DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0268
242
OLD WORLD MASTERS
well for Edward VI that he did not live to learn the verdict that time
has passed upon this Bluebeard of History. Translated it reads:
“Little one, imitate thy father and be the heir of his virtue, the
world contains nothing greater. Heaven and Nature could scarcely
give a son whose glory should surpass that of such a father. Do thou
but equal the deeds of thy parent: the desires of man cannot go
beyond this. Surpass him and thou hast surpassed all the kings the
world has ever worshipped and none will ever surpass thee.”
Can flattery go beyond this?
For many years this portrait hung in the Royal Picture Gallery at
Hanover in Germany, probably taken there by one of the Georges,
all of whom preferred their Hanoverian Court to that of England.
In late years the picture belonged to the Duke of Cumberland, whose
father was King of Hanover until Prussia absorbed that kingdom in
1866.
Hans Holbein, born in Augsburg in 1497, was taught by his father,
Hans Holbein the Elder, as was also his elder brother, Ambrose.
About 1515 these two young Holbeins went to Basle, where there
was plenty of work for artists, for Basle had long been a centre of
intellectual and artistic life. Holbein’s talents won recognition; and
among other kinds of work he drew designs for title-pages and various
decorations for books. Some marginal drawings for The Praise of
Folly by Erasmus, led to a friendship with that distinguished person-
age, which was destined eventually to change his entire life. Holbein
also painted in fresco the council chamber of the new Rathaus in
Basle and also the famous votive picture The Meier Madonna, repre-
senting the Burgomaster, Jacob Meier of Basle, kneeling with his
family before the Virgin. He also painted several portraits of Eras-
mus. In 1526 Holbein decided to visit England, taking a letter of
introduction from Erasmus to Sir Thomas More and stopping on the
way at Antwerp to visit Quentin Massys. Holbein remained in
London two years, returned to his family in Basle in 1528, bought a
house, designed for goldsmiths, worked again on his unfinished fres-
coes in the Rathaus, made another portrait of Erasmus and painted
the faces of clocks. In 1532 Holbein decided to return to London,
OLD WORLD MASTERS
well for Edward VI that he did not live to learn the verdict that time
has passed upon this Bluebeard of History. Translated it reads:
“Little one, imitate thy father and be the heir of his virtue, the
world contains nothing greater. Heaven and Nature could scarcely
give a son whose glory should surpass that of such a father. Do thou
but equal the deeds of thy parent: the desires of man cannot go
beyond this. Surpass him and thou hast surpassed all the kings the
world has ever worshipped and none will ever surpass thee.”
Can flattery go beyond this?
For many years this portrait hung in the Royal Picture Gallery at
Hanover in Germany, probably taken there by one of the Georges,
all of whom preferred their Hanoverian Court to that of England.
In late years the picture belonged to the Duke of Cumberland, whose
father was King of Hanover until Prussia absorbed that kingdom in
1866.
Hans Holbein, born in Augsburg in 1497, was taught by his father,
Hans Holbein the Elder, as was also his elder brother, Ambrose.
About 1515 these two young Holbeins went to Basle, where there
was plenty of work for artists, for Basle had long been a centre of
intellectual and artistic life. Holbein’s talents won recognition; and
among other kinds of work he drew designs for title-pages and various
decorations for books. Some marginal drawings for The Praise of
Folly by Erasmus, led to a friendship with that distinguished person-
age, which was destined eventually to change his entire life. Holbein
also painted in fresco the council chamber of the new Rathaus in
Basle and also the famous votive picture The Meier Madonna, repre-
senting the Burgomaster, Jacob Meier of Basle, kneeling with his
family before the Virgin. He also painted several portraits of Eras-
mus. In 1526 Holbein decided to visit England, taking a letter of
introduction from Erasmus to Sir Thomas More and stopping on the
way at Antwerp to visit Quentin Massys. Holbein remained in
London two years, returned to his family in Basle in 1528, bought a
house, designed for goldsmiths, worked again on his unfinished fres-
coes in the Rathaus, made another portrait of Erasmus and painted
the faces of clocks. In 1532 Holbein decided to return to London,