HANS See also:

• HANS HOLBEIN

HOLBEIN  , the younger (1497-1543), See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, favourite son of Hans See also:

• HOLBEIN, HANS

Holbein the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, was probably See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg about the See also:

• YEAR

year 1497 . Though See also:

• SANDRART, JOACHIM VON (s6o6-1688)

Sandrart and See also:

• VAN

Van See also:

• MANDER, CAREL VAN (1548-1606)

Mander declare that they do not know who gave him the first lessons, he doubtless received an artist's See also:

• EDUCATION

education from his See also:

• FATHER

father . About 1515 he See also:

• LEFT

left Augsburg with-See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose, his elder See also:

• BROTHER

brother, to seek employment as an illustrator of books at See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel . His first See also:

• PATRON

patron is said to have been See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus, for whom, shortly after his arrival, he illustrated with See also:

• PEN (Lat. penna, a feather, pen)

pen-and-See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink sketches an edition of the Encomium Moriae, now in the museum of Basel . But his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief occupation was that of See also:

• DRAWING

drawing titlepage-blocks and See also:

• INITIALS (Lat. initialis, of or belonging to a beginning, initium)

initials for new See also:

• EDITIONS

editions of the See also:

• BIBLE
• BIBLE, ENGLISH

Bible and See also:

• CLASSICS

classics issued from the presses of See also:

• FROBEN [FROBEN1us], JOANNES (c. 1460—1527)

Froben and other publishers . His leisure See also:

• HOURS, CANONICAL

hours, it is supposed, were devoted to the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of rough painter's See also:

• WORK

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
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich . In contrast with these coarse productions, the portraits of See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob See also:

• MEYER, CHRISTIAN ERICH HERMANN VON (18or-1869)
• MEYER, HEINRICH AUGUST WILHELM (1800-1873)
• MEYER, JULIUS LOTHAR (183o-1895)
• MEYER, KONRAD FERDINAND (1825-1898)
• MEYER, VICTOR (1848-1897)
• MEYER, [MARIE] PAUL HYACINTHE (184o- )

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

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 (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind so See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

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

life otherwise remains obscure, join that See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation; Hans, not overburdened with practice, wandered into See also:

• SWITZERLAND

Switzerland, where (1517) he was employed to paint in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Jacob Hertenstein at See also:

• LUCERNE
• LUCERNE (Ger. Luzern; Ital. Lucerne)
• LUCERNE, LAKE OF
• LUCERNE, PURPLE MEDICK

Lucerne . In 1519 Holbein reappeared at Basel, where he matriculated and, there is every See also:

• REASON (Lat. ratio, through French raison)

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

advantage of his vicinity to the See also:

• ITALIAN

Italian border to See also:

• CROSS

cross the See also:

• ALPS

Alps is uncertain . Van Mander says that he never was in See also:

• ITALY
• ITALY (Italia)

Italy; yet the large See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall-paintings which he executed after 1519 at Basel, and the See also:

• SERIES (a Latin word from serere, to join)

series of his sketches and pictures which is still extant, might See also:

• LEAD
• LEAD (pronounced iced)

lead to the belief that Van Mander was misinformed .

The spirit of Holbein's compositions for the Basel See also:

• TOWN

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 (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture of his numerous drawings, and the See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast of See also:

• FORM (Lat. forma)

form in some of his imaginative portraits, make it more likely that he should have See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the See also:

• DIRECT

direct See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North Italian See also:

• PAINTING

painting than that he should have taken Italian elements from imported See also:

• WORKS

works or prints . The Swiss at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period wandered in thousands to swell the ranks of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French or imperial armies fighting on Italian See also:

• SOIL

soil, and the road they took may have been followed by Hans on a more peaceful See also:

• MISSION

mission . He shows himself at all events See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

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 (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion in oil in the same collection, the modes of Hans Holbein the elder are agreeably commingled with a more See also:

• MODERN

modern, it may be said Italian, See also:

• POLISH

polish . Again, looking at the " Virgin " and " See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man of Sorrows " in the Basel museum, we shall be struck by a searching metallic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style akin to that of the Ferrarese; and the " Lais " or the ".See also:

• VENUS

Venus and Amor " of the same collection reminds us of the Leonardesques of the school of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

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 (Gr. xapareri7p, from xap&crew, to scratch)

character after the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of the Veronese; and his wall paintings in the town-hall, if we can truly See also:

• JUDGE (Lat. judex, Fr. juge)

judge of them by copies, reveal an artist not unfamiliar with North Italian See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution, See also:

• ACTION

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 (Lat. peespicere, to see through)

perspective, form and decorative See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament, are in the spirit of the school of See also:

• MANTEGNA, ANDREA (1431–1506)

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 [WILLIAM GRATTAN] TYRONE (1797-1841)

power and subtlety of See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand seldom rivalled in any school . Curiously enough, the same contrast may be observed between painted compositions and painted portraits . The " See also:

• BONIFACIUS (d. 432)

Bonifacius Amerbach " of 1519 at Basel is acknowledged to be one of the most See also:

• COMPLETE

complete examples of smooth and transparent handling that Holbein ever executed . His versatility at this period is shown by a dead See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ (1521), a See also:

• CORPSE (Lat. corpus, the body)

corpse in See also:

• PROFILE

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

organ See also:

• LOFT (connected with " lift," i.e. raised in the air; O. Eng. lyft; cf. Ger. Luft; the French term is grenier and Ger. Boden)

loft of the Basel See also:

• CATHEDRAL

cathedral, now in the Basel museum . Equally remarkable, but more attractive, though injured, is the " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child between St Ursus and St See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

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

alms to a See also:

• BEGGAR

beggar, in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of Solothurn . This remarkable picture is dated 1522, and seems to have been ordered for an See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar in the See also:

• MINSTER
• MINSTER (from Lat. monasterium; cf. German Munster)

minster of St Ursus of Solothurn by Nicholas See also:

• CONRAD (d. 955)
• CONRAD, JOSEPH (1856– )
• CONRAD, or KONRAD (M. H. Ger. Kuonrdl, i.e. " keen in counsel," Lat. Conradus, It. Corrado, cf. the A.S. Ccenred)

Conrad, a See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain and statesman of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, whose See also:

• FAMILY

family allowed the See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious See also:

• HEIRLOOM

heirloom to fall into decay in a See also:

• CHAPEL

chapel of the neighbouring See also:

• VILLAGE

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
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark in the See also:

• ANNALS (Annales, from annus, a year)

annals of Basel as a See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

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

deal with any subject . Though a realist, he was sensible of the dignity and severity of religious painting . His See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

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
• HAMPTON, WADE (1818-1902)

Hampton See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court, and Erasmus, who sat in 1523, as he likewise did in 1530, in various positions, showing his See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face threequarters as at See also:

• LONGFORD

Longford, Basel, See also:

• TURIN

Turin, See also:

• PARMA

Parma, the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague and See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, and in profile as in the Louvre or at Hampton Court . Besides these, Holbein made designs for See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass windows, and for woodcuts, including subjects of every sort, from the Virgin and Child with See also:

• SAINTS, BATTLE OF THE

saints of the old time to the See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

Dance of See also:

• DEATH

Death, from See also:

• GOSPEL (O. Eng. godspel, i.e. good news, a translation of Lat. bona annuntiatio, or evangelium, Gr. evayyeXwv; cf. Goth. iu spillon, " to announce good news," Ulfilas' translation of the Greek, from iu, that which is good, and spellon to announce)

gospel incidents extracted from See also:

• LUTHER, MARTIN (1483-1546)

Luther's Bible to satirical pieces illustrating the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of indulgences and other abuses denounced by Reformers . Holbein, in this way, was carried irresistibly with the stream of the See also:

• REFORMATION
• REFORMATION, THE

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, LUCAS (1472-1553)

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 (Lat. penicillus, brush, literally little tail)

pencil to the See also:

• ROMAN

Roman See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic cause . The burgo-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master Meyer, whose patronage he had already enjoyed, now asked him to represent himself and his wives and See also:

• CHILDREN, LAW RELATING TO

children in See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer before the Virgin; and Holbein produced the celebrated altarpiece now in the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace of See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

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
• HESSE (Lat. Hessia, Ger. Hessen)

Hesse at See also:

• DARMSTADT

Darmstadt, the shape and composition of which are known to all the See also:

• WORLD

world by its copy in the See also:

• DRESDEN

Dresden museum . The drawings for this masterpiece are amongst the most precious See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics in the museum of Basel .

The time now came when See also:

• ART

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

resolution, armed with letters of introduction from Erasmus to More, he crossed the Channel to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, where in the one-sided See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of portrait painting he found an endless circle of clients . Eighty-seven drawings by Holbein in See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle, containing an equal" number of portraits, of persons chiefly of high quality, testify to his See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry in the years which See also:

• DIVIDE

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

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 (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head is at Windsor . A pen-and-ink See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

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

original must once have been . At the same period were executed the portraits of See also:

• WARHAM, WILLIAM (c. 1450-1532)

Warham (See also:

• LAMBETH

Lambeth and Louvre), See also:

• WYATT, JAMES (1746–1813)

Wyatt (Louvre), Sir Henry See also:

• GUILDFORD

Guildford and his wife (Windsor), all finished in 1527, the astronomer Nicholas Kratzer (Louvre), Thomas Godsalve (Dresden), and Sir See also:

• BRYAN, WILLIAM JENNINGS (186o– )

Bryan See also:

• TUKE

Tuke (See also:

• MUNICH (Ger. Munchen)

Munich) in 1528 . In this year, 1528, Holbein returned to Basel, taking to Erasmus the sketch of More's family . With See also:

• MONEY

money which he brought from See also:

• LONDON

London he See also:

• PURCHASED

purchased a house at Basel wherein to See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

lodge his wife and children, whose portraits he now painted with all the care of a See also:

• HUSBAND

husband and father (1528) . He then witnessed the See also:

• FLIGHT

flight of Erasmus and the fury of the See also:

• ICONOCLASTS

iconoclasts, who destroyed in one See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day almost all the religious pictures at Basel .

The See also:

• MUNICIPALITY

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 (Heb. re)zab`am, probably " the clan is en-'arged," see Ecclus. xlvii. 23, although on the analogy of Rehabiah and Bab. ra'bi-ilu, `Am may represent some god; Septuagint reads po(3oa,u)

Rehoboam receiving the Israelite Envoys," and " See also:

• SAUL (Heb. shd'ul, " asked ")

Saul at the Head of his See also:

• ARRAY (from the O. Fr. areyer, Med. Lat. arredare, to get ready)

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

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, MERCHANTS OF THE

Steelyard in London (but now lost), to prefer the fame of a painter of See also:

• HISTORY

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, FHILIPP (1497–155o)

Melanchthon (See also:

• HANOVER
• HANOVER (Ger. Hannover)

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

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 (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, for whom Holbein executed the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and important series of portraits that See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie scattered throughout the galleries and collections of England and the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent, and See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear date after 1532 . Then came again the See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance of practice in more fashionable circles . In 1533 the " Ambassadors " (See also:

• NATIONAL

National Gallery), and the " Triumphs of See also:

• WEALTH

Wealth and Poverty " were executed, then the portraits of See also:

• LELAND (LEYLAND Or LAYLONDE), JOHN (c. 1506-1552)
• LELAND, CHARLES GODFREY (1824-1903)
• LELAND, JOHN (1691–1766)

Leland and Wyatt (Longford`, and (1534) the portrait of Thomas See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

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

post of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour at See also:

• WHITEHALL

Whitehall . The beautiful See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of a See also:

• PART

part of "this See also:

• FINE

fine piece at See also:

• HARDWICKE, PHILIP YORKE, 1ST EARL

Hardwicke Hall enables us to See also:

• GAUGE, or GAGE (Med. Lat. gauja, jaugia, Fr. jauge, perhaps connected with Fr. jale, a bowl, galon, gallon)

gauge its beauty before the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire which destroyed it in the 17th century . Then Holbein painted Jane See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

Seymour in See also:

• STATE
• STATE, GREAT OFFICERS OF

state (Vienna), employing See also:

• HOLBERG, LUDVIG HOLBERG, BARON (1684-1754)

HOLBERG See also:

• DESIRE

desire for instruction, however, at last induced his family to send him back to See also:

• BERGEN

Bergen, to his See also:

• UNCLE

uncle, and there he remained, eagerly studying, until the destruction of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city by fire in 1702, when he was sent to the university of See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen . But he soon exhausted his resources, and, having nothing to live upon, was glad to See also:

• HURRY (or URRV), SIR JOHN (d. 165o)

hurry back to See also:

• NORWAY
• NORWAY (Norge)

Norway, where he accepted the position of See also:

• TUTOR (Lat. tutor, guardian, tueri, to watch over, protect)

tutor in the house of a rural See also:

• DEAN (Lat. decanus, derived from the Gr. 8eaa, ten)
• DEAN, FOREST OF

dean at See also:

• VOSS, JOHANN HEINRICH (1751–1826)
• VOSS, RICHARD (1851– )

Voss . He soon returned to Copenhagen, where in 1704 he took his degree, and worked hard at French, See also:

• ENGLISH

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

vice-See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of Bergen . The See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DOCTOR (Lat. for " teacher ")

doctor had travelled much, and the See also:

• READING

reading of his itineraries and See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note-books awakened such a longing for travel in the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Holberg that at last, at the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of 1704, having scraped together 6o dollars, he went on See also:

• BOARD (O. Eng. bord)

board a ship See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

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

Aix-la-Chapelle, where he See also:

• FELL
• FELL, JOHN (1625-1686)

fell sick of a See also:

• FEVER (Lat. febris, connected with fervere, to burn)

fever, and suffered so much from weakness and poverty, that he made his way on See also:

• FOOT

foot to See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

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, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter, supporting himself by giving lessons in French . In the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1706 he travelled, in See also:

• COMPANY

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

violin and the See also:

• FLUTE

flute . He mentions, with gratitude, the valuable See also:

• LIBRARIES

libraries of Oxford, and it is pleasant to See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

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 (Dan. Helsingor)

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, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich young See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman to Dresden, and on his return See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey he lectured at See also:

• LEIPZIG

Leipzig, See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle and See also:

• HAMBURG

Hamburg .

Once more in Copenhagen, he undertook to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach the children of See also:

• ADMIRAL

Admiral Gedde . Weary with this work, he took a post at Borch See also:

• COLLEGE (Collegium)

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

Europe, and was permitted to See also:

• PRESENT

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
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick IV. two See also:

• MANUSCRIPT

manuscript essays on See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian IV. and Frederick III . The king soon after presented him with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

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 (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

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

great portion of Europe . From Amsterdam he walked through See also:

• ROTTERDAM

Rotterdam to See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, took a See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, and on foot again reached See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . Walking and See also:

• SKATING (Dutch schaats, a skate)

skating, he proceeded in the See also:

• DEPTH

depth of winter to See also:

• MARSEILLES

Marseilles, and on by See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea to See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

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
• ROME (Roma)

Rome . When the spring had come, being still very poor and in feeble See also:

• HEALTH

health, he started homewards on foot by See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, across the See also:

• APENNINES (Gr. 'A1T- vvLvos, Lat. Appenninus—in both cases used in the singular)

Apennines, through See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, Parma, See also:

• PIACENZA (Lat. Placentia)

Piacenza, Turin, over the Alps, through See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy and See also:

• DAUPHINE

Dauphine to See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons, and finally to Paris, where he arrived in excellent health . After spending a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month in Paris, he walked on to Amsterdam, took See also:

• SAIL

sail to Hamburg, and so went back to See also:

• DENMARK
• DENMARK (Danmark)

Denmark in 1716 . He spent the next two years in extreme poverty, and published his Introduction to Natural and Popular See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

Law . But at last, in 1718, his talents were recognized by his See also:

• APPOINTMENT, POWER OF

appointment as professor of See also:

• METAPHYSICS
• METAPHYSICS, or METAPHYSIC (from Gr. /sera, after, d v med, things of nature, lots, i.e. the natural universe)

metaphysics at the university of Copenhagen; and in 1720 he was promoted to the lucrative See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair of public eloquence, which gave him a seat in the See also:

• CONSISTORY (Lat. consistorium, literally, a standing place, hence meeting place, waiting or audience chamber)

consistory .

His pecuniary troubles were now at an end . Hitherto he had written only on law, history and See also:

• PHILOLOGY

philology, although in a Latin controversy with the jurist Andreas Hojer of Flensborg his satirical See also:

• GENIUS (from Lat. genere, gignere)

genius had flashed out . But now, and until 1728, he created an entirely new class of humorous literature under the See also:

• PSEUDONYM (Gr. >l ev&,vuµos, having a false name, ¢Evirls, false and ovoµa, name)

pseudonym of Hans Mikkelsen . The serio-comic epic of Peder Paars, the earliest of the great classics of the Danish See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, appeared in 1719 . This poem was a brilliant See also:

• SATIRE (Lat. satira, satura; see below)

satire on contemporary See also:

• MANNERS, CHARLES (1857– )

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 (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Danneskjold had not personally interested the king in some English hand perhaps to make the replicas at the Hague, See also:

• SION [Ger. Sitten]

Sion House and See also:

• WOBURN

Woburn; he finished the See also:

• SOUTHWELL
• SOUTHWELL, ROBERT (c. 1561-1595)

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 (from Lat. apparere, to appear)

appearance in See also:

• SILK

silk and satin, and See also:

• PRO

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
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

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 (from homo, through the Low Lat. hominaticum, which occurs in a document of 1035)

homage to the king in the way familiar to artists . He presented to Henry at See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas a portrait of Prince See also:

• EDWARD

Edward . Again abroad in the summer of 1539, he painted with great fidelity the princess See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne of See also:

• CLEVES (Ger. Cleve or Kleve)

Cleves, at See also:

• DUREN

Duren near See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

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 (O. Fr. plain, from Lat. plenum)

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

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

physiognomy, and it may be observed that in none of his faces, as indeed in none of the faces one See also:

• SEES

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 (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch for See also:

• LINE

line . We must not look in his works for modulations of See also:

• SURFACE

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 (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke of See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

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
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and Vienna), the See also:

• FALCONER, HUGH (18o8–1865)
• FALCONER, WILLIAM (1732–1769)

Falconer at the Hague, and See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• CHAMBERS (the Fr. chambre, from Lat. camera, a room)
• CHAMBERS, EPHRAIM (d. 1740)
• CHAMBERS, GEORGE (1803-1840)
• CHAMBERS, ROBERT (18oz-1871)
• CHAMBERS, SIR WILLIAM (1726-1796)

Chambers at Vienna (1542), are See also:

• NOBLE, SIR ANDREW (1832- )

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 (Esth. Ria-Lin)

Riga, and another at the Uffizi in Florence . Here Holbein appears to us as a man of See also:

• REGULAR

regular features, with See also:

• HAIR (a word common to Teutonic languages)

hair just turning See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

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
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed . He was busy painting a picture of Henry the VIII. confirming the Privileges of the See also:

• BARBER (from Lat. barba, beard)

Barber Surgeons (See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln's See also:

• INN

Inn See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields), when he sickened of the See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague and died after making a will about See also:

• NOVEMBER (Lat. novem, nine)

November 1543 .

His loss must have been seriously felt in England . Had he lived his last years in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, he would not have changed the current which decided the See also:

• FATE

fate of painting in that See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country; he would but have shared the fate of See also:

• DURER, ALBRECHT (1471-1528)

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 (DAvIslus), JOHN (1679-1732)
• DAVIES, DAVID CHARLES (1826-1891)
• DAVIES, RICHARD (c. 1505—1581)
• DAVIES, SIR JOHN (1569-1626)
• DAVIES, SIR LOUIS HENRY (1845— )

Davies, Holbein (1903); A . F .

G . A . Woltmann, Holbein See also:

• LAND

land See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

seine Zeit (1876) .