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
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CHAPTER XXIV
THE LAST YEARS: 1540-1543
Holbein’s work at Whitehall—His residence in the parish of
St. Andrew Undershaft—In high favour at court—Payments of
his salary—Possible visit to Basel—Portraits and miniatures
of Catherine Howard—Portraits of the Duke of Norfolk—The
Earl of Surrey—Unknown men at Berlin and Vienna—Unknown
Englishman at the Hague—Earl of Southampton—Unknown man,
aged 54, at Berlin—Unknown English lady at Vienna—Simon
George—Dr. John Chamber—Sir William and Lady Butts—Unknown
Englishman at Basel—Young English lady in the collection of
Count Lanckoronski—Lady Rich—Holbein’s self-portraits—A
newly-discovered one at Basel—Portraits, now lost, etched by
Hollar—The Duke of Buckingham’s Collection.
Though there is no actual evidence in support of the statement of the
older writers that Holbein, after he entered the royal service, had the
use of a permanent studio in Whitehall Palace, granted to him by the
King, there is every possibility that such was the case. “One of the
earliest of the famous non-royal residents in Whitehall Palace,” says
Dr. Edgar Sheppard, “was the artist Holbein. He had been presented to
Henry VIII by Sir Thomas More, and the King assigned him a permanent
suite of apartments in Whitehall, and commissioned him to paint the
interior of the new Palace, for which work he received two hundred
florins per annum.”[396] While the great wall-painting in the Privy
Chamber was in progress, it would be necessary for him to have a room
for his own use within the building, for the storage of the materials
required for the work, and it is not impossible that he was permitted to
retain the room as his own, perhaps one of those over the so-called
“Holbein’s Gate,” for the short remainder of his life, more particularly
as his practice was almost entirely confined to the court, so that a
studio in Whitehall would best suit the convenience both of the painter
and his sitters.[397] That he had a “permanent suite of apartments”
there, as Dr. Sheppard states, is much less probable. This would
indicate residence, whereas it is known that during his last years he
occupied a house in the east of London.
Footnote 396:
_The Old Royal Palace of Whitehall_, 1901, p. 266.
Footnote 397:
See Appendix (M).
Public-domain text, read in full here on John Shaqi.
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