Hans Holbein the Younger, Volume 1 (of 2)Chamberlain, Arthur B. (Arthur Bensley)
History
Hans Holbein the Younger, Volume 1 (of 2)
Chamberlain, Arthur B. (Arthur Bensley)
Holbein, Hans, 1497-1543 -- Criticism and interpretation; Painters -- Germany -- Biography
In the “Zaleucus” the scene is laid in a great chamber with a large
arched opening at one end, through which can be seen the outer walls of
the palace and other Renaissance buildings illuminated by sunshine. The
blinding of the two men is depicted with great realism. The son falls
back in his chair, with open mouth and a look of terror on his face as
the executioner prepares to tear out his left eye. Opposite to him his
father, crowned, in princely robes, an aged man, with long silvery
beard, sits in his chair of state, placed in front of heavy tapestry
hangings, freely offering himself to the torture. Holbein has very
skilfully marked the contrast between the abject fear of the culprit,
who appears about to scream aloud, and the old man, who makes ready to
meet the sharp pain with dignified restraint, and only displays his
feelings in the way in which he grips the arms of his throne. In the
case of the son, the executioner, dressed in the body armour of a Roman
soldier, is using considerable violence; in that of the father, he is
first examining the eye with a lens in order that he may remove it with
as little pain as possible. This severe object-lesson in the majesty of
the law is witnessed by a great crowd of spectators, all clad in togas,
who regard the scene with contending emotions of horror and compassion.
Two fragments of the original painting are still preserved at Basel—the
head of Zaleucus (No. 331), and that of one of the spectators (No. 332).
Of this fresco also there is a water-colour copy at Basel made by Hess
from the almost obliterated original,[283] and a sixteenth-century copy
of Holbein’s design for it.[284] In this case the two copies agree in
their proportions, and indicate that the painting was one of the smaller
of the chief subjects with which the room was decorated. According to
Dr. Ganz, three other old copies of this wall-painting exist, one by H.
R. Manuel in a private collection in France, one by J. Wentz, done in
1551, now in the Basel Collection, and the third in a glass painting of
1580.[285]
Public-domain text, read in full here on John Shaqi.
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