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Updated: June 10, 2025
I am not so impious as to dissent from the Church nor so ungrateful as to dissent from Leo, from whom I have received uncommon favour and indulgence." As to Holbein's "Protestant sympathies" using the name for the whole Lutheran movement in which Protestantism had its rise, the assertions are even less grounded in fact, if that be possible.
"Boom!" came the round shot hopping over them; and "Bang!" and "Rattle!" and "Rattle!" and "Bang!" they went on incessantly until all were out of range, the boats in tow resembling a funeral procession which, with its weird surroundings, seemed like Holbein's "Dance of Death." It was such a ghastly picture, which those who saw it will never forget.
On March 12th, 1521, the Great Council held its first meeting in the new Rathaus; and Meyer zum Hasen, who presided over it as Burgomaster, entrusted to his protégé the enviable task of decorating the Council Chamber. Fifty-six years after Holbein's work was completed these wall-paintings were described as "representations of the noblest subjects done by the German Apelles."
As in Holbein's fresco the skeleton plays his part in every scene, so my trouble stalked beside me, drank of my cup, and sat grimly at my table. It was with me in Naples and among the orange groves of Sorrento. It met me amid the ruins of the Roman Forum. It travelled with me over the blue Mediterranean, and landed beside me on the shores of the Cyclades.
Whether treating a façade or an interior it was Holbein's custom to make a flat wall-space assume the most solid-looking forms of Renaissance architecture. Iselin once said of a façade of Holbein's, that there was a dog painted on it so naturally that the dogs in the street would run up and bark at it.
In one of those ornamental initial-letters above mentioned, the date of which was some years prior to the execution of Holbein's Dance, Death appears as a grave-digger, and lifts on his spade, out of the grave which he is making, two skulls, one crowned, the other covered with a peasant's hat.
Yet another much more prosaic and less attractive interpretation of the picture has been suggested by Holbein's biographer, that the two children may represent the same child.
The Praise of Folly, illustrated with Holbein's drawings, is also to be read in English, in the translation of Sir Roger L'Estrange; a writer who, if he was sometimes coarse and slangy, had a first-rate command of our language, and was never lacking in racy vigor. Erasmus wrote the Praise of Folly in the house of Sir Thomas More, with whom he lodged on his arrival in England in 1510.
He had refused to be present at the marriage of Anne Boleyn to King Henry VIII., and she never forgave him. On the day that More was executed she looked at one of Holbein's portraits of the ex-chancellor and exclaimed, "Ah, me! the man seems to be still alive;" and seizing the picture she threw it into the street.
Anything so soft and tender as Cousin Kate's arms she had never known before; there was a perfume of motherliness about them which to a motherless girl was wholly irresistible. Gertrude declared that mamma always stroked people's trouble away with those hands of hers, and that they looked just like the hands of the Virgin in Holbein's Madonna, as if they could mother the whole world.
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