Hans Holbein the younger . Vol. I., Plate 25 THE LAST SUPPERCentral Panel of a Triptych Basel Gallery. THE VISIT TO LOMBARDY 77 of architectural design which are to be met with throughout NorthernItaly, and such cathedral churches as those of Como and Lugano ;xand that he must have studied also the use made by the Italianpainters of similar architectural features in the backgrounds of theirfrescoes and paintings. It is difficult to believe that his intimateknowledge of the true principles of that style were gained merelyby the study of a few engravings or isolated pictures. Here andthere, too,
Hans Holbein the younger . Vol. I., Plate 25 THE LAST SUPPERCentral Panel of a Triptych Basel Gallery. THE VISIT TO LOMBARDY 77 of architectural design which are to be met with throughout NorthernItaly, and such cathedral churches as those of Como and Lugano ;xand that he must have studied also the use made by the Italianpainters of similar architectural features in the backgrounds of theirfrescoes and paintings. It is difficult to believe that his intimateknowledge of the true principles of that style were gained merelyby the study of a few engravings or isolated pictures. Here andthere, too, in those glass designs in which the background is a land-scape, there is more than one Alpine scene. In the one with the figureof a Pope or Bishop, in the Basel Gallery (No. 334)/ there is a view ofthe old Devils Bridge on the Andermatt route, and the same bridgeis to be seen in the Table of Cebes woodcut. There is a view ofthe Rigi in the background of the woodcut of Jacobs Ladder inThomas Wolffs edition of the Pentateuch, 1523, and, again, a repre-sentation of Lucerne in the woodcut of the New
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1913
