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CHAPTER I.
HOLBEIN'S PERIOD, PARENTAGE, AND EARLY WORK
| Historical epoch and antecedents—Special conditions and character of early Christian art—Ideals and influence of the monk—Holbein's relation to mediæval schools—His father, uncle, and Augsburg home—Probable dates for his birth and his father's death—Troubles and dispersion of the Augsburg household—From Augsburg to Basel—His brother Ambrose—Erasmus and the Praise of Folly; some erroneous impressions of both—Erasmus and Holbein no Protestants at heart—Holbein and the Bible—Illustrated Vernacular Bibles in circulation before Luther and Holbein were born—Holbein's earliest Basel oil-paintings—Direct and indirect education—Historical, geographical, and scientific revolutions of his day—Beginning of his connection with the Burgomaster of Basel—Jacob Meyer zum Hasen—Holbein's woodcuts—His studies from nature—Sudden visit to Lucerne—Italian influence on his art—Work for the Burgomaster of Lucerne |
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CHAPTER II.
HOLBEIN BASILIENSIS (1519-1526)
| Holbein Basiliensis—Enters the Painters' Guild—Bonifacius Amerbach and his portrait—The Last Supper and its Judas—The so-called "Fountain of Life" at Lisbon—Genius for design and symbolism in architecture—Versatility, humour, fighting scenes—Holbein becomes a citizen and marries—Basel in 1519—Froben's circle—Tremendous events and issues of the time—Holbein's religious works—The Nativity and Adoration at Freiburg—Hans Oberriedt—The Basel Passion in eight panels—Passion Drawings—Christ in the tomb—Christ and Mary Magdalen at the door of the sepulchre—Rathaus wall-paintings—Birth of Holbein's eldest child—The Solothurn Madonna: its discovery and rescue—Holbein's wife and her portraits—Suggested solutions of some biographical enigmas—Title pages—Portraits of Erasmus—Journey to France, probably to Lyons and Avignon—Publishers and pictures of the so-called "Dance of Death"—Dorothea Offenburg as Venus and Laïs Corinthiaca—Triumph of the Protestant party—Holbein decides to leave Basel for a time—The Meyer-Madonna of Darmstadt and Dresden, and its portraits |
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CHAPTER III.
CHANCES AND CHANGES (1526-1530)
| First visit to England—Sir Thomas More: his home and portraits—The Windsor drawings—Bishop Fisher—Archbishop Warham—Bishop Stokesley—Sir Henry Guildford and his portrait—Nicholas Kratzer—Sir Bryan Tuke—Holbein's return to Basel—Portrait-group of his wife and two eldest children; two versions—Holbein's children, and families claiming descent from him—Iconoclastic fury—Ruined arts—Death of Meyer zum Hasen—Another Meyer commissions the last paintings for Basel—Return to England—Description of the Steelyard—Portraits of its members—George Gysze—Basel Council summons Holbein home—"The Ambassadors" at the National Gallery; accepted identification—Coronation of Queen Anne Boleyn—Lost paintings for the Guildhall of the Steelyard; the Triumphs of Riches and Poverty—The great Morett portrait; identifications—Holbein's industry and fertility—Designs for metal-work and other drawings—Solomon and the Queen of Sheba |
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CHAPTER IV.
PAINTER ROYAL (1536-1543)
| Queen Jane Seymour—Death of Erasmus, and title-page portrait—The Whitehall painting of Henry VIII.—Munich drawing of Henry VIII.—Birth of an heir and the "Jane Seymour Cup"—Death of the Queen—Christina, Duchess of Milan—Secret service for the King—Flying visit to Basel and arrangements for a permanent return—Apprentices his son Philip at Paris—Portrait of the Prince of Wales and the King's return gift—Anne of Cleves—Thomas Howard, Duke of Norfolk—Catherine Howard—Lapse of Holbein's Basel citizenship—Irregularities—Provision for wife and children—Residence in London—Execution of Queen Catherine Howard—Marriage of Catherine Parr—Dr. Chamber—Unfinished work for the Barber-Surgeons' Hall—Death of Holbein—His will—Place of burial—Holbein's genius: its true character and greatness |
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CATALOGUE OF PRINCIPAL EXISTING WORKS. |
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REFERENCES. |
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INDEX. |
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