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From the pronounced way in which his father's hand rests on little Hans' head, while the left points him out, and even his elder brother "Prosy" shows by his attitude the special notice to be taken of Hans, it is clear that if this is a portrait-group either it was painted when the boys were actually older, or the younger had already given some astonishing proof of that precocity which his early works display; for in this group the younger boy cannot be more than eight or nine years old.
Rooms were accorded to him in the Belvedere section of the Vatican Palace, and there no doubt he painted the unfinished portrait-group Paul III. with Cardinal Alessandro Farnese and Ottavio Farnese, which has been already described, and with it other pieces of the same type, and portraits of the Farnese family and circle now no longer to be traced.
First visit to England Sir Thomas More; his home and portraits The Windsor drawings Bishop Fisher Archbishop Warham Bishop Stokesley Sir Henry Guildford and his portrait Nicholas Kratzer Sir Bryan Tuke Holbein's return to Basel Portrait-group of his wife and two eldest children; two versions Holbein's children, and families claiming descent from him Iconoclastic fury Ruined arts Death of Meyer zum Hasen Another Meyer commissions the last paintings for Basel Return to England Description of the Steelyard Portraits of its members George Gysze Basel Council summons Holbein home "The Ambassadors" at the National Gallery; accepted identification Coronation of Queen Anne Boleyn Lost paintings for the Guildhall of the Steelyard; the Triumphs of Riches and Poverty The great Morett portrait; identifications Holbein's industry and fertility Designs for metal-work and other drawings Solomon and the Queen of Sheba.
It would include the cabin, the cherry-tree, a glimpse of the raw, wild background and a sharp portrait-group of Pere Beret, Alice, and Jean the hunchback. To compare it with a photograph of the same spot now would give a perfect impression of the historic atmosphere, color and conditions which cannot be set in words. But we must not belittle the power of verbal description.
Little seen of late years, and like most Venetian pictures of the sixteenth century shorn of some of its glory by time and the restorer, this family picture appears to the writer to rank among Titian's masterpieces in the domain of portraiture, and to be indeed the finest portrait-group of this special type that Venice has produced.
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