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Updated: June 10, 2025
I am not aware that any portrait drawings exists of Holbein's contemporaries or successors in England earlier than one or two by Van Dyck. There are a good many belonging to the seventeenth century, but with one or two exceptions they are little more than sketches.
And that precious pen-and-ink outline, with the name of each written above or below the figure in More's hand, and notes as to alterations to be made in the final composition in Holbein's hand, is now in the Basel Museum; having come into Amerbach's possession as the heir of Erasmus. Windsor Castle In Mr.
Van Mander says that long before this the Earl of Arundel, when pausing at Basel, had been so much pleased with Holbein's works in that city that he had urged the painter to forsake it for London. But it would pretty surely have been the promise of More's influence which actually induced him to try his fortune so far afield.
Reader, you have looked on Hans Holbein's 'Dance of Death, that grim, phantasmal pageant, symbolic as a dream of Pharaoh; and perhaps you bear in mind that design called 'The Elector, in which the Prince, emerging from his palace gate, with a cloud of courtiers behind, is met by a poor woman, her little child by the hand, appealing to his compassion, despising whom, he turns away with a serene disdain.
The Banqueting House was safe; but the graceful columns and festoons designed by Inigo were so much defaced and blackened that their form could hardly be discerned. There had been time to move the most valuable effects which were moveable. Unfortunately some of Holbein's finest pictures were painted on the walls, and are consequently known to us only by copies and engravings.
As one of the largest Catholic publishing-houses of France, they would be governed by circumstances entirely outside of Holbein's history or control. But more than one circumstance presses the conclusion that the designs were made between 1523 and 1526.
It was suggested to her, she tells us, by Holbein's dismal engraving of death coming to the husbandman, an old, gaunt, ragged, over-worked representative of his tribe grim ending to a life of cheerless poverty and toil! Here was the dark and painful side of the laborer's existence a true picture, but not the whole truth.
On the racks and shelves are documents, books, keys, a watch and seals, and a pair of scales. A gold ball is hanging from above with a lovely chasing in blue enamel; a miracle of painting in itself, to say nothing of the exquisite Venetian glass, filled with water and carnation-pinks. This flower has its own meaning, and is introduced in more than one of Holbein's portraits.
Young, Wolsey; Miss Ellen Tree, Anne Boleyn; and Miss Fanny Kemble appeared for the first time as Queen Katharine. Her success seems to have been great. We are told that Miss Ellen Tree, as Anne Boleyn, appeared to great disadvantage; "her headdress was the most frightful and unbecoming thing imaginable, though we believe it was taken from one of Holbein's."
A collection of miniatures by the Oliviers, including no less than six of Venitia, Lady Digby, had a similar fate to that of Holbein's drawings. The miniatures had been packed in a wainscot box and conveyed to the country-house in Wales of Mr Watkin Williams, who was a descendant of the Digby family.
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