Beatrice Fortescue

“ Yet put this painting,—the acme of technical beauty as well as of ruthless realism,—at the close of the ten Passion drawings, and I venture to believe that the one coherent conception that runs through them all will legitimately find its conclusion here.
Here He lies that surrendered Himself to the punishment of Sin and the penalty of Death—for all men and all time. His pale lips are set with the superhuman agony of the cry with which He paid the uttermost farthing of that bond. Man has died for man, martyrs for faith; here God has died unto Himself, for us. There has been no playing at death. ”

“ It was literally, as he said, "a terrible painting," of which none of the stupidly-heavy copies that have for the most part travestied Holbein's work give any true conception. Many a man could paint cloth-of-gold and gems; but only once and again in the centuries comes a man who can thus paint, not alone the mane and stride of the lion, but the fires that light his glance, the roar rushing to his lips. To look long into these eyes that Holbein had the genius to read and the firmness to draw, is to feel one's self in the grip of an insatiable, implacable, yet leonine soul ”

“ Had the painting been preserved, as it deserved to be, surely it too could claim a part of that laurel wreath which Sandrart averred could not be torn from the Basel altar-piece by any rival, whether Italian or German.
The misty landscape, with the crosses of Golgotha and the eastern hills catching the first brightness of the new Day dawning over mortality; the broken clouds of night, scattered like the conquered horrors of the grave, and the illuminated tomb where Hope and Faith henceforth ask us why we weep ”

“ And whatever may have been his debt to those childish years when the little Iulus followed his father with trembling steps, his debt to Basel was immensely greater. The door-sill of Johann Froben's printing-house was the threshold of his earthly immortality.
When he turned his back on the low-vaulted years of Augsburg, it was because for him also the time was ripe. The Old Period had cast his genius; the New was to expand it to new powers and purposes. ”

“ Thus for the altar-piece of 1522 there would be this portrait of Elsbeth in her girlhood ready to his hand. But even so, see how he has idealised it, made a new creature of it, all compact of exquisite ideals! He has eliminated the subtle sensuousness which has its own allure in the drawing. Every trait is refined, purified, vivified, raised to another plane of character. Genius has put the inferior elements into its retort, and transmuted them to some heavenly metal far enough from Holbein's home-life. ”

“ All the pitiless terrors of the grave are here, with Him who for love of us has chosen to know Mortality "like at all points" with mortal men. What He bore for us, shall we shrink from so much as realising? The great eyes are fixed in a look whose penetrating, almost liquid sweetness not even the rigor of the final anguish could obliterate. Divine devotion,—devotion more than mortal,—still lingers in those sockets. The heart may well dilate before this sight; the soul fall on its knees. ”

“ The carnations are exquisite; the gravity of infancy is not exaggerated, yet fittingly enforces the gesture of benediction. The left hand is turned outward in a movement so peculiar to happy, vigorous babyhood that it is a marvel of observation and nature. The little foot is admirably foreshortened, and the wrinkled sole a bit of inimitable painting. But perhaps most wonderful of all is the art with which, amid so many splendid details, the Child is the centre of interest as well as of the picture. How it is so, is Holbein's own secret. ”

“ It is unmistakably his picture; and he dominates the accessories as much as he did in reality. The man, the whole man, is there; and the things are there around him; that is all. But that the eye recognises this is the demonstration of the painter's own mastership. It is as much Holbein's peculiar secret as are the cool shadows, the luminous glow, the astounding elaboration, all made to express the dignity of one, and but one, theme.
As has been said, the Steelyard portraits are too many to even catalogue here, covering many years. ”

“ But the monk had had his day as well as his way. The so-called Gothic architecture had expressed its uttermost of aspiration and tenuity; and painting had fulfilled its utmost accommodation to the ever more slender wall-spaces and forms which this architecture necessitated. And once again, in the fifteenth century, the time was ripe for a new transition. Art was now to reveal the realities of this world, and to concern itself with Man among them. ”

“ On a daïs covered with a green carpet, patterned in white and red and emblazoned with the arms of the donor and his wife, sits the lovely Madonna with the Child held freely yet firmly in two of the most exquisite hands which even Holbein ever painted. Her [Pg 87] dress is a rich rose-red; her symbolical mantle of universal Motherhood, or "Grace," is a most beautiful ultramarine, loaded in the shadows and like a sapphire in its lights. The flowing gold of her hair shimmers under its filmy veil, and the jewels in her gold crown flash below the great white pearls that tip its points. ”

“ When the Earl of Arundel, a few years later, sought to learn where he might set up a monument to one he so greatly admired, there was only this vague and uncorroborated rumour that the painter was buried in Saint Catharine-Cree. And so no monument was built to mark the spot where Holbein's "measure of sliding sand" had been spilled at last.
But, as they ran, those sands had measured more than "a great portrait-painter." They had measured Greatness; greatness which is not to be delimited by the wanton outrages of man or the accidents of time. ”

“ Unhappy Holbein, indeed! The temper of Xantippe herself, if she be but the decent mother of one's children, might work less havoc with a life than this embroidered cestus. But "the German Apelles" was no Greek voluptuary, ambitious in heathen vices, such as that other Apelles whose painting of Venus was said to be his masterpiece. And when Holbein inscribed his second portrait of Dorothea with the words Laïs Corinthiaca, the midsummer madness must have been already a matter of scorn and wonder to himself. His whole life and the works of his life are the negation of the groves of Corinth. ”

“ He can even fit a new head-dress on the lovely hair, and add the puffed sleeves below the short ones. He is a painter now; not a lover. And lest there should be one doubt as to his purpose, he flings a heap of gold where "Cupid's" little hand would now seem desecrated, and inscribes beneath it the name that fits her beauty and his contempt. The plague was raging in Basel all through that spring and summer, but I doubt if Holbein shuddered at its contact as at the loveliness he painted. ”

“ What a subtle yet eloquent suggestion of the eternal difference, henceforth, between Love and love is in these mortal lineaments that have evermore resumed their divinity! No face, no type, no art, can ever realise Christ; yet when this little painting was first added to the great roll of Holbein Basiliensis, it must have gone as near to realising its subject as the colours of earth can go. ”

“ Laïs is far more beautiful, and far more beautifully painted, than Venus. No emotion has hurried the painter's hand or confused his eye this time. In vain she wears such sadness in her eyes, such pensive dignity of attitude, such a wistful smile on her lips. ”

“ Yet with all its repellent features, it is to this unflinching exclusiveness of the monkish ideal that we owe one of the most exquisite blossoms on the stock of the thirteenth and fourteenth centuries,—their innocent and appealing art; an art as original and as worthy of reverence, within its own peculiar province, as the masterpieces of Greece or Italy. ”

“ And now in 1516, a memorable year to Holbein on account of this influential patron, the young stranger was commissioned to paint the portraits of Meyer (Plate 4) and his second wife, Dorothea (Plate 5) . These oil paintings, and the drawings for them, are now in the Basel Museum. And no one can examine them, remembering that the painter was but nineteen, without echoing the exclamation of a brilliant French writer: "Holbein ira beaucoup plus loin dans son art, mais déjà il est superbe." These warm translucent browns are instinct with life and beauty. ”

“ But the horrors of such an epidemic as that in which the painter was swept suddenly away make it easy to understand how even such a man as he had now become could die unnoticed and be buried in an unrecorded grave. ”

“ To carp at such conceptions because their architecture is as imaginative and as deeply symbolical as the action, is to demand that Holbein shall be someone else. These pictures, beyond the portraits below them, are the farthest possible from aiming at what we demand of Realism, though their own realism is astonishing. Holbein all too seldom sounds them, but when he does choose to stir only a joyous elation in the heart he rings a peal of silver bells. Here all is glad thanksgiving. The Divine has come into a sick and sorry world ”

“ Burgomaster of Lucerne, had now got his fine new house ready for decoration; and it was to Holbein that he gave the splendid commission to decorate it to his fancy,—the interior as well as the façade.
And a renowned triumph the painter made of it; a triumph such as, perhaps, no other artist north of Italy could then have equalled. It is idle now to dwell upon the religious subjects of one room, the genre paintings in another, the battle scenes of a third, and so on through those five famous rooms which were still in existence and fair preservation so late as 1824, but are now for ever lost ”

“ The very Self of the man—the lean, strong, thinking countenance,—the elusive smile, shrewd, ironical, yet kindly, stealing out on his lips,—is alive here by some necromancy of art.
The portrait now in the Basel Museum, in oils on paper, afterwards fastened to the panel, is in all likelihood that third portrait which Erasmus told Pirkheimer the painter himself had taken to France. So that Holbein must have painted it for, and carried it to, Bonifacius Amerbach, who was then, in 1524, finishing a renewed course of study at Avignon. ”

“ Considerably before 1519, as has been said, Holbein had begun to develop his special genius for Design, and to apply it to glass or window-paintings, as well as to metal and wood-engravings. The beautiful drawings, whether washed, or etched with the point, in chalks or Indian ink, of which examples may be seen in almost every great collection, private as well as public, that year after year were created by that fertile brain and ever more masterly hand, constitute an Art in themselves. ”

“ To-day this work, which some forty years ago no one dreamed had ever existed, smiles in all the beauty of its first painting; a monument to the insight and generous enthusiasm of the gentleman whose name is rightly connected with its own in its official title—"The Zetter-Madonna of Solothurn." And it smiles with Holbein's own undebased handiwork throughout. Pace Woltmann's blunder,—its network of fine cracks, even over the Virgin's face, attests that it has suffered no over-painting. ”

“ But the oil painting, now in the Louvre (Plate 23) , has suffered such severe injuries as to be but a poor ghost of what it was originally. Only the composition, and the fidelity with which all his friend's scientific instruments are drawn attest Holbein. He never adds a detail for merely pictorial purposes; and never shuffles one that concerns the personality of a sitter. No biographer with his pen sets every straw to show the winds of character and circumstance more deliberately than does this historian with his brush. ”