File:Hans Holbein the younger (1913) (14777672682).jpg

Identifier: hansholbeinyoung01cham (find matches)
Title: Hans Holbein the younger
Year: 1913 (1910s)
Authors: Chamberlain, Arthur Bensley
Subjects: Holbein, Hans, 1497-1543
Publisher: New York : Dodd, Mead and Company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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idered bands as in the picture, but herhair, instead of being almost hidden by the elaborate cap, hangsdown straightly below her waist. More colour is used in this drawingthan in the others, the face being worked in flesh tints, the hair of agolden-brown colour, the girdle red, and the ornaments of the collarin yellow, while the background is washed with pale green. The 1 Woltmann, 40-42. 2 Reproduced by Davies, p. 90 ; Knackfuss, fig. 86. 3 Reproduced by Ganz, Hdz. von H. H. dent Jung., PI. 18 (in colour); Davies, p. 92; Knack-fuss, fig- 87. 4 Reproduced by Ganz, Hdz. Schxvz. Mstr., iii. 56; Davies, p. 94 ; Knackfuss, fig. 88. I*--1 W Cv: w t—1 o s s s > b4 > w I o fc 0 y Q s>£ *s 2 to if 2 o SS cr •£ tn -*. w >-i (-1 u l_ IT . s u b £ , tj a. &• o c J P u O< MO w co CO W i—i O z w z 55 < «  u § H ^3 ►J 0) S << s O 0) -4—» v3■3 *3 t/3 J* 8 < t/3 «3 0) w •5 3CO IN O
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*r^ /?% ms (ft; -4 > *f f 1 ■ • w ^H fop ^B ^R J ■ ■ W^ s,.. ;V ■■. •- r ■ -1 THE BATTLE OF THE PICTURES 237 effect produced is very delicate and beautiful, and the portrait isperhaps finer and more natural than in the picture itself. Thesedrawings closely resemble in style those which Holbein producedshortly afterwards in England, and approach them very nearly intheir complete mastery of expressive line. For many years the fine early copy of the Meyer Madonna in theDresden Gallery x was regarded as Holbeins original work, and oneof the greatest treasures of the collection, and it was not until 1822,when the Darmstadt picture, purchased in that year by PrinceWilliam of Prussia from a Parisian picture-dealer, was first broughtto the notice of connoisseurs, that any doubt was thrown upon theauthenticity of the better-known example, which was then almostuniversally regarded as one of the greatest masterpieces of the Germanschool. A few German critics of note, among the

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