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
THERE is no record to show in what part of London Holbein took up his
residence upon his return to England. Possibly he may have settled in
the house in the parish of St. Andrew Undershaft, in Aldgate Ward, in
which he was residing in 1541; or there may be some truth in the
tradition recorded by Walpole[1] that he lived for a time in a house on
London Bridge, in close proximity to the Steelyard, where he was much
occupied in painting various members of that colony of German merchants
for the next year or two. There is nothing to indicate that he returned
to Chelsea, for the purpose of finishing the More family picture, or
that he received further commissions from Sir Thomas and his immediate
circle of friends. During Holbein’s absence in Basel More had been made
Lord Chancellor, but had resigned that office on May 16th, 1532, which
was about the time of Holbein’s return to London. More, a generous man,
had not amassed wealth in the public service, and on relinquishing
office and the salary it carried with it, retired into private life on a
modest income, not sufficient to permit a lavish patronage of art. Two
other members of the More circle, and good friends to Holbein, Sir Henry
Guldeford, and Archbishop Warham, died in the same year, the former in
May and the latter in August, and thus the painter lost two other
patrons immediately after his return. A certain John Wolf was the
painter employed to provide the escutcheons, banners, and other
decorations for Guldeford’s funeral.[2]
Footnote 1:
_Anecdotes_, &c., ed. Wornum, 1888, vol. i. 86, note.
Footnote 2:
_C.L.P._, v. 1064.
Whether Holbein’s appearance amid entirely new surroundings was due to
these events is doubtful. It is natural to suppose that he would turn
instinctively towards a society of fellow-countrymen, speaking the same
language, and of similar habits and modes of thought, with whom he would
feel most at home, men of comfortable fortunes, well able to afford the
luxury of sitting for their portraits, and with the means also of
finding him other remunerative work.
Public-domain text, read in full here on John Shaqi.
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