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See also:HOLBEIN, HANS , the younger (1497-1543), See also:German painter, favourite son of Hans Holbein the See also:elder, was probably See also:born at See also:Augsburg about the See also:year 1497. Though See also:Sandrart and See also:Van See also:Mander declare that they do not know who gave him the first lessons, he doubtless received an artist's See also:education from his See also:father. About 1515 he See also:left Augsburg with-See also:Ambrose, his elder See also:brother, to seek employment as an illustrator of books at See also:Basel. His first See also:patron is said to have been See also:Erasmus, for whom, shortly after his arrival, he illustrated with See also:pen-and-See also:ink sketches an edition of the Encomium Moriae, now in the museum of Basel. But his See also:chief occupation was that of See also:drawing titlepage-blocks and See also:initials for new See also:editions of the See also:Bible and See also:classics issued from the presses of See also:Froben and other publishers. His leisure See also:hours, it is supposed, were devoted to the See also:production of rough painter's See also:work, a schoolmaster's sign in the Basel collection, a table with pictures of St Nobody in the library of the university at See also:Zurich. In contrast with these coarse productions, the portraits of See also:Jacob See also:Meyer and his wife in the Basel museum, one of which purports to have been finished in 1516, are miracles of workman-See also:ship. It has always seemed difficult indeed to ascribe such excellent creations to Holbein's nineteenth year; and it is hardly credible that he should have been asked to do things of this See also:kind so See also:early, especially when it is remembered that neither he nor his brother Ambrose were then allowed to matriculate in the guild of Basel. Not till 1517 did Ambrose, whose See also:life otherwise remains obscure, join that See also:corporation; Hans, not overburdened with practice, wandered into See also:Switzerland, where (1517) he was employed to paint in the See also:house of Jacob Hertenstein at See also:Lucerne. In 1519 Holbein reappeared at Basel, where he matriculated and, there is every See also:reason to think, married. Whether, previous to this See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time, he took See also:advantage of his vicinity to the See also:Italian border to See also:cross the See also:Alps is uncertain. Van Mander says that he never was in See also:Italy; yet the large See also:wall-paintings which he executed after 1519 at Basel, and the See also:series of his sketches and pictures which is still extant, might See also:lead to the belief that Van Mander was misinformed. The spirit of Holbein's compositions for the Basel See also:town See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall, the scenery and See also:architecture of his numerous drawings, and the See also:cast of See also:form in some of his imaginative portraits, make it more likely that he should have See also:felt the See also:direct See also:influence of See also:North Italian See also:painting than that he should have taken Italian elements from imported See also:works or prints. The Swiss at this See also:period wandered in thousands to swell the ranks of the See also:French or imperial armies fighting on Italian See also:soil, and the road they took may have been followed by Hans on a more peaceful See also:mission. He shows himself at all events See also:familiar with Italian examDles
at various periods of his career; and if we accept as early works the " Flagellation," and the " Last Supper " at Basel, coarse as they are, they show some acquaintance with Lombard methods of painting, whilst in other pieces, such as the series of the See also:Passion in oil in the same collection, the modes of Hans Holbein the elder are agreeably commingled with a more See also:modern, it may be said Italian, See also:polish. Again, looking at the " Virgin " and " See also:Man of Sorrows " in the Basel museum, we shall be struck by a searching metallic See also:style akin to that of the Ferrarese; and the " Lais " or the ".See also:Venus and Amor " of the same collection reminds us of the Leonardesques of the school of See also:Milan. When Holbein settled down to an extensive practice at Basel in 1519, he decorated the walls of the house " Zum Tanz " with simulated architectural features of a florid See also:character after the See also:fashion of the Veronese; and his wall paintings in the town-hall, if we can truly See also:judge of them by copies, reveal an artist not unfamiliar with North Italian See also:composition, See also:distribution, See also:action, gesture and expression. In his drawings too, particularly in a set representing the Passion at Basel, the arrangement, and also the See also:perspective, form and decorative See also:ornament, are in the spirit of the school of See also:Mantegna. Contemporary with these, however, and almost inexplicably in contrast with them as regards handling, are portrait-drawings such as the likenesses of Jacob Meyer, and his wife, which are finished with German delicacy, and with a See also:power and subtlety of See also:hand seldom rivalled in any school. Curiously enough, the same contrast may be observed between painted compositions and painted portraits. The " See also:Bonifacius Amerbach " of 1519 at Basel is acknowledged to be one of the most See also:complete examples of smooth and transparent handling that Holbein ever executed. His versatility at this period is shown by a dead See also:Christ (1521), a See also:corpse in See also:profile on a dissecting table, and a set of figures in couples; the " Madonna and St Pantalus," and " Kaiser See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry with the Empress Kunigunde " (1522), originally composed for the See also:organ See also:loft of the Basel See also:cathedral, now in the Basel museum. Equally remarkable, but more attractive, though injured, is the " Virgin and See also:Child between St Ursus and St See also:Nicholas " (not St See also:- MARTIN (Martinus)
- MARTIN, BON LOUIS HENRI (1810-1883)
- MARTIN, CLAUD (1735-1800)
- MARTIN, FRANCOIS XAVIER (1762-1846)
- MARTIN, HOMER DODGE (1836-1897)
- MARTIN, JOHN (1789-1854)
- MARTIN, LUTHER (1748-1826)
- MARTIN, SIR THEODORE (1816-1909)
- MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
- MARTIN, ST (c. 316-400)
- MARTIN, WILLIAM (1767-1810)
Martin) giving See also:alms to a See also:beggar, in the See also:gallery of Solothurn. This remarkable picture is dated 1522, and seems to have been ordered for an See also:altar in the See also:minster of St Ursus of Solothurn by Nicholas See also:Conrad, a See also:captain and statesman of the 16th See also:century, whose See also:family allowed the See also:precious See also:heirloom to fall into decay in a See also:chapel of the neighbouring See also:village of Grenchen. Numerous drawings in the spirit of this picture, and probably of the same period in his career, might have led Holbein's contemporaries to believe that he would make his See also:mark in the See also:annals of Basel as a See also:model for painters of altarpieces as well as a model for pictorial composition and portrait. The promise which he gave at this time was immense. He was gaining a freedom in draughtsmanship that gave him facility to See also:deal with any subject. Though a realist, he was sensible of the dignity and severity of religious painting. His See also:colour had almost all the richness and sweetness of the Venetians. But he had fallen on evil times, as the next few years undoubtedly showed. Amongst the portraits which he executed in these years are those of Froben, the publisher, known only by copies at Basel and See also:Hampton See also:Court, and Erasmus, who sat in 1523, as he likewise did in 1530, in various positions, showing his See also:face threequarters as at See also:Longford, Basel, See also:Turin, See also:Parma, the See also:Hague and See also:Vienna, and in profile as in the Louvre or at Hampton Court. Besides these, Holbein made designs for See also:glass windows, and for woodcuts, including subjects of every sort, from the Virgin and Child with See also:saints of the old time to the See also:Dance of See also:Death, from See also:gospel incidents extracted from See also:Luther's Bible to satirical pieces illustrating the See also:sale of indulgences and other abuses denounced by Reformers. Holbein, in this way, was carried irresistibly with the stream of the See also:Reformation, in which, it must now be admitted, the old traditions of religious painting were wrecked, leaving nothing behind but unpictorial elements which See also:Cranach and his school vainly used for pictorial purposes.
Once only, after 1526, and after he had produced the " Lais " and " Venus and Amor," did Holbein with impartial spirit give his services and See also:pencil to the See also:Roman See also:Catholic cause. The burgo-See also:master Meyer, whose patronage he had already enjoyed, now asked him to represent himself and his wives and See also:children in See also:prayer before the Virgin; and Holbein produced the celebrated altarpiece now in the See also:palace of See also:Prince See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William of See also:Hesse at See also:Darmstadt, the shape and composition of which are known to all the See also:world by its copy in the See also:Dresden museum. The drawings for this masterpiece are amongst the most precious See also:relics in the museum of Basel. The time now came when See also:art began to suffer from unavoidable depression in all countries north of the Alps. Holbein, at Basel, was reduced to accept the smallest commissions —even for scutcheons. Then he saw that his chances were dwindling to nothing, and taking a bold See also:resolution, armed with letters of introduction from Erasmus to More, he crossed the Channel to See also:England, where in the one-sided See also:branch of portrait painting he found an endless circle of clients. Eighty-seven drawings by Holbein in See also:Windsor See also:Castle, containing an equal" number of portraits, of persons chiefly of high quality, testify to his See also:industry in the years which See also:divide 1528 from 1543. They are all originals of pictures that are still extant, or sketches for pictures that were lost or never carried out. See also:Sir See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas More, with whom he seems to have had a very friendly connexion, sat to him for likenesses of various kinds. The drawing of his See also:head is at Windsor. A pen-and-ink See also:sketch, in which we see More surrounded by all the members of his family, is now in the gallery of Basel, and numerous copies of a picture from it prove how popular the lost See also:original must once have been. At the same period were executed the portraits of See also:Warham (See also:Lambeth and Louvre), See also:Wyatt (Louvre), Sir Henry See also:Guildford and his wife (Windsor), all finished in 1527, the astronomer Nicholas Kratzer (Louvre), Thomas Godsalve (Dresden), and Sir See also:Bryan See also:Tuke (See also:Munich) in 1528. In this year, 1528, Holbein returned to Basel, taking to Erasmus the sketch of More's family. With See also:money which he brought from See also:London he See also:purchased a house at Basel wherein to See also:lodge his wife and children, whose portraits he now painted with all the care of a See also:husband and father (1528). He then witnessed the See also:flight of Erasmus and the fury of the See also:iconoclasts, who destroyed in one See also:day almost all the religious pictures at Basel. The See also:municipality, unwilling that he should suffer again from the depression caused by evil times, asked him to finish the frescoes of the town-hall, and the sketches from these lost pictures are still before us to show that he had not lost the spirit of his earlier days, and was still capable as a composer. His " See also:Rehoboam receiving the Israelite Envoys," and " See also:Saul at the Head of his See also:Array See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
meeting See also:Samuel," testify to Holbein's power and his will, also proved at a later period by the " Triumphs of Riches and Poverty," executed for the See also:Steelyard in London (but now lost), to prefer the fame of a painter of See also:history to that of a painter of portraits. But the reforming times still remained unfavourable to art. With the exception of a portrait of See also:Melanchthon (See also:Hanover) which he now completed, Holbein found little to do at Basel. The year 1530, therefore, saw him again on the move, and he landed in England for the second time with the prospect of bettering his fortunes. Here indeed See also:political changes had robbed him of his earlier patrons. The circle of More and Warham was gone. But that of the merchants of the Steelyard took its See also:place, for whom Holbein executed the See also:long and important series of portraits that See also:lie scattered throughout the galleries and collections of England and the See also:Continent, and See also:bear date after 1532. Then came again the See also:chance of practice in more fashionable circles. In 1533 the " Ambassadors " (See also:National Gallery), and the " Triumphs of See also:Wealth and Poverty " were executed, then the portraits of See also:Leland and Wyatt (Longford`, and (1534) the portrait of Thomas See also:Cromwell. ThroughCromwell Holbein probably became attached to the court, in the pay of which he appears permanently after 1537. From that time onwards he was connected with all that was highest in the society of London.
Henry VIII. invited him to make a family picture of himself, his father and family, which obtained a See also:post of See also:honour at See also:Whitehall. The beautiful See also:cartoon of a See also:part of "this See also:fine piece at See also:Hardwicke Hall enables us to See also:gauge its beauty before the See also:fire which destroyed it in the 17th century. Then Holbein painted Jane See also:Seymour in See also:state (Vienna), employing
See also:HOLBERG
See also:desire for instruction, however, at last induced his family to send him back to See also:Bergen, to his See also:uncle, and there he remained, eagerly studying, until the destruction of that See also:city by fire in 1702, when he was sent to the university of See also:Copenhagen. But he soon exhausted his resources, and, having nothing to live upon, was glad to See also:hurry back to See also:Norway, where he accepted the position of See also:tutor in the house of a rural See also:dean at See also:Voss. He soon returned to Copenhagen, where in 1704 he took his degree, and worked hard at French, See also:English and Italian. But he had to gain his living, and accordingly he accepted the post of tutor once more, this time in the house of Dr See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
Smith, See also:vice-See also:bishop of Bergen. The See also:good See also:doctor had travelled much, and the See also:reading of his itineraries and See also:note-books awakened such a longing for travel in the See also:young Holberg that at last, at the See also:close of 1704, having scraped together 6o dollars, he went on See also:board a ship See also:bound for See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland. He proceeded as far as See also:Aix-la-Chapelle, where he See also:fell sick of a See also:fever, and suffered so much from weakness and poverty, that he made his way on See also:foot to See also:Amsterdam, and came back to Norway. Ashamed to be seen so soon in Bergen, he stopped at Christianssand, where he lived through the See also:winter, supporting himself by giving lessons in French. In the See also:spring of 1706 he travelled, in See also:company with a student named Brix, through London to See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, where he studied for two years, gaining his livelihood by giving lessons on the See also:violin and the See also:flute. He mentions, with gratitude, the valuable See also:libraries of Oxford, and it is pleasant to See also:record that it was while he was there that it first occurred to him, as he says, " how splendid and glorious a thing it would be to take a place among the authors." Through London and See also:Elsinore he reached Copenhagen a third time, and began to lecture at the university; his lectures were attended, but he got no money. He was asked in 1709 to conduct a See also:rich young See also:gentleman to Dresden, and on his return See also:journey he lectured at See also:Leipzig, See also:Halle and See also:Hamburg. Once more in Copenhagen, he undertook to See also:teach the children of See also:Admiral Gedde. Weary with this work, he took a post at Borch See also:College in 1710, where he wrote, and printed in 1711, his first work, An Introduction to the History of the Nations of See also:Europe, and was permitted to See also:present to See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King See also:Frederick IV. two See also:manuscript essays on See also:Christian IV. and Frederick III. The king soon after presented him with the See also:title of See also:Professor, and with the Rosenkrantz See also:- GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
- GRANT, ANNE (1755-1838)
- GRANT, CHARLES (1746-1823)
- GRANT, GEORGE MONRO (1835–1902)
- GRANT, JAMES (1822–1887)
- GRANT, JAMES AUGUSTUS (1827–1892)
- GRANT, ROBERT (1814-1892)
- GRANT, SIR ALEXANDER
- GRANT, SIR FRANCIS (1803-1878)
- GRANT, SIR JAMES HOPE (1808–1895)
- GRANT, SIR PATRICK (1804-1895)
- GRANT, U
- GRANT, ULYSSES SIMPSON (1822-1885)
grant of See also:loo dollars for four years, the holder of which was expected to travel. Holberg accordingly started in 1714, and visited, chiefly on foot, a See also:great portion of Europe. From Amsterdam he walked through See also:Rotterdam to See also:Antwerp, took a See also:boat to See also:Brussels, and on foot again reached See also:Paris. Walking and See also:skating, he proceeded in the See also:depth of winter to See also:Marseilles, and on by See also:sea to See also:Genoa. On the last-mentioned voyage he caught a fever, and nearly died in that city. On his recovery he pushed on to Civita Vecchia and See also:Rome. When the spring had come, being still very poor and in feeble See also:health, he started homewards on foot by See also:Florence, across the See also:Apennines, through See also:Bologna, Parma, See also:Piacenza, Turin, over the Alps, through See also:Savoy and See also:Dauphine to See also:Lyons, and finally to Paris, where he arrived in excellent health. After spending a See also:month in Paris, he walked on to Amsterdam, took See also:sail to Hamburg, and so went back to See also:Denmark in 1716. He spent the next two years in extreme poverty, and published his Introduction to Natural and Popular See also:Law. But at last, in 1718, his talents were recognized by his See also:appointment as professor of See also:metaphysics at the university of Copenhagen; and in 1720 he was promoted to the lucrative See also:chair of public eloquence, which gave him a seat in the See also:consistory. His pecuniary troubles were now at an end. Hitherto he had written only on law, history and See also:philology, although in a Latin controversy with the jurist Andreas Hojer of Flensborg his satirical See also:genius had flashed out. But now, and until 1728, he created an entirely new class of humorous literature under the See also:pseudonym of Hans Mikkelsen. The serio-comic epic of Peder Paars, the earliest of the great classics of the Danish See also:language, appeared in 1719. This poem was a brilliant See also:satire on contemporary See also:manners, and enjoyed an extraordinary success. But. the author had offended in it several powerful persons who threatened his life, and if See also:Count Danneskjold had not personally interested the king in
some English hand perhaps to make the replicas at the Hague, See also:Sion House and See also:Woburn; he finished the See also:Southwell of the Uffizi (copy at the Louvre), the jeweller Morett at Dresden, and last, not least, Christine of Denmark, who gave sittings at Brussels in 1538. During the journey which this work involved Holbein took the opportunity of revisiting Basel, where he made his See also:appearance in See also:silk and satin, and See also:pro forma only accepted the See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of town painter. He had been living long and continuously away from See also:home, not indeed observing due fidelity to his wife, who still resided at Basel, but fairly performing the duties of keeping her in comfort. His return to London in autumn enabled him to do See also:homage to the king in the way familiar to artists. He presented to Henry at See also:Christmas a portrait of Prince See also:Edward. Again abroad in the summer of 1539, he painted with great fidelity the princess See also:Anne of See also:Cleves, at See also:Duren near See also:Cologne, whose form we still see depicted in the great picture of the Louvre. That he could render the features of his sitter without flattery is See also:plain from this one example. Indeed, habitual flattery was contrary to his habits. His portraits up to this time all display that uncommon facility for seizing character which his father enjoyed before him, and which he had inherited in an See also:expanded form. No amount of labour, no laboriousness of finish—and of both he was ever prodigal—betrayed him into loss of resemblance or expression. No painter was ever quicker at noting peculiarities of See also:physiognomy, and it may be observed that in none of his faces, as indeed in none of the faces one See also:sees in nature, are the two sides alike. Yet he was not a child of the 16th century, as the Venetians were, in substituting See also:touch for See also:line. We must not look in his works for modulations of See also:surface or subtle contrasts of colour in juxtaposition. His method was to the very last delicate, finished and smooth, as became a painter of the old school.
Amongst the more important creations of Holbein's later time we should note his " See also:Duke of See also:Norfolk " at Windsor, the hands of which are so perfectly preserved as to compensate for the shrivel that now disfigures the head. Two other portraits of 1541 (See also:Berlin and Vienna), the See also:Falconer at the Hague, and See also:John See also:Chambers at Vienna (1542), are See also:noble specimens of portrait art; most interesting and of the same year are the likenesses of Holbein himself, of which several examples are extant—one particularly good at Fahna, the seat of the Stackelberg family near See also:Riga, and another at the Uffizi in Florence. Here Holbein appears to us as a man of See also:regular features, with See also:hair just turning See also:grey, but healthy in colour and shape, and evidently well to do in the world. Yet a few months only separated him then from his death-See also:bed. He was busy painting a picture of Henry the VIII. confirming the Privileges of the See also:Barber Surgeons (See also:Lincoln's See also:Inn See also:Fields), when he sickened of the See also:plague and died after making a will about See also:November 1543. His loss must have been seriously felt in England. Had he lived his last years in See also:Germany, he would not have changed the current which decided the See also:fate of painting in that See also:country; he would but have shared the fate of See also:Durer and others who merely prolonged the agony of art amidst the troubles of the Reformation. (J. A. C.)
The early authorities are Karel Van Mander's Het Schilder Beek (1604), and J. von Sandrart, Accademia Todesca (1695). See also R. N. Wornum, Life and Work of Holbein (1867) ; H. Knackfuss, Holbein (1899); G. S. See also:Davies, Holbein (1903); A. F. G. A. Woltmann, Holbein See also:land See also:seine Zeit (1876).
End of Article: HOLBEIN, HANS
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