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Page Number: 12
Text: London i Printed by B M'Millan, 3 how Street, Covent Garden $

Page Number: 13

Page Number: 14
Text: HANS HOLBEIN PAINTER.

Page Number: 15
Text: THE LIFE OF HOLBEIN JOHN HOLBEIN, better known by his German name Hans Holbein, a most excellent painter, was born, according to some accounts, at Basil in Switzerland in 1498; but Charles P...
Show more THE LIFE OF HOLBEIN JOHN HOLBEIN, better known by his German name Hans Holbein, a most excellent painter, was born, according to some accounts, at Basil in Switzerland in 1498; but Charles Patin places his birth three years earlier, supposing it very improbable that he could have arrived at such maturity of judgment and perfection in painting, as he shewed in 1514 and 1516, if he had been born so late as 1498. He learned the rudiments of his art from his father John Holbein, who was a painter, and had removed from Augsburg to Basil; but the superiority of his genius soon raised him above his master. He painted our Saviour's Passion in the town-house of Basil;
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Page Number: 16
Text: 2 LIFE OF HOLBEIN. and in the fish-market of the same town, a Dance of peasants, and Death's dance. These pieces were exceedingly striking to the curious; and Erasmus was so ...
Show more 2 LIFE OF HOLBEIN. and in the fish-market of the same town, a Dance of peasants, and Death's dance. These pieces were exceedingly striking to the curious; and Erasmus was so affected with them, that he requested of him to draw his picture, and was ever after his friend. Holbein, in the mean time, though a great genius and fine artist, had no elegance or delicacy of manners, but was given to wine and revelling company; for which he met with the following gentle rebuke from Erasmus. When Erasmus wrrote his " Mo rise Encomium/' or " Panegyric upon Folly/' he sent a copy of it to Hans Holbein, who was so pleased with the several descriptions of folly there given, that he designed them all in the margin; and where he had not room to draw the whole figures, pasted a piece of paper to the leaves.. He then returned the book to Erasmus, who seeing that he had represented an amorous fool by the figure of a fat Dutch lover, hugging his bottle and his lass, wrote under it, " Hans Holbein/' and so sent it back to the
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Page Number: 17
Text: LIFE OF HOLBEIN. painter. Holbein, however, to be revenged of him, drew the picture of Erasmus for a musty book-worm, who busied himself in scraping together old MSS. and antiquities, and wr...
Show more LIFE OF HOLBEIN. painter. Holbein, however, to be revenged of him, drew the picture of Erasmus for a musty book-worm, who busied himself in scraping together old MSS. and antiquities, and wrote under it " Adagia." It is said, that an English nobleman, who accidentally saw some of Holbein's performances at Basil, invited him to come to England, where his art was in high esteem ; and promised him great encouragement from Henry VIII.; but Holbein was too much engaged in his pleasures to listen to so advantageous a proposal. A few years after, however, moved by the necessities to which an increased family and his own mismanagement had reduced him, as well as by the persuasions of his friend Erasmus, who told him how improper a country his own was to do justice to his merit, he consented to go to England : and he consented the more readily, as he did not live on the happiest terms with his wife, who is said to have been a termagant. In his journey thither he stayed some days at Stras-b 2
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Page Number: 18
Text: 4 LIFE OF HOLBEIN. burg, and applying to a very great master in that city for work, was taken in, and ordered to give a specimen of his skill. Holbein finished a piece with g...
Show more 4 LIFE OF HOLBEIN. burg, and applying to a very great master in that city for work, was taken in, and ordered to give a specimen of his skill. Holbein finished a piece with great care, and painted a fly upon the most conspicuous part of it; after which he withdrew privily in the absence of his master, and pursued his journey. When the painter returned home, he was astonished at the beauty and elegance of the drawing ; and especially at the fly, which, upon his first casting his eye upon it, he so far took for a real fly, that he endeavoured to remove it with his hand. He sent all over the city for his journeyman, who was now missing ; but after many enquiries, found that he had been thus deceived by the famous Holbein. This story has been somewhat differently told, as if the painting was a portrait for one of his patrons at Basil, but the effect was the same, for before he was discovered, he had made his escape. After almost begging his way to England^ us Patin tells us, he found an easy admit-
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Page Number: 19
Text: LIFE OF HOLBEIN. 5 tance to the lord-chancellor, Sir Thomas More, having brought with him Erasmus's picture^ and letters recommendatory from him to that great man. Sir Thomas...
Show more LIFE OF HOLBEIN. 5 tance to the lord-chancellor, Sir Thomas More, having brought with him Erasmus's picture^ and letters recommendatory from him to that great man. Sir Thomas received him with all the joy imaginable, and kept him in his house between two and three years; during which time he drew Sir Thomas's picture, and those of many of his friends and relations. One day Holbein happening to mention the nobleman who had some years ago invited him to England, Sir Thomas was very solicitous to know who he was. Holbein replied, that he had indeed forgot his title, but remembered his face so well, that he thought he could draw his likeness ; and this he did so very strongly, that the nobleman, it is said, was immediately known by it. This nobleman, some think, was the Earl of Arundel, others the Earl of Surrey. The Chancellor, having now sufficiently enriched his apartments with Holbein's productions, adopted the following method to introduce him to Henry VIII. He invited the king to an en-
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Page Number: 20
Text: 6 LIFE OF HOLBEIN. tertainment, and hung up all Holbein's pieces, disposed in the best order, and in the best light, in the great hall of his house. The king, upon his first ...
Show more 6 LIFE OF HOLBEIN. tertainment, and hung up all Holbein's pieces, disposed in the best order, and in the best light, in the great hall of his house. The king, upon his first entrance, was so charmed with the sight of them, that he asked, ' Whether such an artist were now alive, and to be had for money ?" on which Sir Thomas presented Holbein to the king, who immediately took him into his service, with a salary of 200 florins, and brought him into great esteem with the nobility of the kingdom. The king from time to time manifested the great value he had for him; and upon the death of Queen Jane, his third wife, sent him into Flanders, to draw the picture of the Duchess Dowager of Milan, widow of Francis Sforza, whom the Emperor Charles V. had recommended to him for a fourth wife; but the king's defection from the See of Rome happening about that time, he rather chose to match with a protes-tant princess. Cromwell, then his prime minister (for Sir Thomas More had been removed, and beheaded), proposed Anne of
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Page Number: 21
Text: LIFE OF HOLBEIN. 7 Cleves to him ; but the king was not inclined to the match, till her picture, which Holbein had also drawn, was presented to him. There, as Lord Herbert of...
Show more LIFE OF HOLBEIN. 7 Cleves to him ; but the king was not inclined to the match, till her picture, which Holbein had also drawn, was presented to him. There, as Lord Herbert of Cherbury says, she was represented so very charming, that the king immediately resolved to marry her; and thus Holbein was unwittingly the cause of the ruin of his patron Cromwell, whom the king never forgave for introducing him to Anne of Cleves. In England Holbein drew a vast number of admirable portraits ; among others, those of Henry VII. and Henry VIII. on the wall of the palace at Whitehall, which perished when it was burnt, though some endeavours were made to remove that part of the wall on which the pictures were drawn. There happened, however, an affair in England, which might have been fatal to Holbein, if the king had not protected him. On the report of his character, a nobleman of the first quality wanted one day to see him, when he was drawing a figure after the life. Holbein,
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Page Number: 22
Text: 8 LIFE OF HOLBEIN. in answer, begged his lordship to defer the honour of his visit to another day ; which the nobleman taking for an affront, came, broke open the door, and v...
Show more 8 LIFE OF HOLBEIN. in answer, begged his lordship to defer the honour of his visit to another day ; which the nobleman taking for an affront, came, broke open the door, and very rudely went up stairs. Holbein, hearing a noise, left his chamber; and meeting the lord at his door, fell into a violent passion, and pushed him backwards from the top of the stairs to the bottom. Considering, however, immediately what he had done, he escaped from the tumult he had raised, and made the best of his way to the king. The nobleman, much hurt, though not so much as he pretended, was there soon after him; and upon opening his grievance, the king ordered Holbein to ask pardon for his offence. But this only irritated the nobleman the more, who would not be satisfied with less than his life; upon which the king sternly replied, " My lord, you have not now to do with Holbein, but with me ; whatever punishment you may contrive by way of revenge against him, shall assuredly be inflicted upon yourself: remember,
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Page Number: 23
Text: LIFE OF HOLBEIN. 9 pray, my lord, that I can, whenever I please, make seven lords of seven ploughmen, but I cannot make one Holbein even of seven lords/' We cannot undertake ...
Show more LIFE OF HOLBEIN. 9 pray, my lord, that I can, whenever I please, make seven lords of seven ploughmen, but I cannot make one Holbein even of seven lords/' We cannot undertake to give a list of Holbein's works, but this may be seen in Wal-poles Anecdotes. Soon after the accession of the late king, a noble collection of his drawings was found in a bureau at Kensington, amounting to eighty-nine. These, which are of exquisite merit, have been admirably imitated in engraving, in a work published lately by John Chamberlaine, F. S. A. certainly one of the most splendid books, and most interesting collections of portraits ever executed. Holbein painted equally well in oil, water-colours, and distemper, in large and in miniature : but he had never practised the art of painting in miniature, till he resided in England, and learned it from Lucas Cornelii; though he afterwards carried it to its highest perfection. His paintings of that kind have all the force of oil-colours, and are
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Page Number: 24
Text: 10 LIFE OF HOLBEIN. finished with the utmost delicacy. In general, he painted on a green ground, but in his small pictures frequently he painted on a blue. The invention of Holbein was surpri...
Show more 10 LIFE OF HOLBEIN. finished with the utmost delicacy. In general, he painted on a green ground, but in his small pictures frequently he painted on a blue. The invention of Holbein was surprisingly fruitful, and often poetical; his execution was remarkably quick, and his application indefatigable. His pencil was exceedingly delicate; his colouring had a wonderful degree of force; he finished his pictures with exquisite neatness ; and his carnations were life itself. His genuine works are always distinguishable by the true, round, lively imitation of flesh, visible in all his portraits, and also by the amazing delicacy of his finishing. It is observed by most authors, that Holbein always painted with his left hand; though Walpole objects against that tradition, (what he considers as a proof), that in a portrait of Holbein painted by himself, which was in the Arundelian collection, he is represented holding the pencil in the right hand. But that evidence cannot be sufficient to set aside so general a testimony of the most authentic
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Page Number: 25
Text: LIFE OF HOLBEIN. II writers on this subject: because, although habit and practice might enable him to handle the pencil familiarly with his left hand, yet, as it is so unusual, it must have h...
Show more LIFE OF HOLBEIN. II writers on this subject: because, although habit and practice might enable him to handle the pencil familiarly with his left hand, yet, as it is so unusual, it must have had but an unseemly and awkward appearance in a picture ; which probably might have been his real inducement for representing himself without such a particularity. Besides, the writer of Holbein's life, at the end of the treatise by De Piles, mentions a print by Hollar, still extant, which describes Holbein drawing with his left hand. Nor is it so extraordinary or incredible a circumstance; for other artists are remarked for the very same habit; particularly Mozzo of Antwerp, who worked with the left; and Amico As-pertino, as well as Ludovico Cangiagio, who worked equally well with both hands. This great artist died of the plague at London in 1554; some think at his lodgings in "Whitehall, where he had lived from the time that the king became his patron, but Ver-tue rather thought at the Duke of Nor-
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Page Number: 26
Text: 12 LIFE OF HOLBEIN. folk's house, in the priory of Christ church near Aldgate, then called DukeVplace. Strype says that he was buried in St. Catherine Cree church ; but this seems doubtful.

Page Number: 27

Page Number: 28
Text: WE* X C ESLAU S II0 LIAR

Page Number: 29
Text: THE DANCE OF DEATH. THE celebrity of a subject which has been distinguished by the labours of such artists as Holbein and Hollar,, seems necessarily to demand some investigation of its origin...
Show more THE DANCE OF DEATH. THE celebrity of a subject which has been distinguished by the labours of such artists as Holbein and Hollar,, seems necessarily to demand some investigation of its origin*. In the dark ages of monkish bigotry and superstition^ the deluded people, terrified into a belief that the fear of death was acceptable to the great Author of their existence, had placed * It would be a piece of injustice not to mention, that this has already been done in a very able manner, by a respected friend of the compiler of the present essay, in a little work, intitled " Emblems of Mortality," ornamented with copies in Mood, of the Dance of Death, by J. Bewick, the brother of the admirable artist who executed the cuts to a history of quadrupeds, lately published. The work was printed for T.Hodgson, Clerkenvvell, in 1789, 12mo. The editor of it will immediately perceive that no rivality is here intended; that in the pursuit of a subject of this nature many of the same authorities must have naturally presented themselves, and in order to connect it properly, must again be of course adopted. Independently of these, the rest of this slight performance is only designed as supplemental.
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Page Number: 30
Text: 14 *HE DANCE OF DEATH. one of their principal gratifications in contemplating it amidst ideas the most horrid and disgusting: hence the frequent descriptions of mortality in all it...
Show more 14 *HE DANCE OF DEATH. one of their principal gratifications in contemplating it amidst ideas the most horrid and disgusting: hence the frequent descriptions of mortality in all its shapes amongst their writers, and the representations of this kind, in their books of religious offices, and the paintings and sculptures of their ecclesiastic buildings. They had altogether lost sight of the consolatorjr doctrines of the Gospel, which regard death in no terrific point of view whatever ; a discovery reserved for the discernment of modern and enlightened Christians, who contemplate scenes which excited gloom and melancholy in the minds of their forefathers, with the gratification of philosophic curiosity. Some exceptions, however, to this remark are not wanting, for we may yet trace the imbecility of former ages in the decorations of many of our monuments, tricked out in all the silly ornaments of deaths' heads and marrow-bones. The most favourite subject of the kind, however, was what is usually denominated the Dance of Death, or a representation of Death in the act of leading all ranks and conditions of men to the grave; with gesticulations not a little bordering upon the grotesque, though probably without any view to provoke the mirth of the spectator in those times. One of the most ancient still existing, is that at Basil in Switzer-
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Page Number: 31
Text: THE DANCE OF DEATH. land, in the church-yard formerly belonging to the convent of Dominicans, Svhich is said to have been painted at the instance of the fathers and prelates assisting at the ...
Show more THE DANCE OF DEATH. land, in the church-yard formerly belonging to the convent of Dominicans, Svhich is said to have been painted at the instance of the fathers and prelates assisting at the grand council at Basil, in 1431, in memory of a plague which happened soon afterwards, and during its continuance. The name of the painter is unknown, and will probably ever remain so, for no dependence can be had upon vague conjectures of those who, without any authority, or even the smallest probability, have attempted to ascertain it. To refute, or even to mention the blunders which have been committed by most of the travellers who have described the town of Basil, when they discuss this subject, would fill a volume : it will be sufficient to notice an assertion of Keysler, that the painting was executed by Hans Bok, a celebrated painter of this place, who, however, from the testimony of Scheutzer, in his Itinerary, was not born till 1584. From some inscriptions on the spot it appears to have been retouched, or perhaps renewed, in 1566 and 1616; the first time probably by Hans Klauber, whose name occurs in the lines addressed by Death to the Painter. It has been frequently supposed that the Basil painting was the first qf the kind; but this is extremely doubtful, from the knowledge we have of many others of apparently equal antiquity.
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Page Number: 32
Text: 16 THE DANCE OF DEATH. Many of the bridges in Germany and Switzerland were ornamented in this manner, a specimen of which is still to be seen at Lucerne; and it is probable that al...
Show more 16 THE DANCE OF DEATH. Many of the bridges in Germany and Switzerland were ornamented in this manner, a specimen of which is still to be seen at Lucerne; and it is probable that almost every church of eminence was decorated with a Dance of Death. In the cloisters of St. Innocent's church at Paris, in those belonging to the old cathedral of St. Paul at London*, and in St. Mary's church at Berlin, these paintings were to be seen. At Klingen-thal, a convent in the Little Basil, are the remains of a Dance of Death, differently designed from that at the Dominicans, and thought to be more ancient. The figures remaining till very lately in Hungerford's chapel, in the cathedral at Salisbury, and known by the title of Death and the Young Man, were undoubtedly part of a Death's Dance, as might be further insisted on from the fragment of another compartment which was close to them. In the church at Hexham, in Northumberland, are the remains of a Death's Dance; and at Feschamps, in Normandy, it is carved in stone, between the pillars of a church; the figures are about eighteen inches high. Even fragments of painted glass, * On the walls of a cloister on the north side of St. Paul's, called Pardon-church-haugh, was painted the Machabre, or Dance of Death, a common subject on the walls of cloisters or religious places. This was a single piece, a long train of all orders of men, from the Pope to the lowest of human beings; each figure has as his^partner, Death; the first shaking his
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Page Number: 33
Text: THE DANCE OF DEATH. 17 whereon this subject has been depicted,, with old English verses over the figures, may contribute to shew how very common it has been in our own country. P. C. Hilcher,...
Show more THE DANCE OF DEATH. 17 whereon this subject has been depicted,, with old English verses over the figures, may contribute to shew how very common it has been in our own country. P. C. Hilcher, in a tract printed at Dresden in 1705, has taken notice of other Dances of Death at Dresden, Annaberg, Leipzig, and Berne. Dr. Nugent has described one in St. Mary's church at Lubeck, which he states to have been painted in 1463. The origin of all these is perhaps to be sought for in an ancient pageant, or religious farce, invented by the clergy, for the purpose of at once amusing and keeping the people in ignorance. In this all ranks and conditions of life were personated and mixed together in a general dance, in the course of which every one in his turn vanishes from the scene, to shew that none were exempted from the stroke of death. This dance was performed in the churches, and can be traced back remembering hour-glass. Our old poet Lydgate, who flourished in the year 1430, translated a poem on the subject, from the French verses which attended a painting of the same kind about St. Innocent's cloister, at Paris. The original verses were made by Macaber, a German, in his own language. This shews the antiquity of the subject, and the origin of the hint from which Holbein composed his famous painting at Basil. This cloister, the dance, and innumerable fine monuments (for here were crowded by far the most superb) fell victims to the sacrilege of the Protector Somerset, who demolished the whole, and carried the materials to his palace then erecting in the Strand.Pennant's London, vol. ii. p. 135. C
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Page Number: 34
Text: IS THE DANCE OF DEATH. as far as the year 1424*; it was called the Dance of Macaber, from a German poet of that name, who first composed some verses under the same title. Of this person very ...
Show more IS THE DANCE OF DEATH. as far as the year 1424*; it was called the Dance of Macaber, from a German poet of that name, who first composed some verses under the same title. Of this person very little is known, but Fabricius thinks the poem more ancient than the paintingsf. His work has been translated into Latin and French, in the last of which languages there are some very ancient and very modern editions. The earliest allusion to the subject, but whether to the above-mentioned farce or to the paintings seems uncertain, is in the following lines, from the Visions of Pierce the Plowman, who wrote about 1350. Death came drivynge after, and all to dust pashed, Kynges and kaysers, knightes and popes Learned and lewde, he ne let no man stande That he hitte even, he never stode after. Many a lovely ladie, and lemmans of knights Swonned and swclted, for sorrow of death dyntes. When the arts of printing and engraving became established, various copies of the Dance of Macaber made their appearance, particularly in the Hours, Breviaries, Missals, and other service books of the church, few of which were unaccompanied with a Dance of Death; and in these the designs gometiraes varied. Many of our own service books for the use of Salisbury were thus * Glossar. Carpentier, torn. ii. 1408. t Bibl. ined. & infim,
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Page Number: 35
Text: THE DANCE OF DEATH. 19 decorated, and the fashion at length terminated in a book of Christian prayers, printed more than once during the reign of Elizabeth, since which time noth...
Show more THE DANCE OF DEATH. 19 decorated, and the fashion at length terminated in a book of Christian prayers, printed more than once during the reign of Elizabeth, since which time nothing of the kind has appeared. In all these are to be found the same dull and uniform representation of Death leading a single figure, without'much attempt at character or execution, until at length there appeared, in 1538, a book, entitled " Les simulachres & historiees faces de la Mort, autant elegamment pourtraictes, que arti-ficiellement irnaginees." It was printed at Lyons by Melchior and Gasper Trechsel, and is accompanied with forty-one of the most beautiful groups of figures that can be well conceived, both for their composition and execution, being most delicately cut on wood, and surpassing in this branch of art almost every thing of the kind that has appeared before or since. This work was often republished, as welt in the French, as in the Latin and Italian languages*, and has been * The following is presumed to be a tolerably correct list of the various editions of this book : " Simulachres & Historiees faces de la Mort, &c." Lugd. 1538, 4to. " Imagines de Morte." Lugd. 1542, 12mo. " Imagines Mortis." Lugd. 1545, 12mo. " Imagines Mortis/' Lugd. 1547, 12mo. Les Images de la Morte." Lyon, 1547, 12tno. Simolachri, Historie, e Figure de la Morte." Lyone, 1549. I2mo. with an address from the printer, in which he complains of some attempts having been made in other countries to imitate the cuts to his book, and informs the reader that he
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Page Number: 36
Text: 20 THE DANCE OF DEATH. usually denominated by most of the writers upon the arts of painting and engraving, as well as by many travellers,, Holbein's Dance of Death, It is extremely clear, how...
Show more 20 THE DANCE OF DEATH. usually denominated by most of the writers upon the arts of painting and engraving, as well as by many travellers,, Holbein's Dance of Death, It is extremely clear, however, that Holbein did not invent these subjects, for it appears in a dedication, which is only to be found in the first edition of this work, that the painter was then dead, and that he had not lived to finish some of the designs, which, however, afterwards appeared in a subsequent edition. The painter must therefore have died before 1538, and it is well known that Holbein was at this time living, and continued so until 1555. Unluckily no evidence whatever, nor even tradition, has been preserved relating to this great artist, and it is feared that he will eveF remain undiscovered. had caused many more cuts to be added to this edition than had appeared in any other; a declaration not a little extraordinary, for both the editions of 154/, which were also published by this person, have the same number of cuts, and contain tv/elve more than the three first editions. These additional cuts were probably executed from the unfinished designs spoken of in the dedication to the first edition. Four of them, being groups of children playing, are rather foreign to the subject, but are evidently done by the same artist who executed the others. " Icones Mortis." Basil, 1554, 12mo. " Les Images de la Mort, auxquelles sont adjoustees dix sept. figures.'' Lyon, 156*2, 12mo. There are but five additional figures to this edition, the other twelve being what had already appeared, making in the whole seventeen more than in the first edition. Of these five cuts, which have all the delicacy of the others, three are groups of boys. " De Doodt vermaskert," &c. Antwerp, 1654, 12rao.
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