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
he had received practical proof, in the shape of his studies for the
Family Group, of what the latter was capable in the way of portraiture.
The earliest work undertaken by the artist was the painting of this
group of his host’s family, and the several individual portraits of
certain members of the Chelsea household, of which the first would be
undoubtedly that of his new patron.
The inscriptions on the study for the Family Group, now in the Basel
Gallery, prove conclusively that the beautiful sketch of the general
arrangement of the picture was finished, and possibly the picture itself
begun, before 7th February 1527, thus indicating that Holbein must have
started upon it with little delay. This fact is made clear through the
researches of Mr. Nichols, included in a second and earlier paper read
before the Society of Antiquaries in 1897,[655] dealing with the correct
birth-year of Sir Thomas More. It is impossible to give here even a
short summary of the evidence which he brings forward, evidence which
proves that More was born on 7th February 1477, a year earlier than the
date until then supposed to be the correct one. He then proceeds to show
the bearing of this new year-date upon the Basel sketch. The sketch has
the name and age of the persons represented in it written against each
figure, and it is important to observe that there is a strong
probability that these inscriptions were written or dictated by More
himself. They are correctly written in Latin, while the painter’s notes
on the same drawing are in German; and, as Mr. Nichols says, the
information, including on the one hand the age of More’s venerable
father, and on the other that of his domestic fool, could scarcely have
been furnished by any one but More himself. Woltmann recognises the
handwriting as undoubtedly that of More from its remarkable resemblance
to the address on the letter held in the hand of Peter Ægidius in the
Longford Castle portrait, which More declared was copied quite as
closely as he could have copied it himself.
[Sidenote: BASEL STUDY FOR THE FAMILY GROUP]
Public-domain text, read in full here on John Shaqi.
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