Holbein by S.L. Bensusan — Read

If we cannot say with any certainty why Holbein came to England, we may at least presume that Sir Thomas More was his earliest patron in these islands, and his famous "Household of Sir Thomas More" would seem to have been the first intimation to a considerable section of English art lovers that a new light had arisen. It was of course most fortunate for the painter that he could command the attention of the highest in the land with his first serious effort, for the future was at once assured; and if it was well for the painter, it is better still for us. How many notable men has he rescued from the comparative oblivion of the printed record? In how many cases has he helped us to correct or justify the impressions of the historian? The human face tells its own story, and, when it is set down by a master-hand, we know something at least of the brain that worked behind it. Holbein was a realist. It was no part of his artistic intention to make a portrait a mere beautiful picture, to treat his subject pictorially in fashion that would flatter a sitter's vanity. Perhaps he had not the dangerous quality of imagination that would make such a procedure possible. He saw clearly, fully, dispassionately, and set down on paper or canvas just what he had seen -- neither more nor less. Even the Renaissance decorations that had delighted him as a boy were laid aside long before he came from Basle to London, and such mere cleverness as he permitted himself was done obviously enough to attract custom, and was to be seen in the skilful composition of his portrait groups. He was a hard-headed, serious artist, and appealed to a singularly level-headed generation, that had not been educated up or down to the special genius of the Renaissance portrait painters of Italy. For in spite of the exquisite and well-nigh inimitable quality of the Italian masters, their work would have seemed rather exotic in our colder clime. Moreover, the days of revolt against the spirit that so many of them expressed were upon the land.

We cannot say with any certainty when or why Holbein decided to try his fortune in England. It is likely that one of the English noblemen travelling on the Continent, the Earl of Surrey or the Earl of Arundel, was the first to advise him to visit this island; and when the troubles that beset art in Basle made a change imperative, the painter applied to Erasmus for introductions and received one to Sir Thomas More, to whom he was advised to take one of his portraits of Erasmus as a sample of his talent. Apparently the good folks of Basle were a little startled, and even vexed, to find that their premier artist was leaving them. They are said to have put obstacles in the way of his departure, but he would not be denied. Holbein travelled by way of Antwerp, attracted by the works of Quentin Matsys, and in 1526 he reached London, presented himself to the Chancellor, and made such a favourable impression that he was received forthwith and installed in his home at Chelsea. His gratitude was expressed quickly and significantly. Sir Thomas himself was the first in the long roll of distinguished men who have perhaps obtained a larger measure of immortality from Holbein's brush than from the work of their own hands.