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Updated: September 13, 2025
He did not paint his friend, the boisterous and learned Pirkheimer; and what would we not give for a painted portrait of Erasmus, or a portrait of Kratzer, the astronomer royal, to compare with the two masterpieces by Holbein in the Louvre?
There is one who, every Halloween, flits into the dining-hall, and hovers before the portrait which Hans Holbein made of him, and flings his diaphanous grey form against the canvas, hoping, maybe, to catch from it the fiery flesh-tints and the solid limbs that were his, and so to be re-incarnate. He flies against the painting, only to find himself t'other side of the wall it hangs on.
By the side of this drawing do not all the drawings in the gallery of English, French, Belgian, and Scandinavian seem either childish, ignorant-timed, or presumptuous? By the side of this picture do not all the other pictures in the gallery seem like little painted images? Compared with this drawing, would not Holbein seem a little geometrical?
Long lost among forgotten rubbish, Hans Bär's table has been unearthed, and is now preserved in the town library at Zurich. But although Holbein had got his foot on the ladder of fame in this year's beginning of his connection with Froben, he was as yet very thankful to accept any commission, however humble.
While we have been thus endeavoring to discover the origin of the Dance of Death, what it was, and what it meant, Holbein has been waiting more patiently than he was wont, for us to see who he was, and why the Dance, which was known three hundred years at least before he was born, is now universally spoken of as his.
Over the gate at the Southwark end of the bridge, the heads of traitors were exhibited on the ends of long poles. Here Margaret Roper, whom you met at the Tower, came, bargained for, and at last secured the head of her father, Sir Thomas More. But, to go back to the houses! Hans Holbein, the painter, and John Bunyan, the poet, are both said to have resided on London Bridge.
Here also are miniatures by other great painters, such as Pourbus, Guido Reni, Bassano, Clouet, Holbein. Look particularly at No. 3382, a woman with brown hair, in purple a most fascinating little picture. The Ignota in No. 3348 might easily be Henrietta Maria, wife of Charles I of England.
There was a "Cologne Room," for instance, and a "Venetian Room," among many others. The men of Venice, indeed, had a particular affection for it. Here Holbein met with all nationalities, and learned much of the great centres of other countries. Here came all the Basel magnates and printers.
A proof of this is afforded by the evidence of Erasmus, who said that as regards the portraits painted of him by both these artists, that by Holbein was the most like. In feeling for beauty of form, also in grace of movement, in colouring, and in the actual art of painting in which his father had thoroughly instructed him Holbein is to be placed above Dürer.
He had no sooner finished than the nobleman appeared and told his story. The King blamed the nobleman for his rudeness. "You have not to do with Holbein," he said, "but with me. I tell you, of seven peasants I can make seven lords, but of seven lords I cannot make one Holbein.
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