Holbein Part 11

** Portrait of an unknown young man in a broad-brimmed hat.

Chalk Drawing. Basel Museum.

(This is one of the most beautiful of Holbein's portrait studies. There is a soft, yet virile, witchery about it which haunts the memory.)

Round Portrait of Erasmus. (Bust, 3/4 view.) Oils. Basel Museum.

Designs for dagger-sheaths and other goldsmith's work.

Washed Drawings. Basel Museum, British Museum, etc.

(More especially the "Dance of Death"; a chef-d'oeuvre.)

A s.h.i.+p making sail.

Washed Drawing. Stadel Inst.i.tut. Frankfurt.

V.

LAST PERIOD; LONDON (1531-43)

** Portrait of Jorg Gyze. [Plate 27.]

Oils. Berlin Gallery.

Portrait of an unknown man.

Oils. Schonborn Gallery, Vienna.

Johann or Hans of Antwerp.

Oils. Windsor Castle. (Holbein's friend and executor.)

Derich Tybis of Duisburg.

Oils. Imperial Gallery, Vienna.

Derich Born.

Oils. Munich Gallery, and Windsor Castle.

Derich Berck.

Oils. Petworth.

Unknown Man.

Oils. Prado Gallery, Madrid.

The Triumph of Riches.

Drawing. The Louvre.

(Copies of this and the pendant design, The Triumph of Poverty, in the British Museum and in the Collection of Lady Eastlake.)

The Queen of Sheba before Solomon.

Washed Drawing, heightened with gold and colours. Windsor Castle.

Robert Cheseman, with falcon.

Oils. Hague Gallery.

* "The Amba.s.sadors." [Plate 28.]

Oils. National Gallery.

(A double portrait, life size. Formerly supposed to be Sir Thomas Wyatt and a scholar; now officially held to be Jean de Dinteville, Bailli de Troyes, and George de Selve, Bishop of Lavaur. As stated in the text, the present writer differs from any identification of either figure yet published, but is not prepared to put forward her own views for the present.)

Nicholas Bourbon de Vandoeuvre, scholar and poet.

Chalk Drawing. Windsor Castle.

(An intimate friend of Holbein, Kratzer, and their circle. Recently identified as the man in the scholar's gown, in "The Amba.s.sadors,"

and so given by Mr. Lionel Cust, in the _Dictionary of National Biography_, in his article upon Holbein.)

**The Morett Portrait. [Plate 29.]

Oils. Dresden Gallery.

(Long believed to be a triumph of Leonardo da Vinci's art, and the portrait of Ludovico Sforza, "Il Moro." At one time held to be Henry Brandon, Duke of Suffolk. Afterwards "established" and catalogued as Hubert Morett, goldsmith to King Henry VIII. Following M. Larpent's suggestion, however, it is now supposed to be the portrait of Charles Solier, Sieur de Morette. But as to this the last word may yet remain to be said. The drawing which the majority of authorities hold to be the study for this painting now hangs near it.)

Thomas Cromwell.

Oils. t.i.ttenhanger.

** Miniature portrait of Henry Brandon, son of the Duke of Suffolk.

Windsor Castle.

t.i.tle-page used in Coverdale's Bible. Woodcut.

Q. Jane Seymour. [Plate 30.]

Oils. Imperial Gallery, Vienna.

** Portrait of Erasmus, full length, in scholar's robes, with his hand on the head of the G.o.d Terminus. Woodcut.

Frontispiece to Hieronymus Froben's edition of Erasmus's Works, published in 1540.

(Commonly known as "Erasmus in a surround," or niche.)

Fragment of the Cartoon [Plate 31] used for the four royal portraits in the wall-painting at Whitehall. The fragment shows only the figures of King Henry VIII. and his father. Hardwick Hall.

(Remigius van Leemput's copy of the wall-painting shows that the position of the King's head was changed, in the completed work, to the full-face view so familiar in the oil-painting at Windsor Castle. The latter is one of the many copies of Holbein's original portrait of Henry VIII. which long pa.s.sed muster as genuine _Holbeins_.)

** Portrait study of the face of King Henry VIII. [Plate 32.]

Chalk Drawing. Royal Print Cabinet, Munich.

(Probably the Life-study for the Whitehall painting. If nothing else remained, this mask alone would incontestably rank Holbein among the Masters of all time. To the writer's thinking, at any rate, it stands among the very few works of art which it would be difficult to match, and impossible to surpa.s.s in its own colossal qualities.)

** Design for "the Jane Seymour Cup." [Plate 33.]

Bodleian Library.

** Christina of Denmark, d.u.c.h.ess of Milan. [Plate 34.]

Oils. National Gallery; lent from Arundel Castle.

Edward VI., when infant Prince of Wales.

Oils. Hanover Gallery, and Lord Yarborough's Collection.

Anne of Cleves. [Plate 35.]

Oils on Vellum. The Louvre.

Thomas Howard, third Duke of Norfolk. [Plate 36.]

Oils. Windsor Castle, and Arundel Castle.

Catherine Howard. [Plate 37.]