During Holbein’s absence Christmas songs lyrics Sir Thomas More had become Lord Chancellor, but this office he relinquished in May, 1532, and was gradually falling out of favour with the King. Holbein did not take up Trandozado his residence in Chelsea again, but settled in London, near the large colony of German and Netherlandish merchants then forming an important part of the commercial life of the capital. These merchants of the Hanseatic League formed a close corporation among themselves, and in their midst Holbein now made his home. Their place of meeting was called the Steelyard, and here their warehouses and residences were grouped round the hall of the guild, with its trim garden and special first book of Adam and eve wineshop. Among them the artist found the first book of adam and eve not only the language and habits of his own country, but also plenty of well-paid employment.
During 1532 and 1533, and occasionally later, he painted Trandozado a number of his compatriots seated in their offices and engaged in the ordinary routine of business life, including the superb picture of Georg Gisze (Berlin, see illustration, and p. 51), Hans of Antwerp, the goldsmith, later on one of Holbein’s executors (Windsor), Derich Born (Windsor and Munich), Derich Berck (Petworth), Geryck Tybis (Vienna), Ambrose Fallen (Bruns{16}wick), and several others whose names have not been discovered. He was also employed by the members of the Steelyard as a corporate body. At the coronation of Anne Boleyn, in May, 1533, the streets of London were gaily decorated by the various city companies and guilds, and the triumphal arch erected by the Hanseatic League was designed by Holbein. Still more first book of Adam and eve important were the two large allegorical paintings in monochrome, The Triumph of Riches and The Triumph of Poverty, with which he decorated their banqueting-hall. These fine works have disappeared. Fortunately, they were copied by Zucchero in 1574, and by Jan de Bisschop (British Museum), while the original sketch for The Triumph of Riches is in the Louvre.
Holbein had now reached the highest point of his career, and the series of brilliant portraits he produced during the last ten years of his life is unrivalled. It was probably owing to his connection with the Steelyard that he was employed by several foreign Ambassadors, who were accredited to England during his second residence here. Many of these German merchants were more than mere traders. Owing to their knowledge of foreign languages, and their business relations with all parts of the world, they were often employed by the Government, and occasionally sent on important missions abroad. In this way they were personally known to many of the Ambassadors to England.
In 1533 Holbein produced his most important work still in this country, the picture familiarly{17} known as The Ambassadors (see illustration, and p. 47), representing Jean de Dinteville, French Ambassador at the English Court, and his friend George de Selve, Bishop of Lavaur. Another magnificent portrait of an Ambassador was painted about this time, probably in 1534, the famous one in the Dresden Gallery, for many years said to be a masterpiece of Leonardo da Vinci, and a portrait of Ludovico Sforza, and still called in the Dresden catalogue Hubert Morett, Goldsmith to Henry VIII. It really represents Charles de Solier, Comte de Morette, who was in England more than once, and succeeded Dinteville as resident Ambassador in 1534. His clients, however, were not only foreigners; he constantly painted Englishmen of all ranks and classes. In 1533 he produced the fine portrait of Robert Cheseman, of Dormanswell (Hague), with his hawk on his wrist, erroneously called The King’s Falconer (see illustration, and p. 56), and the equally fine one of a man in black (Berlin), supposed to be a member of the Trelawney family. The latter’s brother he had painted in the previous year (Count Schönborn’s Collection, Vienna). In 1534 we have the portrait of that “hammer of the monks,” Thomas Cromwell, when only Master of the Jewel House.
It is not until 1536 that we get any actual proof that Holbein was in the King’s service. In that year he painted the new Queen, Jane Seymour (Vienna and Woburn Abbey). It seems certain, however, that Henry must have been well aware of his artistic capacity before this{18} date. A number of artists, both foreign and native, all greatly inferior to Holbein, were then employed by the King, and professional jealousy may have had some share in retarding his entry into the royal service. During Holbein’s first visit to England John Browne was sergeant-painter to the King, holding the office for more than twenty years. He was succeeded by another Englishman, Andrew Wright, who in his turn was followed by an Italian, Antonio Toto; but, next to Holbein, the leading painter in England, and a man of real ability, was Lucas Horembault, or Hornebolt, of Ghent, who had settled here with his father Gerard and his sister Susannah, both of them artists. The salary that Hornebolt received from the King was always larger than that paid to Holbein.
In 1537 Holbein painted a great picture on the wall of the Privy Chamber at Whitehall, representing the two Kings, Henry VII. and Henry VIII., and their Queens, Elizabeth of York and Jane Seymour. When the art historian, Van Mander, saw it in 1604, it was still in perfect preservation, and he speaks with the utmost enthusiasm about it. It was destroyed in the fire which burned down that palace in 1698. Happily, there still exists a small copy of it (Hampton Court), which was made in 1667 by Remigius van Leemput by order of Charles II., and Mr. Ernest Law has recently discovered a replica by the same painter; while a still better judgment can be formed of its size, composition, and general effect from Holbein’s cartoon for the{19} left half, showing the King and his father, which belongs to the Duke of Devonshire. It is a black chalk drawing, heightened with Indian ink, and was used for tracing the design upon the wall.
Almost every other portrait of Henry painted after 1537—and there are many of them scattered about England and on the Continent—was based upon the Whitehall likeness. It is very doubtful if even one of them is the genuine work of Holbein’s brush. Such portraits were multiplied to give away to foreign Princes and faithful subjects. The best of them is the well-known full-face representation of the King in Warwick Castle—a life-size work, very admirably painted, most probably by Hornebolt. There is really no authentic portrait of him by Holbein in existence, with the exception of the rough chalk drawing at Munich and the exquisite square portrait at Althorp, which, in the opinion of Mr. Lionel Cust, F.S.A., is a genuine example.
After the death of Jane Seymour, the Privy Council lost no moment in urging the King to marry again. The choice fell upon Christina, daughter of the King of Denmark, and niece of the Emperor Charles V. She was Duchess of Milan, and the young widow of Francesco Sforza, the last Duke of his race. Holbein went over to Brussels in March, 1538, to paint the lady’s portrait, and an account of this expedition will be found on p. 54. The very lovely full-length portrait of this Princess belongs to the Duke of Norfolk, who has generously lent it to the{20} National Gallery for a number of years (see illustration, and p. 55). This is, perhaps, the most perfect piece of portraiture Holbein ever accomplished, and one of the great pictures of the world. Carl Linnaeus Love Man in his social character Elements of character Roman Patriotism Domestic Altar Loadstar of My Life You Know the Saying Our Swords Will Play the Orator The Day Before Yesterday The Cause of Troubles Precautions from the beginning Desire to Exceed One's Program The Daily Miracle Some Wonderful Efforts The Dawn of Freedom Of Our Striving The beginning of slavery Second Residence in England Return to Basle First Visit to England Life of Hans Holbein
During 1532 and 1533, and occasionally later, he painted Trandozado a number of his compatriots seated in their offices and engaged in the ordinary routine of business life, including the superb picture of Georg Gisze (Berlin, see illustration, and p. 51), Hans of Antwerp, the goldsmith, later on one of Holbein’s executors (Windsor), Derich Born (Windsor and Munich), Derich Berck (Petworth), Geryck Tybis (Vienna), Ambrose Fallen (Bruns{16}wick), and several others whose names have not been discovered. He was also employed by the members of the Steelyard as a corporate body. At the coronation of Anne Boleyn, in May, 1533, the streets of London were gaily decorated by the various city companies and guilds, and the triumphal arch erected by the Hanseatic League was designed by Holbein. Still more first book of Adam and eve important were the two large allegorical paintings in monochrome, The Triumph of Riches and The Triumph of Poverty, with which he decorated their banqueting-hall. These fine works have disappeared. Fortunately, they were copied by Zucchero in 1574, and by Jan de Bisschop (British Museum), while the original sketch for The Triumph of Riches is in the Louvre.
Holbein had now reached the highest point of his career, and the series of brilliant portraits he produced during the last ten years of his life is unrivalled. It was probably owing to his connection with the Steelyard that he was employed by several foreign Ambassadors, who were accredited to England during his second residence here. Many of these German merchants were more than mere traders. Owing to their knowledge of foreign languages, and their business relations with all parts of the world, they were often employed by the Government, and occasionally sent on important missions abroad. In this way they were personally known to many of the Ambassadors to England.
In 1533 Holbein produced his most important work still in this country, the picture familiarly{17} known as The Ambassadors (see illustration, and p. 47), representing Jean de Dinteville, French Ambassador at the English Court, and his friend George de Selve, Bishop of Lavaur. Another magnificent portrait of an Ambassador was painted about this time, probably in 1534, the famous one in the Dresden Gallery, for many years said to be a masterpiece of Leonardo da Vinci, and a portrait of Ludovico Sforza, and still called in the Dresden catalogue Hubert Morett, Goldsmith to Henry VIII. It really represents Charles de Solier, Comte de Morette, who was in England more than once, and succeeded Dinteville as resident Ambassador in 1534. His clients, however, were not only foreigners; he constantly painted Englishmen of all ranks and classes. In 1533 he produced the fine portrait of Robert Cheseman, of Dormanswell (Hague), with his hawk on his wrist, erroneously called The King’s Falconer (see illustration, and p. 56), and the equally fine one of a man in black (Berlin), supposed to be a member of the Trelawney family. The latter’s brother he had painted in the previous year (Count Schönborn’s Collection, Vienna). In 1534 we have the portrait of that “hammer of the monks,” Thomas Cromwell, when only Master of the Jewel House.
It is not until 1536 that we get any actual proof that Holbein was in the King’s service. In that year he painted the new Queen, Jane Seymour (Vienna and Woburn Abbey). It seems certain, however, that Henry must have been well aware of his artistic capacity before this{18} date. A number of artists, both foreign and native, all greatly inferior to Holbein, were then employed by the King, and professional jealousy may have had some share in retarding his entry into the royal service. During Holbein’s first visit to England John Browne was sergeant-painter to the King, holding the office for more than twenty years. He was succeeded by another Englishman, Andrew Wright, who in his turn was followed by an Italian, Antonio Toto; but, next to Holbein, the leading painter in England, and a man of real ability, was Lucas Horembault, or Hornebolt, of Ghent, who had settled here with his father Gerard and his sister Susannah, both of them artists. The salary that Hornebolt received from the King was always larger than that paid to Holbein.
In 1537 Holbein painted a great picture on the wall of the Privy Chamber at Whitehall, representing the two Kings, Henry VII. and Henry VIII., and their Queens, Elizabeth of York and Jane Seymour. When the art historian, Van Mander, saw it in 1604, it was still in perfect preservation, and he speaks with the utmost enthusiasm about it. It was destroyed in the fire which burned down that palace in 1698. Happily, there still exists a small copy of it (Hampton Court), which was made in 1667 by Remigius van Leemput by order of Charles II., and Mr. Ernest Law has recently discovered a replica by the same painter; while a still better judgment can be formed of its size, composition, and general effect from Holbein’s cartoon for the{19} left half, showing the King and his father, which belongs to the Duke of Devonshire. It is a black chalk drawing, heightened with Indian ink, and was used for tracing the design upon the wall.
Almost every other portrait of Henry painted after 1537—and there are many of them scattered about England and on the Continent—was based upon the Whitehall likeness. It is very doubtful if even one of them is the genuine work of Holbein’s brush. Such portraits were multiplied to give away to foreign Princes and faithful subjects. The best of them is the well-known full-face representation of the King in Warwick Castle—a life-size work, very admirably painted, most probably by Hornebolt. There is really no authentic portrait of him by Holbein in existence, with the exception of the rough chalk drawing at Munich and the exquisite square portrait at Althorp, which, in the opinion of Mr. Lionel Cust, F.S.A., is a genuine example.
After the death of Jane Seymour, the Privy Council lost no moment in urging the King to marry again. The choice fell upon Christina, daughter of the King of Denmark, and niece of the Emperor Charles V. She was Duchess of Milan, and the young widow of Francesco Sforza, the last Duke of his race. Holbein went over to Brussels in March, 1538, to paint the lady’s portrait, and an account of this expedition will be found on p. 54. The very lovely full-length portrait of this Princess belongs to the Duke of Norfolk, who has generously lent it to the{20} National Gallery for a number of years (see illustration, and p. 55). This is, perhaps, the most perfect piece of portraiture Holbein ever accomplished, and one of the great pictures of the world. Carl Linnaeus Love Man in his social character Elements of character Roman Patriotism Domestic Altar Loadstar of My Life You Know the Saying Our Swords Will Play the Orator The Day Before Yesterday The Cause of Troubles Precautions from the beginning Desire to Exceed One's Program The Daily Miracle Some Wonderful Efforts The Dawn of Freedom Of Our Striving The beginning of slavery Second Residence in England Return to Basle First Visit to England Life of Hans Holbein
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