Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/291

 or Dig, matriculated in 1519, when he joined the painters' guild. Two years before, he decorated the house of Jacob von Hartenstein at Lucerne with frescos no longer extant (copies in Lucerne Library). His frescos in the City Hall at Basle were painted in 1521-22, and The Passion, in the Basle Museum, about the same time. It is possible that Holbein made a short visit to Northern Italy before 1523, when he painted the fine portrait of Erasmus at Longford Castle, which the great humanist sent to Sir Thomas More in 1525 as a specimen of the painter's ability and as a recommendation to his patronage. Probably in September, 1526, Holbein visited Antwerp to see Quinten Massys, and spent some time there, after which he went to England, where Sir Thomas More lodged him in his own house near London. There he painted the Chancellor and his family (original lost, sketch in Basle Museum), and many fine portraits. From August, 1528, Holbein lived at Basle until 1532, when he returned to England, where, despite the earnest invitations of the magistrates of Basle, he remained, with the exception of a visit in 1538, during the rest of his life. At what time Holbein became painter to Henry VIII. is not known (1536?), but probably not until after the death of Anne Boleyn, whose successor, Lady Jane Seymour, he represented in the family picture of the two Henrys, which was burned at Whitehall in 1698. (Copy at Hampton Court.) In March, 1538, when Holbein is first mentioned as the recipient of a quarterly salary from the king, he was sent to Brussels, and then revisited Basle. In August, 1539, Henry again sent him to Flanders to paint Anne of Cleves (Louvre). The wonderful series of 89 portraits in red chalk and India ink by Holbein in the royal collection at Windsor are in themselves sufficient to stamp him as one of the greatest of all masters in portraiture. As a designer he shines most brightly in the wood cuts of the Dance of Death, executed by Hans Lützelburger, and published at Lyons in 1538 and 1547. Works: Head of the Virgin (1514), do. of a Saint, Christ on Mount of Olives, Taking of Christ, Pilate washing his Hands, Last Supper, Flagellation, Writing Lesson, A School, Portrait of Burgomaster Jacob Meyer and Wife (1516), Basle Museum; Portrait of H. Herbster (1516), Baring Collection, London; Hartenstein House Frescos (1519), Lucerne; Frescos, Town Hall, Basle (1521-30); Designs for glass windows, Adam and Eve (1517), Last Supper, 8 Scenes from Passion, Dead Christ (1521), Christ crowned with Thorns, Mater Dolorosa, Fragments (7) of Frescos in Town Hall, Basle Museum; Birth of Christ and Adoration of Magi, Cathedral, Freiburg in Breisgau; SS. George and Ursula, Altar-*wings (1522), Carlsruhe Gallery; Madonna and Saints (1522), Solothurn Gallery; Madonna of Burgomaster Meyer (1526), Princess Charles of Hesse, Darmstadt; do., copy with changes, Dresden Gallery; Male Portrait (1515?), Darmstadt Museum; Portrait of B. Amerbach (1519), Basle Museum; do. of Domherr Angerer (1519), and three others, Ferdinandeum, Innsbruck; Portraits of Erasmus, Longford Castle, England (1523), Louvre and (2) Basle Museums, Parma Gallery; Portraits of Man and Wife (1525), Vienna Museum; Lais Corinthiaca (1526), do. as Venus with Cupid, Holbein's Wife with two Children, Male Portraits (4), Basle Museum; Archbishop Warham (1527), Lambeth House; duplicate, Louvre; Male Portrait, do. (1527), Thomas Godsalve and his Son John (1528), Dresden Gallery; Sir H. Guilford, Windsor Castle; Nicholas Kratzer, and Sir Henry Wyatt, Louvre; Sir Bryan Tuke, Grosvenor House, London; do., Old Pinakothek, Munich; Hans of Antwerp, Goldsmith (1532), Windsor Castle; George Gisze (1532), two others (1533, 1541), Berlin Museum; Artist's Family, Portrait of a Lady, Male Portraits (3), Cassel Gallery; The Ambassadors (1533), Lord Radnor, Longford Castle; Derick Born (1530), Old Pinakothek, Munich; do. (1533), Windsor; Deryck Tybis (1533), Vienna Museum; Rob