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Hans Holbein the Younger, Volume 1 (of 2) by Arthur B. Chamberlain
68. THE DANCE OF DEATH ALPHABET 224

Hans Holbein the Younger, Volume 1 (of 2) by Arthur B. Chamberlain

68. THE DANCE OF DEATH ALPHABET 224

Chapter 69 9 words

Chapter 1: Chapter 1
Chapter 2: 1. THE BAPTISM OF ST. PAUL 11
Chapter 3: 2. THE ST. SEBASTIAN ALTAR-PIECE 15
Chapter 4: 3. (1) ST. BARBARA. (2) ST. ELIZABETH 16
Chapter 5: 4. THE FOUNTAIN OF LIFE 17
Chapter 6: 5. STUDY FOR THE PORTRAIT OF A LADY OF 21
Chapter 7: 6. AMBROSIUS AND HANS HOLBEIN 25
Chapter 8: 7. VIRGIN AND CHILD (1514) 33
Chapter 9: 8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF 37
Chapter 10: 9. THE LAST SUPPER 40
Chapter 11: 10. THE SCOURGING OF CHRIST 41
Chapter 12: 11. HOLBEIN’S EARLIEST TITLE-PAGE 45
Chapter 13: 12. MARGINAL DRAWINGS IN A COPY OF THE 48
Chapter 14: 13. MARGINAL DRAWINGS IN A COPY OF THE 49
Chapter 15: 14. THE TWO SIDES OF A SCHOOLMASTER’S 51
Chapter 16: 15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS 52
Chapter 17: 16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF 55
Chapter 18: 17. ADAM AND EVE (1517) 56
Chapter 19: 18. PORTRAITS OF TWO BOYS 60
Chapter 20: 19. STUDY OF A YOUNG GIRL NAMED “ANNE” 61
Chapter 21: 20. THE FOUNDING OF BASEL 61
Chapter 22: 21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61
Chapter 23: 22. ILLUSTRATION TO SIR THOMAS MORE’S 62
Chapter 24: 23. DESIGNS FOR THE WALL-PAINTINGS OF THE 68
Chapter 25: 24. PORTRAIT OF BENEDIKT VON HERTENSTEIN 72
Chapter 26: 25. THE LAST SUPPER 75
Chapter 27: 26. THE ARCHANGEL MICHAEL AS WEIGHER OF 79
Chapter 28: 27. MINERS AT WORK 80
Chapter 29: 28. BONIFACIUS AMERBACH (1519) 85
Chapter 30: 29. (1) ADORATION OF THE SHEPHERDS. (2) 88
Chapter 31: 30. THE PASSION OF CHRIST 91
Chapter 32: 31. (1) CHRIST BEARING THE CROSS. (2) THE 94
Chapter 33: 32. “NOLI ME TANGERE” 95
Chapter 34: 33. (1) CHRIST, THE MAN OF SORROWS. (2) 98
Chapter 35: 34. THE HOLY FAMILY 99
Chapter 36: 35. THE DEAD CHRIST IN THE TOMB (1521) 101
Chapter 37: 36. THE VIRGIN AND CHILD, WITH ST. URSUS AND 103
Chapter 38: 37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY 106
Chapter 39: 38. HEAD OF A YOUNG WOMAN, PROBABLY 108
Chapter 40: 39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL 113
Chapter 41: 40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH 121
Chapter 42: 41. SAPOR AND VALERIAN 131
Chapter 43: 42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL 139
Chapter 44: 43. DESIGN FOR A PAINTED WINDOW WITH THE 144
Chapter 45: 44. ST. ELIZABETH, WITH KNEELING KNIGHT AND 148
Chapter 46: 45. THE VIRGIN AND CHILD, WITH A KNEELING 149
Chapter 47: 46. (1) CHRIST BEFORE CAIAPHAS. (2) THE 151
Chapter 48: 47. (1) THE MOCKING OF CHRIST. (2) CHRIST 152
Chapter 49: 48. (1) PILATE WASHING HIS HANDS. (2) ECCE 153
Chapter 50: 49. (1) CHRIST BEARING THE CROSS. (2) THE 154
Chapter 51: 50. (1) CHRIST NAILED TO THE CROSS. (2) THE 155
Chapter 52: 51. (1) COSTUME STUDY. (2) COSTUME STUDY 157
Chapter 53: 52. “THE EDELDAME” 157
Chapter 54: 53. A FIGHT BETWEEN LANDSKNECHTE 160
Chapter 55: 54. ERASMUS (1523) 169
Chapter 56: 55. STUDY FOR THE HANDS OF ERASMUS 171
Chapter 57: 56. ERASMUS (1523) 172
Chapter 58: 57. THE DUCHESS OF BERRY 176
Chapter 59: 58. (1) ERASMUS 180
Chapter 60: 59. ERASMUS 181
Chapter 61: 60. MUCIUS SCÆVOLA AND LARS PORSENA 191
Chapter 62: 61. “THE TABLE OF CEBES” 193
Chapter 63: 62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195
Chapter 64: 63. THE FOUR EVANGELISTS 195
Chapter 65: 64. THE “CLEOPATRA” TITLE-PAGE 198
Chapter 66: 65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE 198
Chapter 67: 66. THE DANCE OF DEATH WOODCUTS 217
Chapter 68: 67. THE DANCE OF DEATH WOODCUTS 220
Chapter 69: 68. THE DANCE OF DEATH ALPHABET 224
Chapter 70: 69. THE OLD TESTAMENT WOODCUTS 230
Chapter 71: 70. THE OLD TESTAMENT WOODCUTS 230
Chapter 72: 71. THE MEYER MADONNA 233
Chapter 73: 72. (1) JAKOB MEYER. (2) DOROTHEA 236
Chapter 74: 73. (1) MAGDALENA OFFENBURG AS VENUS (1526). 246
Chapter 75: 74. STUDY FOR THE MORE FAMILY GROUP 293
Chapter 76: 75. THE MORE FAMILY GROUP 295
Chapter 77: 76. THE MORE FAMILY GROUP 301
Chapter 78: 77. CECILIA HERON, DAUGHTER OF SIR THOMAS 303
Chapter 79: 78. SIR THOMAS MORE 303
Chapter 80: 79. PORTRAIT OF AN ENGLISH LADY 309
Chapter 81: 80. SIR HENRY GULDEFORD (1527) 317
Chapter 82: 81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321
Chapter 83: 82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN 321
Chapter 84: 83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY 322
Chapter 85: 84. THOMAS AND JOHN GODSALVE (1528) 325
Chapter 86: 85. SIR JOHN GODSALVE 326
Chapter 87: 86. NIKLAUS KRATZER (1528) 327
Chapter 88: 87. SIR BRYAN TUKE 331
Chapter 89: 88. SIR HENRY WYAT 335
Chapter 90: 89. SIR THOMAS ELYOT 336
Chapter 91: 90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343
Chapter 92: 91. PORTRAIT OF A YOUNG WOMAN 346
Chapter 93: 92. KING REHOBOAM REBUKING THE ELDERS (1530) 348
Chapter 94: 93. KING REHOBOAM REBUKING THE ELDERS 348
Chapter 95: 94. SAMUEL AND SAUL 350
Chapter 96: 95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354
Chapter 97: CHAPTER I
Chapter 98: 1494. This was the painter usually known as Hans Holbein the Elder, to
Chapter 99: CHAPTER II
Chapter 100: CHAPTER III
Chapter 101: 1518. Two small panels at the top contain the artist’s signature, “Hans
Chapter 102: CHAPTER IV
Chapter 103: 1. Leaena and the Judges 2. Architectural
Chapter 104: 1517. This work, of considerable importance to the student making a
Chapter 105: 1522. This portrait was acquired from a private collection in England in
Chapter 106: 1648. Dr. Ganz has recently published a copy of this picture,[187] which
Chapter 107: CHAPTER V
Chapter 108: 1526. One of the earliest, “The Last Supper,” has been already
Chapter 109: CHAPTER VI
Chapter 110: 1. STUDY FOR A PAINTED HOUSE FRONT WITH THE FIGURE OF A SEATED EMPEROR
Chapter 111: 2. THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS
Chapter 112: CHAPTER VII
Chapter 113: 1520. One represents the “Prodigal Son,” and the other is an heraldic
Chapter 114: CHAPTER VIII
Chapter 115: 1538. In the late summer of that year Holbein went with Philip Hoby to
Chapter 116: 1530. These later portraits closely follow the Longford Castle type as
Chapter 117: 1. ERASMUS
Chapter 118: 2. PHILIP MELANCHTHON
Chapter 119: CHAPTER IX
Chapter 120: 1516. Gerardus Noviomagus, of Nimeguen, writing to Erasmus on November
Chapter 121: 1. CHRIST THE TRUE LIGHT
Chapter 122: 2. THE SALE OF INDULGENCES
Chapter 123: CHAPTER X
Chapter 124: 1833. The “Dance” has also been rendered in photo-lithography for an
Chapter 125: 4. THE EMPRESS
Chapter 126: 8. THE PRIEST
Chapter 127: 4. THE DUCHESS
Chapter 128: 8. THE ARMS OF DEATH
Chapter 129: 1549. The passage runs: “Imagines Mortis expressæ ab optimo pictore
Chapter 130: 2. RUTH AND BOAZ
Chapter 131: 4. AMOS PREACHING
Chapter 132: 2. THE RETURN FROM THE BABYLONIAN CAPTIVITY
Chapter 133: 3. THE ANGEL SHOWING ST. JOHN THE NEW JERUSALEM
Chapter 134: CHAPTER XI
Chapter 135: introduction, and they may have been aware, also, though this is less
Chapter 136: CHAPTER XII
Chapter 137: CHAPTER XIII
Chapter 138: 1530. Sir Thomas’s age is given as 50 (Ætatis 50), but Sir John’s as 77,
Chapter 139: CHAPTER XIV
Chapter 140: 1528. The date of his birth is not known, but he received his first
Chapter 141: 1535. It has suffered somewhat in the course of time, but in its
Chapter 142: CHAPTER XV
Chapter 143: 258. The question of the authorship of the various versions of the

_From a proof in the Royal Print Cabinet, Dresden._

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