Chapter XXII: Hans Holbein, the Younger

(Pronounced Hahntz Hol'bine)
_German School_
1497-1543
_Pupil of Holbein, the Elder_

There were three generations of painters in the Holbein family, and the Hans of whom we speak was of the third. His grandfather was called "old Holbein," and when more painters of the same name and family came along it became necessary to distinguish them from each other thus: "old Holbein," the "elder Holbein," and "young Holbein." The first one was not much of an artist; still, in a locality where at best there was not much art he was good enough to be remembered.

"Young Holbein" was born in Augsburg, which is in Swabia, in southern Germany; "elder Holbein" and his father, Michael, "old Holbein," had moved there from Schonenfeld, a neighbouring village, about forty three years before little Hans was born, the old Michael bringing his family to the larger town where it was easier to make a living.

The "elder Holbein" was a really good artist and well thought of in Augsburg, and when little Hans's turn came he had no teacher but his father, unless indeed we were to call him also a pupil of his elder brother, Ambrosius. His uncle Sigismund, too, taught him something of art, for the whole Holbein family seem to have been artists. Young Holbein was never regularly apprenticed to any outsider.

Art was not then taught as it is now. The work of a beginner was often to paint for his master certain details which it was thought that he might handle properly, while the master occupied himself with what he thought to be some more important part of the picture. It is said that Hans often painted the draperies of his father's figures when his father was engaged upon the altar pieces so fashionable at the time. The Holbeins one and all must have been bad managers or improvident; at any rate, Hans did not turn out well as a man and we read that his father was always in debt and difficulty although he received much money for his work and was not handicapped, like Dürer's father, by a family of eighteen children.

The story of the Holbeins is quite unlike that of the Dürers, and not nearly so attractive.

Some time before Hans was twenty years of age, the entire family had packed up and gone to live in Lucerne, while Hans and his brother, Ambrosius, went travelling together, as most young Germans went at that time before they settled down to the serious work of life. The last we hear of Ambrosius he had joined the painters' guild in Basel, and probably he died not long afterward, or at any rate while he was still young. There was in Basel a certain Hans Bar, for whose wedding occasion Hans Holbein designed a table, on which he pictured an allegory of "St. Nobody." This was very likely such work as our cartoonists do to-day, but being the work of Holbein, it had great artistic value. Besides that, he painted a schoolmaster's sign to be hung outside the door.

As an illustrator, Holbein made the acquaintance of several authors about that time and started on the high road to fame. He was a man of very little conscience or fine feeling, and there could hardly be a greater contrast than that between the clean sweet life of Dürer and the brawling, unfeeling one that Hans Holbein led.

Dürer married, had no children, but tenderly loved and cared for his wife, taking her with him upon his journeys and making her happy.

Holbein married and beat his wife; had several children and took care of none of them. His wife grew to look old and worn while he remained a gay looking sport, quite tired of one whom he had had on his hands for ten years. He wandered everywhere and left his family to shift for itself. One writer in speaking of the two men says:

"Dürer would never have deserted his wife whom he took with him even on his journey to the Netherlands; and he was bound by the same tenderness to his native town. However much he rejoiced to receive a visit from Bellini at Venice, or when at Antwerp, the artists instituted, a torch-light procession in his honour, nothing could have moved him to leave Nuremberg." Dürer loved his home; Holbein hated his.

Holbein had a cold, light-blue eye; Dürer a soft and tender glance. While Dürer lived he was the mainstay of his family--father and brothers. Holbein's father died in misery and his brother's life was disastrous, Hans doing nothing to serve them and looking on at their sufferings indifferently.

There is a court document in existence which tells the particulars of Hans Holbein's arrest for getting into a brawl with a lot of goldsmiths' apprentices during a night of carousal. The court warned him that he would be more severely punished if he did not cease his lawless life and he was made to promise not to "jostle, pinch, nor beat his lawful spouse." When he died he made no provision in his will for his family. There is a picture of his wife, Elizabeth Schmidt, to be seen in his "Madonna" at Solothurn Holbein used her for the model. She then was young and blooming and the model for the child was his own baby; at that time he found them useful.

His life of folly can hardly be excused by impulsiveness or emotion, for his pictures show little of either. He was best at portrait painting. At that time guilds and town councils wanted the portraits of their members preserved in some way, and it was the habit of painters like Holbein to form picturesque groups and give to such dramatic groupings the features of townsmen. Rembrandt did this much later than Holbein, when he painted the "Night Watch," or as it is more properly called, "The Sortie."

Probably Holbein's first important work was to make title pages for the second edition of Martin Luther's translation of the New Testament. This MS. was made about the time that Holbein's work began to be of interest to the public, and so the commission was given to him.

After a time this artist went to England with letters of introduction to Sir Thomas More, Chancellor to King Henry VIII. Sir Thomas treated him very kindly and set him to work making portraits of his own family. During the time he was living at More's home in Chelsea, the King himself, used frequently to visit there, and on one occasion he saw the brilliant portraits of the More family and inquired about the artist. Sir Thomas offered the King any of the pictures he liked, but Henry VIII. asked to see the artist. When brought before him, Holbein's fortune seemed to be made for the King asked him to go to court and paint for him, remarking that "now he had the artist he did not care about the pictures."

Holbein seems to have been a favourite with Henry and many anecdotes are told of his life at Whitehall, where he went to live. Once while Holbein was engaged upon a portrait, a nobleman insisted upon entering his studio, after the artist had told him that he was painting the portrait of a lady, by order of the King. The nobleman insisted upon seeing it, but Holbein seized him and threw him down the Stairs; then he rushed to the King and told what had happened. 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. Begone! and remember that if you ever attempt to avenge yourself, I shall look upon any injury offered to the painter as done to myself."

It was Holbein who, visiting a brother artist and finding a picture on the easel, painted a fly upon it. When the artist returned he tried to brush the fly off, then set about looking for the one who had deceived him.

His portrait painting was so superb that he received many commissions.

Meantime, Sir Thomas More had fallen into disfavour with the King and was to lose his head, but it is written that the artist's portraits "betray nothing of this tragedy." He was as ready to climb to fame by the favour of his generous patron's enemies as he had been to accept the offices of Sir Thomas More. He painted the portraits of several of the wives of Henry VIII., and it may be said that there was a good deal of that monarch's temperament to be found in Holbein himself. Take him all in all, Hans was as detestable as a man as he was excellent as a painter.

In his adopted home in Lucerne, Holbein had painted frescoes, both on the inside and the outside of a citizen's house, and this house stood until 1824, when it was torn down to make way for street improvements, but several artists hastily copied the frescoes so that they are not entirely lost.

Before he left Germany for England, Holbein had been commissioned to decorate the town hall in Basel, and a certain amount of money was voted for the work, but after he had finished three walls, he decided that the money was only enough to pay him for what he had already done. The councillors agreed with him, but as money was a little "close" in Basel at that time, they felt unable to give him more, and so voted to "let the back wall alone, till further notice."

He painted one Madonna whom he surrounded with the entire family of Burgomaster Meyer, including even the burgomaster's first wife, who was dead. This work is called the "Meyer Madonna."

It is said that after Holbein's return to Basel he, with others, was persecuted for his "religious principles," but if this were true, his persecutors went to considerable pains for nothing, because Holbein was never known to have any sort of principles, religious or otherwise. He was neither a Protestant, nor a Catholic but a painter, a man without convictions and without thought. He did not care for family, country, friends, politics, religion, nor for anything else, so far as any one knows.

When he was asked why he had not partaken of the Sacrament, he answered that he wanted to understand the matter better before he did so. Thus he escaped punishment, and when matters were explained to him, he did whatever seemed safest and most convenient under the circumstances.

On his return to England, he settled among the colony of German and Netherland merchants, who were in the habit of meeting at a place called "The Steelyard," as their home and warehouses were grouped in that locality, with a guild hall and a wineshop they alone patronised.

While associated with his compatriots Holbein made portraits of many of them, and these are magnificent works of art. He painted them separately or in groups; in their offices and in their guild hall, as the case might be. The men whom he thus painted were: Gorg Gisze, Hans of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many others. He designed the arch which the guild erected upon the occasion of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane Seymour.

Holbein painted many portraits of Henry VIII. and probably all those dated after 1537 were either copies or founded upon the portrait which Holbein made and which was destroyed with Whitehall.

While he painted for Henry, Holbein received a sort of retainer's fee of thirty pounds a year, but he may have received sums for outside commissions which he undertook. On one occasion, when he took a journey to Upper Burgundy to paint a portrait of the Duchess whom Henry contemplated making his next wife, the King gave him ten pounds out of his own purse. We have no record of vast sums such as Raphael received.

Henry did not succeed in making the Duchess his wife, so Holbein was sent to paint another--Anne of Cleves--that Henry might see what he thought of her before he undertook to make her his queen. Holbein did a disastrous deed, for he made Anne a very acceptable looking woman, (the portrait hangs in the Louvre) and Henry negotiated for her on the strength of that portrait. Later, when he saw her, he was utterly disgusted and disappointed.

Holbein, notwithstanding this trick, was employed to paint the next wife of Henry, and doubtless he also made the miniature of Catherine Howard which is in Windsor Castle. Holbein finally died of the plague and no one knows where he was buried. His wife died later, and it was left for his son, Philip, who was said to be "a good well-behaved lad," to bring honours to the family. He was apprenticed in Paris, and, settling later in Augsburg, he founded a branch of the Holbein family on which the Emperor Matthias conferred a patent of nobility, making them the Holbeins of Holbeinsberg.

PLATE--ROBERT CHESEMAN WITH HIS FALCON

This is one of the best of the many splendid portraits Holbein painted. It hangs in The Hague gallery. The gentleman was forty-eight years old and in the portrait he wears a purplish-red doublet of silk and a black overcoat, which was the fashion of the day, all trimmed with fur. He has curly hair, just turning gray. His left hand is gloved and on it he holds his falcon, while with the other hand he strokes its feathers.

Of all sports at that time, falconry was the most fashionable and every fine gentleman had his sporting birds. Robert Cheseman lived in Essex. He was rich and a leader in English politics. His father was "keeper of the wardrobe to Henry VIII." and he himself served in many public offices. He was one of the gentleman chosen to welcome Anne of Cleves when she landed on English soil to marry Henry VIII. These details were first published by Mr. Arthur Chamberlain and are taken from his sketch of Holbein and his works.

Among Holbein's other famous pictures are: "The Ambassadors," "Hans of Antwerp," "Christina of Denmark," "Jane Seymour," "Anne of Cleves," and "St. George and the Dragon."