Hans Holbein the Younger, Volume 2 (of 2)Chamberlain, Arthur B. (Arthur Bensley)
History
Hans Holbein the Younger, Volume 2 (of 2)
Chamberlain, Arthur B. (Arthur Bensley)
Holbein, Hans, 1497-1543 -- Criticism and interpretation; Painters -- Germany -- Biography
The picture has never left England since the day it was painted. It was
in the possession of Henry VIII at the time of his death, and is
described in the inventory already mentioned, in which it is the twelfth
entry, as—“Item, a greate table with the picture of the Duchyes of
Myllayne, beinge her whole stature.” According to Mr. Lionel Cust,[278]
it passed from King Henry’s collection to that of the King’s cousin,
Henry Fitz-Alan, Earl of Arundel, after whose death it belonged to his
son-in-law, John, Lord Lumley, husband of the Earl’s eldest daughter and
co-heiress, Lady Joan Fitz-Alan. It is included in the manuscript
inventory of pictures and other objects of art belonging to Lord Lumley
in the reign of Queen Elizabeth already mentioned more than once. This
inventory is entitled “A Certyficate from Mr. John Lampton, Stewarde of
Howseholde to John, Lord Lumley, of all his Lo: Monumentes of Marbles,
Pictures and tables in Paynture, with other his Lordshippes Howseholde
stuffe, and Regester of Bookes. Anno 1590.” The picture is described as
“The statuary of the Duchess of Myllayne, afterwards Duches of Lorreyn
daughter to Christierne King of Denmarke doone by Haunce Holbyn,” the
word “statuary” being used for a standing whole-length figure.
Footnote 278:
Letter to _The Times_, May 5, 1909.
Against the contention that the picture passed directly from Henry’s
collection into the possession of the Earl of Arundel must be placed
Carel van Mander’s statement that in 1574 Zuccaro saw it in the Earl of
Pembroke’s house in London. “The said Zucchero,” he says, “was also
delighted with the portrait of a certain Countess, dressed in black
satin, life-size, a full-length figure, unusually pretty and well
painted by Holbein, and kept in Lord Pembroke’s house, where he saw it
in company with some painters and lovers of art, and took such great
delight in it, that he declared he had not seen its like in art and
delicacy even in Rome; therefore went away filled with admiration.”[279]
Footnote 279:
See Woltmann, English translation, p. 426.
Public-domain text, read in full here on John Shaqi.
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