FOOTNOTES
1. Anton Werner, Der Sammler, No. 143, 1907.
2. Anton Werner, Der Sammler, No. 143, 1907.
3. Entries in the Augsburg Bürgerbuch and Steuerbücher.
4. See Glaser, Hans Holbein der Ältere, p. 171.
5. Katalog der Œffentlichen Kunstsammlung in Basel, 1908, p. 66.
6. Woltmann, A. H., 20.
7. Woltmann, A. H., 25.
8. Woltmann, Holbein und seine Zeit, i. 67.
9. See Willy Hes, Ambrosius Holbein, p. 149.
10. Woltmann, 1-4. The first and third reproduced by Curt Glaser, Hans Holbein der Ältere, Pl. ii.
11. The “Death of Mary” in the Basel Gallery, formerly part of the Afra altar-piece in the chapel of the Kaisheimer-Hofes in Augsburg, bears an almost illegible date, which the Basel catalogue gives as 1490, but is more probably 1495. See Curt Glaser, Hans Holbein der Ältere, p. 23, and Pl. iii.
12. Woltmann, 5. Reproduced by Glaser, Pl. v.; Davies (central part), p. 4.
13. Or Rehlingen.
14. Woltmann, 6. See Glaser, p. 36.
15. Woltmann, i. 49. First cited by Hassler in Verhandlungen des Vereins für Kunst und Altertum in Ulm und Oberschwaben, ix. and x., 1855, p. 79.
16. Woltmann, 207-210. Reproduced by Glaser, Pl. xii.
17. Three of them reproduced by Glaser, Pls. x. and xi.
18. Woltmann, 238-253. Ten of the panels reproduced by Glaser, Pls. xiv.-xix.
19. Woltmann, 7. Reproduced by Glaser, Pl. xxii.
20. Woltmann, 8. Reproduced by Glaser, Pl. xxvi.; Davies (left-hand panel only), p. 12.
21. Glaser, 230. Woltmann, 277. Reproduced by Glaser, Pl. i.
22. Glaser, 218 and 153. Woltmann, 160 and 170. The first reproduced by W. Hes (Ambrosius Holbein), Pl. i. (2), and by Woltmann and Frisch in Hans Holbein des Ä. Silberstiftzeich. im Berlin, Pl. 64; the second by Glaser, Pl. xxxvii.; Davies, p. 1; Woltmann, vol. i., frontispiece; and elsewhere.
23. Glaser, 233. Reproduced by Davies, p. 14.
24. Davies, p. 16.
25. For details of these payments, taken from the account books St. Moritz, see Woltmann, ii. p. 30.
26. Woltmann, i. pp. 96-97, ii. 31. (Extracts from the Augsburger Gerichtsbücher.)
27. The altar-piece of 1512 for the Convent of St. Catherine is referred to in the next chapter. See pp. 23-5.
28. Woltmann, 254-258. Central panel and inner sides of shutters reproduced by Glaser, Pls. xxx., xxxi.; the latter reproduced by Davies, p. 22; outer sides of shutters by Woltmann, vol. i. pp. 88, 89.
29. Woltmann, i. 95.
30. Woltmann, vol. ii. p. 132, not numbered; reproduced by Glaser, Pls. xxxii., xxxiii.; A. Seeman, in Zeitschr. f. bild. Kunst, xiv. p. 197, 1903 (in colour); Arundel Club, 1907, Pl. 4.
31. See note at end of this chapter.
32. Raczynski, Les Arts en Portugal, 1846, p. 295.
33. Glaser, p. 100; Reber, in Kunstchronik, xiv. p. 493, 1903.
34. Glaser, p. 105.
35. W., 41, 127-31, 279. G., 104-10.
36. W., 131-2, 226, 279-80. G., 109-14.
37. W., 109. G., 133.
38. W., 110. G., 134.
39. W., 117-18, 224. G., 137-9.
40. W., 119. G., 140.
41. W., 120. G., 141.
42. W., 121. G., 142.
43. W., 122. G., 143.
44. W., 149. G., 172.
45. W., 148. G., 169.
46. W., 143. G., 164.
47. W., 141-2. G., 165-6.
48. W., 111-12. G., 135-6.
49. W., 153-4. G., 156-7.
50. W., 231. G., 154.
51. W., 34. G., 170.
52. W., 145-6. G., 167-8.
53. W., 155-7. G., 209-11.
54. W., 159. G., 213.
55. W., 133-4. G., 115-17.
56. W., 124-5, 225. G., 100-2.
57. W., 126. G., 103.
58. W., 108. G., 151-2. Reproduced by Glaser, Pl. xxxvi.
59. Woltmann, 284.
60. Glaser, p. 133.
61. Burlington Magazine, October 1908, pp. 37-43.
62. Berlin, 2558. Glaser, 216. Woltmann, 158.
63. The portrait and both drawings reproduced by Mr. Dodgson in his article; and the portrait in the Illustrated Catalogue of the Burlington Fine Arts Club Exhibition, 1906, Pl. xxxi.
64. In May of the present year (1913) the “Fountain of Life” picture was removed from the Palacio das Necessidades to the Museu Nacional de Arte Antiga in Lisbon.
65. See page 254.
66. Published in 1868.
67. Woltmann, i. p. 101.
68. Woltmann, 14-17.
69. Reproduced by Glaser, Pl. xxix.
70. Glaser, p. 85.
71. Reproduced by Davies, p. 16.
72. This band of ornament, which is different in each panel, recalls the very similar scroll-work by the younger Hans used in the upper part of the organ shutters at one time in the cathedral church of Basel.
73. “IVSSV. VENER. PIENTQVE MATRIS VERONI . . W . . . E. H. HOLBAIN IN AVG. ÆT. SVÆ XVII.” Wornum, p. 88. Woltmann, ii. p. 4.
74. Kunstwerke und Künstler in Deutschland, 1845.
75. Already mentioned, see p. 11. Glaser, 153. Woltmann, 107.
76. See page 5.
77. See Hes, p. 12, and footnote giving Woltmann’s various surmises as to the date and figures inscribed on the drawing.
78. Woltmann, 160. Glaser, 218. Reproduced by Woltmann, H. H. des Ä. Silberstiftzeichnungen, &c., Pl. lxiv.; Hes, Pl. i.
79. Woltmann, 43. Glaser, 203. Reproduced by His in his publication of the elder Holbein’s drawings, Pl. lxxiv.; Hes, Pl. iii.
80. Woltmann, 58. Glaser, 265. Reproduced by His, Pl. lvii.; Hes, Pl. iv.
81. Reproduced by Glaser, Pl. xiii.; Hes, Pl. v.
82. Reproduced by Glaser, Pl. xvii.
83. See Hes, p. 15.
84. Parthey, No. 1418.
85. Or possibly from such miniatures as those in the Duke of Buccleuch’s collection. See vol. ii. pp. 230-1.
86. Woltmann, i. 477. Dr. Paul Ganz suggests that one of these portraits may have been the small roundel belonging to Lord Spencer, traditionally known as a portrait of Holbein, but considered by him to represent the jeweller, Hans of Antwerp. See Ganz, Holbein (Klassiker der Kunst), p. 253. This large miniature is described more fully in vol. ii. pp. 14-15.
87. Walpole, Anecdotes, ed. Wornum, 1888, i. p. 93.
88. See vol. ii. pp. 230-1.
89. This small roundel is now considered to be a portrait of Hans of Antwerp. See vol. ii. p. 14.
90. Davies, p. 14.
91. Ganz, Hdz. Schwz. Mstr., note to i. 10.
92. His name does not appear in the Augsburg rate-books after 1509, and after 1512, the date on one of his brother’s portrait-studies of him, no further trace of him is to be found in his native city.
93. Reproduced by Davies, p. 33; Knackfuss, fig. 1; Ganz, Holbein, p. 3.
94. Woltmann, 359.
95. S. Vögelin, “Ein wiedergefundenes Meisterwerk Holbeins,” in Frankfurter Zeitung, 1871 (Nos. 236-7, 244, 248), and Der Holbein-tisch auf der Stadtbibliothek in Zürich, Wien, 1878. Reproduced as a whole and in detail, together with a reconstruction, by Ganz in Holbein (K. der K.) pp. 6-9.
96. Woltmann, 7, 8. Reproduced by Knackfuss, figs. 2, 3; Ganz, Holbein, pp. 19, 20.
97. Woltmann, 168. Reproduced by Ganz, Holbein, p. 4; and in outline by Reinach, Répertoire de Peintures, i. p. 401 (as by H. H. the Elder).
98. Reproduced by Reinach, Répertoire, i. p. 4.
99. Reproduced by Ganz, Holbein, p. 5. Wrongly described in Reinach, Répertoire, as “The Flagellation.”
100. Dr. Willy Hes considers this portrait to be by Herbster himself. See p. 60.
101. Woltmann, 27. Reproduced by Knackfuss, fig. 4; Ganz, Holbein, p. 21.
102. Woltmann, 24. Reproduced by Ganz, Holbein, p. 22.
103. Woltmann, 25. Reproduced by Davies, p. 38; Ganz, Holbein, p. 23.
104. Woltmann, 26. Reproduced by Davies, p. 40; Ganz, Holbein, p. 25.
105. Woltmann, 28. Reproduced by Davies, p. 42; Knackfuss, fig. 5; Ganz, Holbein, p. 24.
106. Davies, p. 40.
107. Ganz, Holbein, p. 233.
108. Woltmann, 51. Reproduced by Ganz, Handzeichnungen Schweizerischer Meister, iii. 8; Knackfuss, fig. 66.
109. See Appendix (A).
110. Ganz, Hdz. Schwz. Mstr., note to iii. 8.
111. Woltmann, Woodcuts, 193. Reproduced by Knackfuss, fig. 67.
112. Woltmann, 234. Reproduced by Davies, p. 186; A. F. Butsch, Die Bücher-Ornamentik der Renaissance, 1878, Pl. 41; Wornum, dedication page.
113. Woltmann, 111.
114. This inscription, however, is now regarded as a rather doubtful one, and it is possible that the book was never permanently in the possession of Erasmus. See Hes, Ambrosius Holbein, pp. 83-94, where the history of the book and the various theories as to its ownership and the authorship of the drawings are very fully discussed.
115. See Ganz, Hdz. Schweiz. Mstr., note to i. 52.
116. Dr. Hes subjects the drawings to careful analysis, and gives a complete list, together with the suggested authorship of each of them, in Ambrosius Holbein, pp. 90-94 and 161-166.
117. Twelve of them reproduced by Ganz, Hdz. Schweiz. Mstr., i. 52; the whole set by Mantz, but so badly engraved that they are of little service for purposes of comparison; the whole of the drawings now attributed to Ambrosius by Hes, Pls. xvi.-xx., and p. 139.
118. Dr. Hes points out the similarity of this figure to that of the schoolmistress in the “Schoolmaster’s Signboard,” and considers that Ambrosius had a share in the painting of the latter. See Ambrosius Holbein, p. 93.
119. By Ambrosius Holbein.
120. The name, however, was not written by Erasmus, but is a later addition.
121. Woltmann, under H. H. the Elder, 182. Reproduced by Knackfuss, fig. 6; Ganz, Holbein (K. der K.), p. 203; Hes, Pl. xxxiv.
122. Dr. Hes regards this portrait as the work of Herbster himself. See Ambrosius Holbein, p. 145.
123. Woltmann, under H. H. the Elder, 106, but he afterwards attributed it to the younger Hans. Reproduced by Ganz, Handzeichnungen Schweizerischer Meister, &c., ii. 2; Hes, Pl. xxiv.
124. Woltmann, 5, 6. Reproduced by Knackfuss, figs. 10, 11; Ganz, Holbein (K. der K.), pp. 10, 11.
125. Woltmann, 11. Reproduced by Davies, pp. 44, 46; Knackfuss, figs. 14, 15; Ganz, Holbein, pp. 12, 13.
126. On the back of the portrait of Meyer, Holbein painted, four years later, the sitter’s coat of arms, surmounted by a scroll inscribed “I.M. 1520.” (Reproduced by Ganz, Holbein, p. 30.) There is a good old copy of the wife’s portrait in the collection of Mr. Ralph Brocklebank, Haughton Hall, Tarporley, which was previously in the William Graham collection; and a copy of both portraits in the Basel Gallery, No. 350, from the Faesch collection.
127. According to Stödtner, these portraits show the influence of Burgkmair.
128. Woltmann, 33, 34. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 18 and iii. 7, and the “Meyer” in Hdz. von H. H. dem Jüng., Pl. 2; the “Dorothea” by Davies, p. 46; both by Knackfuss, figs. 12, 13.
129. “—ogen schwarz—baret rot mosfarb—brauenn gelber dan das har—grusen wit brauenn.”
130. Woltmann, 9. Reproduced by Knackfuss, fig. 16; Ganz, Holbein (K. der K.) p. 14.
131. Ganz, Holbein (K. der K.), p. 233.
132. Reproduced by Law, Royal Gallery of Hampton Court, p. 154.
133. This theory is held by Herr Th. von Liebenau. See his H. H. des Jüng. Fresken am Hertensteinhause zu Luzern, &c., 1888.
134. Woltmann, 16. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 52; Hes, Pl. xxx.
135. E. His, “Die Baseler Archive über H. H.,” in Zahn’s Jahrbuch, 1870, p. 113. Woltmann, i. p. 135; Hes, p. 16.
136. Woltmann, 5. Reproduced by Hes, Pl. xxxvi.
137. Woltmann, Woodcuts, 18-21. See Hes, p. 23, who reproduces all four woodcuts, Pls. xiv.-xv.
138. Woltmann, 2, 3. No. 294 reproduced in the Basel Catalogue, 1908, and both by Hes, Pl. xxxi., xxxii.
139. Woltmann, 24. Reproduced by Hes, Pl. xxix.
140. Reproduced by Hes, Pl. xxviii.
141. Woltmann, 23. See Hes, pp. 124-6. Reproduced by him, Pl. xxxiii.
142. Woltmann, 1. Reproduced by Hes, Pl. xxiii.
143. Woltmann, 4.
144. Woltmann, under Hans the Younger, 203. Reproduced by Hes, Pl. xxxvii.; Ganz, Holbein, p. 204.
145. See Hes, pp. 144-6.
146. Woltmann, 6. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 6; Hes, Pl. xxvi.
147. Woltmann, 7. Reproduced by Hes, Pl. xxvii.
148. Woltmann, 8. Reproduced by Ganz, Holbein, p. xvi.; Hes, Pl. xxv.
149. Woltmann, 10. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 22; Knackfuss, fig. 39; Hes, Pl. xxii.
150. Woltmann, 22. Reproduced by Hes, Pl. xxxv.
151. This picture was included in the Exposition de la Toison d’Or, Bruges, 1907, No. 130.
152. Woltmann, Woodcuts, 7. Reproduced by Butsch, Die Bücher-Ornamentik der Renaissance, Pl. 46; Hes, Pl. x.
153. Woltmann, Woodcuts, 17.
154. Woltmann, Woodcuts, 16.
155. See Woltmann, ii. pp. 205-214; Hes, pp. 27-80, and Pls. vi.-xv.; also Butsch.
156. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 39; Hes, Pl. xxi.
157. See Hes, p. 148. Reproduced by Vasari Society, No. 17, Pt. i., 1905-6.
158. Woltmann, 103. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 40; and in Hdz. von H. H. dem Jüng., Pl. 4; and Holbein, p. 154.
159. Woltmann, 216.
160. Woltmann, i. p. 143. Reproduced by Ganz, Holbein, p. 16.