ILLUSTRATIONS
Reading edition
HANS HOLBEIN: SELF-PORTRAIT Frontispiece
Reproduced in colour.
Public Picture Collection, Basel.
1. THE BAPTISM OF ST. PAUL 11
Left-hand panel of the “Basilica of St. Paul” altar-piece. By Hans Holbein the Elder.
Museum, Augsburg.
2. THE ST. SEBASTIAN ALTAR-PIECE 15
Central panel. By Hans Holbein the Elder.
Alte Pinakothek, Munich.
3. (1) ST. BARBARA. (2) ST. ELIZABETH 16
Inner sides of the wings of the “St. Sebastian” altar-piece. By Hans Holbein the Elder.
Alte Pinakothek, Munich.
4. THE FOUNTAIN OF LIFE 17
By Hans Holbein the Elder.
National Museum of Ancient Art, Lisbon. Reproduced by kind permission of the Director, Senhor José de Figueiredo.
5. STUDY FOR THE PORTRAIT OF A LADY OF AUGSBURG 21
Silver-point drawing. By Hans Holbein the Elder.
British Museum.
6. AMBROSIUS AND HANS HOLBEIN 25
Silver-point drawing. By Hans Holbein the Elder (1511).
Royal Print Room, Berlin.
7. VIRGIN AND CHILD (1514) 33
Public Picture Collection, Basel.
8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF ST. JOHN 37
Public Picture Collection, Basel.
9. THE LAST SUPPER 40
Public Picture Collection, Basel.
10. THE SCOURGING OF CHRIST 41
Public Picture Collection, Basel.
11. HOLBEIN’S EARLIEST TITLE-PAGE 45
First used in 1515.
From a copy of More’s “Utopia” in the British Museum.
xiii12. MARGINAL DRAWINGS IN A COPY OF THE “PRAISE OF FOLLY” 48
(1) Folly Leaving the Pulpit.
(2) Penelope at her Loom.
(3) The Pope.
(4) The Cardinal.
(5) The Bishop.
(6) Nuns Kneeling before an Altar-piece.
Public Picture Collection, Basel.
13. MARGINAL DRAWINGS IN A COPY OF THE “PRAISE OF FOLLY” 49
(1) The Basket of Eggs.
(2) Nicolas de Lyra.
(3) King Solomon.
(4) Young Nobleman.
(5) Folly and his Puppet.
(6) Erasmus at his Desk.
(7) “A Fat and Splendid Pig from the Herd of Epicurus.”
Public Picture Collection, Basel.
14. THE TWO SIDES OF A SCHOOLMASTER’S SIGN-BOARD (1516) 51
Public Picture Collection, Basel.
15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS WIFE, DOROTHEA KANNENGIESSER (1516) 52
Public Picture Collection, Basel.
16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF DOROTHEA KANNENGIESSER 55
Drawings in black and coloured chalks. Studies for the double portrait of 1516.
Public Picture Collection, Basel.
17. ADAM AND EVE (1517) 56
Public Picture Collection, Basel.
18. PORTRAITS OF TWO BOYS 60
By Ambrosius Holbein.
Public Picture Collection, Basel.
19. STUDY OF A YOUNG GIRL NAMED “ANNE” (1518) 61
Silver-point and red chalk drawing. By Ambrosius Holbein.
Public Picture Collection, Basel.
20. THE FOUNDING OF BASEL 61
Design for painted glass. By Ambrosius Holbein.
Public Picture Collection, Basel.
21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61
By Ambrosius Holbein.
Royal Hermitage Gallery, St. Petersburg.
22. ILLUSTRATION TO SIR THOMAS MORE’S “UTOPIA” 62
By Ambrosius Holbein.
From a woodcut in the British Museum.
23. DESIGNS FOR THE WALL-PAINTINGS OF THE HERTENSTEIN HOUSE, LUCERNE 68
(1) Leæna and the Judges.
(2) Architectural Decoration of the Ground Floor.
Public Picture Collection, Basel.
24. PORTRAIT OF BENEDIKT VON HERTENSTEIN (1517) 72
Metropolitan Museum, New York.
xiv25. THE LAST SUPPER 75
Central panel of a Triptych.
Public Picture Collection, Basel.
26. THE ARCHANGEL MICHAEL AS WEIGHER OF SOULS 79
Drawing.
Public Picture Collection, Basel.
27. MINERS AT WORK 80
Drawing in Indian ink, pen, and bistre.
British Museum.
28. BONIFACIUS AMERBACH (1519) 85
Reproduced in colour.
Public Picture Collection, Basel.
29. (1) ADORATION OF THE SHEPHERDS. (2) ADORATION OF THE KINGS 88
Inner sides of the wings of the Oberried altar-piece.
University Chapel, Freiburg Minster.
30. THE PASSION OF CHRIST 91
Outer sides of the wings of an altar-piece.
Public Picture Collection, Basel.
31. (1) CHRIST BEARING THE CROSS. (2) THE CRUCIFIXION 94
Details of the outer sides of the wings of the “Passion” Altar-piece.
Public Picture Collection, Basel.
32. “NOLI ME TANGERE” 95
Christ appearing to Mary Magdalen. Reproduced by gracious permission of H.M. the King.
Hampton Court Palace.
33. (1) CHRIST, THE MAN OF SORROWS. (2) MARY, MATER DOLOROSA 98
Diptych, painted in brown monochrome, with blue sky.
Public Picture Collection, Basel.
34. THE HOLY FAMILY 99
Washed drawing on a red ground.
Public Picture Collection, Basel.
35. THE DEAD CHRIST IN THE TOMB (1521) 101
Predella of an altar-piece.
Public Picture Collection, Basel.
36. THE VIRGIN AND CHILD, WITH ST. URSUS AND A HOLY BISHOP (1522) 103
Solothurn Gallery.
37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY HOLBEIN’S WIFE 106
Reproduced in colour.
Royal Picture Gallery, Mauritshuis, The Hague.
38. HEAD OF A YOUNG WOMAN, PROBABLY HOLBEIN’S WIFE 108
Study for the Solothurn “Madonna.” Silver-point drawing, touched with red.
Louvre, Paris.
xv39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL CATHEDRAL 113
Pen and wash drawing.
Public Picture Collection, Basel.
40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH THE FIGURE OF A SEATED EMPEROR. (2) THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS 121
The latter a fragment of the wall-painting in the Basel Town Hall.
Public Picture Collection, Basel.
41. SAPOR AND VALERIAN 131
Design for one of the wall-paintings in the Basel Town Hall. Pen and water-colour drawing.
Public Picture Collection, Basel.
42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL SON 139
Designs for painted glass.
Public Picture Collection, Basel.
43. DESIGN FOR A PAINTED WINDOW WITH THE COAT OF ARMS OF THE VON HEWEN FAMILY (1520) 144
Public Picture Collection, Basel.
44. ST. ELIZABETH, WITH KNEELING KNIGHT AND BEGGAR 148
Design for painted glass.
Public Picture Collection, Basel.
45. THE VIRGIN AND CHILD, WITH A KNEELING DONOR 149
Design for painted glass.
Public Picture Collection, Basel.
46. (1) CHRIST BEFORE CAIAPHAS. (2) THE SCOURGING OF CHRIST 151
The “Passion” series of designs for painted glass.
Public Picture Collection, Basel.
47. (1) THE MOCKING OF CHRIST. (2) CHRIST CROWNED WITH THORNS 152
The “Passion” series of designs for painted glass.
Public Picture Collection, Basel.
48. (1) PILATE WASHING HIS HANDS. (2) ECCE HOMO 153
The “Passion” series of designs for painted glass.
Public Picture Collection, Basel.
49. (1) CHRIST BEARING THE CROSS. (2) THE STRIPPING OF CHRIST’S GARMENTS 154
The “Passion” series of designs for painted glass.
Public Picture Collection, Basel.
50. (1) CHRIST NAILED TO THE CROSS. (2) THE CRUCIFIXION 155
The “Passion” series of designs for painted glass.
Public Picture Collection, Basel.
51. (1) COSTUME STUDY. (2) COSTUME STUDY 157
Two drawings from a set of designs of ladies’ costumes.
Public Picture Collection, Basel.
xvi52. “THE EDELDAME” 157
Drawing from a set of designs of ladies’ costumes.
Public Picture Collection, Basel.
53. A FIGHT BETWEEN LANDSKNECHTE 160
Drawing in Indian ink.
Public Picture Collection, Basel.
54. ERASMUS (1523) 169
Reproduced by kind permission of the Earl of Radnor.
Longford Castle, Salisbury.
55. STUDY FOR THE HANDS OF ERASMUS 171
Drawing in silver-point and red and black chalk.
Louvre, Paris.
56. ERASMUS (1523) 172
Reproduced in colour.
Louvre, Paris.
57. THE DUCHESS OF BERRY 176
Drawing in black and coloured chalks. Reproduced in colour.
Public Picture Collection, Basel.
58. (1) ERASMUS 180
Roundel.
Public Picture Collection, Basel.
(2) PHILIP MELANCHTHON 180
Roundel.
Provinzial Museum, Hanover.
59. ERASMUS 181
From a woodcut in the British Museum.
60. MUCIUS SCÆVOLA AND LARS PORSENA 191
Woodcut first used in 1516.
From a copy of More’s “Epigrams” in the British Museum.
61. “THE TABLE OF CEBES” 193
Woodcut first used in 1521.
From a copy of Perotto’s “Cornucopiæ” in the British Museum.
62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195
Woodcut first used in 1522.
From a copy in the British Museum.
63. THE FOUR EVANGELISTS 195
Woodcuts and Initial Letters used on the first page of each gospel in the 1523 edition of Luther’s “New Testament.”
From a copy in the British Museum.
64. THE “CLEOPATRA” TITLE-PAGE 198
Woodcut first used in 1523.
From a copy of Erasmus’ “Christiani Matrimonii Institutio” in the British Museum.
xvii65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE OF INDULGENCES 198
Woodcuts.
From proofs in the British Museum.
66. THE DANCE OF DEATH WOODCUTS 217
(1) The Emperor.
(2) The King.
(3) The Cardinal.
(4) The Empress.
(5) The Advocate.
(6) The Counsellor.
(7) The Preacher.
(8) The Priest.
From proofs in the British Museum.
67. THE DANCE OF DEATH WOODCUTS 220
(1) The Old Man.
(2) The Countess.
(3) The Noble Lady.
(4) The Duchess.
(5) The Ploughman.
(6) The Young Child.
(7) The Last Judgment.
(8) The Arms of Death.
From proofs in the British Museum.
68. THE DANCE OF DEATH ALPHABET 224
From a proof in the Royal Print Cabinet, Dresden.
69. THE OLD TESTAMENT WOODCUTS 230
(1) Jacob Blessing Ephraim and Manasseh.
(2) Ruth and Boaz.
(3) Judith with the Head of Holofernes.
(4) Amos Preaching.
From proofs in the British Museum.
70. THE OLD TESTAMENT WOODCUTS 230
(1) Moses receiving the Tables of the Law.
(2) The Return from the Babylonian Captivity.
From proofs in the British Museum.
(3) The Angel showing St. John the New Jerusalem (Revelation xxi.). Woodcut from Adam Petri’s “New Testament,” 1523.
From a copy in the British Museum.
71. THE MEYER MADONNA 233
Darmstadt.
72. (1) JAKOB MEYER. (2) DOROTHEA KANNENGIESSER 236
Studies for the Meyer Madonna. Drawings in black and coloured chalks.
Public Picture Collection, Basel.
73. (1) MAGDALENA OFFENBURG AS VENUS (1526). (2) MAGDALENA OFFENBURG AS LAÏS (1526) 246
Public Picture Collection, Basel.
74. STUDY FOR THE MORE FAMILY GROUP 293
Drawing in Indian ink, with corrections and inscriptions in brown.
Public Picture Collection, Basel.
75. THE MORE FAMILY GROUP 295
Reproduced by kind permission of Lord St. Oswald.
Nostell Priory, Wakefield.
76. THE MORE FAMILY GROUP 301
The version formerly at Burford Priory, now in the possession of Messrs. Parkenthorpe, London. Reproduced by kind permission of Sir Hugh P. Lane.
xviii77. CECILIA HERON, DAUGHTER OF SIR THOMAS MORE 303
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
Windsor Castle.
78. SIR THOMAS MORE 303
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
Windsor Castle.
79. PORTRAIT OF AN ENGLISH LADY 309
Drawing in black and red chalk and Indian ink.
Salting Bequest, British Museum.
80. SIR HENRY GULDEFORD (1527) 317
Reproduced in colour, by gracious permission of H.M. the King.
Windsor Castle.
81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
Windsor Castle.
(2) PORTRAIT OF AN UNKNOWN ENGLISH LADY, POSSIBLY LADY GULDEFORD 321
Drawing in black and coloured chalks.
Public Picture Collection, Basel.
82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN ENGLISH LADY 321
Drawings in black and coloured chalks.
Public Picture Collection, Basel.
83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY (1527) 322
Reproduced in colour.
Louvre, Paris.
84. THOMAS AND JOHN GODSALVE (1528) 325
Royal Picture Gallery, Dresden.
85. SIR JOHN GODSALVE 326
Drawing in black and coloured chalks and water-colour. Reproduced by gracious permission of H.M. the King.
Windsor Castle.
86. NIKLAUS KRATZER (1528) 327
Reproduced in colour.
Louvre, Paris.
87. SIR BRYAN TUKE 331
Alte Pinakothek, Munich.
88. SIR HENRY WYAT 335
Reproduced in colour.
Louvre, Paris.
xix89. SIR THOMAS ELYOT 336
Drawing in black and coloured chalks. Reproduced by gracious permission of H.M. the King.
Windsor Castle.
90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343
Reproduced in colour.
Public Picture Collection, Basel.
91. PORTRAIT OF A YOUNG WOMAN 346
Unfinished study in oils.
Public Picture Collection, Basel.
92. KING REHOBOAM REBUKING THE ELDERS (1530) 348
Three fragments of the wall-painting formerly in the Basel Town Hall.
Public Picture Collection, Basel.
93. KING REHOBOAM REBUKING THE ELDERS 348
Study for the wall-painting formerly in the Basel Town Hall.
Public Picture Collection, Basel.
94. SAMUEL AND SAUL 350
Pen drawing in brown touched with water-colour. Study for the wall-painting formerly in the Basel Town Hall.
Public Picture Collection, Basel.
95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354
Formerly in the possession of the Bodenham family, Rotherwas Hall, Hereford. Reproduced by kind permission of Mr. Ayerst H. Buttery.
Mr. Ayerst H. Buttery, London.
xx