1518. Two small panels at the top contain the artist’s signature, “Hans

Holb.” This interesting specimen of Holbein’s youthful skill in design and other examples of his earlier work for book illustrations are dealt with in a later chapter. Another design of the year 1515 formerly attributed to Hans, and afterwards to Ambrosius, was the coat of arms of Petrus Wenck, painted in gouache on parchment, in the Matriculation Book of the Basel University, of which Wenck was rector in that year. It represents a man in Roman armour holding a large shield with a coat of arms in each hand. It is reproduced by Dr. Willy Hes in his recent book on Ambrosius Holbein, Plate xxxviii., who shows that it is not the work of either brother. By far the most important of Holbein’s surviving works of the year 1515 is the series of drawings, eighty-two in all, which he made on the margins of a copy of Erasmus’ _Encomium Moriæ_, or “Praise of Folly.” Erasmus paid his first visit to Basel in 1513, in order to make arrangements with Froben for the publication of his _Adagia_ and his edition of the New Testament. The two men became close friends, and Erasmus, who from that time spent some months every year in Basel, always stayed in Froben’s house during these annual visits until 1521, when he made Basel his permanent home. This biting and jesting satire on the follies of mankind, written in Latin, with its punning title on the name of Sir Thomas More, was composed by Erasmus, according to his preface, during his journeys on horseback, and was done in order to beguile the weariness of the way. It was published by Froben in 1514, and Holbein’s pictorial commentary upon it was drawn in a copy of the first edition, now preserved in the Basel Gallery.[113] The little pictures have been done with the pen on the broad margins by the side of the passages of the text to which they refer. All that is known of the history of the book is that it possibly belonged at one time to Erasmus himself, and afterwards to the theologian and schoolmaster Oswald Molitor, or Myconius. At a somewhat later date Basilius Amerbach, son of Erasmus’ friend, Bonifacius Amerbach, who continued to add to the collection of Holbein’s works formed by his father, obtained it with some difficulty, thanks to the kindly intervention of the painter Jakob Clauser, from Daniel Wieland, the town-clerk of Mühlhausen, who was very loath to part with it. Molitor’s ownership of the book is proved by an inscription on the title-page: “Est Osualdi Molitoris Lucerni”; and the earlier ownership of Erasmus by a second inscription on the second title-page, also in Molitor’s handwriting: “Hanc moriam pictam decem diebus ut oblectaretur in ea Erasmus habuit,” which shows that the marginal illustrations were completed in ten days, and that Erasmus derived much entertainment from them.[114] Molitor was living in Basel until 1516, and afterwards in Zürich and his native city, Lucerne, returning finally to Basel in 1532. It has been suggested that on the death of Erasmus, of whom Molitor was a friend and admirer, he received the book from Bonifacius Amerbach, who was the philosopher’s residuary legatee, and made a point of presenting valuable mementos to a number of Erasmus’ closest friends. The book contains annotations in Molitor’s handwriting, and from one of them we learn that the illustrations were done in 1515. VOL. I., PLATE 11. [Illustration: HOLBEIN’S EARLIEST TITLE-PAGE First used in 1515 _From a copy of More’s “Utopia” in the British Museum_ ] [Sidenote: THE “PRAISE OF FOLLY” DRAWINGS] It has been suggested, too, that the drawings were made by Holbein at the personal request of Erasmus, which is not very probable; and again, that Molitor gave the commission, and selected the passages to be illustrated, which is much more likely, and when finished presented the book to his friend, and that it was for this reason that Amerbach made a point of giving it back to him on the death of Erasmus. The book has also been taken as a proof that Holbein had gained a good knowledge of Latin in his school days, and that he selected his own passages for the pictures; but the few Latin inscriptions on his paintings do not indicate much proficiency in that language. The supposition that Molitor was the prime mover in the matter, and that it was done for him personally, and not as a gift to be presented to Erasmus, is by far the most probable; for, as stated above, he was in Basel at the time, and this would account for Holbein’s apparent knowledge of the language in which the book was written. On the other hand, the pen drawings in more than one instance do not so much illustrate the incidents and sense of the text, as isolated sentences and phrases which appear to have caught the fancy of the artist, and, therefore, are not likely to have been selected for pictorial comment by a learned student of the book. In recent years the drawings have been subjected to a searching examination and comparison, and Dr. Ganz was the first to point out that it is impossible to accept the whole of them as by Hans Holbein.[115] Considerable variations in style are to be noted, and it is now held, and with good reason, that while the more important share of the work was due to Hans, not only did Ambrosius contribute a certain number of the drawings, but that a third artist, some unknown Basel painter of the school of Urs Graf, and possibly even a fourth, also had a hand in it. One of these drawings, which represents Jupiter seizing the naked Ate by the hair, and flinging her across his knees in order to chastise her with his thunderbolts, bears letters which until recently were regarded as the initials of Ambrosius, though not his usual monogram; but this inscription has now been correctly read by Dr. Hes as the word “ATEN,” and refers to the subject, and not to the author of the drawing.[116] The two brothers must have been in constant communication with Froben, and for the purposes of the work they undertook for him would pay many visits to his house “zum Sessel” in the Fischmarkt, where Erasmus also had his headquarters, and where, no doubt, they first made his acquaintance. The illustrations to the “Praise of Folly” may thus have been begun in some idle moment in a copy of the book found lying about in Froben’s office, to pass the time while waiting for proofs or instructions in connection with work in hand; and having been thus begun, the interest would grow, and the printer himself would encourage its completion, and, perhaps, show it to Erasmus himself more than once during the short period of ten days in which the eighty-two drawings were accomplished. Any lack of profound Latinity on the part of the brothers, who in turn jotted down their fancies on the book’s margin, may have been overcome by Froben himself translating passages of the book to them. The sketches[117] are drawn freely and rapidly, without any attempt at elaboration or such careful draughtsmanship as would have been necessary had they been a commission or intended in the end to serve as woodcut illustrations in some future edition of the text. Many of them are witty and to the point, and show that Holbein had a true sense of humour. The wit is, perhaps, not so biting as that of Erasmus himself, but it matches in character the satirical humour and popular tone of the book. The contributions of Hans are both the most numerous and the best, and some of them, in the freedom and certainty of their draughtsmanship, show a distinct advance in his art. VOL. I., PLATE 12. [Illustration: MARGINAL DRAWINGS IN A COPY OF THE “PRAISE OF FOLLY” BASEL GALLERY ] [Sidenote: THE “PRAISE OF FOLLY” DRAWINGS] The opening picture represents Folly, as a young woman in cap and bells, mounting the pulpit in order to sing her own praises to a listening world, and in the concluding one she is seen descending the same steps with a gesture of farewell, leaving a gaping and astonished audience behind her (Pl. 12 (1)). One of the most beautiful of the drawings, representing Penelope at her loom (Pl. 12 (2)), is now given to Ambrosius, but it bears so close a resemblance to the style of some of the figures in the “Dance of Death” woodcuts, that it is difficult to believe that it is not by Hans.[118] Some of the representations of single figures, such as the Pope under a high canopy (Pl. 12 (3)), the Cardinal (Pl. 12 (4)), the Bishop (Pl. 12 (5)), and the Astronomer, are drawn with greater care, and show a more serious point of view, than is anywhere disclosed in the book itself. In these Holbein is seen at his best, and also in the charming little picture of nuns kneeling with lighted candles before a picture or carving of the Virgin and Child, which calls to mind more than one of his later designs for painted glass (Pl. 12 (6)). In several of them, such as the group of men engaged in an animated theological discussion, and that of the young man looking back so intently at the fair damsel who comes after him that, without noticing it, he has stepped into a basketful of eggs belonging to an old market woman, there is a landscape background of town and river and distant Alps, charmingly though hastily indicated (Pl. 13 (1)). Among the classical allusions there are comic representations of the slaying of Niobe’s children,[119] of Vulcan splitting the skull of Jupiter,[119] of Atlas staggering under the weight of the world,[119] of Polyphemus dancing, and of Hercules quieting Cerberus by means of a sausage.[119] Nicolas de Lyra is represented reading the Scriptures, and at the same time playing a small hand-organ, in allusion to his name (Pl. 13 (2)). King Solomon stands pointing to his open book (Pl. 13 (3)), and another excellent little drawing is that of the young courtier or nobleman (Pl. 13 (4)). The sketch of Folly talking to his puppet (Pl. 13 (5)) is one of the illustrations now given to the unknown artist who collaborated with the Holbeins. The drawing illustrating the phrase, “the golden collar of princes,” is an unmistakable portrait of the Emperor Maximilian. A portrait, much less easily recognised, is that of the writer of the book. In one passage Erasmus has mentioned his own name, and opposite to it Holbein drew the philosopher seated at a desk in his study, in scholar’s cap and gown, engaged in writing the _Adagia._ Through an arched opening is seen a view of mountain and lake (Pl. 13 (6)). To make certain that there should be no doubt as to whom the portrait represented, Holbein has written the name “Erasmus” at the top of the arch. Molitor, in a marginal note, states that when Erasmus came to this drawing, in which he is depicted as a comparatively youthful man, he exclaimed, “Ohé! Ohé! if Erasmus still looked like this, he would certainly take a wife.” The name “Holbein” occurs over one of the other sketches, which represents a fat and coarse-looking carouser seated at table, draining a bottle of wine, and at the same time fondling a woman seated by him, and illustrating the passage from Horace which refers to “a fat and splendid pig from the herd of Epicurus” (Pl. 13 (7)). This is said to have been written by the sage himself in playful revenge for the introduction of his own portrait among the foolish of mankind.[120] This somewhat primitive jest appears to be the sole foundation for the statements of several of Holbein’s earlier biographers that he was of a gross and sensual character, too fond of the wine-cup, and, in consequence, lived in poverty. The worst offender in this way was Charles Patin, a French physician who had settled in Basel in the seventeenth century, after having been forced to leave Paris on account of some misbehaviour. He was the first to bring this accusation against the painter, and later writers copied him without verifying his statements. Van Mander and Sandrart, who repeated all the gossip they could collect, do not allude to this supposed weakness in the painter’s character. Patin’s misrepresentations occur in a short life of Holbein, filled with inaccuracies, which he wrote as a preface to an edition of the _Praise of Folly_, issued in Basel in 1676, in which, for the first time, these marginal illustrations were published, being engraved for the book by C. Merian from copies of the originals made by W. Stettler. They at once became highly popular, and various editions followed, both on the Continent and in England. Patin evidently allowed his imagination to run away with him in his interpretation of this somewhat feeble joke made at Holbein’s expense. There is absolutely no foundation for the legend thus set going; the painter’s whole career, the high perfection of his technical powers, and the extraordinary amount of work he accomplished in his short life are more than sufficient in themselves to refute it. VOL. I., PLATE 13. [Illustration: MARGINAL DRAWINGS IN A COPY OF THE “PRAISE OF FOLLY” BASEL GALLERY ] There is a small portrait in the Grand-Ducal Museum at Darmstadt, dated 1515, at one time in the possession of the Von Schinz family of Zürich, which represents, at half-length, a young man in scarlet dress and cap, with long fair hair falling over the ears, the head standing out strongly against a bright-blue background.[121] It is inscribed across the bottom with the date between the initials H.H., and until recently has been considered by most writers to be a work of the younger Hans, and was reproduced as his by Herr Knackfuss. In 1904 Dr. Hes first drew attention to its close similarity to the work of Ambrosius, and most modern criticism is in agreement with him. It bears, in style and touch, a far stronger likeness to the art of Ambrosius than to that of Hans, and has much in common with the portrait of Hans Herbster in the Basel Gallery (No. 293), painted by him in the following year,[122] which, when it was in Lord Northbrook’s collection, was regarded as from the brush of his brother; and still more so to the two portraits of unknown boys, also in the Basel Gallery (Nos. 294-5). There is, indeed, a fine drawing of the head of an unknown man by Ambrosius, belonging to the Basel Kunstverein, which as a portrait bears so strong a likeness to the Darmstadt picture that it might almost be regarded as a study for it.[123] In the drawing the position is reversed, the subject being turned to the right instead of to the left, but the dress and hair are the same, and, judging from the technique, both are from the same hand. The inscription on the Darmstadt portrait is possibly of a somewhat later date than the painting, and there are faint indications of an earlier one beneath it. When this earlier one was replaced or renewed, the initial of the Christian name may have been changed from A. to H. In his book Dr. Woltmann included the portrait among the works of Hans Holbein the Elder, but modern criticism does not follow him in this. [Sidenote: THE SCHOOLMASTER’S SIGN-BOARD] At this early period of his career the young painter was willing to undertake any piece of work, however humble, that came to his hand. Thus, in 1516, he painted a sign-board for some Basel schoolmaster to hang outside his house (Pl. 14). The panel was painted on both sides, the upper and larger portion of each being filled with a long inscription in German stating that the owner of the sign was prepared to teach reading and writing in the shortest possible time, and at moderate prices, to all comers, citizens, artisans, women, and maidens; and that if in any instance the scholar proved too stupid to learn, no fee would be demanded, but that children were to be paid for in advance at each quarter. The inscription is the same on both sides, one being dated “1516,” and the other “Anno MCCCCCXVI.” In the narrow space left below, Holbein depicted two scenes representing the interior of the school, with benches against the wall under the leaded windows. In one of them the schoolmaster is shown on the left, in red and yellow, seated at his high desk, with a birch rod in his hand, teaching a small boy in green to read. On the other side of the room is the schoolmistress, in red dress and white coif, at a similar desk, instructing a little girl clad in blue and green. Between them sit two small lads at their books, one in blue, and the other in yellow with a red cap. The second picture represents the same room from another point of view, with a washing cistern and basin, and a long towel fastened to the wall. In the centre is a large table at which the schoolmaster is engaged with two young men dressed in the fashion of the landsknechte, one in trunks of red and yellow stripes, who is wrestling with a pen, and the other in green, who is listening with an intent and highly-puzzled expression to the instructions of the master, who is attempting to teach him to read. Holbein has represented the mental perturbation of this second pupil with considerable humour. Both pictures display signs of some haste in the execution, but they must have served the purpose for which they were intended admirably. Though slight works, they have undoubted charm, and, small as they are, the youthful painter has managed to give considerable expression in both the faces and the gestures of his figures, while the light which comes through the windows is well managed. This sign-board, now in the Basel Gallery (Nos. 310-11), has been split into two, in order that both sides may be exhibited.[124] When in actual use it must have hung from an iron bar over the pavement. It is quite possible that it was painted for Oswald Molitor, who, as already pointed out, was at that time in Basel, engaged in teaching. VOL. I., PLATE 14. [Illustration] [Illustration: BACK AND FRONT OF A SCHOOLMASTER’S HANGING SIGN 1516 BASEL GALLERY ] VOL. I., PLATE 15. [Illustration: DOUBLE PORTRAIT OF JAKOB MEYER AND HIS SECOND WIFE, DOROTHEA KANNENGIESSER 1516 BASEL GALLERY ] [Sidenote: PORTRAITS OF MEYER AND HIS WIFE] A much more important work of the same year, 1516, also in the Basel Gallery (No. 312),[125] is the double portrait of the Burgomaster of Basel, Jakob Meyer or Meier “zum Hasen,” so called from the sign of a hare which hung upon his house, and his second wife, Dorothea Kannengiesser (Pl. 15). This new patron of Holbein’s proved to be an excellent friend, giving him more than one commission, and obtaining important public work for him. Meyer was a man of influence in Basel, and was the first citizen not of knightly birth to be elected as burgomaster. His election took place in 1516, and it was no doubt in honour of this event that he ordered the portraits. He was again elected to the post in 1518 and 1520—no one was allowed to fill it for two years in succession; but in 1521 he fell into disgrace, through secretly accepting a higher pension from the French king than the laws of the city allowed. For this he was dismissed from office, and made to refund the money, with the exception of the fifteen crowns which was the permitted sum. Objecting to this treatment, he was clapped into prison, and was only released on his family paying a fine. During his burgomastership many important changes took place in the municipal government of Basel, and the Church and the nobility were gradually deprived of all their privileges. In his younger days he had served as a soldier in Italy with some distinction, and after his deprivation of office he went there again, in 1524, as captain of a Basel troop in the pay of France. On his return home he attempted without success to obtain the annulment of the decree against him of exclusion from all public offices; and during the religious disturbances of 1529 he was at the head of the Catholic party, then in armed opposition to the Reformers. The reasons which induced Meyer to choose Holbein as the painter of the portraits of himself and his young, comely, and newly-married wife, when there were older painters of repute in the town, are not known; but his first wife, Magdalena Baer, had been a sister of the Hans Baer for whom the Zürich table had been painted, and it may have been owing to this connection that the young artist obtained his first introduction to the burgomaster. In the portraits, which were painted and framed as a diptych, Meyer and his wife are shown at half-length and three-quarters face, turned towards one another. Meyer is wearing a black dress, open at the front to show his white, gold-embroidered shirt, and a scarlet cap on his bushy, curly brown hair, which covers his ears. He is clean-shaven, and holds in his left hand a coin, which is introduced to indicate his calling as a money-changer, and also, it is supposed, to commemorate the charter granted to the Baselers in January 1516 for the mintage of gold coins. On the same hand he wears several heavy gold rings. His eyes are dark brown, and his complexion of a ruddy hue, and his face shows shrewdness and strength of character, while the eyes are intelligent and determined. His wife wears a red dress, fronted and edged with a broad band of black velvet across the breast, embroidered with circles of gold ornamentation. The dress is cut low, to show a white under-bodice worked in elaborate designs, with hanging tassels and a band of gold embroidery of a heart-shaped pattern. Her hair and ears are covered with a large white cap of thin linen decorated with bands of gold of a checked design, of the hooded shape common in Switzerland at that period, with a long white fall which is brought over the right shoulder and reaches the waist. Round her neck hang two thin chains, one of gold and one of pearls, the ends of which are hidden beneath the bodice. Her hands are not shown. Though not strikingly handsome, she has youth and good looks in her favour. The two portraits are placed against one continuous architectural background, seen in rather strong perspective. In the centre an elaborate gilt frieze of Renaissance ornamentation is supported by short pillars of red marble, and on either side larger columns, also decorated with gilded carving, form the supports of two arches. Through these the blue sky is seen, against which the wife’s head stands out in strong colour contrast. Owing to the perspective arrangement, the opening is smaller in the portrait of Meyer, but part of his red cap is placed against the blue sky with equally striking effect. The signature, “H.H.,” and the date, “1516,” are placed on a small shield in the entablature over Meyer’s head.[126] In these two portraits—the earliest in point of date which can be ascribed to him with absolute certainty—Holbein, though not yet twenty years old, shows himself to be already a master of portraiture. The qualities they possess are the same, though not yet perfectly developed, as those which are to be discovered in such complete perfection in the work of his maturity. They show that he had already the power of seizing character, and was accurate and unhesitating in draughtsmanship. All the details, more particularly the elaborate ornaments of the woman’s dress, are drawn with a truth and delicacy that already falls but little short of the brilliance of his technique in such a masterpiece of portraiture as the Georg Gisze in Berlin, or the Jane Seymour in Vienna. The colour, though rich and strongly contrasted, is harmonious and delicate in the general effect it produces. The whole work, indeed, gives the impression that it is from the hand of an artist who is already sure of his methods. There is nothing faltering about it, and few indications that the painter was still only on the threshold of his career. All that was to come in the future was a deeper insight into nature, a greater perfection of methods which in the main were to remain unaltered throughout his life, and a more brilliant understanding and application of the lessons of the Italian Renaissance to the more decorative portions of his pictures.[127] [Sidenote: STUDIES FOR THE MEYER PORTRAITS] The rapidity with which his art was maturing is shown more strikingly, perhaps, in the two studies for the portraits, now in the Basel Gallery (Pl. 16),[128] than even in the pictures themselves. These heads, of the same dimensions as the finished works, are about half the size of life. They are drawn in silver-point, with fine and delicate lines, and equally delicate modelling of the flesh, which has been afterwards touched here and there with red chalk. They display the utmost care and precision, though the line is less subtle and searching than it is in the drawings of his greater English period. They are, nevertheless, extraordinary work for so young a man, and of great beauty. They show a method of procedure in the taking of portraits which remained Holbein’s almost invariable practice throughout his life. He always made these preparatory drawings—the later ones, of course, with much greater freedom—in which the form, character, and expression of his sitter were fixed once and for all. Colour was occasionally indicated, but as a rule all that he did was to jot down on the margin of the paper a few notes for future guidance. Thus on the drawing of Meyer, he has written notes as to the colour of the hair, eyebrows, and cap.[129] It was his habit, apparently, to rely upon his memory and these curt notes when he came to paint the actual portrait. This method enabled him to dispense with many sittings; after a few hours spent in close observation of his subject, he had obtained all the information he wanted. For the rest, he depended on what must have been a remarkable memory both for colour and form. During 1517 Holbein left Basel, and was absent for a considerable time. There is one work by him, however, of this year which in all probability was painted before his departure, as it belonged to Bonifacius Amerbach. This is the “Adam and Eve”[130] of the Basel Gallery (No. 313) (Pl. 17), which is painted in oils on paper. It is entered in the Amerbach catalogue as: “Ein Adam vnd Eva mit dem äpfel H. Holb. vf holz mit olfarb.” It is a study from life of the head and shoulders of the same models used for the heads of St. John and the Virgin already described, while the “Adam” also served as model for the head of Christ in “The Scourging” of the early Passion series on canvas. Eve, with a long curl of fair hair falling over her right shoulder and breast, holds the apple in her left hand, her face being of a rather dull and heavy type. Adam, with dark curly hair, and a long moustache which drops below his chin, and head slightly bent, has his right arm flung across Eve’s shoulders. The general tone is brownish, but considerable effect is produced by the contrast between the dark complexion of Adam and the blonder tones of Eve’s flesh. It is boldly and thinly executed, and the lines of the drawing are still plainly to be distinguished through the paint. The fingers of Eve’s hand, with high lights on the nails, are excellently modelled, already giving indications of what afterwards became one of the chief features of his portraiture, the beauty and character of the hands. Both heads stand out against a background which is now black. It is signed and dated, “1517, H.H.” Dr. Ganz points out the strong influence of both Baldung and Dürer this small study betrays.[131] It also bears a curious resemblance to the heads in the well-known picture of “Adam and Eve” by Mabuse at Hampton Court[132] (No. 385 (580)), though the position of the two figures is reversed. It is seen more particularly in Adam’s mass of dark hair covered with small curls, Eve’s long ringlets, the expression of pain on the faces, and the position of Adam’s arm across Eve’s shoulders. There is another very similar, but smaller, “Adam and Eve” by Mabuse in the Berlin Gallery (No. 661), displaying a composite art, half Flemish and half Italian, which is signed and dated 1516. VOL. I., PLATE 16. [Illustration: JAKOB MEYER Studies for the Double Portrait, 1516 _Silver-point and red chalk drawings_ BASEL GALLERY ] [Illustration: DOROTHEA KANNENGIESSER Studies for the Double Portrait, 1516 _Silver-point and red chalk drawings_ BASEL GALLERY ] VOL. I., PLATE 17. [Illustration: ADAM AND EVE 1517 BASEL GALLERY ] ------------------------------------------------------------------------