Hans Holbein the younger . borders and in the backgrounds with rich andelaborate architecture based upon Renaissance models. It is difficultto understand how he could have produced so much work of thisnature, so filled with the beauty and dignity of the style upon whichit was founded, had he not had at least some personal acquaintancewith the original examples upon the far side of the Alps, which thesedrawings of his so often suggest. A close comparison of certain ofthese studies with the architectural details of some of the splendidRenaissance buildings which he must have seen if this journey
Hans Holbein the younger . borders and in the backgrounds with rich andelaborate architecture based upon Renaissance models. It is difficultto understand how he could have produced so much work of thisnature, so filled with the beauty and dignity of the style upon whichit was founded, had he not had at least some personal acquaintancewith the original examples upon the far side of the Alps, which thesedrawings of his so often suggest. A close comparison of certain ofthese studies with the architectural details of some of the splendidRenaissance buildings which he must have seen if this journey acrossthe plains of Lombardy did in reality take place, makes it almostcertain, although there are no documentary proofs, that he madedrawings and sketches of some of the principal edifices of Milan,the facade and interior of the Certosa of Pavia, the monumental tombs 1 According to Dr. Ganz, the architectural motives are derived from the loggia of theCathedral of Como. See Holbein, p. 236. 2 See chapter vii. gS HTAJ*] .!. Vol. I., Plate 25 THE LAST SUPPERCentral Panel of a Triptych Basel Gallery
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1913
