some knowledge of the higher canons of art. Here, too, advantage accrued
to Hans the younger, whose independent career about this time began.
The date of the elder Holbein's birth is unknown. But his name appears
in the books of the tax-gatherers of Augsburg in 1494, superseding that
of Michael Holbein, who is supposed to have been his father. Previous to
that date, and as early as 1493, he was a painter of name, and he
executed in that year, it is said, for the abbey at Weingarten, the
wings of an altarpiece representing Joachim's Offering, the Nativity of
the Virgin, Mary's Presentation in the Temple, and the Presentation of
Christ, which now hang in separate panels in the cathedral of Augsburg.
In these pieces and others of the same period, for instance in two
Madonnas in the Moritz chapel and castle of Nuremberg, we mark the clear
impress of the schools of Van der Weyden and Memlinc; whilst in later
works, such as the Basilica of St Paul (1504) in the gallery of
Augsburg, the wane of Flemish influence is apparent. But this
altarpiece, with its quaint illustrations of St Paul's life and
martyrdom, is not alone of interest because its execution is
characteristic of old Holbein. It is equally so because it contains
portraits of the master himself, accompanied by his two sons, the
painters Ambrose (c. 1494-c. 1519) and Hans the younger. Later pictures,
such as the Passion series in the Furstenberg gallery at Donaueschingen,
or the Martyrdom of St Sebastian in the Munich Pinakothek, contain
similar portraits, the original drawings of which are found in old
Holbein's sketch-book at Berlin, or in stray leaves like those possessed
by the duke of Aumale in Paris. Not one of these fails to give us an
insight into the character, or a reflex of the features, of the members
of this celebrated family. Old Holbein seems to ape Leonardo, allowing
his hair and beard to grow wildly, except on the upper lip. Hans the
younger is a plain-looking boy. But his father points to him with his
finger, and hints that though but a child he is clearly a prodigy.
Public-domain text, read in full here on John Shaqi.
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