Hans Holbein the Younger, Volume 1 (of 2) by Arthur B. Chamberlain
1648. Dr. Ganz has recently published a copy of this picture,[187] which
is in Palermo, and draws attention to the fact that it agrees in
dimensions with the lost original, which was in the possession of the
painter Marquard Wocher in Basel in 1834, at which time it was copied by
the painter Hieronymus Hess. Another copy, half the size of the
original, was exhibited at the Exhibition of Early German Art at the
Burlington Fine Arts Club in 1906, and a third is still in the sacristy
of one of the Lucerne churches. In addition, there is a drawing of the
group of the two chief figures, Christ and the Virgin, in the Basel
Gallery,[188] a free copy of the central group of Christ and the Virgin,
signed H. H. W. and H. H. It was done towards the end of the sixteenth
century either by Hans Jörg Wannewetsch of Basel, or Hans Heinrich
Wegmann of Lucerne.
------------------------------------------------------------------------
Chapters
- Chapter 1 Ch.1
- 1. THE BAPTISM OF ST. PAUL 11 Ch.2
- 2. THE ST. SEBASTIAN ALTAR-PIECE 15 Ch.3
- 3. (1) ST. BARBARA. (2) ST. ELIZABETH 16 Ch.4
- 4. THE FOUNTAIN OF LIFE 17 Ch.5
- 5. STUDY FOR THE PORTRAIT OF A LADY OF 21 Ch.6
- 6. AMBROSIUS AND HANS HOLBEIN 25 Ch.7
- 7. VIRGIN AND CHILD (1514) 33 Ch.8
- 8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF 37 Ch.9
- 9. THE LAST SUPPER 40 Ch.10
- 10. THE SCOURGING OF CHRIST 41 Ch.11
- 11. HOLBEIN’S EARLIEST TITLE-PAGE 45 Ch.12
- 12. MARGINAL DRAWINGS IN A COPY OF THE 48 Ch.13
- 13. MARGINAL DRAWINGS IN A COPY OF THE 49 Ch.14
- 14. THE TWO SIDES OF A SCHOOLMASTER’S 51 Ch.15
- 15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS 52 Ch.16
- 16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF 55 Ch.17
- 17. ADAM AND EVE (1517) 56 Ch.18
- 18. PORTRAITS OF TWO BOYS 60 Ch.19
- 19. STUDY OF A YOUNG GIRL NAMED “ANNE” 61 Ch.20
- 20. THE FOUNDING OF BASEL 61 Ch.21
- 21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61 Ch.22
- 22. ILLUSTRATION TO SIR THOMAS MORE’S 62 Ch.23
- 23. DESIGNS FOR THE WALL-PAINTINGS OF THE 68 Ch.24
- 24. PORTRAIT OF BENEDIKT VON HERTENSTEIN 72 Ch.25
- 25. THE LAST SUPPER 75 Ch.26
- 26. THE ARCHANGEL MICHAEL AS WEIGHER OF 79 Ch.27
- 27. MINERS AT WORK 80 Ch.28
- 28. BONIFACIUS AMERBACH (1519) 85 Ch.29
- 29. (1) ADORATION OF THE SHEPHERDS. (2) 88 Ch.30
- 30. THE PASSION OF CHRIST 91 Ch.31
- 31. (1) CHRIST BEARING THE CROSS. (2) THE 94 Ch.32
- 32. “NOLI ME TANGERE” 95 Ch.33
- 33. (1) CHRIST, THE MAN OF SORROWS. (2) 98 Ch.34
- 34. THE HOLY FAMILY 99 Ch.35
- 35. THE DEAD CHRIST IN THE TOMB (1521) 101 Ch.36
- 36. THE VIRGIN AND CHILD, WITH ST. URSUS AND 103 Ch.37
- 37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY 106 Ch.38
- 38. HEAD OF A YOUNG WOMAN, PROBABLY 108 Ch.39
- 39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL 113 Ch.40
- 40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH 121 Ch.41
- 41. SAPOR AND VALERIAN 131 Ch.42
- 42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL 139 Ch.43
- 43. DESIGN FOR A PAINTED WINDOW WITH THE 144 Ch.44
- 44. ST. ELIZABETH, WITH KNEELING KNIGHT AND 148 Ch.45
- 45. THE VIRGIN AND CHILD, WITH A KNEELING 149 Ch.46
- 46. (1) CHRIST BEFORE CAIAPHAS. (2) THE 151 Ch.47
- 47. (1) THE MOCKING OF CHRIST. (2) CHRIST 152 Ch.48
- 48. (1) PILATE WASHING HIS HANDS. (2) ECCE 153 Ch.49
- 49. (1) CHRIST BEARING THE CROSS. (2) THE 154 Ch.50
- 50. (1) CHRIST NAILED TO THE CROSS. (2) THE 155 Ch.51
- 51. (1) COSTUME STUDY. (2) COSTUME STUDY 157 Ch.52
- 52. “THE EDELDAME” 157 Ch.53
- 53. A FIGHT BETWEEN LANDSKNECHTE 160 Ch.54
- 54. ERASMUS (1523) 169 Ch.55
- 55. STUDY FOR THE HANDS OF ERASMUS 171 Ch.56
- 56. ERASMUS (1523) 172 Ch.57
- 57. THE DUCHESS OF BERRY 176 Ch.58
- 58. (1) ERASMUS 180 Ch.59
- 59. ERASMUS 181 Ch.60
- 60. MUCIUS SCÆVOLA AND LARS PORSENA 191 Ch.61
- 61. “THE TABLE OF CEBES” 193 Ch.62
- 62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195 Ch.63
- 63. THE FOUR EVANGELISTS 195 Ch.64
- 64. THE “CLEOPATRA” TITLE-PAGE 198 Ch.65
- 65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE 198 Ch.66
- 66. THE DANCE OF DEATH WOODCUTS 217 Ch.67
- 67. THE DANCE OF DEATH WOODCUTS 220 Ch.68
- 68. THE DANCE OF DEATH ALPHABET 224 Ch.69
- 69. THE OLD TESTAMENT WOODCUTS 230 Ch.70
- 70. THE OLD TESTAMENT WOODCUTS 230 Ch.71
- 71. THE MEYER MADONNA 233 Ch.72
- 72. (1) JAKOB MEYER. (2) DOROTHEA 236 Ch.73
- 73. (1) MAGDALENA OFFENBURG AS VENUS (1526). 246 Ch.74
- 74. STUDY FOR THE MORE FAMILY GROUP 293 Ch.75
- 75. THE MORE FAMILY GROUP 295 Ch.76
- 76. THE MORE FAMILY GROUP 301 Ch.77
- 77. CECILIA HERON, DAUGHTER OF SIR THOMAS 303 Ch.78
- 78. SIR THOMAS MORE 303 Ch.79
- 79. PORTRAIT OF AN ENGLISH LADY 309 Ch.80
- 80. SIR HENRY GULDEFORD (1527) 317 Ch.81
- 81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321 Ch.82
- 82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN 321 Ch.83
- 83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY 322 Ch.84
- 84. THOMAS AND JOHN GODSALVE (1528) 325 Ch.85
- 85. SIR JOHN GODSALVE 326 Ch.86
- 86. NIKLAUS KRATZER (1528) 327 Ch.87
- 87. SIR BRYAN TUKE 331 Ch.88
- 88. SIR HENRY WYAT 335 Ch.89
- 89. SIR THOMAS ELYOT 336 Ch.90
- 90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343 Ch.91
- 91. PORTRAIT OF A YOUNG WOMAN 346 Ch.92
- 92. KING REHOBOAM REBUKING THE ELDERS (1530) 348 Ch.93
- 93. KING REHOBOAM REBUKING THE ELDERS 348 Ch.94
- 94. SAMUEL AND SAUL 350 Ch.95
- 95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354 Ch.96
- CHAPTER I Ch.97
- 1494. This was the painter usually known as Hans Holbein the Elder, to Ch.98
- CHAPTER II Ch.99
- CHAPTER III Ch.100
- 1518. Two small panels at the top contain the artist’s signature, “Hans Ch.101
- CHAPTER IV Ch.102
- 1. Leaena and the Judges 2. Architectural Ch.103
- 1517. This work, of considerable importance to the student making a Ch.104
- 1522. This portrait was acquired from a private collection in England in Ch.105
- 1648. Dr. Ganz has recently published a copy of this picture,[187] which Ch.106
- CHAPTER V Ch.107
- 1526. One of the earliest, “The Last Supper,” has been already Ch.108
- CHAPTER VI Ch.109
- 1. STUDY FOR A PAINTED HOUSE FRONT WITH THE FIGURE OF A SEATED EMPEROR Ch.110
- 2. THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS Ch.111
- CHAPTER VII Ch.112
- 1520. One represents the “Prodigal Son,” and the other is an heraldic Ch.113
- CHAPTER VIII Ch.114
- 1538. In the late summer of that year Holbein went with Philip Hoby to Ch.115
- 1530. These later portraits closely follow the Longford Castle type as Ch.116
- 1. ERASMUS Ch.117
- 2. PHILIP MELANCHTHON Ch.118
- CHAPTER IX Ch.119
- 1516. Gerardus Noviomagus, of Nimeguen, writing to Erasmus on November Ch.120
- 1. CHRIST THE TRUE LIGHT Ch.121
- 2. THE SALE OF INDULGENCES Ch.122
- CHAPTER X Ch.123
- 1833. The “Dance” has also been rendered in photo-lithography for an Ch.124
- 4. THE EMPRESS Ch.125
- 8. THE PRIEST Ch.126
- 4. THE DUCHESS Ch.127
- 8. THE ARMS OF DEATH Ch.128
- 1549. The passage runs: “Imagines Mortis expressæ ab optimo pictore Ch.129
- 2. RUTH AND BOAZ Ch.130
- 4. AMOS PREACHING Ch.131
- 2. THE RETURN FROM THE BABYLONIAN CAPTIVITY Ch.132
- 3. THE ANGEL SHOWING ST. JOHN THE NEW JERUSALEM Ch.133
- CHAPTER XI Ch.134
- introduction, and they may have been aware, also, though this is less Ch.135
- CHAPTER XII Ch.136
- CHAPTER XIII Ch.137
- 1530. Sir Thomas’s age is given as 50 (Ætatis 50), but Sir John’s as 77, Ch.138
- CHAPTER XIV Ch.139
- 1528. The date of his birth is not known, but he received his first Ch.140
- 1535. It has suffered somewhat in the course of time, but in its Ch.141
- CHAPTER XV Ch.142
- 258. The question of the authorship of the various versions of the Ch.143