Basle, -the Louvre or Munich, we may be astonished that such results should be -achieved from mere sketches. But the study of these sketches themselves -avails to explain much; and as there are more than eighty of them at -Windsor, and these have been reproduced very finely in several volumes, -the lover of Holbein has no occasion to leave this country in order to -understand the technique of this branch of the master's work. Naturally -an artist is judged very readily by his efforts in portraiture, for they -are the things that appeal most readily to the eye; but in the case of -Holbein, who would have been a great master if he had never painted a -portrait, it is well to look in other directions for evidences of his -many gifts. What manner of man he was, how and when he lived and died, -is, as we have hinted already, a matter of conjecture; and in setting -down the facts of his life that are generally accepted, it is necessary -to admit reservations at short intervals. Of course, we would give much -to know the full story of his progress, to learn the conditions under -which some of his most notable achievements were accomplished, to catch -some really reliable glimpses of his domestic life, but in all these -matters we have nothing but stray facts and countless conjectures. -Even the portrait in Basle that is said to stand for him is a doubtful -authority, because it is not clear from the original inscription -whether it is of Holbein or by Holbein. We know that he painted it, -but we do not know whether he was painting himself. Happily, perhaps, -the satisfaction of this curiosity, though it be human and reasonable -enough, is not of the first importance. It may suffice us amply that -the great artist left many and varied monuments of his achievements, -and that the most, or very many, of these are open to our inspection -to this day, that they have preserved their quality and their power to -teach as well as to charm succeeding generations. - - - - -II - -THE ARTIST'S LIFE - - -If we may accept the balance of evidence, Hans Holbein was born in the -last years of the fifteenth century in Augsburg, then a city of great -importance. The visitor to Bavaria to-day will find few traces of its -vanished prosperity, but in the years when Hans Holbein was a little boy -Augsburg held merchant princes by the dozen, and men of distinction by -the score, and enjoyed the favour of the Emperor Maximilian, himself no -mean patron of the arts. In such a city at the beginning of the sixteenth -century there would have been a certain community of interest between -the leaders of state, commerce, and religion, who, keenly conscious -of the honour that had come to Italy through the Revival of Learning -and the practice of the arts, would do all that in them lay to devote a -part of their wealth and leisure to placing their city in an honourable -position. Civic pride was rampant throughout the great cities of Europe -in the Middle Ages, and Augsburg was no exception to the rule. Holbein's -father, whose work may be studied to great advantage in Berlin, was an -artist of repute. He belonged to the Guild of Painters that had been -successfully established in the city, and enjoyed the patronage of the -leisured classes to an extent that brought a measure of prosperity to -all its members. The practice of the arts was comparatively new to -Augsburg, and doubtless the story of Italian prosperity had lost nothing -on its journey across the Tyrol. The Bavarian city would expect its -prosperous Guild to achieve distinction, and was ready and able to -respond to progress, so that the conditions were very favourable to -endeavour and to success. Every great city sought to achieve renown by -raising in its midst, or attracting to its circle, scholars and artists -of world-wide repute. Hans Holbein had a double advantage. Not only was -the time ripe for his achievements, but the family surroundings were -of the kind calculated to develop his powers early. His father, nephew, -and brothers were painters, and from his earliest years he would have -been brought into intimate touch with the life and work of artists. -He would have had access to the hall of the Painters' Guild, where as -much as could be secured of the world's fine work was to be seen. The -Guild was the centre of a great city's enthusiasms; the work was -criticised and studied. Great financiers of Augsburg brought artists -and craftsmen from other towns, and it is safe to assume that the best -of them would have been found in the hall of the Guild from time to time -exhibiting their own work, and telling an interested gathering of the -wonders of other cities in days when the journey across the frontiers of -one's own country was not to be safely or lightly undertaken. The elder -Holbein would have introduced his son into the best artistic circles -of his time and place; for although he does not seem to have been the -leading artist of his city, he received important commissions from the -religious houses, and the collection of sketches in the Berlin National -Gallery shows how much the son owed to the father, and what a clever -fellow the father was. - - -PLATE IV.--JANE SEYMOUR - -(In the Imperial Gallery, Vienna) - - This portrait is one of the masterpieces of the Vienna Gallery. - The queen is painted almost life size, and wears a dark red dress - over a petticoat of silver brocade. The marvellous complexion for - which she was noted and the fine jewels she wore are rendered - with rare skill by the painter. - -[Illustration] - - -Unfortunately history has nothing to tell us of the boyhood of young Hans, -though we may gather that his father was in straitened circumstances and -not on the best of terms with members of his family who were better off -than he. Perhaps we may assume that the _res angusta domi_ turned young -Han's steps from his father's house while he was yet little more than a -boy, for when he could have been no more than seventeen, and was perhaps -younger, he and his brother Ambrosius would seem to have left Augsburg -for Basle, where so much of his work is to be found to-day. Here in -his first youth he painted a rather poor Madonna and Christ, which was -discovered little more than thirty years ago after centuries of neglect, -and is remarkable chiefly for the tiny Renaissance cherubs on the frame, -figures painted with so much freshness, ease, and vigour that one is -inclined to overlook the poor quality of the picture they enshrine. It -would seem that at the time when this work was painted the elder Holbein -had taken his family from Augsburg to Lucerne, and that he was at once -admitted to the Painters' Guild there. - -It was well for Holbein that he selected Basle as a place of residence, -for the chances of his life threw him at a very impressionable age into -the company of men who found a fresh field for his talents, and widened -very considerably the scope of his achievement. He was not destined to -remain constant to painting. - -In 1515 Frobenius and Amerbach the great printers were at Basle, -Erasmus had been and gone, and Frobenius must have been attracted by -some of the clever sensational work with which Holbein made his artistic -debut, for when the third edition of the famous "Breve ad Erasmum" was -published by Frobenius, the title-page was designed by Holbein. He was -not turning his attention to this class of work to the detriment of -others, for we associate with the stay in Basle some half-dozen of the -second-rate efforts in paint of a man who is striving to find himself -and is at the stage in his life where he is little more than the echo -of greater men who have influenced him. Holbein was already a man of -all art work; he prepared the title-page of Sir Thomas More's "Utopia," -and painted religious pictures or table tops with equal assurance and -facility. He was never one of the young men with a mission who shun -delights and live laborious days working from dawn to dusk in pursuit -of an ideal, and wake one morning to find Fame has arrived overnight. -And yet on a sudden he found himself, as his sketches for the portrait -of Jacob Meier and Dorothea Kannegiesser testify. Darmstadt and Dresden -hold the ripe fruits of his friendship with Jacob Meier, and it would -seem that his earliest commission there served to bring him the measure -of inspiration that lifts uncertain talent to the height of a great -achievement, never to fall back to the ranks of those who struggle year -in year out, achieving nothing of permanent value. Certainly he was well -served by his sitters, for the man and the woman seem to have been born -to be painted. - - -PLATE V.--ANNE OF CLEVES - -(In the Louvre) - - This is the portrait that Holbein was said to have made too - flattering, at the instance of Thomas Cromwell. If the story be - true, this unfortunate consort of Henry VIII. must have been - singularly homely in appearance. This oil-painting on vellum - reproduced here gives the suggestion of a woman who could not - have roused interest in anybody, and the peculiar quality of - something akin to inspiration that Holbein brought to nearly - all portrait painting is conspicuous by its absence. - -[Illustration] - - -We do not know what followed when Holbein had found himself. It is stated -by some authorities that he left Basle for Lucerne, where he had some -trouble with the authorities, and did a certain amount of decorative -work. Altdorf is named as a city in which he resided for a time, and -it is suggested, not without justification, that he went into Northern -Italy and studied some of the master-works of the Renaissance. But by the -time he had reached man's estate he had returned to Basle, bringing with -him a reputation that he was destined to develop steadily for the rest -of his life, and hand down to posterity to be the glory of German art. - -His history after being lost for a time finds some record in 1519, -when he was admitted to the Art Guild of Basle, and a year later he -became a free man of the city and married a widow with two children. Her -portrait may be seen in Basle to-day, and there is one that is said to -stand for the painter himself, also a work of his hand. The drawing -depicts a strong man, who looks out upon the world with serene -consciousness that he can play a full and worthy part in it. - -When he was a married man and a citizen of Basle, Holbein developed -to a very considerable extent his earlier acquaintance with the -Humanists. His work was always at the service of the great printers, -and, not unnaturally, the authors who were in touch with them took an -interest in the young artist who added so much to the attractions of -their books. His religious feelings we do not know, but he associated -himself with the publication of certain Lutheran pamphlets of marked -scurrility, and would seem to have taken his full share in the contest -between the Reformers and their opponents. The history of the differences -that ultimately drove Erasmus from the city is full of interest and -instruction, but the limits of space forbid the disgression necessary -to deal with them. Erasmus lives for us in several portraits by Holbein, -and there can be no doubt but that association with the leading literary -men of the city must have done a great deal to develop in the painter -the measure of culture that was to serve him in good stead when he left -the city of Basle for places more important and the service of exalted -patrons. His designs for wood engravings in the years following his -marriage are of the first importance, and include the famous Dance of -Death series. He painted among many works of the first class a portrait -of his patron Boniface Amerbach, the famous "Dead Man," said by some -to be a picture of the dead Christ, a portrait of Erasmus and the -"Zetter Madonna." Of these the "Dead Man" is in Basle, one of Erasmus -is there, and another is in the Louvre, while the "Zetter Madonna" -is at Soluthurn. Of course he did a great deal of work that cannot -be enumerated here--work of the most varied description and almost -unvarying excellence, and it is clear that he owed not a little of his -achievement to the steadiness of his labours. We may reasonably suppose -that some of the output is lost, but what is left to this day in Basle -amazes us. The Museum is a monument of his talent and industry. Half -faded frescoes, panel paintings, subject pictures, portraits, drawings, -studies of costume, the eight scenes of the Passion--there is enough -in the Museum to console the stranger for all the season of his stay -in a singularly unattractive city. We owe the existing collection in -a very large extent to Boniface Amerbach, the artist's friend and early -patron, who, recognising the permanent value of his output, collected -all he could secure, and established the nucleus of a collection that -forms to-day Basle's chief claim to distinction. If others had been -equally far seeing, many a treasure now lost or destroyed would remain -to inspire and to teach; but we must be content with the thought that -the work lost through carelessness was probably not the best, and for -the rest fire and Puritans are jointly responsible, and it is impossible -to argue satisfactorily with either. - -Fame travelled slowly in the sixteenth century, but it had not so far to -go as it must to-day. The art centres were small and few, they belonged -exclusively to the western world, and there were no swarms of influential -mediocrities to secure work that belonged of right to better men. Then -again, even in those days, when war was still considered in certain -quarters to be the only occupation for a gentleman, art knew no boundaries -in the civilised world, and the artist, as a valued contributor to the -beauty of life, could pass through countries in which his countrymen -of other pursuits would have received scant welcome. Of course there -were exceptions to this general rule, and curiously enough Basle, -in which the Lutherans were gaining ground so rapidly, had become an -impossible place for Holbein by the summer of 1526. Moreover, there was -trouble with the famous or notorious Dorothea Offenburg, who would -seem to have been a mistress of the painter. Apparently his marriage -was dictated more by convenience than affection, and the catholicity -of his taste was not limited to things of art. Holbein painted the -fair Dorothea twice, apparently in 1526, once as "Venus" and once as -"Lais of Corinth." Each portrait may be seen in the large salon of the -Museum, and the attractions of the lady must have been more apparent -to the painter than they are to us. Some say that it was his desire to -flee from before the face of his inamorata that turned Holbein's feet -towards London, others that it was the strength of the Lutheran movement -that made men look askance at the arts. Be that as it may he came to -town, and Basle's loss was England's gain. - -It may be remarked here, that while Holbein's long stay in Basle had -not been interrupted, there is evidence to suggest, if not to prove, -that he followed Amerbach to France. Doubtless his position enabled him -to gratify any reasonable desire to travel; and in houses long since -demolished, for families long fallen from their high estate if not -altogether lost, he may have painted portraits and decorated private -chapels or turned his rare gift as miniaturist to good account. No -_flâneur_ on the high-road of sixteenth-century life, no chronicler -of the times and changes of his generation, has anything to record, -because the world then took no count of the coming or going of the great -men who claimed fame through the arts. - - -PLATE VI.--ERASMUS - -(In the Louvre) - - This marvellous piece of portraiture dates from the year 1523. - Holbein painted many portraits of his friend and patron, and at - least three belong to this year, one being at Longford Castle. - A study for the one reproduced here may be seen in the Basle - Museum. The great scholar is treated with a master-hand. Pallid - skin, greying hair, dark clothes, and brown panelling go to the - making of wonderful colour harmony. - -[Illustration] - - - - -III - -HOLBEIN IN ENGLAND - - -If we cannot say with any certainty why Holbein came to England, we may -at least presume that Sir Thomas More was his earliest patron in these -islands, and his famous "Household of Sir Thomas More" would seem to -have been the first intimation to a considerable section of English art -lovers that a new light had arisen. It was of course most fortunate for -the painter that he could command the attention of the highest in the -land with his first serious effort, for the future was at once assured; -and if it was well for the painter, it is better still for us. How many -notable men has he rescued from the comparative oblivion of the printed -record? In how many cases has he helped us to correct or justify the -impressions of the historian? The human face tells its own story, and, -when it is set down by a master-hand, we know something at least of -the brain that worked behind it. Holbein was a realist. It was no part -of his artistic intention to make a portrait a mere beautiful picture, -to treat his subject pictorially in fashion that would flatter a sitter's -vanity. Perhaps he had not the dangerous quality of imagination that would -make such a procedure possible. He saw clearly, fully, dispassionately, -and set down on paper or canvas just what he had seen--neither more -nor less. Even the Renaissance decorations that had delighted him as a -boy were laid aside long before he came from Basle to London, and such -mere cleverness as he permitted himself was done obviously enough to -attract custom, and was to be seen in the skilful composition of his -portrait groups. He was a hard-headed, serious artist, and appealed to -a singularly level-headed generation, that had not been educated up -or down to the special genius of the Renaissance portrait painters of -Italy. For in spite of the exquisite and well-nigh inimitable quality -of the Italian masters, their work would have seemed rather exotic in -our colder clime. Moreover, the days of revolt against the spirit that -so many of them expressed were upon the land. - -We cannot say with any certainty when or why Holbein decided to try -his fortune in England. It is likely that one of the English noblemen -travelling on the Continent, the Earl of Surrey or the Earl of Arundel, -was the first to advise him to visit this island; and when the troubles -that beset art in Basle made a change imperative, the painter applied to -Erasmus for introductions and received one to Sir Thomas More, to whom he -was advised to take one of his portraits of Erasmus as a sample of his -talent. Apparently the good folks of Basle were a little startled, and -even vexed, to find that their premier artist was leaving them. They are -said to have put obstacles in the way of his departure, but he would not -be denied. Holbein travelled by way of Antwerp, attracted by the works -of Quentin Matsys, and in 1526 he reached London, presented himself -to the Chancellor, and made such a favourable impression that he was -received forthwith and installed in his home at Chelsea. His gratitude -was expressed quickly and significantly. Sir Thomas himself was the first -in the long roll of distinguished men who have perhaps obtained a larger -measure of immortality from Holbein's brush than from the work of their -own hands. - -But for Erasmus and Lord Surrey, the painter might have languished for -lack of opportunity to show his powers. He might even have returned to -the Continent, where his varied gifts commanded a certain market, and in -that case the long roll of Tudor worthies would not have been preserved -to us, and the bright light that he has thrown upon a fascinating period -of our history would have been lost. But the Chancellor himself, apparently -no mean judge of good work, moved in the centre of the most select -and refined circle in Christendom, and as soon as he had expressed -his satisfaction with the painter's work there was no lack of -sitters. Perhaps an artist would say that the quality of the sitter's -face does not matter, and that personality is of small account, but -from the layman's point of view this is not the case. The born ruler, the -administrator, scholar, soldier, poet, must be more interesting to most of -us than the person whose only qualification for an appearance on canvas -is the capacity to pay for it. Holbein's sitters were worthy of his -brush, and between 1526 and 1529 the artist made an enduring reputation -in London, where, according to some at least of his chroniclers, he -came under the notice of King Henry, although he does not appear to -have done any work for him on the occasion of his first visit. - -The sojourn of nearly three years completed, the painter returned to -his home in Basle, and occupied himself in that city until 1531. He -would seem to have made up his mind to try the Continent again before -yielding to the invitations he had received in England. Then again he -had domestic affairs to settle, and they were not of the easiest, for -his wife had certain good reasons to feel aggrieved, and Holbein did -not regard constancy as one of the indispensable conditions of married -life. In order that he might not be troubled overmuch on his return to -our shores, he decided to leave his wife and family in Basle, where he -left provision for all their wants. He never failed to look after his -children and do his best for them. In days when there was neither regular -postal service nor telegrams nor newspapers, he could live his own life -without fear of any remonstrances; and we know enough of his progress -in these islands to be satisfied that, had he brought his wife over, -she would have had sound and sufficient reason to complain. The -religious squabbles in Basle would seem to have made it hard for -any artist to earn a living, and between the dates of his return and -his second visit to this country he found little work for his brush. -Happily he was equipped in every branch, and as his work as a painter -was not in great demand, he went to the gold workers and the printers, -and did not go to them in vain. They were happy enough to employ him, -and work that he executed at this period of his career is one of the -prizes of the collector and the connoisseur. - - -PLATE VII.--SIR RICHARD SOUTHWELL - -(In the Uffizi Gallery, Florence) - - This striking portrait of one of Holbein's contemporaries is - one of the best examples of the master's work in Italy. A study - for the finished picture may be seen at Windsor, and there is - another copy in the Louvre. It was Sir Richard Southwell who - did much to bring about the fall of Sir Thomas More. - -[Illustration] - - -When in 1531 the painter returned to England he could stand alone, and -this was well for him, since Sir Thomas More was born to learn that -the favour of princes is not remarkable for a quality of permanence. -There would seem to have been no lack of work for Holbein as long as he -lived. Here we may remark that the date of his death is in dispute, -some authorities placing it as early as 1543, while others grant him -another eleven years--a very valuable concession to any poor mortal, -but one that the Fates do not appear to have granted, 1543 being the -probable date of his death, and the Plague the cause. - -He was not satisfied with portraits for long. The Steelyard, of which -we shall soon speak at length, gave him subject pictures to paint. -King Henry took him into his service with a retainer of £30 a year, -no inconsiderable sum in those days, and payment for all works done, -and he soon became a painter of the pictures that are produced to -commemorate state occasions. Happily he painted them better than some -more modern men have been able to. It is hardly a reproach to a man -that he cannot invest with special interest a picture that is to all -intent and purpose composed for him, a canvas on which the figures must -be handled less with regard to composition than precedence, and really -Holbein did very well. His education was certain to tell in his favour; -he began to enjoy the fruits of his association with the Humanists. Great -painters employed at European Courts enjoyed a certain ambassadorial -rank: the interest taken in art was so considerable, that the gift of -a picture by a great artist was as fine a present as could be given -or received, and when artists were sent to foreign courts they were -often entrusted with missions not associated directly or indirectly with -their profession. - -To be sure, Holbein did not hold the same high position that fell to -Peter Paul Rubens, but he was entrusted on two occasions with missions -of a very delicate character, being instructed to paint the portraits -of ladies whom the king had married or was prepared to marry. The -Dowager Duchess of Milan was one of the few who declined to become -Queen of England, and Anne of Cleves was one who was less discriminating. -There can be no doubt that Holbein's capacity for expressing strength -in the most delicate fashion imaginable appealed very strongly to his -sitters. The rugged character of one man's head, the delicate lines of -a woman's face, could be expressed without violence in the one case or -excess of sentiment in the other, and he does not seem to have done more -than present his sitters in their most attractive aspect, and with due -regard to their salient characteristics. He did not flatter and he did -not shock, but would seem to have found something at once pleasant and -true to express about all his sitters. - -Although it does not seem unreasonable to believe that Holbein would -have lacked work on his return to England, even if the social troubles -of the time had been even greater than they were, it must be admitted -that the painter was very fortunate in securing the patronage of the -Steelyard, the great German or Anglo-German trading company established -on the banks of the Thames. It was associated with the Hanseatic -League; its buildings extended over a large part of the city in the -neighbourhood of Thames Street and Cannon Street; its members had a -Guildhall with beautiful garden in a place where London is almost at -its ugliest to-day, and the Steelyard Tavern was a very noted house. To -the Steelyard came all the traffic of the Orient, all the spices of the -merchant. As much of Europe as had the desire to trade with England--then -only a second-rate power--relied largely upon the agency of the Steelyard. -The Corporation that governed the undertaking would seem to have been a -very capable body, and in return for the privileges granted to it by -successive rulers, every member was sworn to play a man's part in the -defence of London. We have nothing like the Steelyard in Great Britain -to-day, but the East India Company probably had much in common with it; -and had Rhodesia proved worthy of the highest hopes entertained by its -founder, the Chartered Company might have been conducted on similar -lines. Such associations are apt to spring up when an old country -discovers a new one. German trading associations were as pushful in -Renaissance times as they are to-day, and more artistic. It should -be remembered that Bellini, Titian, and Tintoretto worked for German -merchants in Venice. - -When Holbein came back to London to find Warham and Colet dead, and Sir -Thomas More, with but a little space of life left, retiring from the -high office of Chancellor, he seems to have found new friends in the -Steelyard; and perhaps because he was anxious to establish a position -among the members of the richest trading guild of his time, he seems to -have devoted a great deal of care and time to his world-famous portrait -of George Gisze, one of the merchants of the Steelyard. The picture, -in an admirable condition of preservation, is to be seen in the Berlin -Gallery, and is one of the richest, most decorative portraits ever -painted by the artist. It will be found reproduced in these pages, and -perhaps there will be some who will wonder whether the artist did not -work deliberately to interest and astonish his new clients, and whether, -for that purpose, he did not depart from his usual reticence and good -taste. The portrait of Gisze himself, a handsome man, wearing a bright -scarlet doublet under a black cloak, is admirable, it arrests and holds -the attention. But the heterogeneous mass of accessories startles and -tires the spectator. Vase and flowers, scissors, book, scales, letters, -golden balls, inscription, keys, watches, seals--there seems to be no -limit to the material with which Holbein has loaded his canvas, and the -accessories are all so well painted that they seem to be wasted. There -is no reason to doubt that Holbein was deliberately painting a picture -for purpose of advertisement, and that he intended to make his appeal -to a class that, for all its business acumen and commercial intelligence, -was not on the same intellectual plane as the men of Sir Thomas More's -world. - - -PLATE VIII.--SIR HENRY WYATT - -(In the Louvre) - - This portrait of Sir Henry Wyatt, a bust on panel with green - background, was long thought to stand for the painter's friend - and patron Sir Thomas More, and it has been left for modern - research to discover the mistake. Holbein painted this portrait - twice. There is a replica in the National Gallery of Ireland. - -[Illustration] - - -If this was his intention, he can at least plead that it was entirely -successful. Not only did it delight the magnates of the Steelyard, -who showered commissions upon him as long as he could execute them, it -carried the story of his fame to the last corner of the earth where the -story of a man's achievement can obtain a generous hearing, that is to -his own city. Burgomaster Meier zum Hirten, not to be confused with that -other Meier who married Dorothea Kannegiesser and looks at us to-day from -the walls of the Basle Museum, wrote to Holbein in London inviting him -to return, with the promise of a retainer of thirty gulden annually. But -the painter had learned that the tender mercies of the inartistic are -cruel, and he was now beyond the need for any of the service that Basle -could offer. - -Of Holbein's work for the Steelyard, the greater part has been lost. It -will be remembered that the Guild fell on troublous times in the reign -of Queen Elizabeth, and its Hall suffered a long period of neglect. -We may say that we should not have a very complete knowledge of the -artist's output had his sketches been no better preserved than his -finished work. We know, too, that the Council of the Steelyard recognised -in the painter of George Gisze a man whose attainments covered every -field of art; and a year after he had distinguished himself in their -service for the first time, he was put in charge of the pageant arranged -by the Steelyard in honour of the Coronation of the unfortunate Anne -Boleyn. He painted the "Triumph of Riches" and "Triumph of Poverty" -for the Steelyard, but nothing remains of these pictures save a sketch -for the former that may be studied to-day in Paris. - -Whether Holbein's work outside the circle of the merchants was -the result of his earlier association, or came to him through the -intimate connection between the great guild and a certain section of the -aristocracy, is a disputed point; but we incline to the belief that the -painter's position was fully recognised, and that if work was rather slow -in reaching him from the ranks of the men he had known on the occasion -of his first visit, the times were to blame. Statesmen and churchmen -had been his patrons, now they were fighting for their lives. But very -soon after he had painted the portrait of George Gisze, Holbein gave to -the world the famous picture known as "The Ambassadors," now hanging -in our National Gallery, and reproduced here. The man on the left is -generally held to be Sieur Jean de Dinteville, French Ambassador to the -Court of Henry VIII., and his companion is said to be George de Selve, -who was French Ambassador to the Court of the great Emperor Charles V. - -When Anne Boleyn had suffered the fullest possible penalty for marrying -Henry VIII., Holbein painted her successor. He prepared a chalk drawing -of the unfortunate Jane Seymour and painted two portraits from it, -one being in Vienna and the other at Woburn Abbey; and he painted Henry -himself for the Privy Chamber, which was burnt out in the closing years -of the seventeenth century. The usual study in chalks was made for this -picture, and is now in Munich. In the Bodleian Library there is a drawing -by Holbein of his exquisite design for the gold cup that was made when -Edward VI. was born; and as soon as Jane Seymour was dead the painter -went to Milan to paint his striking portrait of the young Christina -of Denmark, who was Duchess of Milan, and a widow at the early age of -sixteen. She it is who is said to have declined the offer of King Henry's -hand, on the ground that she had but one head and wished to keep it on -her shoulders. So she became the Duchess of Lorraine instead--small blame -to her. We have referred already to the portrait of Anne of Cleves, now -in the Louvre; before that was painted Holbein had given the world what -is often regarded as his greatest effort in portraiture, the portrait -of the goldsmith Hubert Morett, now to be seen in the Dresden Gallery. -For many years this picture was supposed to be the work of Leonardo da -Vinci. It is one of the special functions of art criticism to give the -credit of unknown pictures to Da Vinci or Giorgione--apparently to allow -the next generation of criticism to take that credit away again. One may -remark in passing that Leonardo da Vinci has fared very badly of late, -but doubtless he will soon be restored to critical favour. - -Thomas Howard, Duke of Norfolk, and twice uncle to the king by marriage, -was painted when Anne of Cleves had been retired on a pension, and the -star of Catherine Howard was in its brief ascendant. Holbein is said -to have painted the new queen. There is a miniature as well as a chalk -drawing in Windsor that is said to stand for her. And doubtless the king -would have continued to find new wives, and Holbein would have continued -to paint them, but for the fact that both king and painter were -nearing their end. The portraits of the doctors of the royal household, -Dr. Butt and Dr. Chambers, are among the last of the great works he -accomplished. In the month of October 1843, at the time when the Plague -was in London, the artist made a will which was found some years ago -in the City of London. By this document Hans Holbein sought to protect -two of his illegitimate children of tender age, directing that all his -goods should be sold, and the proceeds applied for their benefit as soon -as certain debts had been paid. Curiously enough, we have no means of -finding out who the children were, we do not know the mother's name, -all is obscure. But we know that Holbein had settled an earlier legacy -upon his wife and legitimate issue, that he had apprenticed his eldest son -to a jeweller in Paris, and that he had never been unmindful of his legal -obligations to his family. For the rest, he had made a hasty marriage -that was not founded upon affection so much as upon convenience--and it -is not for us to judge him save as an artist, and then modestly and with -due thought of our own limitations. He was buried either in the Church -of St. Andrew Undershaft or St. Catherine Cree; in the hour of his death -there was no anxiety to do more than get the dead underground as soon -as possible. It will be remembered that another of the world's great -painters, Titian Vecelli, died of the Plague too, but Titian had reached -a very great age, while Holbein was in the prime of life, capable, had -he been spared, of much more work in every branch of art. - -He worked for about thirty years in the light of history for the "Virgin -and Child," the picture with panels in the Renaissance mood is dated -1514, and the picture of Dr. Chambers belongs to the early forties. To -sum up his known achievements with no more than a brief description would -exhaust all the pages of this little sketch. His work retains much of -its freshness, although time and the restorer have combined to do it -wrong; and there are pictures that pass for the work of Holbein's hand, -though it is more than likely that he never saw them. He must have been -a man of infinite capacity, untiring industry, and considerable strength -of character; he owed little to outside help, for when he left Augsburg -for Basle he was almost without friends and influence, while, when he -left London for the bourn from which no traveller returns, he had made -a reputation that has lasted to this hour, and will never be destroyed -while western civilisation endures. - - * * * * * - -The plates are printed by BEMROSE & SONS, LTD., Derby and London - -The text at the BALLANTYNE PRESS, Edinburgh - - -In The Same Series - - Artist. Author. - - VELAZQUEZ. S. L. Bensusan. - REYNOLDS. S. L. Bensusan. - TURNER. C. Lewis Hind. - ROMNEY. C. Lewis Hind. - GREUZE. Alys Eyre Macklin. - BOTTICELLI. Henry B. Binns. - ROSSETTI. Lucien Pissarro. - BELLINI. George Hay. - FRA ANGELICO. James Mason. - REMBRANDT. Josef Israels. - LEIGHTON. A. Lys Baldry. - RAPHAEL. Paul G. Konody. - HOLMAN HUNT. Mary E. Coleridge. - TITIAN. S. L. Bensusan. - MILLAIS. A. Lys Baldry. - CARLO DOLCI. George Hay. - GAINSBOROUGH. Max Rothschild. - TINTORETTO. S. L. Bensusan. - LUINI. James Mason. - FRANZ HALS. Edgcumbe Staley. - VAN DYCK. Percy M. Turner. - LEONARDO DA VINCI. M. W. Brockwell. - RUBENS. S. L. Bensusan. - WHISTLER. T. Martin Wood. - HOLBEIN. S. L. Bensusan. - - -_In Preparation_ - - BURNE-JONES. A. Lys Baldry. - VIGÉE LE BRUN. C. Haldane MacFall. - CHARDIN. Paul G. Konody. - J. F. MILLET. Percy M. Turner. - MEMLINC. W. H. James Weale. - ALBERT DÜRER. Herbert Furst. - FRAGONARD. C. Haldane MacFall. - CONSTABLE. C. Lewis Hind. - RAEBURN. James L. Caw. - BOUCHER. C. Haldane MacFall. - WATTEAU. C. Lewis Hind. - MURILLO. S. L. Bensusan. - - -And Others. - - - * * * * * - -Transcriber's Note: The booklist advertisement above has been moved -from physical page ii to the end of the text. - - - - - - -End of the Project Gutenberg EBook of Holbein, by Samuel Levy Bensusan - -*** END OF THIS PROJECT GUTENBERG EBOOK HOLBEIN *** - -***** This file should be named 43410-8.txt or 43410-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/4/1/43410/ - -Produced by sp1nd, David Garcia and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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