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And of all the invitations urged upon him, the chances which Erasmus's introductions could give him in England would probably offer the greatest promise. But before he set out with these letters, in the late summer of 1526, he executed yet one more great commission for his old friend, Jacob Meyer zum Hasen, now leader of the Catholic party in opposition.
Julius Hasen was sincere and zealous in his theory, but he is not the first man whose theories Love has overthrown. "Love laughs at locksmiths." and mischievously mocks at the stoutest bars and bolts of resolution. Hasen passed the summer in his native town. He renewed his intimacy with his old neighbours.
He perceived in Mary graces and qualities that made him feel the heavenly and forget the earthly; and, in spite of his wise, well-considered resolution, in three months he had impressed on her "pale cheek" the kiss of betrothal, and slipt an the third finger of her "transparent hand," the "engagement ring!" But, we must do Julius Hasen justice.
As has been said, the sister of that Hans Bär for whom Holbein painted the "St. Nobody" table had been the first wife, Magdalena Bär a widow with one daughter, when she married him of Jacob Meyer, "of the Hare" (zum Hasen). Magdalena died in 1511, and about 1512 Meyer zum Hasen married Dorothea Kannegiesser. And now in 1516, a memorable year to Holbein on account of this influential patron, the young stranger was commissioned to paint the portraits of Meyer (Plate 4) and his second wife, Dorothea (Plate 5). These oil paintings, and the drawings for them, are now in the Basel Museum. And no one can examine them, remembering that the painter was but nineteen, without echoing the exclamation of a brilliant French writer: "Holbein ira beaucoup plus loin dans son art, mais déj
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